(Source: hiromitsu)

newaged: acne studios by andreas bozarth fornell

newaged:

acne studios by andreas bozarth fornell

verluste: Raf Simons  - 1998Photography by David Sims

verluste:

Raf Simons  - 1998
Photography by David Sims

horreure: Maison Martin Margiela exhibition, Palais des Beaux-Arts, Brussels, 1996.

horreure:

Maison Martin Margiela exhibition, Palais des Beaux-Arts, Brussels, 1996.

skt4ng: Nimue Smit for The Room 2011 Fall/Winter.

skt4ng:

Nimue Smit for The Room 2011 Fall/Winter.

wehavenostyle: prada bagsspring 1999

wehavenostyle:

prada bags
spring 1999

thedoppelganger: Maison Martin Margiela Fall 2003 Ready to Wearinvitation

thedoppelganger:

Maison Martin Margiela Fall 2003 Ready to Wearinvitation

vroomheid: Undercover autumn / winter 1998-99 Exchange Michael Koppelman of London-based streetwear organisation Gimme 5 has collaborated with Takahashi on one-offs and special projects for his hideout store since it opened in 1998. ‘At the time of the “scab” collection, some of Jun’s assistants came over to london,’ he anecdotalises, ‘and they told me that a lady selling fruit on oxford street came and gave them some bananas, because she thought they were homeless. They were happy, not only because of the random act of kindness, but also because it meant the clothes seemed real. That’s the difference between what Jun does and what others do; it’s not based on “yachting” or something, it’s based on street culture. — koppelman on takahashi’s special projects

vroomheid:

Undercover autumn / winter 1998-99

Exchange

Michael Koppelman of London-based streetwear organisation Gimme 5 has collaborated with Takahashi on one-offs and special projects for his hideout store since it opened in 1998. ‘At the time of the “scab” collection, some of Jun’s assistants came over to london,’ he anecdotalises, ‘and they told me that a lady selling fruit on oxford street came and gave them some bananas, because she thought they were homeless. They were happy, not only because of the random act of kindness, but also because it meant the clothes seemed real. That’s the difference between what Jun does and what others do; it’s not based on “yachting” or something, it’s based on street culture.

— koppelman on takahashi’s special projects

vroomheid: Maison Martin Margiela fall 1998-99 2000-1 Mark Borthwick’s project for the fall 1998-1999 show included the projection of a video in two parts shot in New York in early March 1998 and a book entitled ‘2000-1’. The video features a verbal interaction between three women wearing garments of the collection (Helen Filliers, Yorinda Gersina, & Stella Tennant). The book, published in the autumn of 1998, features photographs taken during the shooting of the video. (source: contemporary fashion archives)

vroomheid:

Maison Martin Margiela fall 1998-99

2000-1

Mark Borthwick’s project for the fall 1998-1999 show included the projection of a video in two parts shot in New York in early March 1998 and a book entitled ‘2000-1’.

The video features a verbal interaction between three women wearing garments of the collection (Helen Filliers, Yorinda Gersina, & Stella Tennant). The book, published in the autumn of 1998, features photographs taken during the shooting of the video.

(source: contemporary fashion archives)

OD