thenipponissue - The Word Magazine

volume 02 — issue 05
Neighbourhood Life + Global Style
Belgium Pocket Moves Lifestyle Tokyo Entourage Fashion Yamamoto & Daughter
Design My Robot Fridge Culture Rope Burns + The Beauty Special
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6
EDITOR’S LETTER
The Word Magazine Is
Nicholas Lewis
Benoît Berben
Editor-in-chief
Hettie Judah
Design
Face to Face
+ pleaseletmedesign
THE FIRSTS
About a year ago, Benoît and I sat on the terrace of a mediocre restaurant in
Etterbeek, thinking up this year’s editorial themes. Some were just plain silly
(The Sex Issue) whilst others were clear favourites (The Lazy Issue). Funnily for
two guys who had never set foot in Japan, The Nippon Issue was a clear favourite
too. The theme inspired and excited us.
Fast forward a year, and here we were, mid-August, having to actually put
pen to paper, our general knowledge not any closer to deserving an MA in
Nipponology. That’s until we got the wider word team around the think-tank
table and got them deliberating; suddenly, ideas started flowing in…
Photography/ Illustration
Ulrike Biets
Benoît Bannisse
Jean-Biche
Sébastien Bonin
Pierre-Philippe Duchâtelet
Sarah Eechaut
Vincent Ferrane
Charlotte May Wales
Yassin Serghini
Guy Van Laere
Virassamy
Be it a visit to London’s Japan Centre, a sit down with Yohji Yamamoto’s daughter, a fi rst-person account from the likes of LCD Soundsystem and The Rakes
on their Japanese touring experiences or an essay exploring the historical links
between Belgium and Japan’s fashion trades, our pages got a serious infusion of
Genmaicha tea over the last few weeks. Don’t be mistaken, we weren’t exactly
head-nodding it the whole time to DJ Krush beats nor conducting interviews
from cherry blossom-fi lled bathtubs, although the office did have somewhat of a
Tokyo taste to it.
Writers
Hettie Judah
Rozan Jongstra
Nicholas Lewis
Karen Van Godtsenhoven
Randa Wazen
Internally, the organizational chart was slightly rejigged. Hettie Judah, our
editor-at-large for the last two years, is now our editor-in-chief, whilst I take on
the slightly less glamorous task of bending over to advertisers, expanding our
distribution network, throwing Word parties and taking our publishing house
to the next level. And while I’m terrified of handing the editorial reigns over to
someone, there’s absolutely no doubt Hettie’s the best person – if not the only
person – to bring this baby, the team’s baby, to maturity and beyond.
Thank Yous:
Sébastien Cuvelier
Carmen De Vos
Veerle Frissen
Lea Munsch
Yuko Suzuki
For Subscriptions (6 issues)
Transfer
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An office that’s been going through its fair share of change lately. First, we
brought in down a notch, moving The Word’s nerve center from our living room
to our ground floor. New desk, new pictures on the wall, new office view.
So there you have it, the complete rundown of Word happenings.
Now on to sumos, sushi and samurais.
Nicholas Lewis
Stating your full name
and address in the
communication box.
www.jampublishing.be
or call + 32 2 374 24 95
for more information.
© Guy Van Laere
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8
THE NIPPON ISSUE
THE CONTENTS
01. The Firsts
The Cover
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Editor's Letter
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The Contents
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The Contributors
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The Diary
The Diary
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The Diary
The Diary
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The Diary
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04. Fashion
The Nippon Issue
Giorgio Armani
Swatch
Volume 2 – N° o5
Filippa K
You're looking at it
Burberry
It's a Word's world
ING
Post-its
Belgium
Brussels Philharmonic
Belgium + United Kingdom
France + Holland
Symfonieorkest Vlaanderen
Concert picks
Absolut
p01
p02
p04
p06
p07
p08
p09
p10
p11
p12
p13
p15
p16
p18
p19
p20
p21
The Fashion Word
The Link
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The Nippon Papers
The Nippon Papers
The Nippon Papers
The Nippon Papers
The Nippon Papers
The Nippon Papers
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The Cover
The Way
The Routine
The Special Showst…
The Encounter
Kenzo Parfums
The Beauty Special
On high and unseen
The nails, the hair, the lips…
Middlesex
The greatest
p62
p63
p64
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p70
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Look out honey, 'cos I'm…
p74
Impeccable stack
Trying too hard
Heaven in a mildflower…
Show me your war face
Ropes make the spot
p78
p80
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p86
p90
Stockists
Advertisers
The Heritage Issue
Ristorante Bocconi
Rado
p95
p96
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06. Design
07. Culture
Title page
Rolling with the centre
Monster in your pocket
Brand new déjà-vu + Taking…
Born to die… + Touching…
The guide
p22
p23
p24
p25
p26
p27
03. Lifestyle
The Life
The Confession
The Review
Ad
The Word On
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The Showstoppers
Ad
p44
p56
p61
05. The Beauty Special
The History
02. Belgium
The waiting room
The Edo / Punk Link
The Word Magazine
The Shelf
The Pencil
The Talent
The Scream
The Eye
08. The Lasts
Holding fi re
Lost in Japan
Follow the guide. Exhibition n°1
Maasmechelen Village
Feeling the influence
Aspria
Tokyo hot
Bombay
p28
p30
p34
p35
p36
p39
p40
p43
The Stockists
The Round Up
What's Next
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10
THE HIROSHIMA ISSUE
It’s a
Word’s
World
THE CONTRIBUTORS
Guy Van Laere
Photographer
¤
Guy is a composition genius,
often finding just the exact
amount of natural light to uplift
his otherwise moody and broody
photographs. We had wanted to
work with him for some time now,
and a long overdue encounter
at our September exhibition’s
opening finally led to some
concrete commissions. Given his
obvious soft touch and acute eye,
we asked him to photograph three
Japanese families in their homes.
With his stark, almost abstract
portraits, he came back with
more than we had bargained for.
Félicie Haymoz
www.guyvanlaere.com
—
Yves Luel
Felicie’s been on our list of
people to work with for some
time now too. An illustrator based in Belgium, she’s
worked more recently on
Wes Anderson’s animated movie
‘Fantastic Mister Fox’. Having
contributed to our Design exhibition with her guide to going
to the hairdresser, we thought
it fitting to bring her cute and
intricate world to the magazine’s
pages by asking her to create a
guide to commissioning a shoot
in Japan.
Stylist
¤
www.feliciehaymoz.com
Pages n° 36, 37, 38
Marc Paeps
Photographer
¤
Although he took his time before
getting back to us, Marc definitely coughed up the goods in the
end. With more of an advertising
background in photography, his
work never fails to bring a smile
to our faces – the recent Eurostar
campaign he shot being a case in
point. For his first fashion editorial, he took inspiration from the
subtle and soft world of Wong
Kar Wai’s ‘In the mood for love’,
delivering an understated and
humble series perfectly suited for
our pages.
www.marcpaeps.com
—
Pages n° 44, 45, 46, 47, 48, 49
50, 51, 52, 53, 54, 55
Illustrator
¤
What a breath of fresh air.
From the fi rst meeting we had
with Yves, we knew our fashion
features would never be the same
again. The kind of guy to always
have a little joke lurking in the
back, Yves is the type to loosen
up tense situations with his positive energy, loveable demeanour
and wit. He also turned out to
be the perfect person to bring
a dash of brash colour to our
fashion pages, with his customary mix-and-match, high and
low aesthetic.
—
Pages n° 44, 45, 46, 47, 48, 49
50, 51, 52, 53, 54, 55
—
Pages n° 27
All you need to know about banking
services on arriving in Belgium
Take advantage of our ING Expat Convenience Services
+32 2 464 66 64 - [email protected] - www.ing.be
Many banking services are available to expatriates
living in Belgium but there is nothing you need to
know about making such arrangements. That’s
a task for the ING Convenience Services experts.
Your bank accounts and cards can be ready for
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your stay in Belgium as financially smooth as possible.
12
THE MANGA ISSUE
THE DIARY
THE FIRSTS
Say freeze
As the interest in
Chinese contemporary art has
grown and its value peaked,
Chinese contemporary photography has also beautifully come
of age. Held to coincide with
Bozar’s gigantic cultural homage
paid to China in the aptlynamed China @ Bozar festival,
Still Life aims to be a breath of
fresh air in an otherwise manic
world, contrasting moments
of eerily and frozen calm with
the everyday chaos of modern
China. Presenting amongst
others the worryingly poetic
works of RongRong & inri
together with Xing Danwen’s
intellectually destabilising
prints, the exhibition seeks to
make sense of the country’s
densely populated fine art
photography scene, bringing out
nothing but the best.
Still Life
À Until 24th January 2010
☞ Bozar, Brussels
03.
Eastern
aesthetics
The Czech Artel
¤
Cooperative, a design and
innovation outfit loosely based
around the idea of aestheticallymotivated creations, was an early
century craftsman’s dream come
true. A liberal-leaning workshop
dabbling in everything from textiles, ceramics, carpets and metal
wares, the co-op established a
reputation for favouring style
over substance. An early precursor of vertical integration, Artel
sold its wares through a shop of
its own and relied on exhibitions
to further its name and designs.
In its quest to uplifting the everyday, the Cooperative proved that
designing for the common folk
needn’t be bland nor boring.
01.
02.
Artel - Czech cubism
À Until 7 th February 2010
☞ Design Museum, Ghent
www.design.museum.gent.be
© Keita
01.
¤
Belgium ( 01 ¤ 09 )
© Li Yongbin
The next few weeks’
agenda fillers
13
02.
The imaginary
mind
How many times have
¤
you suddenly visualised a landscape, interior or face yet wouldn’t
for the life of you remember where
you first saw it? Well, that’d be
your mind playing tricks on you.
In a world overflowing with visual
representations, the mind acts like
a sponge, sifting through those
images which somehow deserve
a place at the top of the pile. With
its exhibition, Fifty One Fine
Art Photography puts forward a
selection of photographers which
it feels have been responsible for
shaping this virtual pile at the top,
bringing together the works of,
amongst others, Cindy Sherman,
Robert Frank, Lee Friedlander
and the late Irving Penn.
Tweet tweet
Pica Pica is a collective of three multi-talented artists
hailing from Liège, whose name
takes its cue from the name of a
talkative magpie to be found in the
city’s gardens and playgrounds.
Their exhibition at Alice Gallery,
named ‘Adventures Research
& Cycling’, presents the varied
media in which they work, from
drawing and sculpture to painting
and photography. Achieving
underground cult status for their
gigantic cardboard personas, the
trio’s abstract paintings combine
a sensibility for lo-fi architecture
together with obvious decorative
connotations. Intimately personal
yet retaining somewhat of a street
edge, their vision is one which will
bring a colourful smile to your
face.
Masters of Photography
À Until 16th January 2010
☞ Fifty One Fine Art
Photography, Antwerp
Pica Pica. “A.R.C.”
Adventures Research
& Cycling
À Until 23rd December 2009
☞ Alice Gallery, Brussels
www.gallery51.com
www.alicebxl.com
03.
04.
© Pica Pica
04.
¤
© Gabriel Urbanek / Ondrej Kocovrek
www.bozar.be
14
THE SOBA NOODLE ISSUE
05.
THE DIARY
05.
Contemporary
disturbance
Pascal Danz’s work
is often described using a set of
contrasting metaphors. Seductive
yet at times troubling, romantic yet contemporary, subtle
yet always engaging, the Swiss
painter – known for his subversive reinterpretations which
are in fact derived renditions of
pictures found on the web – has
a knack for turning the right into
the wrong. His body of work is
intuitive, highly personal and
utterly deceiving, with a narrative which pits the poetic against
the dramatic, blending a pale
colour palette with, for example,
intense landscapes to reveal a
new meaning to preconceived
ideals. The fi rst solo show of
Danz’s work, Blind Spot presents
the artist’s more recent body of
work, of which ‘observing the
observer’ forms a central part.
© Courtesy Locuslux Gallery
¤
© Christophe Ruckhaberle
06.
www.locuslux.com
www.xavierhufkens.com
Colourful
experimentation
German painter
Ruckhaberle’s work inhabits
that strange place between tribal
expressionism and geometric
realism, constructing a comical,
sometimes farcical, series of
paintings. Evidently free of
any artistic constraint, you are
always left wondering what
exactly it is you’re looking at
when faced with Ruckhaberle’s
touch – although you clearly
can imagine him putting a
middle finger up to the establishment with each stroke of the
brush. The angular disposition
assumed by the many individuals depicted in his paintings
point towards a vivid and acute
eye for detail, infused with a
somewhat refreshingly immature
take on the world around us.
© Erwin Wurm
Christoph Ruckhaberle
À Until end of December 2009
☞ Sorry We’re Closed, Brussels
© MAD
In his quest to
constantly redefine sculpture
and question its role in contemporary culture, Austrian artist
Erwin Wurm has probably done
more than anyone else for the
genre. Renowned for his ‘One
Minute Sculptures’ in which
he places himself or others
alongside mundane and banal
everyday objects, the artist also
delves into more intellectuallyleaning subject matters, his third
and latest exhibition at Xavier
Hufkens being a case in point.
Taking as starting point “the difficulties of mastering life” as Wurm
puts it, the artist has created a
series of sculptures which give
physical meaning to otherwise
intangible emotions. Distorted
and layered with referential
meaning, the sculptor’s work is
similar to that of a philosopher’s.
Erwin Wurm.
Desperate Philosophers
À Until 3rd December 2009
☞ Xavier Hufkens, Brussels
¤
08.
Band of brothers
Pacal Danz. Blind Spot
À Until 9th January 2010
☞ Locuslux Gallery, Brussels
06.
07.
07.
¤
www.sorrywereclosed.com
08.
¤
From the heart
The epic proportions
with which Chinese cities have
expanded in the last decade has
acted as a catalyst for homegrown architecture, fuelling a
building bonanza never seen
before. Indeed, no modern-day
Chinese skyline is free of the
perennial crane in this land of
bulldozers and construction sites.
In its attempt to make sense of
these revolutionary architectural
evolutions, Brussels’ CIVA aims
to re-connect with the heart,
showcasing works which have put
humanity before profitability.
Drawing on everything from
schools, museums, social housing
and churches, the exhibition
focuses on the importance of the
architect’s individuality when
conceiving a project.
Heart-made.
The cutting edge of Chinese
contemporary architecture
À Until 21st February 2010
☞ CIVA, Brussels
www.civa.be
Brussels Philharmonic – het Vlaams Radio Orkest
Michel Tabachnik, chief conductor/music director, orchestra in residency at Flagey
Beethoven 9
Michel Tabachnik, conductor – with soloists from the Queen Elisabeth College of Music
Vlaams Radio Koor & Octopus Kamerkoor, choir
12/11/2009: BRUSSELS (BOZAR) – 13/11/2009: PARIS (Cité de la musique)
Equi Voci
Michel Tabachnik, conductor – with Thierry De Mey, cineast and live projection of dance films
26/11/2009: BRUSSELS (Flagey) – 27/11/2009: CHARLEROI – 28/11/2009: BRUGES (Concertgebouw)
Coprod. Charleroi/Danses & Flagey
Brussels Philharmonic – het Vlaams Radio Orkest is een instelling van de Vlaamse Gemeenschap.
www.brusselsphilharmonic.be
Vlaams Omroeporkest en Kamerkoor vzw | Eugène Flageyplein 18 B-1050 Brussel | T +32 2 627 11 60 | [email protected]
16
THE UDON NOODLE ISSUE
THE DIARY
United Kingdom ( 10 ¤ 15 )
Man
of the hour
10.
10.
© Ed Rusha
Brussels-based
¤
designer Sylvain Willenz has
just been nominated Belgian
Designer of the Year and it is
within this context that he is
given complete ‘carte blanche’
over Grand-Hornu’s northern
aisle. Renowned for his smart
and experimental use of a
wide-range of materials, it is
his creations’ clean lines and
simplistic functionalities which
really defi ne the designer’s
work. With recent commissions from Established & Sons
and Vlaemsch, it all seems to
be happening for our national
design hero. Expect a thorough
presentation of his work to date
– from his ‘Landmark’ lamps
and ‘Stuff ’ rubber bag to his ‘Dr
Bamboozle’ seating - and several
additional delights.
09.
© Sylvain Willenz
09.
Open Grounds
À Until 3rd January 2010
☞ Grand Hornu, Hornu
11.
www.grand-hornu-images.be
About
time
Ed Ruscha’s oeuvre
¤
spans countless mediums.
Known especially for his relatively pared-down paintings of
traditional American landscapes
and institutions – gas stations,
fi lm studio logos and shopping
malls for example – he also is a
wordsmith, photographer, fi lm
and print maker as well as a
graphic designer. Having developed quite a knack for witty
word plays set against monochrome backdrops, his paintings
are more than mere paintings,
becoming highly intellectualised
statements in their own right.
With a career spanning half a
century now, the fi rst retrospective of his work to be mounted in
the UK promises to be a fitting
tribute paid to what is one of our
all-time favourite artists.
Ed Ruscha:
50 Years of Painting
À Until 10 th January 2010
☞ Hayward Gallery, London
www.haywardgallery.org.uk
11.
In Betweeners
– After an international call
for submission seeking out new
fashion design talent, some
frantic pins and needles action
and a selection made by a jury
consisting amongst others of
Laetitia Crahay (Accessories
Director at Chanel) and Benoit
Bethume (Creative Director of
French magazine Citizen K),
the third edition of Bernard
Gavilan’s frock fest descends
upon Brussels’ Mirano. Expect
mix-and-match ingenuity, patched-together creations
and an all-round stitched-up
extravaganza.
www.customisezmoi.com
© British Council
¤ Customisez-moi
on 14th November 2009
@ Mirano
¤ Aerotik
until 5th December
@ Montana Gallery
— Street art sensation Bom K sees
the world in an overblown, oversized and overbearing manner,
his exaggerated and elongated
characters being a case in point.
If Tim Burton took to the streets
with a spray can and a skinny, the
result wouldn’t be all that different from Bom K’s latest body of
work, showcased at the everexcellent Montana Gallery.
www.montanagallery.be
National
backyards
Britain’s collective
¤
history is often a skewed one,
depending when you were born.
In an ode to British people and
places, artists Jeremy Deller
and Alan Kane showcase their
selection of urban landscapes
emanating from the British
Council Collection in a bid to
bring artistic justice to people’s
perception of Britain’s industrial
heritage. In the words of Keller
and Kane: “...the works we are
showing indicate…a draughty
and slightly damp property
with foundations that you feel
connect it,” taking us through
an artistic voyage back to the
days when PG tips were still the
national brew of choice.
British Council Collection:
My Yard
À Until 6th December 2009
☞ Whitechapel Gallery, London
www.whitechapelgallery.org
Taylor Wessing
Photographic Portrait Prize
À From 5th November 2009
until 14th February 2010
☞ National Portrait Gallery,
London
www.npg.org.uk
13.
The meaning
of art
John Baldessari is
¤
a prankster and a revolutionary whose relentless urge to
question standard practice
has made him one of the most
influential contemporary artists
of our time. His combination of
fi lm, photography and painting has earned him a reputation
as a maverick conceptualist responsible for shaping a
very Californian aesthetic.
Guided by humour and irony,
his colour-crazy body of work
doesn’t take itself too seriously,
and acts as a somewhat damning
contemporary commentary on
how to make art.
Indian
oligarchs
Similarly to Russia’s
¤
oligarchs or Saudi Arabia’s oil
princes, India’s Maharajas were
instrumental in shaping their
country’s fortunes between the
18th century and 1947, the year
which marked the end of British
rule. Despite their changing role
within the country’s power structure throughout the centuries,
their opulent lifestyle and rich
culture contributed towards constructing an archive mapping the
national DNA. The exhibition
opens this archive up, showcasing over 250 objects including
everything from thrones, gemencrusted weapons, photographs
and large-scale court paintings to
what was, and still is, the largest
ever single Cartier commission.
12.
© Paul Floyd Blake
The annual Taylor
¤
Wessing Photographic Portrait
Prize has slowly established
itself as the most important
portrait photography award on
the international scene, with
this year’s edition counting over
6,300 submissions from all over
the world. Intended as a showcase
for new photographic talent, the
award gives the opportunity to
up-and-coming photographers
to be exhibited alongside more
established names across a
variety of genres. This year’s
four shortlisted photographers
include swimmer Rosie Bancroft
by Paul Floyd Blake, Michal
Chelbin’s portrait of a 15 year
old Russian inmate sentenced to
death, Mirjana Vrbaski’s stark
photograph of a young Dutch girl
and Vanessa Winship’s picture of
a Georgian girl in a gold dress.
14.
13.
Maharaja: The Splendor
of India’s Royal Courts
À Until 17 th January 2010
☞ Victoria & Albert museum,
London
© John Baldessari
And the award
goes to...
www.vam.ac.uk
15.
¤
Deity touch
Before Jonathan
Ive’s iPod or Jasper Morrison’s
Samsung phone, you had Dieter
Rams’ household audio equipment for Braün. Considered
something of a god for contemporary product and industrial
designers, Rams single-handedly
shaped household aesthetics
for the better part of the 70s,
80s and 90s. His design ethos
and its lasting effect on today’s
design horizon is celebrated with
a first UK retrospective of his
work for the past 12 years. The
show draws upon film footage,
sketches, prototypes, models
and specially-commissioned
interviews in an attempt to make
sense of Rams’ rigorous approach
and commemorate his vision for
the long-term.
John Baldessari: Pure Beauty
À From 13 th October 2009
until 10 th January 2010
☞ Tate Modern, London
Less and more.
The design ethos of Dieter Rams
À From 18 th November 2009
to 7 th March 2010
☞ Design Museum, London
www.tate.org.uk/modern
www.designmuseum.org
17
14.
© V&A Images
12.
THE FIRSTS
15.
© Dieter Rams / Braün
THE NEXT FEW WEEKS' AGENDA FILLERS
18
THE SUSHI ISSUE
THE DIARY
France
( 16 ¤17 )
Holland ( 18 ¤ 19 )
Day and night
At 90 years of age,
Pierre Soulage is one of France’s
foremost contemporary painters,
with a career that spans 60 years
and counting. An artist in perpetual development, his œuvre
is a diverse yet consistent one,
testament to Soulage’s voracious
dynamism. Renowned for his
studies on the effects of light on
colours – black being his favourite - he focuses primarily on the
primary, always seeking out new
ways of reflecting light onto his
monochrome paintings – which
in the end turn out to be anything
but monochrome. The exhibition
emphasises recent developments
in the painter’s artistic approach,
with many exhibited pieces
shown for the first time.
16.
18.
Soulages
À Until 8 th March 2010
☞ Centre Pompidou, Paris
17.
Sanne Sannes Darkness & Light
À Until 9th December 2009
☞ Foam, Amsterdam
www.centrepompidou.fr
Umberto Eco.
‘Le Vertige de la Liste’
À From 7 th November 2009
until 8 th February 2010
☞ Le Louvre, Paris
www.louvre.fr
19.
18.
© Courtesy Kahmann Gallery, Amsterdamw
Whether listing
¤
essential or futile facts, categorising genres, accumulating statistics
or filing thoughts, lists play a
crucial role in the work of many
artists – be they writers, musicians or artists. This, essentially,
is the focus of Umberto Eco,
a multi-disciplinary writer invited
by the Louvre to curate its latest
show. Putting on an extensive
programme of talks, literary evenings, film viewings and theatre
performances culminating in a
graphic design exhibition, Eco
delves into his topic of choice to
give new meaning to an otherwise
ubiquitous aspect of daily life.
The graphic design exhibition,
entitled ‘Mille e tre’ draws upon
the works of Louise Bourgeois
and John Baldessari amongst
others to show the extent to which
lists have been given centre stage
in numerous works of art.
www.foam.nl
19.
© Courtesy Galerie Adler, Frankfurt
Vertically
challenged
© Louise Bourgeois
17.
The sensational
sexties
Dutch photographer
¤
Sanne Sannes photographed
women in all their grainy glory,
often capturing their most
intimate moments in what were
sure to be sweaty sessions.
Emblematic of the free-falling
nature of the Sixties, Sannes built
an impressive (if not sadly short
lived – he died in a car crash
at the tender age of 30) body of
work which essentially centred
on the female persona in a near
obsessive manner. His approach,
out-of-focus, underexposed,
working with natural light and
always shooting with a hand-held
camera, defined his aesthetic
more than anything, and gave
his prints a distinct graininess
infused with an almost female
intuition.
© Adagp
16.
¤
Black
humourist
Swiss painter
¤
Léopold Rabus is known for his
refreshingly funny verdicts on
the life surrounding him. Taking
as starting point local customs
whilst mostly painting the people
from his immediate surroundings
(Neuchâtel), his brash and busy
style, set against a very Swiss
backdrop of wooden chalets and
rugged woodlands, is characteristic of his wit in deriding the
ill-fated and sometimes gruesome
loss of traditions in his region.
Take for example the hunters
which aren’t depicted as heroes,
but rather as funny-looking
fools – classic Rabus, turning
his and your world upside down.
With something of a cartoon
angle to it, his style confidently
stands out in the pretentious
contemporary art world.
Lépold Rabus
À From 14th November 2009
until 7 th February 2010
☞ GEM Museum, Den Haag
www.gem-online.com
Brussels.
Palais des Beaux-Arts
ENIGMA VARIATIONS
Thursday 19th of November 2009. 20:00
A. Dvorák. Suite in A
B. Britten. Symphony for cello and orchestra
E. Elgar. Enigma Variations
Pieter Wispelwey. cello
Seikyo Kim. conductor
reservation & tickets
www.symfonieorkest.be
Met steun van
de Vlaamse
gemeenschap
© Benjamin Ealovega
20
THE YOHJI YAMAMOTO ISSUE
Concert Picks
THE DIARY
¤ Seasick Steve
on 19th November 2009
@ Vooruit, Gent
¤ Yellowman
on 25th November 2009
@ Het Depot
– Humouristic, fast-paced and sexy, Vive la
Fête are the kind of band you’d expect on a
playlist which might also include Fisherspooner,
Thieves Like Us and Stereo Total.
– Trailer park hero Seasick Steve’s blues is
rough, ready and raw. The type of artist you
imagine touring the States on the back of a
pickup truck, his guitar slung on his shoulder, his sound is infused with life. Imperfect,
crackling and acoustic, just the way we like it.
– King Yellowman, as he’s otherwise known,
has reached near cult status for his invaluable
contribution to dancehall and reggae, as well
as hip hop. Don’t miss your chance to hear
Jamaica’s most famous DJ spin it in Leuven.
¤ Grizzly Bear
On 8th November 2009
@ Cirque Royal
¤ Dizzee Rascal
on 23rd November 2009
@ Halles de Schaerbeek, Brussels
– This year the ‘Bear shifted their tightas-a-tick vocal harmonies and melancholy
soundscape into full on heartbreaking
lusciousness. We defy you not to cry, or fall
in love, or both.
– Godfather of grime Dizzee Rascal has
drawn accolades for putting the UK firmly
back on the musical map with his cheeky, lippy
and turbo-mouthed delivery. On tour for
his latest LP Tongue ‘n’ Cheeck, this night at
Halles de Schaerbeek promises to be Bonkers.
¤ Vive la Fête
on 7th November 2009
@ L’Ancienne Belgique
¤ The Flaming Lips
On 9th November 2009
@ Ancienne Belgique
– We were wondering how to get Yoshimi
Battles The Pink Robots into one of our
Nippon headlines when we learned that our
favourite psychedelic showmen were playing
live – Go Yoshimi, Go!
¤ I’m big in Japan
on 25th November 2009
@ Atelier 210, Brussels
– Following the release of a surprisingly good
first EP back in March of this year, I’m big in
Japan descend upon Atelier 210 with their mix
of wailing melodies and radio-friendly riffs.
¤ Gossip
on 27th November 2009
@ Halles de Schaerbeek
– Although Gossip’s latest album Music
for Men’s evident studio slickery might
disappoint fans of the trio’s grittier sound,
the band stays true to its garage punk roots
nonetheless, with front woman Ditto’s powerful vocal delivery leading the way.
¤ Múm
on 3rd December 2009
@ Het Depot
– Strong on the release of their fourth album,
Icelandic experimentalists Múm’s confident
blend of velvety vocals and haunting melodies confi rms the arrangement as darlings of
Scandinavia’s new folk movement.
What We’re Giving Away
Three ‘Absolut Vodka Rock Edition’ bottles:
¤ Absolut Vodka has given its classic bottle a somewhat studded makeover in the shape of its ‘Rock Edition’ bottles, featured
together with Aussie rockers Wolfmother on the opposite page. The first three readers to email [email protected]
specifying ‘Absolut Vodka Rock Editions’ in the subject line will each win their very own 700ML zipped-up bottle.
One pair of tickets to the following concert:
¤ Jamie T at Botanique on 6 th November 2009
Two pairs of tickets to the following concert:
¤ Vive la Fête at L’Ancienne Belgique on 7th November 2009
Three pairs of tickets to the following concerts:
¤ Mayer Hawthorne at Het Depot on 6 th November 2009
¤ Yellowman at Het Depot on 25th November 2009
What you need to do.
Send an email to [email protected], specifying which concert you wish to go to in the subject line.
The first readers to do so will each win a pair of tickets to the concert of their choice.
Conditions.
Only one pair of tickets permitted per reader. Tickets not for resale. Until tickets last.
Applies to Belgium only. Normal conditions apply.
22
THE ILLEGAL WHALING ISSUE
P
A
P
E
R
S
N T
I H
P E
P
O
N
— Talking through ideas for this issue got us a little
nostalgic ; whatever happened to Tamagotchi ?
Where did our love go ? Remember when we ran out
into the street when the wasabi burned our mouths the first
time we ate sushi ? Can you believe that karaoke got cool ?
Shall we make a movie about it on our ‘phone ?
Writers Hettie Judah, Karen Van Godtsenhoven and Randa Wazen
BELGIUM
23
The Centre’s booming success has led to
dramatic expansion – a new venue has just
opened up with state of the art kitchen facilities for the sushi, noodles, curry, soup and
dumplings, and huge fresh foodhalls with an
in-house butcher, fishmonger and bakery.
producers,” explains Mr Tokumine. “There is no
other food store that is up to my standards.”
Alas his Brighton grower can only supply
organic edamame for six months of the year.
“I may go into the agricultural side in the
future and buy somewhere in Spain, it’s my
next goal,” muses Mr Tokumine. When he
says ‘next goal’ that would be next goal after
a new takeaway shop in Air Street, Soho, the
launch of Japan Centre II near the Japanese
school in Ealing, the warehouse with the
deep-freezing facility to keep the fish perfect,
the cash n’carry and the new franchise brand
Umai. Umai means delicious in Japanese, but
Mr Tokumine’s family like how enthusiastic it
sounds in English – Ooh! My!
Mr Tokumine feels that his success in part
rests on insight; he is fascinated by the Brits’
peculiar relationship with food – it seems I’m
not alone in my omnivorous greed. “Many
British people fail with sushi businesses;
they think it’s easy, but they have the wrong
concept,” he chides. “They don’t realise that
cold food alone doesn’t work; you must have a
combination of hot and cold. The British are
traditionally a very pioneer-oriented people
and interested in different cultures; they are
eager to try everything. So they come here and
eat curry, sushi and noodles all at the same
time; it’s incredible.” (HJ)
© Charlotte May Wales
ROLLING WITH THE CENTRE
Rolling with
the Centre
It was the sweet buns in the shape of Totoro
that sent me over the edge. I’d started shopping for things that I needed (wasabi powder,
buckwheat noodles, sushi rice...) then deviated
into things that looked interesting (soy paste
jelly sweets, dried fish snacks), but the animé
character buns sparked an omnivorous greed.
Soy sauce roulade? Yes please. Decorative
flu-protective facemasks? Why, thank you!
Random tubes of gunk with irresistibly funky
labels? Bring it on.
Strolling the tiny, packed supermarket
aisles has always been good for a giddy thrill
(Woooh! I’m on holiday in Tokyo!) but in
the last few years London’s Japan Centre has
become a true force on the culinary front. Long
considered the capital’s most authentic sushi
spot – hence the lunch venue of choice for the
Soho media crowd - the Centre works hard to
keep its game. Food is prepared with water put
through Japanese filters, the organic edamame
and salad come from a Japanese- run farm near
Brighton, the yellowfi n tuna is sustainably
sourced, sushi is available with brown rice, and
the selection is huge. At lunchtime midweek,
queues for £6 bento boxes go back a good ten
meters, and the slower line for hot and made-to
order food is only slightly shorter.
" Long considered the
capital’s most authentic
sushi spot – hence the
lunch venue of choice
for the Soho media crowd
– the Centre works hard
to keep its game. "
Tak Tokumine (pictured above) opened
his first shop in 1980 in Soho, selling books
to Japanese expats. The food side of his business gradually became the focus as London’s
Japanese population shrunk, and consumers
came to appreciate the difference in quality
between his sushi and the stale, desiccated lozenges of rice and fish sold by competitors. The
Centre’s reputation has reached a stage where
they were left with no alternative but to make
everything in house; “I no longer trust any other
Japan Centre
Regent Street 14-16
London SW1Y 4PH
www.japancentre.com
THE ORIGAMI ISSUE
THE NIPPON PAPERS
© Pierre-Philippe Duchâtelet
24
Monster in
your pocket
Although Japan is a high-tech society, saturated with mobile technology and gadgets,
the creative boom in mobile fi lm production is taking place on this side of the globe.
Mobile fi lms of three minutes or less, recorded by and for the mobile phone are part of the
digital Nouvelle Vague breathing spontaneity
into the fi lm industry. Their contents often
feature slices of life, fitting into the contemporary ad hoc mood of video diaries, blogs
and You Tube messages.
Filmmakers have been fascinated by trains
since the days of the Lumière brothers; they’re
still popular settings for the new wave mobile
movies, only now the train on the screen
arrives in an underground station. There’s a
certain logic to this, since public transport is
also the environment in which the films should
be watched: the stories mostly have an associative, loose structure and are made without
preset scenarios or extensive dialogues, perfect
for viewing in noisy places.
Whereas mobile film festivals are blooming
in hotspots around North and South America
and Western Europe - including our beloved
Brussels - Japan is lagging behind. There has
been one festival at the University of Tokyo
in 2007, under the direction of digital media
artist Masaki Fujihata, and a small follow-up
festival, but nothing like the boom we have
experienced closer to home. The Parisian
‘Pocket Films’ is now into its fourth edition,
and the Belgian ’Cinepocket’ festival, which
is into its third edition this October, works
with both governmental and private support.
Cinepocket’s winning videos will be screened
for two months at all the Kinepolis venues.
“They believe in our goal of supporting new
talents, opening up the genre and building a
platform for mobile content,” explains organiser Jean de Renesse.
Both artistic and commercial interest is key
for sustaining the genre, which might start to
explain why Japan has been slow to pick up the
phenomenon. “It is quite astonishing that the
concept hasn't really taken off there,” says
Benoit Labourdette of Pocket Films. “When
we went to prospect in Japan, we thought we'd
fi nd a plethora of initiatives, but because of
a lack of fi nancial support and commercial
interest there weren’t any. The reactions to
our festival were overwhelming and the university asked us to foster their festival, which
took place two years later. Although many
renowned Asian directors and artists took
part, the concept didn't really catch on and it
got stuck inside academic circles.”
It goes to show that technology is not the
only thing that is needed; for all the Japanese
technological sophistication the cultural
climate for adoption also has to be right. Jean
points out that here in Belgium we are almost in
an inverse position to the Japanese – “Because
we don't have package deals with free ‘phones,
our devices are typically older even than the
average European mobile ‘phone. Nevertheless,
we have seen a big evolution in uptake and
artistic experiments over three years. I don't
think that better technology would change the
medium and make it more sterile: we really
see it as a new genre, in which spontaneity and
fun play a large role. The surreal and comical
touches won't disappear.” Benoit thinks that
we also have a particular hunger for unmediated self expression. “Maybe we Europeans are
more immersed with our egos and daily life,”
he suggests. “Or perhaps there is a larger need
to transfer a message.” (KVG)
www.cinepocket.be
BRAND NEW DÉJÀ VU + TAKING THE MIKE
BELGIUM
25
course, if you do want to hit them with your
attention full force you’ll notice all the clever
little touches that make the pieces super satisfying: the chunky keys on the calculator, the
rounded edges of the card case, the porcelain
pot lid that becomes a base or plate.
Fukasawa and his team make no secret of the
role played by superb Japanese manufacturing
that has allowed them to design pieces with
extreme precision. After showing their collection in Milan last April, the company is starting
to make significant moves into the European
market: get yourself ready for a world of oddly
familiar aesthetic constancy. (HJ)
agreeing on the name Lucky Voice (he nixed
her suggestion of Keith’s Karaoke), it took Nick
and his team 18 months to sort out the technology and styling. Since the fi rst bar started
in 2005 they’ve opened venues and franchises
around the UK.
We’re hoping that a Word reader will open
a branch in Brussels, but until then, Lucky
Voice has ambitions on more intimate space:
your living room TV, or maybe even your
iPhone. “Wherever people want to sing, we
will provide the means to do so,” says Nick.
The new online service can be run through
an interactive TV or computer and used with
or without one of the company’s special pink
microphones; singing in front of the bedroom
mirror never sounded so good. (HJ)
Asking people what they loved about Japan,
attention to detail quickly stood out as a
recurring theme. Designers, artists, fashion
folk and other fellow travellers swooned
over everything from impeccably crafted
toothpicks to minimalist packaging to a zerotolerance policy toward faulty manufacturing.
For us, ±0 is the perfect embodiment of this
tendency to the meticulous. Naoto Fukasawa’s
collection of platonically ideal homewear
is intended to look un-designed, fitting into
your living space as if the pieces had always
existed and you had simply forgotten that
they were there.
From the fi rst collection in 2003, the
pieces were both anti-fl ash and ultra practical: televisions with un-framed screens that
made them less obtrusive; subtle, minimal
stereos with bright remote control handsets
that you could fi nd easily when they fell
down the back of the sofa. An antidote to the
information overload of contemporary urban
life, ±0 products are happy just to sit in the
background doing their job really well. Of
© Plusminuszero
Brand new
déjà vu
www.pluminuszero.jp
“In Japan, people will hire the room, pass the
microphone along the line, listen quietly, and
applaud,” explains Nick Thistleton. “The idea
of 10 people jumping up and down screaming
out a Bon Jovi song is anathema to them.” As
director of Lucky Voice, Nick’s challenge is to
take something that is very Japanese – private
room karaoke – and make it accessible for
westerners. “Lost In Translation came out
at an opportune time for us,” he admits. “It’s
very diffi cult explaining what private room
karaoke is; preconceptions about karaoke are
very deeply entrenched.”
Lucky Voice was dreamed up by entrepreneur Martha Lane Fox: in 2003, just before she
left Lastminute.com, she visited a little private
room karaoke in Soho and recalled the places
she’d been taken by Japanese and Korean
clients in the Far East. Martha approached
Nick with the idea of starting up a quality
karaoke brand, then went on a four-day microphone marathon in Tokyo for inspiration. After
© Virassamy
Taking
the mike
www.luckyvoice.co.uk
26
THE WASABI ISSUE
THE NIPPON PAPERS
Remember Tamagotchi? Commercialised by
toymaker Bandai in 1996, what started as a
simple idea for a portable virtual pet quickly
turned into a cultural icon of the digital age.
Almost 85% of Japanese rental leases won’t
allow flesh and bones pets, so it’s no wonder
the demanding little electronic substitutes
were greeted with such interest. Generating
mass hysteria during the fi rst wave, over
20 million units were sold in Japan and 20
million more worldwide. Yet the hype proved
as short-lived as the lifespan of those annoying and highly dependent animated creatures,
wearing out after barely two years. Bandai
couldn't make enough Tamagotchis to meet
demand, and by the time they had the capacity to do so, the boom was over.
Just as everyone seemed to have forgotten
about them, a new generation of Tamagotchis
was released in 2004, appealing to a fresh wave
of kiddy carers. Releasing a new model every
six months in Japan and every year worldwide,
Bandai made sure not to repeat their previous
© Veerle Frissen
Born to die
another day
mistakes, and branched out by developing
Tamagotchi games for the Nintendo DS & Wii,
iPhone applications, and animated movies.
Newer models have an infrared port, allowing them to interact with each other, and the
TamaTown website allows owners to clothe the
characters and decorate their apartments. The
formula was successful: more than 30 million
units of the Tamagotchi 2.0 have been sold.
After peaking in 2006, the hype is dropping off thanks to competition from Sony’s
Eyepet - a new game using augmented reality
technology. The pet rental industry - whereby
people can enjoy the company of a cat, dog
or turtle for a few hours – is also booming
in Japan. Once again, it seems Tamagochi’s
future is looking fragile. (RW)
intimacy, so I wanted to create a sense of
touch over distances.”
What if lovers were separated not only
by distance, but cultural differences? “We
tested Mutsugoto in Singapore, Japan and
the UK and found no large differences,”
reassures Tomoko. “The language of love is
quite universal. Couples use it with their own
imagination; sometimes they just enjoy the
movement and play with the rhythm, almost
like dancing together, sometimes they write
things on the bed or play games.” Distance
Lab is now looking for commercial partners.
“We want to do more than just exhibit the
project,” explains Stefan. “We want it to have
a positive impact on people's lives.”(KVG)
When Tomoko Hayashi moved from Japan
to London to study textile design, she experienced “a nasty long-distance relationship”,
and the sadness and frustration of the experience inspired her to start designing an intimate
accessory for couples living far apart. Her
design caught the eye of Stefan Agamanolis
from Distance Lab. Focusing on ‘slow communication’ Distance Lab creates technologies that
cross space in a more intimate style than emails
or text messages.
Mutsugoto is an old Japanese term meaning
‘whispered conversation between lovers’. It’s
the name Tomoko chose for her collaboration
with Distance Lab; a bedroom installation
that allows long-distance couples to communicate intimately, by drawing virtual figures
on each other's bodies in real-time, using different colors, twinkles and lines. Tomoko was
inspired by the five senses, especially touch.
“Touch is an extremely important sense for
humans for nonverbal communication,” she
explains. “It’s vital for conveying physical
© Distance Lab
Touching
space
ITSY BITSY RIDER + WHEN MUSIC BECAME…
BELGIUM
27
28
THE KARAOKE ISSUE
THE LIFE
Holding fire
— Punk, motherhood and Coco Chanel all feed the vision of Limi Feu,
the chain smoking torch bearer for the next Japanese fashion wave.
© Vincent Ferrane
Writer Karen Van Godtsenhoven
I met Limi in the relative intimacy of her white,
airy Paris showroom, fi lled with staff and
friends. Born Yamamoto, she chose to adopt
the name Feu after leafi ng through a French
dictionary, because she liked the sound of it
and because its meaning, fi re, sets her apart as
a person and designer from her father’s name
and heritage: Limi is fiery, rebellious, chainsmoking and passionate. In the background,
her father Yohji arranges the clothes and tables,
silently helping out his daughter, greeting me
with a nod. While they’re in the same room,
it is clear how different Limi is from Yohji: a
tomboyish, upbeat young woman is quite a
departure from the soft-spoken, poetic Yohji.
It was Yohji who stimulated Limi to start creating, after a tumultuous adolescence. He once
said of her risky behaviour as a teenager: “If
Limi was born a boy, she'd be dead by now.”
It was the day after her fi fth show at Paris
Fashion Week; her striking collection, combining Japanese craftsmanship with a rock n’
roll attitude was already making waves. Limi
was exploring the DNA of her own label with
basic, structural lines, neutral colours and
refi ned techniques. Talking through the influences behind the collection, it seemed to me
that this rebel spirit has made some kind of
peace with the world as much through motherhood as through creating clothes.
Her choice of a career in fashion design
came quite late. Still, she says, “I think
I was too immature at 25 for starting a
fashion career, I made so many mistakes!
Nevertheless, it helped my personal growth
a lot. Everybody has to fi ght in their lives, I
think competition and hard work makes you
strong.” Her assistant retorts that she would
have made mistakes at any age, and that her
mistakes are what make her who she is. She
laughs and lights up another cigarette.
Limi’s PR and press following are so
happy to be with her during her short visit
to Paris that they don't leave her side during
the interview. Tomorrow she will be leaving,
already on the way back home to Tokyo, to
be close once more to her husband and two
children. Limi may be an artist and a mother,
but she is also the head of a company of forty
people. “I’m quite lucky to be able to do this
with my husband and staff who support me,”
she admits. “I don’t feel I have the right to
complain, but I assure you that I go to great
lengths, up to the point where my body says
no, to be the best in both roles, to be strong.
My love for French icons like Edith Piaf and
Coco Chanel stems from this: I prefer women
with a strong artistic vision and message, who
stand up for what they have to say. Don’t you
think Europeans are very open about their
emotions? We Japanese people have a hard
time expressing our emotions: I try to convey
my message through my clothes.” Her message
for this season is that women should take care
of themselves: “I realise fashion is a form of
entertainment, and it's the fi rst thing that is
cut in times of crisis. Nevertheless, I think it's
very important that I keep creating, and keep
giving women a chance to be themselves and
feel comfortable. I think fashion has a therapeutic value, that it relieves stress. I take my
job very seriously.”
Limi has been designing for over ten
years now: thus far her collections were a
mixture of her Japanese heritage in terms
of volume, asymmetry and craftsmanship,
combined with playful rock chick elements.
Her volumes were more feminine than her
father's roomy layers, and her bold use of
colours breaks her away from the sober
black-and-white of the previous generation.
This time however, her collection shows
a strong allegiance to Japanese tradition.
Black and white silhouettes in a purified
form, with kimono sleeves and geometric
cuts form the basis of the collection. “I used
to make shorts and shirts for the summer,”
Limi explains. “Now I have really made a
full collection, exploring my own aesthetics,
laying bare the DNA of the label. I started
off with the form of the kimono sleeves and
continued on that theme. I was focused on
the form, so I chose neutral colours, although
there are some very vivid colours, too. It's a
summer collection, after all.”
The models showing the collection are
a far cry from the leggy teenaged waifs that
you fi nd on other runways; they include men,
older women and bigger girls. The theme
of androgyny is very strong, with the men
showing womenswear and an older, silverhaired model evoking the spirit of Patti Smith
in a tailored men's suit. Black, studded leather
bracelets refer back to Limi’s rock n’roll attitude. When Limi uses black, it’s a dark black,
but strong rather than gothic or Romantic; it’s
the black of heavy metal or punk. Her iconic
military boots and the straightforwardness of
the clothes give the collection a very streetsmart, realistic look. Nevertheless, the elegant
waistlines, handmade folds in the dresses and
HOLDING FIRE
LIFESTYLE
strong lines give the collection a classic and
feminine touch that her beloved Coco Chanel
would have approved of. She strikes a balance
between Japanese tradition and classic and
alternative Western influences.
Although Chanel and Patti Smith inspire
her designs and her message, Limi is still very
much rooted in Japanese culture. I ask what
Japanese artists inspire her, and she talks about
the experimental Jazz pianist Hiromi Uehara,
and the menswear designer Yasuhiro Mihara,
who is popular with the likes of Kanye West.
But she admits that her admiration for the
living is modest compared to inspiration she
feels from the work of artists that are already
dead, including the perennially popular
Hokusai. “I know! I have a morbid inclination
towards dead people,” she giggles.
It is this mixture of a dark and raw energy,
combined with girly behaviour and an active,
go-getter attitude that makes Limi who she
is. She is just as influenced by the positive
message of the hippies as the anarchist activism of the punks. Never one to hang her head,
in music terms one could say she is more Sex
Pistols than The Cure. In her teens she copied
Janis Joplin, but the iconic singer appealed to
her as a freedom fighter rather than as a tortured drug addict. Limi’s work seems to have
a great affi nity to the 1970s – not just the
music, but also the feminist artists of the era.
She shares with them an anger, an urgency, the
will to create, but also the courage to have a
positive, self-affi rming message. Limi’s creations bring a sort of ‘violent’ message of selfacceptance: a balance between struggle and
peace, between punk and elegance, respectful
of her origins but never predictable.
Looking around her showroom, behind
the kimono suits and denim crop skirts, I see a
couple of flowery, frilly hippie dresses. They
are very different from anything else in the
showroom. The sales assistant hastens to say
that some pieces might be taken out, because
they don't fit in with the rest of the collection.
To me they immediately conjure up the image
of young Limi in Japan, dressing like Janis
Joplin and causing havoc at school. Although
she has found relative peace, the rebel is still
there. Soon, cigarette smoke makes its way
into the hyperclean showroom air. This is
Limi Feu's own place, where she gets to start a
fi re whenever she wants to.
" Her father once said
of her risky behaviour
as a teenager : ' If Limi
was born a boy, she'd be
dead by now '. "
The androgyny of her clothes is not just
a style statement: it is part of her mission to
create something for everybody. Her biggest
audience is currently Japan, (she has 20 sales
points in her home country, and 50 in the rest
of the world), but she has set her sights well
beyond the traditional domestic market. “I
want everybody to be able to wear my clothes,”
Limi explains. “When I saw Japanese men
buying clothes in women's stores, I realised
the distinction between womenswear and
menswear is artifi cial, so I started to make my
clothes in different sizes. This way they don't
just fi t young Japanese girls but also bigger,
older or larger women all over the world, and
even men. I am 35: it would be silly if I only
made clothes for pretty young things. I want
everyone to express their own identity in my
clothes. The most important thing is that you
are happy in the clothes; I feel very strongly
that the clothes fi t well in terms of energy, not
just in terms of size.”
Since she says that she wants to design
something for everyone, I ask whether she
has any plans beyond Paris, or other artistic
ambitions outside of fashion? “Paris is my
most important barometer outside of Japan,”
she tells me dryly. “I stay here because everyone is here; I see how my clothes are doing, but
I still have to grow here and establish myself.
I can't handle drastic changes: I need to take
my time. For now, I will keep designing from
Tokyo and travel twice a year to Paris. After
that, who knows? ”
www.limifeu.com
29
30
THE TSUNAMI ISSUE
THE CONFESSION
Lost in Japan
— Spinning records on oxygen highs, receiving cryptic
love letters in tiny plastic eggs and clandestine car races
with teenage girls in the driver’s seat. For certain bands
and DJs, touring in Japan isn’t just about capsule hotels
and hot-dog eating try outs. We asked American dancepunk project LCD Soundsystem, British art-rockers The
Rakes, our very own electro rock band Soulwax, soulsolid crate digger Lefto and German DJ-producer Thomas
Schumacher for their tales of life on the road in the Land
of the Rising Sun.
As told to
Nicholas Lewis & Randa Wazen
LIFESTYLE
31
© Sébastien Cuvelier
LOST IN JAPAN
LCD Soundsystem's James Murphy and Pat Mahoney (drums)
Pat Mahoney
LCD Soundsystem
“I have been to Japan four times, twice for the
fi rst record and singles, once for the Sound
Of Silver tour, and once to DJ with James
( Murphy, lead singer of LCD Soundsystem ).
We played Tokyo, Osaka and Nagoya.
The fi rst time we did a club tour in Japan
( as opposed to festival gigs ) we had a very,
very detail oriented local crew. For example :
we had 30 plus inputs on stage ( for non engineers, that’s a bunch ! ), and a very complicated
wiring scheme that patches all of our equipment together. So we set up the fi rst show and
the local crew start furiously taking notes and
Polaroid’s. The next night, most of the mics
and amps are patched and they are asking us
questions like “Is it more important to have
the drum set 2.5 meters from centre stage, or
on a bigger stage, is it a proportion of the total
stage width ?! ” By the fourth night we walked
in and started playing, no technical issues at
all. I guess that is sort of charming and scary.
" We got really freaked out,
but our Japanese friends
explained to us that it was
the crowd respectfully
awaiting the next song.
Or we sucked, I don't know."
Also, between songs, the audience would
clap and cheer for a bit, but then break in total
silence. Like pin-drop silence. We got really
freaked out, but our Japanese friends explained
to us that it was the crowd respectfully awaiting
the next song. Or we sucked, I don't know.
The first time we played Osaka, for
Electraglide festival, we were relaxing down
by the water after the show at maybe 5 am. The
city has a huge container port and the festival venue was inside it, sort of. All around us
were stacks of containers, five high, creating a
strange labyrinth. In the distance we could hear
what sounded like a racecourse with squealing
tires, revving engines etc. We started walking
through the container stacks, seeking the source
of the sounds. Deep in the stacks we came
upon several drag racers, in seriously tricked
out sports cars. We were nervous. Osaka has a
tough rep, but we pressed on and to our delight,
the drivers were all teenage girls !
They too were delighted to have an audience
and totally hammed it up, doing donuts and
brake stands for our applause. Then the Law
showed up, making it truly surreal. They were
driving the equivalent of taxis, and were totally
outclassed by our heroines. We were treated to
several minutes of chase, where the ladies would
disappear, the cops trailing, and then reappear,
tires smoking for another run. Then the police
would wobble into view for another go.”
THE "KONNICHIWA" ISSUE
THE CONFESSION
© Sébastien Cuvelier
32
" Dear The Rakes.
I love you not Bloc Party.
Sorry” and “Dear
The Rakes. I love you.
I don't know you.
Welcome to the next. "
Jamie Hornsmith
The Rakes
“We went to Japan on four occasions and toured
the country quite a bit. The first time we went
there, it was for a joint tour with Bloc Party.
When we turned up to our band’s hotel in
Osaka, Bloc Party was staying in another one ;
there were about 30 to 40 fans outside waiting
for us. It was quite crazy since we were still pretty
new and hadn’t even put a record out yet, they all
wanted photos and for us to sign things.
So we went in to the hotel, get ready to go
for dinner with our hosts and a few hours later
went out. By that time all those fans had got
the photos developed and were waiting with
copies for us. They also had written little
notes in bad grammatical English and put
them inside plastic eggs, which were quite
funny. Stuff like “Dear The Rakes. I love you
not Bloc Party. Sorry” and “Dear The Rakes.
I love you. I don't know you. Welcome to the
next”. Some of them were really long, like two
sides of an A4 sheet. They even started faxing
notes to us in the hotel.
At the gig in Osaka on the fi rst day, we
had a Spinal Tap moment, when the organizers had misspelt the name on Bloc Party’s
dressing room door to ‘Black Party’. Kele was
really pissed off…
The fans are crazy though. I went for a walk
the next morning. I was wandering around a
shopping centre and at some point realised I
was being followed. So I went into shops and
hid, it was funny. When we left Osaka, we
would get between cities by bullet train and all
the fans would be waiting at the train station to
say goodbye.
A weird memory I have is when our soundman pulled this girl in a club. Our host said
‘come quick and look’, so I walked over and saw
a circle of people just looking at them kissing. He
was black, so I reckon they were a bit shocked
that he was kissing a Japanese girl or something
like that. He was massive and she was tiny.”
LIFESTYLE
© Fabian Zapatka
LOST IN JAPAN
Thomas Schumacher
DJ and producer on Germany’s
Get Physical label. Used to live in Japan.
“I played in a tiny club in a city called Sendai
one time, years ago, which was in the basement of a huge skyscraper. When I came in,
everyone was wearing oxygen masks and
buying oxygen by the can at the bar. I thought
this was just some kind of freaky new fad that
only the Japanese could dream up until about
a half hour into my set I started having difficulty breathing. I saw someone nearby trying
to light a cigarette with a match but the fl ame
just wouldn't catch. That's when I realized
that everyone was wearing oxygen masks and
buying cans of oxygen at the bar because there
was no air in the club ! Of course my Japanese
friends saw me gasping and sorted me out.
Inhaling pure oxygen while spinning was
amazing. I was reminded once again to what
lengths the Japanese will go to claim space and
have a party. ”
“Another time, about 10 years ago, I played
at a club on Okinawa with my good friend
Toby Izui. After our gig we made friends with
some American GI's ( some of the biggest US
military bases in the Pacific are still located
there ) who invited us back to their base. They
gave us some mushrooms, which I had never
had before, and snuck us onto the army base
in the trunk of their car. We were sitting
around having some beers when my friend
Toby asked me what I was chewing on. I told
him it was the mushroom and everyone in the
room yelled out simultaneously “spit it out” !
I’d probably had it in my mouth for about
five hours by then. Soon after I started tripping really intensely. One of the GI's offered
me a glass of milk but when he said it his face
loomed in at me as if seen through a fi sh eye
lens and the word milk came out of his mouth
in one long protracted “MMMMMOOOOOIIIIIIIIIIIIIIILLLLLLLLLLLKKKKKKK”.
The next thing that I remember is that it was
morning and I ran out of the barracks and
found some soldiers doing drill training. I
started yelling critique at them and telling
them that they were doing it all wrong. They
chased me across a sports field and Toby and
I were escorted off the base. I could not leave
my hotel room for 3 days. Have I taken mushrooms again ? Of course I have.”
" I told him it was
the mushroom and
everyone in the room
yelled out simultaneously
'spit it out ' !
I’d probably had it in
my mouth for about
five hours by then. "
33
34
THE KIKKOMAN ISSUE
FOLLOW THE GUIDE. EXHIBITION N° 1
Follow the Guide.
Exhibition n° 1
— On-the-spot paper planes, suicide
attempts and some fancy footwork. Our
first ever design exhibition opened on 10th
September on Brussels’ Place Flageyplein.
Considering the short reach of our infant
publishing empire, the bigwigs we had
participating were rather mind-boggling :
Wallpaper* magazine, Sylvain Willenz,
BaseDesign, David Trubridge and Damien
Hirst to name just a few. Over 650 people
came along, in part for the artwork but –
let’s face it – mostly for Absolut Vodka’s
Black Basil delight. Back next year
though, with an even bigger project, bigger
contributing artists and a bigger bar.
Photography Sarah Eechaut and Yassin Serghini
B
H
M
Maasmechelen Village
It’s all about
PASSION
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36
THE IKEBANA ISSUE
THE WORD ON
Feeling
the
influence
— We could have filled
the magazine 15 times over
with Europeans raving
about the impact that
Japanese culture has had
on their lives, but what
about the Japanese living
over here ? How does
their experience in the
West compare to life
back home ?
Photography Guy Van Laere
The Maeda family from Tokyo have
been in Belgium for nearly 3 years. They
are impressed by how many languages
Belgians speak, and fi nd Brussels very calm
compared to Tokyo, but were shocked to
discover that you need an appointment here
to go to the doctor. They miss the pleasant
experience of shopping in Tokyo and the
convenience of a city where things often stay
open until midnight. “Most shops here have
a small stock and are often out of stock.”
FEELING THE INFLUENCE
The Ando family from Yokohoma have been
in Belgium for nearly 5 years. They miss
hot spring baths and the hospitality they
received from shop assistants back in Japan.
They appreciate the integration of nature
and greenery in the city and the way that
LIFESTYLE
Belgians focus on their quality of life. “The
Strangest thing ? Three offi cial languages in
such a small country !”
37
38
THE OMORISHI ISSUE
The Ontani family from Yokohoma have
been in Belgium for 18 months. They miss
being able to get Japanese pop music shows
on their TV but appreciate Belgians’ friendliness and the greenery that surrounds them.
“Most of the workers here take 3 to 4 weeks
THE WORD ON
of paid vacation a year – in Japan workers
normally take 1 week a year – I envy them.”
The Big Chill
Don’t neglect your health during the
Join Aspria Club in November and receive the first
month for free and a complimentary massage.
colder months!
Stay active, stay relaxed and approach the
Become a member of Aspria Club in December
and receive a `50 voucher to spend in the Club
winter season with pleasure at Aspria!
and a complimentary massage.
Contact and information: [email protected] - 02 508 08 12
Brussels’ Finest Health and Fitness Club
Rue de l’Industrie 26 - 1040 Brussels - www.aspriaclub.be - Tel.02/508 0812
40
THE PIKACHU ISSUE
Tokyo hot
— Be it fashion, food or fantasy,
we’ll be damned if we don’t have every
base covered with this issue’s pick
of Japanese-themed goodies.
Writers Hettie Judah and Nicholas Lewis
Art Direction and Styling Face to Face
Photography Benoît Bannisse
01. Take a pause,
have some tea
We’ve been known to have a somewhat
unhealthy penchant for tea at Word HQ, and
it shows no sign of slowing down. Genmaicha
tea, historically the beverage of choice for
Japan’s rural poor although its recent revival
has a certain whiff of boho-chic to it, is a
potent mix of green tea mixed with roasted
rice infused with a popcorn-like smell. Just
when you thought you had tried and tested
all the different teas around, we come back
with more. We pinky promise it’ll be the last
time we talk about tea on these pages though.
(NL)
Genmaicha tea
Available from Kam Yuen Supermarket
Rue de la Vierge Noire 2-4 Zwarte Lievevrouwstraat
1000 Brussels
THE SHOWSTOPPERS
TOKYO HOT
LIFESTYLE
41
02. Take note
What is there to say about notebooks that
hasn’t already been said? We could tell you
about Tokyo Edge’s Pensée notebook’s
stand-out cover, wide-ranging colour palette
or even its sturdy closing fl ap, although from
where we stand, this would be stating the
obvious. Instead, let us tell you how much of
a better alternative these cute and catchy 40
sheeters are to those all-too-common notebooks whose name we won’t even mention.
Or is that obvious too? (NL)
Pensée from Tokyo Edge
Available amongst others from Bozarshop
Rue Ravenstein 15 Ravensteinstraat
1000 Brussels
03. Benteaux box
Ever wanted to live like Marie Antoinette,
but dubbed into Japanese? We discovered
these little beauties when we were on the
receiving end of a packet the day before we
started work on this issue. Turns out this
recently established Woluwe-based patisserie
has cooked up the gift of choice for Brussels’
chic Japanese. The macaroons are super
pretty, and cunningly addictive but a bit of a
taste bud minefield – carrot? Rose? What on
earth is in the blue one? (HJ)
Yasushi Sasaki
Avenue des Franciscains 10 Franciskanenlaan
1150 Brussels
Tel +32 (0)2 779 05 68
04. Wear it with pride
Fashion label Unconditional sits at the
cusp of luxury ready-to-wear, with one foot
still fi rmly rooted in its streetwear heritage. Radical, daring and uncompromising,
its designs have a certain confidence about
them, with each and every piece they create
uplifted with quiet yet poignant defi ning
touches. So you have hoodies with a dinner
jacket feel to them, and this long-sleeved
t-shirt with a draped scoop neck. Don’t let its
rugged and rough aesthetic fool you though;
this is the kind of garment that would have
Iggy or Lou raid your wardrobe. (NL)
Unconditional long-sleeve t-shirt
Available from Princess Blue
Schrijnwerkersstraat 7
2000 Antwerp
www.unconditional.uk.com
42
THE ZEN ISSUE
05. Red hot topper
Good Japanese style is all about the careful
details – that means meticulous accessorising, kids. We like hats ‘cos we don’t like
getting our hair mussed up by the mean and
nasty Benelux winters. We like this one
because it’s a bit he-she in its styling: no nonsense macho plaid embroidered with fluffy
mohair. Cute but Grrrr. (HJ)
Comme des Garçons hat
€ 225 from Houben
06. Mickey who?
We thought that we knew NOTHING about
Japanese cinema until somebody reminded
us that we’d spent the last 4 years obsessively watching Studio Ghibli movies. Duh!
Princess Mononoke is The Word office
favourite, though Howl’s Moving Castle
came a close second. Can we also admit
to having a slightly wrong crush on all the
androgynous looking heroes? (HJ)
All available from Mélopée
See Stockists page for full product
information.
THE SHOWSTOPPERS
44
THE TOKYO ISSUE
R
O
O
M
W T
A H
I E
T
I
N
G
— A clashing harmony
of colours, some rather
contemplative poses and
a somewhat unconcerned
facial expression. Our
muse-of-the-moment isn’t
too sure why she’s here,
nor what she’s waiting for,
although that doesn’t seem
to bother her one bit.
Photography Marc Paeps
Art direction & styling Yves Luel
THE FASHION WORD
Skirt Sonia by Sonia Rykiel, Tights Cette, Nail-heeled Boots Mango
White Marabout Vest Les Petits Riens “Retro Paradise”, Dress Diesel Black Gold
High Neck Top Lacoste, Trousers Essentiel
Spotted Blouse Gant
Tank Top Le Marcel de Bruxelles, Trousers H&M
Sheepskin Cardigan Pepe Jeans, Blouse Rue Blanche, Jeans Levi’s
Smock Dress Emporio Armani, Socks Comme des Garçons from Houben, Shoes Emporio Armani
Embroidered Jacket Christian Dior, High Neck Sweater Essentiel, Leggings Diesel Black Gold
Photographer
Marc Paeps
Photographer’s fi rst assistant
Philippe Braquenier
Photographer’s second assistant
Eric cowez
Art direction & styling
Yves Luel
Hair & make up
Christelle Laurent for
Guerlain
Models
Emma Xie at Elite
Jonathan Pham at
Dominique models
Retouched by
Bee Factory
www.beefactory.be
With thanks to
Julie, VM, Jeremy M.
and Patrick S.
56
THE KYOTO ISSUE
THE LINK
The Edo /
Punk link
— There are common
threads connecting the
high fashion cultures
of Japan and Belgium :
an understanding of style
that goes beyond seasonal
trends and sex appeal,
a refined radicalism,
respect for craftsmanship
and a cultural bloodymindedness that provides
the appetite for a nonconformist wardrobe.
© Raf Coolen
Writer Hettie Judah
Photography Yassin Serghini
01.
When we think of Japanese fashion we tend
to imagine spectacular combinations of shape
and colour – a doll-like extravagance of
influences crowding into one silhouette. We
imagine an obsessive attitude to style, and a
rejection of good taste and physical conformity as narrowly defi ned by the Paris collections. The cacophony of references and sculptural approach to form seem the very essence
of modernity, but according to Professor
Yoko Takagi of Bunka University, spectacular dress has a strong popular history. “In Edo
times there were people who lived for fashion,
and this was very respected: if someone was
described as being very dressy it would not
have been meant in a negative sense.”
Both men and women wore the kimono
at this time, but although the shape always
remained the same, these Tokyo Beau
Brummels expressed their exquisite nature
through their choice of cloth and motifs. “At
the time only Samurai could carry a family
crest on their clothes,” explains Yoko, “ but
all motifs had a profound signifi cance; for
example someone might have the fi rst word
of a Haiku poem embroidered on the kimono
and other people would understand the symbolism. There is a strong tradition of wearing
pieces that had a concept.”
Conceptual adornment through clothing
was a respectable middle class amusement at
02.
FASHION
57
© Photography Patrick Robyn
THE EDO / PUNK LINK
03.
" At the time
only Samurai could carry
a family crest on
their clothes… but
all motifs had a profound
significance… There is a
strong tradition of
wearing pieces
that had a concept. "
the time, and Yoko suggests that the Japanese
have carried with them an appetite for welltextured fabric and motifs. “The Antwerp
designers really paid attention to cloth, more
than Paris or New York, and this has been very
important,” she explains. This cultural understanding that costume can carry a conceptual
significance over and above its function as
clothing has also afforded Belgian fashion a
particular status. Earlier this year, Yoko helped
Geert Bruloot bring his Antwerp 6+ exhibition from MoMU over to Tokyo; “I think that
this show was the fi rst time that a museum
accepted the subject of contemporary fashion,”
explains Yoko. “Usually they won’t accept any
exhibition connected to brands, but with 6+ it
was considered a cultural phenomenon.”
04.
Deconstruction revolution
Geert founded the Louis and Coccodrillo boutiques in Antwerp, and coordinated shows of
the Antwerp 6 and Martin Margiela in Japan
in the early 1980s. He recalls the impact of the
fi rst wave of Japanese designers hitting Europe
on the Antwerp fashion students of that time.
“We had a revolution with the Japanese
fashion designers showing in Paris,” he
explains, citing the importance not only of the
anti-glamour, deconstructivist approach, but
the idea that an important fashion voice could
come from beyond the traditional centres of
style. “The Japanese designers were foreigners
– the Belgians realised that it would be possible for them to start out on the international
fashion market by going to Paris or London.
Fashion was becoming a global concept.”
British music and social movements
actually provided the context for cultural
understanding which linked the Antwerp
students to the early collections of Yohji
Yamamoto and Comme Des Garçons. “The
main message those collections gave was that
by deconstructing fashion you could create
new fashion – they took a lot of infl uence
from Punk and New Wave,” explains Geert.
“These were already the musical infl uence for
the students, so they already felt a strong relationship to the Japanese designers.”
During these years, in which high-gloss
designers like Thierry Mugler and Claude
Montana dictated style, new concepts of
fashion had already started to develop in the
minds of the Antwerp students; Geert feels
that the Antwerp designers recognised in the
Japanese a kindred sensibility. “Their common
base was an understanding of how clothes
were made, then adjusting it for modern times
with an avant garde sensibility close to punk;
instead of creating clothes that were about the
admiration of the male or female form, they
were making clothes that communicated.”
Opposite page
01.
A silhouette from
Maison Martin Margiela's
catwalk show, 1989
02.
Yoko Takagi
This page
03.
A silhouette from
Ann Demeulemeester's
catwalk show, 1989
04.
Louis and Cocodrillo founder
Geert Bruloot
58
THE YOKO ONO ISSUE
05.
THE LINK
06.
We’re all non-conformists now
" It took 10 years
to build up a public,
(…) People who
weren’t into body
language fashion
started buying Yohji
because they wanted
something new – and
when people wear it,
they don’t want to wear
anything else,
except, perhaps, for
Comme des Garçons. "
“Azzedine Alaïa once said to me ‘ without the
Japanese there would be no Belgian design.’
I couldn’t possibly comment,” laughs Harry
Houben. “But I do think in fashion that the
Belgian designers are closest to the Japanese;
they understood the Japanese designers very
well.” Back in the 1970s, Harry had a boutique
selling British fashion, but after happening on
Yohji Yamamoto’s fi rst Paris show, he found
himself radicalised and dedicated his shop
space to the work of the Japanese. Despite what
he identifies as a kindred non-conformist,
spirit in the Antwerp fashion public, Japanese
design was not an easy sell. “It took 10 years
to build up a public,” he admits. “People who
weren’t into body language fashion started
buying Yohji because they wanted something
new – and when people wear it, they don’t
want to wear anything else, except, perhaps,
for Comme des Garçons.”
Although he has diversified his stock
recently (he himself only wears classic suits
these days), for many years he visited Japan
quarterly to see the collections. “It was very
heavy – when you’re a buyer it’s nearly like
a sect. Everyone has to sit on the fl oor and
the teacher comes in and explains the collection. It’s very different from our culture; I
would never try to understand the Japanese
anymore, but the modernity they already had
in the 1980s, the aesthetic fi nesse and behaviour are impressive. I still like the quality, and
the way they pack and send things – everything is maniacal; they have the kind of work
ethic that we had 50 years ago.”
This page
05.
A silhouette from
Yohji Yamamoto's
catwalk show, 1982
06.
Founder of Houben
Harry Houben
Opposite page
07.
Christophe Coppens
08.
Hat by Christophe Coppens
THE EDO / PUNK LINK
DESIGN
The fine art of finding fault
For milliner Christophe Coppens, encountering the uncompromising aesthetic refi nement of the Japanese for the fi rst time felt
like a homecoming. “I like that people show
respect to each other and that all the details
are perfect – it showed me that it was ok to be
this demanding. Growing with the Japanese
market shaped me by confi rming what I
already thought.”
" Before, I think they
bought European
design because
it was exotic, and
anything went.
Their good side was
also their bad side;
they would use things
with no limits;
it was wonderful,
but also a bit weird. "
Like many European designers starting out
about 15 years ago, Japan was an important
early market; Japanese buyers seemed to have
an insatiable appetite for the fresh and new.
Christophe recalls the British designer Paul
Smith warning that many took the Japanese
fashion market for granted, but that they did
so at their peril. One can only remain new
for so long; as many young designers discovered, after two years of glory they were suddenly dropped in favour of the next hot label.
“That’s when the hard work starts,” smiles
Christophe. “To work well there you have to
make a huge effort; you have to be so present
to know what is going on, and to know the sensibilities and the economic situation.”
Christophe admits that he became so caught
up in the Japanese market that he actually
neglected his audience elsewhere for a while,
but now feels that his collection has more
balance. It is easy to get caught up, in part,
because the market shifts so fast. “Before, I
think they bought European design because it
was exotic, and anything went. Their good side
was also their bad side; they would use things
with no limits; it was wonderful, but also a bit
weird. But that aspect is now changing: they
are starting to make comparisons, and to know
what is going on in the rest of the world.”
07.
From a European perspective, one of the
most important shifts has been the boom in
young Japanese designers who are producing high quality collections for one-tenth the
price of their European counterpart; these
days for a European designer to make an
impact they have to show an extraordinarily
independent vision.
Christophe explains that his market is
defi ned by a shared sensibility rather than
an age group – it’s a sector of society in touch
with its cultural roots; the kind of person
who knows the right flowers to buy for a particular occasion. For all his delight in Japan,
Christophe echoes Yoko and Geert in pointing
out that such aesthetes constitute only a tiny
part of the fashion market, “there’s another
part that’s fast and vulgar, all about the synthetic, rather than the beautifully made,” he
smiles. “But when you see young kids saving
up to buy my stuff you know that there really
is that link.”
08.
59
60
THE LINK
© Photography Patrick Robyn
THE GODZILLA ISSUE
09.
10.
11.
The creator has a masterplan
" Learning fashion in Japan
is still very technical
– students come here
to learn actual design
and concepts
and how to create a story.
… they come because
they like the atmosphere,
and are inspired by
former students like
Olivier Theyskens. "
The appeal of Christophe’s work in the
Japanese market seems connected to his very
individual vision: he is as much an artist as
a designer. For Aya Takeda, the possibility
of acquiring such conceptual heft is clearly
what draws fashion students half way around
the world to study at La Cambre and the
Antwerp Academy. “Learning fashion in
Japan is still very technical – students come
here to learn actual design and concepts and
how to create a story.” Aya works with Ann
Demeulemeester in Antwerp and also tutors
the third year fashion students at La Cambre.
“It’s not easy for Japanese students at La
Cambre because they have to study in French,
but they come because they like the atmosphere, and are inspired by former students
like Olivier Theyskens.”
Watching students progress through the
fashion school, she feels that they lose a
particular Japanese-ness during the course
only to come back to it with their graduation
collection; “they return to it: I see a certain
strict and fi ne Japanese style.” Aya still sees a
link between the new generation of Japanese
and Belgian designers; “concept is still very
important; it is different here from the French
houses; there’s always a story behind a collection, and the form follows that.”
This page
09.
A silhouette from
Ann Demeulemeester's
catwalk show, 2009
10.
A silhouette by
Yusuke Hotchi,
4 th year student at
the Antwerp Fashion Academy
11.
Aya Takeda
/OW0NLINE
qqq)nc`qjm_h\b\di`)]`
Small Wonders
Office Shenanigans
Stuff on our Radar
Daily Dribbles
Everything we couldn’t, and wouldn’t,
run with in the magazine goes on
The Word Blog.
#EWARNED
WELL, MOMMA WASHED AND
COMBED AND CURLED MY HAIR,
THEN SHE PAINTED MY EYES AND LIPS.
THEN I STEPPED INTO
THE SATIN DANCIN' DRESS.
IT WAS SPLIT ON
THE SIDE CLEAN UP TO MY HIPS.
BEAUTY
IT WAS RED, VELVET-TRIMMED,
AND IT FIT ME GOOD
AND STARIN' BACK FROM
THE LOOKIN' GLASS
WAS A WOMAN
WHERE A HALF GROWN KID
HAD STOOD.
SPECIAL
( BOBBY GENTRY: FANCY )
64
THE NIGO ISSUE
THE WAY
On high
and unseen
— Does not being able to
see or touch change our
understanding of beauty ?
We talk sex appeal,
personal hygiene and
divine revelations with
a catholic priest and a
straight talking group of
blind people.
Writer Rozan Jongstra
Photography Ulrike Biets
In today’s society, beauty surrounds us in
various states of undress and has never been
more accessible. We’re used to saying that beauty
is in the eye of the beholder yet we’ve become
accustomed to a notion of beauty with mass
appeal. It turns out that beauty is a powerful
force whether you can see it or not, and regardless of its connection to sexual attraction.
Blind people’s personal appearance matters
more than you might expect. Though in their
youth most blind people will rely on family
and friends’ advice, they later often seek a
more objective and professional opinion
to make sure they look up to scratch. Diane
Vandenbergh ( 49 ), who has been fully blind
from the age of nine, had a colour and style
analysis done. “I never really worried about
my looks until I began working,” she explains.
“Suddenly people started telling me that my
clothes didn’t match, making me feel incredibly self-conscious.” Her visually-impaired
partner Albert adds : “We already attract so
much attention when we’re out with our cane,
that at the very least we want to look presentable, groomed and clean.”
“Clean” is a word intrinsic to blind people’s understanding of beauty. Not having
their sight results in a strongly developed
sense of smell, and though cleanliness is ( we
hope ) a must for most sighted people, the
blind will be very quick to suss out any bad
hygiene. Body odour can therefore make or
break a fi rst impression, but the runner-up
is just as important: inner beauty. “Someone
who is genuine, warm and friendly, is beautiful to us,” Albert says. “After two minutes
we know what kind of person we’re talking
to, just by listening to their voice.” Georgia
Venetakis, an ambitious 29-year-old with six
Georgia Venetakis
languages under her belt who has been blind
since birth, goes even further. “If I like someone’s voice, I’m almost sure to like them as a
person,” she says, comparing it to the fi rst time
sighted people’s eyes meet.
Despite the barrage of visual lusciousness
being fi red at us from every side in the modern
world, it’s good to be reminded that looks do
deceive; nice packaging doesn’t automatically
equal nice person.
38-year-old Gert Lauwereys can actually
make the comparison. She lost her sight in
2004 due to an autoimmune disease and
admits that before, she tended to judge
people more by their looks. “When you can’t
see people, you concentrate entirely on their
character. My friendships have become more
meaningful.” The former nurse now spends a
lot of her time in schools, educating children
on how to communicate with the blind.
Don’t fret if you’re starting to feel shallow.
Even to blind people, looks still matter.
Though they can’t witness it fi rst-hand, they
all confess they wouldn’t want an ugly partner
and would check their prospective dates
with their sighted peers before considering a
relationship.
So what else do they consider beautiful ?
The replies are various: “Beauty to me is
when I can experience something with all my
senses,” says Georgia. “I love multiculturalism. I love that simultaneous feeling of diversity, warmth and togetherness you get when
different languages, cultures and voices intertwine. Or nature – though I’ll ask people to
ON HIGH AND UNSEEN
THE BEAUTY SPECIAL
65
describe scenery to me, I can still feel a breeze,
smell a fi eld, hear an ocean. It’s still breathtaking.” “Music, for the emotions it elicits –
even more so when you’re blind,” adds Gert.
“Beauty is an atmosphere at its most palpable,” Diane muses. “That’s why Albert and I
love concerts. Travel, too. You don’t need to
see Paris to feel the romance.” “That’s right,”
agrees Albert. “It’s all about imagination.
Imagination with a capital I.”
Albert is not alone in equating beauty with
romance ; loveliness and allure are closely tied.
How does a Roman Catholic priest, bound by
a vow of celibacy, deal with the ubiquity of
tempting imagery in the modern world ? We
asked Father Philip Sandstrom, a priest of
Saint Joseph’s Community in Brussels, for
his take on beauty and if the Creator did in
fact never lead him into temptation.
As you can imagine, celibacy is never a snap
decision. Father Sandstrom dated throughout high school, but his eventual choice did
mean him missing out on his own senior prom.
“Of course it’s a big sacrifice to make, but my
calling was even bigger.” He firmly believes in
celibacy, explaining that with a heart free of distractions it becomes easier to generate the dedication and commitment a job like his requires.
After 47 years in the priesthood he has few
regrets, but this isn’t to say the sight of beautiful
women leaves him unmoved. “I too can appreciate that kind of beauty, yet I do so from afar,”
he smiles. “It’s a bit like window-shopping. You
can look all you want – it’s only when you take
something that you’re in trouble.”
Is celibacy really as simple as sticking to
the dictum of “look but don’t touch” ? It seems
to have done the trick for Father Sandstrom,
who claims to have never succumbed to temptation. But as he spends a lot of time in the
confessional, he is well aware that things are
not quite as simple for other mortals, admitting that those who do manage to resist are
very strong-minded individuals. Is willpower
the ultimate key to his life-long abstinence, or
perhaps, fidelity ? “Yes, God is the one who
keeps me strong.” His advice for the rest of us
is to stay focused on our promises, whether
they be to God or to our significant other.
( Sorry, no miracle cure or holy elixir, in case
you were wondering. )
Father Sandstrom does think that the strict
standards and a very narrow view of beauty
dictated by today’s society bring problems
beyond that of temptation : people have forgotten that beauty lies in so much more than
a select group of individuals. He believes that
beauty resides in all of God’s creatures, alluring
Giseles and average Josephines alike. “We’re all
equally necessary parts of the body of Christ,
what could be more beautiful than that?”
Father Philipe Sandstrom surrounded by models Sanne, Esther and Guita
But there are other marvels that will stir
the priest deeply, albeit in somewhat different regions. Religious iconography is one
of them, and he speaks on the subject with
moving passion and knowledge. He remembers once seeing a woman in Russia, transfigured in prayer in front of the icon of the Holy
Trinity. “It’s a scene I will always remember. It
just struck me as incredibly beautiful.” Music
too can move the preacher, and in absence of
a wife he spends many-an-evening with the
radio as his companion. He mentions jazz and
classical music ; you can always count on Bach
to transport you to higher regions.
If we are all part of the beauty of the
divine, is there anything that he fi nds ugly ?
“Graffi ti,” he tuts. “There’s something very
disorienting about graffi ti, I just cannot get
over its jarring ugliness.”
Vereniging voor Blinden en Slechtzienden :
www.vebes.be
Blindenzorg Licht en Liefde :
www.blindenzorglichtenliefde.be
66
THE HONDA ISSUE
THE ROUTINE
The nails, the hair,
the lips, the stare.
— It’s about three o’clock on a steamy Friday afternoon.
Somewhere in the back alleys of Brussels’ lively Matonge
area, a beauty salon comes to life, filled with lovely ladies
getting ready for the weekend’s proceedings. It’s hot and
it’s sweaty, it’s noisy and it’s lively. Gritty gossip and rooms
full of laughter. The weekend starts here…
Photography Ulrike Biets
THE NAILS, THE HAIR, THE LIPS, THE STARE
THE BEAUTY SPECIAL
67
68
THE SUZUKI ISSUE
THE ROUTINE
THE NAILS, THE HAIR, THE LIPS, THE STARE
THE BEAUTY SPECIAL
With thanks to Clélie Salon,
Beauty Myriam,
Coiffure Nicole and Extension.
69
70
THE KIMONO ISSUE
THE SPECIAL SHOWSTOPPERS
Middlesex
— Bits and pieces to make you that little bit more gorgeous
whether you’re a him, a her, or something delectable in between.
Photography Ulrike Biets
01
On the shelf
(from left to right)
She Uemura’s Red : Juventus range has
extracts of all kinds of red stuff in it, from
pomegranates to tomatoes – hence the name.
They claim to blitz your fi ne lines and
whammo those naughty dark circles that
keep hanging about under your eyes.
What could be better, fi rst thing in the
morning, than to face the beastly greyness of
the day with a face that smells like a freshly
baked breakfast muffi n ? This stuff’s meant
to reduce pores and make your skin more
radiant, on top of the fruity niff.
Red : Juventus
vitalising line reducing eye essence
Fluide Velours, Amande Pomme
Shu Uemura
€ 28
€ 55
Red : Juventus
Vitalising retexturing emulsion
Shu Uemura
€ 85
L’Occitane
MIDDLESEX
THE BEAUTY SPECIAL
71
By the bath
(from left to right)
To be honest, we haven’t been able to
take the word musk seriously since Ron
Burgundy. But boys and girls alike from
the office were drawn to this fragrance in
a way that would have made our favourite
Anchorman blush.
Musk eau de toilette spray
Kiehl’s
€ 53
Japanese expats that we interviewed said that
one of the things they missed most in being
away from their country were the baths ;
this Cedar scented oil is a lovely little whiff
of home.
Pleasure of Japanese Bath
Shu Uemura
In the cabinet
€ 35
Purple paint-on gel eyeliner – perfect for
getting ultra creative in those fabulous
Velvet Goldmine moments, or for rubbing
into your sockets when you want to look
super-sick and emotionally blackmail
someone cute into tucking you up in bed and
making you tea.
You may not want everyone to know that you
have gaping pores and oily patches, but the
white clay in this Kiehl’s range is nicey-nicey
fairly traded, all the way from the base of the
Brazilian Amazon, so you might want to leave
your cabinet door ajar just a little bit. There’s a
whole range of the stuff aimed at cleaning skin
and keeping shine at bay. ( We also wanted to
feature their products for dogs, but apparently
they’re only available in the USA. Boo ! )
Purple Painting Liner
Rare Earth Pore Minimising Lotion
Shu Uemura
Kiehl’s
Volcanic Ash Thermal Mask
€ 25
€ 39
M.A.C
(from left to right)
We do like consistency in a brand: M.A.C
have put out a whole midnight-inflected
gothic-inspired range which stretches from
makeup right through to skincare. If you
only wear black eye liner, why wouldn’t
you want your bathroom products to match
up? Plus, if you’re going for that ultra-pale
deathly glow, zits are really not a good look.
€ 20.50
Not that we ever go out too late, over indulge
and then stare into the mirror the next morning
weeping about how we managed to age 10 years
in one night. But if we did, it might be reassuring to have something like this tucked away.
Is it wrong to admit that we just really like the
design of this packet? Fat jar, retro label, nice
colours. Don’t let grannies have all the fun –
it’s ok for you to smell of rose too sometimes.
Night Recovery Lotion
Rose Body Lotion
LAB Series
L’Occitane
€ 40.68
€ 29
72
THE M r MIYAGI ISSUE
The greatest
“She is my grandmother ;
in this photograph she is
the greatest ‘cause she
did mean that to me,
and also because of the
dimensions and volumes.
The gentleman was
somebody that I caught
on the streets in London.”
Photography Alex Ramirez
THE ENCOUNTER
THE GREATEST
THE BEAUTY SPECIAL
73
74
THE CHERRY BLOSSOM ISSUE
THE HISTORY
Look out
honey,
‘cos I’m using
technology
— In the 1980s, Japan
lead the field in the design
of consumer electronics.
What are the forces shaping
that field for the future ?
Writer Hettie Judah
01.
“Will the electronic hermits of the future
still have a taste for design or will these
data-addicted junkies care in the least if
design exists or not? ”
In 1990 the German design critics Bangert and
Armer concluded their assessment of design in
the 80s with a chapter on consumer products.
The section is short, and although they admit
that the objects featured in it are probably
the most significant in the book, they seem to
be left breathless by the storm and variety of
developments that had taken place in the electronics marketplace during the 1980s.
During the 1980s the international design
sweet spot was shifting from Milan to Tokyo
– most notably in the field of consumer technology and the automotive industry. In hindsight it is easy to snort at the idea that an Ettore
Sottsass bookshelf might ever have been
considered more culturally significant than
the Sony Walkman, but it does illustrate the
uneasy position of electronic goods within the
field of design. Bangert and Armer’s book features neither a mobile ‘phone, nor a personal
computer. Alchimia’s concept for a computercontrolled domestic cooker is regarded as a
somewhat comical exercise in provocation.
The Blinking 12:00
The impact of the innovations coming out of
the Japanese electronics industry at the time
was less to do with domestic aesthetics, more
to do with behavioural changes. With portable
© Pictures courtesy of Sony
Bangert/Armer; 80s Style
(Thames & Hudson, 1990)
02.
music, and portable television came the idea
that entertainment could be something experienced by one person in isolation rather than
as part of a group; with the power of individual
choice and accessible technology came a new
culture of voluntary solitude.
Products that provoke these kinds of shifts
are often referred to as disruptive technologies
– concepts like microwave ovens and mobile
telephones that chime with an existing social
tendency and stimulate a behavioural change.
These disruptive technologies seem to defi ne
generations: those who embrace them, and
This page
01.
The fi rst Walkman from 1979
02.
The TR5 Transistor Radio
Opposite page
03.
The 1968 Trinitron TV
LOOK OUT HONEY, ‘COS I’M USING TECHNOLOGY
DESIGN
75
those who fi nd them hard to integrate into
their daily life. During the 1980s, the boom in
consumer electronics gave rise to a generation
known as the Blinking 12:00 – the users (then
typically over 50) whose inability to program
their VCR was betrayed by the blinking 12:00
on the display screen.
“In comparison to design in Japan, Europe
has a much more eclectic mix of trends and
designs and it is diffi cult to actually describe
‘European design’ as a whole – that’s what
makes it so interesting.”
03.
Tak Kawagoi
Director of Sony Design Centre Europe
Tak Kawagoi moved from Sony’s Tokyo design
office to London at the end of this summer. A
core part of his bureau’s work is to research
lifestyle trends for specific regional audiences.
Communicating with Tak via email in Tokyo,
one senses a kind of uneasy shift taking place
within the role of the design studio. When
Tak talks about trends, he refers specifically
to trends in colours, texture and materials –
as a company, Sony still runs along the traditional industrial model - their role is to make
saleable objects.
When asked about pushing boundaries and
exciting innovation, he cites the Picture Frame
TV, which was developed by Sony specifically
for the European market. The television is
designed to ape the position taken by a framed
painting in a family living room - it’s interesting that the design research into European
lifestyles has seen the studio appealing to
traditional instincts, rather than pushing
the nimble gadgetry that one associates with
their Tokyo output. While the Picture Frame
TV may respond to a realistic assessment of
the techno-wary European marketplace, it is
also a largely aesthetic exercise; a pre-existing
function that has been repackaged.
For all the funked-up, cool edged, touchyfeely curvature that has been wrapped around
electronics design in recent decades (from
jelly-coloured Mac computers to the onyx
lustre of the iPhone), in the grand scheme of
things the design of the field hasn’t moved on
enormously since the time when such things
were referred to as ‘brown goods’. The electronics market is still all about stuff - individual objects that you can purchase to fulfi l a
discreet series of functions – things that won’t
overly alarm the Blinking 12:00 generation.
The death of the electronics industry
“Everybody talks about hi tech when they
refer to something really advanced. But I
would rather talk about Human Tech –
advanced technology that interacts on the
level of the human being. When I use a
product with an electronic interface I don’t
want to have to learn the language of the
product: it should adapt to me.”
Henrik Otto
Senior vice president of Global Design,
Electrolux
These days it is hard to know where the field
of electronic design ends and where it begins;
one can’t ring fence the electronics industry
today, because it takes in everything, from
cars to cookers. 20 years ago, computer-controlled kitchen equipment may have looked
like a bad joke, but today it’s standard kit.
For Henrik Otto of Electrolux, the core
question now is not how to make the new
products look like part of traditional life, but
how to make them intuitive to operate. He
points out that small things can make a huge
difference psychologically. For example,
humans normally think in terms of times of
day (5 o’clock), rather than amounts of time
(75 minutes), so why don’t oven timers reflect
this? Adapting the electronic interface to the
way humans think is a very simple example of
what Henrik refers to as Human Tech; humanised technology.
To Henrik, the bottom line for success in
the new everything-electronics marketplace is
to ask whether a product makes the consumer’s life easier, or more complex. He feels that
where technology fails is when it refuses to simplify itself. “A responsible designer has to start
asking what functions and information they
aren’t going to show to the customer anymore,”
he explains. “There’s been a long period when
advancing products became all about adding
new functionality or a new button to push. The
visual noise and clutter increased until we had
to sit down and look at how we could change,
so that you don’t need a degree in computer
science to know how to program your stereo.”
76
THE HISTORY
THE ZEN ISSUE
For Electrolux, the key to creating intuitive interfaces has come from the new field of
interactive design that has grown up around
the Internet. “Interaction design was about
making a webpage understandable so that
visitors could navigate easily,” explains
Henrik. “It was about hierarchy between different ways of navigating. It becomes a tree of
information – branch to twig to leaf – a three
dimensional map in a virtual space.”
“The physical side is not going to go away.
We’ll always have architecture and some
kind of mobile phone – It’s not that things
go away, but they have to evolve.”
04.
Ramia Mazé
Author of Occupying Time: Design,
technology, and the form of interaction
© Pictures courtesy of Electrolux Design Lab
" With the power
of individual choice
and accessible
technology
came a new culture
of voluntary
solitude. "
05.
Ramia Mazé also identifies a generational
divide in electronics design. “The basic design
disciplines: graphic and industrial design: are
still modelled on industrial era production,”
she explains. “Many of the major design practices - the ones led by 5O-somethings - are
based on a materials-intensive mass consumption model. But there’s a need to shift into
newer fields. Service design is a way of thinking
across platforms, not only about manufactured
devices but about ways of delivering information – it’s not object based, it’s service based.”
For Ramia, the prospect of electronics design shifting its focus off objects and
into services that can be accessed via a large
variety of potential devices has profound
environmental ramifications. “Designers need
to think well beyond the point of purchase –
It’s not about the fi rst day you own a product,
but about how you build it into your lifestyle –
things need to grow in value and continue to be
valuable in consumers lifestyles over time.”
This page
Naturewash,
the waterless washing machine
by Zhenpeng Li
05.
Cocoon,
the meat and fi sh maker
by Rickard Hederstierna
04.
Opposite page
06.
Le Petit Prince,
the robotic greenhouse destined for Mars
by Martin Miklica
LOOK OUT HONEY, ‘COS I’M USING TECHNOLOGY
DESIGN
77
“I believe we will become very dependent on
electronics in the future, so as designers we
need to think about the relationship we want
to initiate between people and technology.
In the future, technology will be able to
acknowledge things it cannot in the present
time. For example, a machine would be able
to learn about you, gather information from
your life, and realise who you are.”
Louis Filosa
Finalist, Electrolux Design Lab 2009
After 90 years in the domestic appliance
industry, Electrolux themed 2009’s Design
Lab competition around products for the
next 90 years. The winning design - Rickard
Hederstierna’s Cocoon – is a meat and fi sh
maker that prepares genetically engineered
and pre-packaged foodstuffs by heating muscle
cells identified by radio frequency identification (RFID) signals. Other designs included
a flying rainwater catcher, a WALL-E style
gardening robot and a clothes cleaning device
shaped like a lounging chair that can launder
items while you wear them.
" 20 years ago,
computer-controlled
kitchen equipment
may have looked like
a bad joke,
but today it’s
standard kit. "
Pinging emails back and forth with the
various fi nalists quickly uncovers certain
common influences. The notion that product
design should go beyond the traditionally designated fields of industrial (3D) and graphic
(2D) design into the design of systems and
interfaces seems a given for this generation of
06.
design students. Interactive design is what they
grew up with. When I ask what single piece of
electronic design they are most influenced by,
most cite the iPhone, not only for its aesthetic
appeal, but for its adaptable functionality.
While they accept that most consumers
are wary of greater electronic integration in
the future, most balance this with their belief
that more interactive electronics design also
holds exciting potential for the future that
consumers should be led to accept. “I think
the driving factor is always need,” writes
fi nalist Penghao Shan. “Aesthetics is also a
kind of need. But sometimes, consumers do
not know what they need. We designers have
to discover it, to guide it.”
To answer Bangert and Armer’s question, quoted at the start of this piece, the data
addicted junkies of the present day certainly
do give a damn about design – as electronic
products develop an ever greater position in
our lives, aesthetics is still a major consideration. But electronics has also thrown out new
branches of design that the commentators of
20 years ago could not have forseen – systems
and interaction – which are likely to be
equally, if not more important, to the hermits
of the future. (HJ)
78
THE SASHIMI ISSUE
THE SHELF
Impeccable stack
— We’ve selected a slew of titles for this month’s
book shelf sure to make even the most ardent of
Nippon nuts bow down.
Photography Yassin Serghini
Art Direction Mélisande McBurnie
Writer Nicholas Lewis
Fruits (2001)
by Shoichi Aoki
Phaidon
A celebration of the weird and wonderful, Fruits is a visually-striking verdict on
Japanese subculture and its many fashion
fads. Garish and heavy-hitting, it captures
people which seem to be on the fringes of
society in all their kitschy glory - from the
cute and cuddly to the downright disturbing
and deviant. Although sometimes hitting
too close to home as far as Japanese clichés
are concerned, this portfolio of styles does a
fi ne job of documenting the mix-and-match
approach Japanese have to fashion and their
near-obsessive eye for detail. One thing is
certain, they can’t be accused of lacking in
ingenuity…
Tees – The Art of the T-Shirt (2009)
by Maki
Laurence King
If you’re anything like us, you probably toyed
with the idea of designing a t-shirt or two
at some stage in your life – probably in that
dead period between graduation and nailing
you fi rst job. And although we quickly
abandoned the idea, a host of other designers
actually made a career out of it. And we ain’t
talking about the McDonald’s logo revisited
to read McCrap either. A tribute to the tee,
Tees rounds-up the crème of the crop in
t-shirt design, from the witty and whimsical
to the clever and catchy. A good reason to
stare at the wearer if you ask us…
Home (2008)
by Tomoyuki Sakaguchi
Sokyu-Sha
Several things strike you as being
slightly odd the moment you fl ip through
Sakaguchi’s book. First, there’s the fact that
Tokyo’s streets seem utterly devoid of any
human life (bizarre for what is probably
the planet’s most populous city). Second,
there’s the intermittent bursts of fl ash light,
hijacking his chosen landscape with equal
vigour. Thirdly, you have the role played by
the cars, which appear to have been brought
in as replacements for the missing human
touch. Working with long exposure times,
Sakaguchi manages to capture a surreal
Tokyo - a staged suburban Tokyo – with a
certain plasticity attached to it. Considering
his background in earth science, this is an
unbelievably slick and sanded body of work.
Once Upon a Chair (2009)
by R. Klanten, S. Ehmann, A. Kupetz
and S. Moreno
Gestalten
If there ever was a need for a dictionary
on contemporary furniture design, Once
Upon a Chair would be it. Described as an
“international, up-to-the-minute, survey”,
the book presents the works of pretty much
every single designer that mattered in the last
decade or so. So you have Big-Game’s signature light-heartedness in the form of the collective’s Wood Work Lamp next to Kwangho
Lee’s Obsession Sofa, emblematic of his
customary conceptuality, set against Diane
Steverlynck’s lo-fi Tight Stool. A pleasure to
fl ick through, anyone with even the faintest
of interests in contemporary design should
have this as a coffee table staple.
Made of Japan (2009)
Onitsuka Tiger
Some people throw an opulent birthday
bash for their 60th, others might cruise the
Caribbean whilst others still will invite their
family and friends down to Phuket. Onitsuka
Tiger though, makes a magazine - and not
just your typical “we’ve turned 60” drab.
At over 250 pages thick, this is a fashion
and culture ode to the sneaker brand which
shot to global prominence in Tarantino’s
Kill Bill. An impressive and impeccably
produced bit of publishing pleasure which
we can only hope you’ll manage to get your
hands on.
¤
From top to bottom
Onitsuka Tiger’s Made of Japan,
Kyoto Wallpaper City Guide (Phaidon),
Fruits (Phaidon), Home (Sokyu-Sha),
Tees (Laurence King) and
Once Upon a Chair (Gestalten)
IMPECCABLE STACK
CULTURE
Height
Differences
— You have those for whom it’s not an
issue, those who carry it with a chip on
their shoulder, those who actually find
it charming, and others who’d outright
punch you for simply joking about it. In
our continuing series on standout human
individualities, we turn our attention to
vertically-impaired duos and bring you the
six-pack to have won our hearts over.
Photography Sarah Eechaut
Tine Guns & Mathieu Vandekerckhove
Saleswoman and Teacher.
Been together for two years and eight months.
He is 27cm taller than she is.
Jokes they have to put up with: “Once someone said: ‘
Nice daughter sir.’”
What they Wish for: “A Pair of Free High Heels.”
79
80
THE MISO ISSUE
THE PENCIL
Trying too hard
— When you’re down on substance, revert to
style as a way out. Fledging bands with Top 40
aspirations can take comfort in their ramen-fuelled
imaginations coming up with chart-topping names
which will, if anything else, get the attention of
teeny boppers and give them half a minute of fame
– or shame.
Illustration Jean-Biche
TRYING TOO HARD
CULTURE
81
82
THE YAKUZA ISSUE
THE TALENT
Heaven in a wildflower –
Tokyo dreaming
— Poking about for hot new talent we uncovered
an unexpected edge of romantic fantasy.
Working in the traditional and complex
technique of Nihonga, Fuyuko Matsui’s
works on silk treat the female body as a
site of spiritual pureness, objectification
and sexuality. The grotesque, often
anatomical element to her work seems all
the more shocking for the harmonious
calm of its presentation.
www.matsuifuyuko.com
HEAVEN IN A WILDFLOWER – TOKYO DREAMING
01.
02.
03.
04.
CULTURE
Instead of indulging in the endless retries
and retouches available through digital
photography, Muga Miyahara wanted to
rediscover the emotion and frustration
experienced by Japanese photographers
using more laborious tricks and artificial
colours on gelatine silver prints over a
century earlier.
www.mugamiyahara.com
01.
02.
03.
04.
05.
05.
Colour Book – Chandelier
Colour Book – Kaito
Colour Book – Niini
Colour Book – Noriko
Colour Book – Tsumiki
83
84
THE MOUNT FUJI ISSUE
THE TALENT
01.
02.
03.
Architect and designer Mourisi travelled
to Norway for a year as a teenager and
was profoundly affected by the natural
beauty and curves of the countryside.
In the evening he learned woodcarving
and started to understand that the
hand of the artisan could also be a
tool of communication. After studying
architecture in Osaka and London he is
still captivated by the wildness of nature
and the need for architectural sensitivity.
www.mourisi.jp
04.
HEAVEN IN A WILDFLOWER – TOKYO DREAMING
01.
This isn’t digital manipulation, it’s the
work of trick makeup artists Mika +
Chishin whose work with sculpted and
textured surfaces brings a surreal or
supernatural edge to realist photography.
While their work on fashion shoots tend
to contrast the sublime with the grotesque,
in their own work they like to suggest
that the curious viewer has accidentally
looked in on a forbidden scene.
www.mika-chishin.com
Opposite page
Iceberg – a kiosk for a park
in Hokkaido
(competition entry)
02.
Canoe – shaped bridge over
the Douglas river
(competition entry)
03.
Visual research image of
white stacking plates
04.
Jewellery design inspired by
the cultural symbolism of knots
01.
This page
His candy pockets and my little wings
02.
Face mask
01.
02.
CULTURE
85
86
THE ORIGAMI ISSUE
THE SCREAM
Show me
your war face
— Inspired by Ron Fricke’s
Baraka, we thought to
capture the expressive
nature of Asian men’s faces
by asking them to show us
their war faces. Locking
them up in a photo studio
for the evening, this is
what came out of it…
Photography Sébastien Bonin
Anael Desablin, teacher
SHOW ME YOUR WAR FACE
CULTURE
87
Lam Duy Thuan, waiter at Le Tigre
88
THE RAMEN ISSUE
THE SCREAM
Lam Duy Khang, works in advertising
SHOW ME YOUR WAR FACE
CULTURE
89
Lam Duy Thanh, owner of newly-opened bar Le Tigre (1050 Brussels)
90
THE JASMINE ISSUE
S T M R
P H A O
O E R P
K E
T
S
— We were invited to
capture the after-hours
of a bondage session,
not for leftovers but to
get a sense of the flesh
marks left by the ropes.
We’ve gone through our
fair share of physical
pain – both called and
uncalled for – and never
did we imagine that it
could be captured in such
a sensual manner.
Photography Sarah Eechaut
THE EYE
ROPES MARK THE SPOT
CULTURE
91
92
THE TAKESHI CASTLE ISSUE
THE EYE
ROPES MARK THE SPOT
CULTURE
93
94
THE TEA HOUSE ISSUE
THE EYE
With thanks to L.N. & R.N.
THE STOCKISTS
THE LASTS
95
The Stockists
A
F
B
G
C
Chauncey
www.chauncey.be
Comme des Garçons
See Houben
D
Delvaux
+32 (0)2 738 00 40
www.delvaux.be
Dior
+33 (0)1 70 73 73 73
www.dior.com
Diesel Black Gold
+32 (0)2 347 28 85
www.diesel.com
E
Emporio Armani
+32 (0)2 551 04 04
www.emporioarmani.com
Essentiel
Avenue Louise 66 Louizalaan
1050 Brussels
+32 (0)2 513 18 91
Schuttershofstraat 26
2000 Antwerp
+32 (0)3 201 13 80
www.essentiel.be
Gant
+32 (0)2 538 17 10
www.gant.com
H
Hermès
+32 (0)2 511 20 62
www.hermes.com
H&M
+32 0800 999 93 (Free
Number)
www.hm.com/be
Rue Neuve 17-21 Nieuwstraat
1000 Brussels
Houben Antwerp
+32 (0)3 225 00 32
Steenhouwersvest 46
2000 Antwerp
Houben Brussels
+32 (0)2 502 32 05
Place du Nouveau Marché aux
Grains 6 Nieuwe Graanmarkt
1000 Brussels
I
J
Junya Watanabe
See Houben
L
LAB series
Available in all PARIS XL shops
+32 (0)2 716 85 19
Lacoste
+32 (0)2 478 18 40
Galerie Porte de Louise 228
1050 Brussels
www.lacoste.com
Les petits riens “Retro
Paradise”
+32 (0)2 537 30 26
Rue Americaine
101Amerikastraat
1050 Brussels
www.petitsriens.be
Levi's
www.levistrauss.com
L’ Occitane
Meir 70
2000 Antwerp
+32 (0)3 880 60 30
Senteurs D'Ailleurs
Avenue Louise 94 Louizalaan
1050 Brussels
+32 (0)2 511 69 69
O
P
Pepe Jean's
+32 (0)2 411 14 14
Rue du Midi 26-28 Zuidstraat
1000 Brussels
www.pepejeans.com
Q
R
Rue Blanche Brussels
+32 (0)2 512 03 14
Rue Antoine Dansaert 39-41
A. Dansaertstraat
1000 Brussels
Rue Blanche Antwerp
Leopoldstraat 10
2000 Antwerp
+32 (0)3 233 51 71
www.rueblanche.be
M
S
M.A.C
Schrijnwerkersstraat 21-23
2000 Antwerp
+32 (0)3 226 33 74
Mango
+32 (0)2 219 09 74
Rue Neuve 144-148
Nieuwstraat
1000 Brussels
www.mango.com
K
Kiehl's
Lombardenvest 80
2000 Antwerp
+32 (0)3 226 14 60
N
Sonia by Sonia Rykiel
+32 (0)2 347 28 85
www.soniarykiel.com
Shu Uemura
Huidevetterstraat 34
2000 Antwerp
+32 (0)3 226 53 73
T
Marcel de Bruxelles
+32 (0)474 80 88 09
www.fabuleuxmarcel.be
U
V
Mélopée
Platesteen 12
1000 Brussels
W
X
Mutsugoto
www.mutsugoto.com
Y
Z
96
THE SUMO ISSUE
THE ROUND UP
pages 04 – 05
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pages 02 – 03
you. a uto m ati c
Giorgio Armani
www.emporioarmaniparfums.com
page 09
page 11
!41!$1183'$!$ 3".,
page 07
Swatch
www.swatch.com
All you need to know about banking
services on arriving in Belgium
-$6%1 &1 -"$%.1,$-%1.,
Take advantage of our ING Expat Convenience Services
+32 2 464 66 64 - [email protected] - www.ing.be
Many banking services are available to expatriates
living in Belgium but there is nothing you need to
know about making such arrangements. That’s
a task for the ING Convenience Services experts.
Your bank accounts and cards can be ready for
you the moment you arrive in Belgium. ING’s Expat
Services have 40 years of experience to help make
your stay in Belgium as financially smooth as possible.
STORES: STEENHOUWERSVEST 61 & 65, 2000 ANTWERP | RUE ANTOINE DANSAERTSTRAAT 42, 1000 BRUSSELS
Filippa K
www.fi lippa-k.com
Burberry
www.burberrythebeat.com
ING
www.ing.be
page 15
page 19
page 21
Brussels Philharmonic – het Vlaams Radio Orkest
Michel Tabachnik, chief conductor/music director, orchestra in residency at Flagey
Beethoven 9
Michel Tabachnik, conductor – with soloists from the Queen Elisabeth College of Music
Vlaams Radio Koor & Octopus Kamerkoor, choir
12/11/2009: BRUSSELS (BOZAR) – 13/11/2009: PARIS (Cité de la musique)
Equi Voci
Michel Tabachnik, conductor – with Thierry De Mey, cineast and live projection of dance films
26/11/2009: BRUSSELS (Flagey) – 27/11/2009: CHARLEROI – 28/11/2009: BRUGES (Concertgebouw)
Coprod. Charleroi/Danses & Flagey
Brussels.
Palais des Beaux-Arts
ENIGMA VARIATIONS
Thursday 19th of November 2009. 20:00
A. Dvorák. Suite in A
B. Britten. Symphony for cello and orchestra
E. Elgar. Enigma Variations
Pieter Wispelwey. cello
Seikyo Kim. conductor
reservation & tickets
www.symfonieorkest.be
Brussels Philharmonic – het Vlaams Radio Orkest is een instelling van de Vlaamse Gemeenschap.
Met steun van
de Vlaamse
gemeenschap
www.brusselsphilharmonic.be
Vlaams Omroeporkest en Kamerkoor vzw | Eugène Flageyplein 18 B-1050 Brussel | T +32 2 627 11 60 | [email protected]
Brussels Philharmonic
www.brusselsphilharmonic.be
© Benjamin Ealovega
Symfonieorkest Vlaanderen
www.symfonieorkest.be
Absolut
www.absolut.com
you. a uto m ati c
ADVERTISERS
page 35
THE LASTS
page 39
Maasmechelen Village
It’s all about
PASSION
The Big Chill
VIP
© Maasmechelen Village 2009 The Word * off the recommended retail price ** valid until 14/11/2009
*** for exceptional opening or closing dates, please visit: MaasmechelenVillage.com
Invitation
Don’t neglect your health during the
Join Aspria Club in November and receive the first
month for free and a complimentary massage.
colder months!
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Hugo Boss, Leonardo, Levi’s, Liu Jo, Marithé+François Girbaud
Marlies Dekkers, Petit Bateau, Scapa, Versace, Villeroy & Boch
Stay active, stay relaxed and approach the
Become a member of Aspria Club in December
and receive a `50 voucher to spend in the Club
winter season with pleasure at Aspria!
Discover over 95 boutiques of the world’s luxury fashion and lifestyle brands
offering savings of 30% to 60%* – all year round.
and a complimentary massage.
Contact and information: [email protected] - 02 508 08 12
VIP INVITATION Present this invitation to the Welcome/Information Centre to receive a VIP Daypass**
entitling you to -10% additional savings on the outlet price in 9 of your favorite boutiques.
Open
Sundayon
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l Monday - Sunday***: 10.00 - 18.00 l Tel. 0800 40236 l E314 direction Genk, exit 33
Brussels’ Finest Health and Fitness Club
Rue de l’Industrie 26 - 1040 Brussels - www.aspriaclub.be - Tel.02/508 0812
Discover the collection of Chic Outlet Shopping® Villages in Europe – ChicOutletShopping.com
LONDON, DUBLIN, PARIS, MADRID, BARCELONA, MILAN, BRUSSELS/ANTWERP/COLOGNE, FRANKFURT, MUNICH
Maasmechelen Village
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Aspria
www.aspriaclub.be
page 43
page 61
page 62
/OW0NLINE
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Small Wonders
Office Shenanigans
Stuff on our Radar
Daily Dribbles
Everything we couldn’t, and wouldn’t,
run with in the magazine goes on
The Word Blog.
#EWARNED
The Word
www.thewordmagazine.be
page 99
page 100
CERAMICA CHRONOGRAPH
Bombay
www.bombaysapphire.be
Ristorante italiano , part of The Rocco Forte Collection “Hotel Amigo”
Rue de l'Amigo 1, 1000 BRUXELLES | Tel. : 02.547.47.15 | Fax : 02.547.47.67
www.ristorantebocconi.com | [email protected]
Ristorante Bocconi
www.ristorantebocconi.com
www.rado.com
Dining in style
Rado
www.rado.com
Kenzo Parfums
www.kenzoparfums.com
97
98
THE HERITAGE ISSUE
WHAT'S NEXT
Dining in style
Ristorante italiano , part of The Rocco Forte Collection “Hotel Amigo”
Rue de l'Amigo 1, 1000 BRUXELLES | Tel. : 02.547.47.15 | Fax : 02.547.47.67
www.ristorantebocconi.com | [email protected]
www.rado.com
CERAMICA CHRONOGRAPH