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 Post subject: Re: 1+1=3
PostPosted: 03 May 2015, 02:21 
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merz wrote:
'too clean to be artisanal'.. and at that point I wondered precisely how that terrible word had come to mean what it signifies to certain people today ... certain economic realities of who the consumer is and what they expect a pair of such shoes to look/feel like.


from craig owens, "the discourse of others," 1983:

Quote:
... a desperate, often hysterical attempt to recover some [lost] sense of mastery via the resurrection of heroic large-scale easel painting and monumental cast-bronze sculpture -- mediums themselves identified with the cultural hegemony of Western Europe. Yet contemporary artists are able at best to simulate mastery, to manipulate its signs; since in the modern period mastery was invariably associated with human labor, aesthetic production has degenerated today into a massive deployment of the signs of artistic labor ... Such simulacra of mastery testify, however, only to its loss; in fact, contemporary artists seem engaged in a collective act of disavowal -- and disavowal always pertains to a loss ... of virility, masculinity, potency.


at the time of writing, obviously, owens was aiming for individuals like donald judd and richard serra. "monumental" structures that, via sheer scale or material rendering, could not escape or rather enjoyed an association with wealth and enormous human effort -- more specifically, maybe, slave labor, via their kin the pyramid of giza and the great wall and so on.

but we're familiar with a similar interest in the visual tropes/tracts of "mastery," or its recent incarnation "artisanship." my blazer should look hand-sewn, i should be able to see the stray marks on my boot left over from the 40 manhours of skiving, welting, whichever. those "signs of artistic labor," a necessary sell-point/new shibboleth for the customer interested in visible wealth.

(unfortunately for owenscorp, no customer base so far for those legitimate markers of desperate, breakneck human production under questionable conditions like the pink marks left over on recent production runs of rick owens footwear.)

anyway, very funny turn of events that richard serra lately seems to be photographed exclusively in paul harnden.


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 Post subject: Re: 1+1=3
PostPosted: 04 May 2015, 00:52 
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'too clean to be artisanal'

There's another side to this coin. Stumbled into a store and was immediately put off. Took a couple seconds to pinpoint what was so cloying: everything was manufactured to feel 'lived in'. Walmart, at least, doesn't try to present itself as anything other than mass-produced, but there's something incredibly fucking annoying about mass production trying to pass itself off as unique. Ugly stuff.

Frayed hems are the functional sleeve buttons of our side of the fashion world. Yech.

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 Post subject: Re: 1+1=3
PostPosted: 22 May 2015, 00:22 
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that definition of 'artisanal' that has come to form in people's minds involved things they saw in the earlier work, as crouka had pointed out once. I feel like that word in and of itself could just as well be retired as it doesn't mean anything. sometimes the point is really driven home, like when Arby's markets artisanal sandwiches.

there absolutely was something worthwhile in the rougher sentiment the earlier work engendered, and that was the constant reminder of the clothes being just that - clothes to be worn and lived in and not to be treated in ways precious or fetishised. clothes that come after the man, in his image. somehow that seems important to remember when thoughts turn to clothing in general.

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 Post subject: Re: 1+1=3
PostPosted: 31 May 2015, 08:13 
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what yohji yamamoto did was walking a tightrope of expressing certain elegance based on such slovenliness as fray, ravel, rip, etc. and that beauty should have been genuine.
carpe diem (or 1+1=3 on the whole) was the interface between primitive uncouthness and futuristic minimalism. there had to be that duality in order for the fragile balance to take place.

they are all what happened windward. but by the time they arrive leeward, they are stripped of all the substance.


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 Post subject: Re: 1+1=3
PostPosted: 31 May 2015, 14:47 
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crouka wrote:
they are all what happened windward. but by the time they arrive leeward, they are stripped of all the substance.


interesting perspective, but what serves as the point of reference for the above?

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 Post subject: Re: 1+1=3
PostPosted: 03 Jun 2015, 17:54 
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could be anything contextually, for example your chief editor would say look leeward, which means be sensitive to what consumers want. look windward can be watch out for creators' urge to express.
for designers, looking windward is looking inside themselves, confronting aloneness. the windward is somewhere narrow but deep. looking leeward is listening to consumers and offering something about which no one complains but dreams profoundly.


maybe it's possible to adduce exceptions but this, steinbeck, seems to be relevant here.
Quote:
our species is the only creative species, and it has only one creative instrument, the individual mind and spirit of a man. nothing was ever created by two men. there are no good collaborations, whether in music, in art, in poetry, in mathematics, in philosophy. once the miracle of creation has taken place, the group can build and extend it, but the group never invents anything. the preciousness lies in the lonely mind of a man.


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 Post subject: Re: 1+1=3
PostPosted: 12 Oct 2015, 09:12 
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nice boots


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 Post subject: Re: 1+1=3
PostPosted: 13 Oct 2015, 02:07 
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rather, there is an interesting story to do with a ...revisiting of these boots presently up for sale on one of the websites where things are bought and sold. perhaps they'll end up in my possession at some point through a chance of fate, as i would very much like them to. I will say that for these, having the canvas-covered version, i feel compelled to lace myself in using a needle. even though it may sound a bit impractical, it is the only way that they feel right when worn somehow, fitting like second skin.

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 Post subject: Re: 1+1=3
PostPosted: 10 Feb 2016, 21:51 
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Linea calf leather a-line coat with wool lining

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Bonus L'Maltieri linen. I think I've worn one or both of these pieces almost every day for the past 3-4 months.

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 Post subject: Re: 1+1=3
PostPosted: 13 Feb 2016, 18:04 
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all nicely captured above
altieri wanted such existence as denim, which means he didn't want to use denim itself since it seemed to be too easy at that time but reproduce only the way denim would be used, loved, and aging. and that linen cloth was born. it took some time until he got what he thought left nothing to be desired. for customers it had been strange that lmaltieri didn't have any linen as heavy as leather or denim since its launch. they used "metal linen" from the textile company called kimura-sengyou around 2000. but the jacket and the shirt made of metal linen didn't carry the presence comparable to that of vintage denim jackets or their own washable calf shirt. although it was nice in its own way, it felt a bit on the spring/summer side. he needed something that transcends seasons. when he first made the shirt using the right linen fabric he finally got, he dyed it with of course indigo, though it never went into production somehow. the first version delivered during FW 2002, whose front placket was selvedged, turned out to come in what they named "black purple", "black brown", and "black green". the colors were supposed to be enriched through wear and wash, the ground tone gradually revealed. the second version that arrived earlier in 2003 was most intensely wrinkled as if it had been soaked and balled up and then squashed until parched. plus they randomly sprinkled iron dust on it before the process. so it was stained with rust that had been sunk and extended into the fibers. the ecru shirt partly reddish like certain pottery was beautiful. have to accelerate here as this post must be longer otherwise.....
with the final iteration that came non-washed in 2006, they removed the lining from the sleeves and the collar.

black green


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 Post subject: Re: 1+1=3
PostPosted: 15 Feb 2016, 04:44 
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fascinating bit of insight - though i didn't have the background on the lead-up to these pieces being produced, the overall effect had always reminded me of early 20th century workwear, and subsequently has become one of my favourite fabrics to wear. you having mentioned both the manufacturer has made me wonder if I'd be able to purchase more of this material from them for future garment-making purposes. Not sure if i've ever seen the earlier pieces that had the quality of leathers in terms of their weight. My own was quite wrinkled when I had obtained it initially, but I preferred it without so much of that crushed appearance, though it likes to take on the shape of its wearer. There is collar and upper back lining, though the sleeves are unlined, and most of the pieces I've got have a warm tone underneath the black, slightly leaning purple. I've picked up a pair of the banana pants in that material and plan on re-tailoring them to match the other linen banana pants that have already been re-cut into something more resembling riding trousers. For some reason feel no apprehension at the thought of drastically altering these things to my needs.

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 Post subject: Re: 1+1=3
PostPosted: 16 Feb 2016, 09:23 
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Crouka, thats impressing. thanks for the sharing as always.

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 Post subject: Re: 1+1=3
PostPosted: 16 Feb 2016, 22:13 
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Fascinating as always Crouka! It helps me understand a bit of the motivation behind the medium weight linen. I had a gray/black linen shirt jacket piece for a long time that indeed had the rust dots on it and I wondered if that was from the prior owner or from Altieri. Interesting to know that part of the story now :)


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 Post subject: Re: 1+1=3
PostPosted: 02 Apr 2016, 04:03 
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Is anyone else witnessing this largely instagram driven impetus for Maurizo Altieri's (current and past) work?

Time and again I click through the... dozen+ tags tethered to any given 1+1=3 picture trying to resoundingly compile all possible nouns that could describe the subject.

I kind of feel antagonistic towards it largely because it doesn't appreciate or coincide with any of my founding vectors into the media (better: the properties which constructed Carpe Diem to me are being wholly undermined here). Maybe this is more to do with how advertising strategies have changed, but it also seems that the author has become less of an apparition. OR MAYBE he wasn't much to begin with and it just wasn't in the audiences interest to document tf out of him.

Anyway: is this the second coming of venting we've all been waiting for or???
Will i finally get the sickest pair of kick shitters thrown up on ebay for 1/8th the retail???

This was bound to happen at some point but to me this kind of represents ... one less significant marker that would usually associate "dude is rad" and one more marker that follows "i flew to paris to watch a BBS show" and that sucks.

P.S.
For example: https://www.instagram.com/p/9cc87kIb81/
I was so fucking stoked to see this hoping this was some sort of special effects operator who decks out in leather slacks and anfibio's (one of us) during production only to feel pretty fucking defeated after opening up the profile itself.


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 Post subject: Re: 1+1=3
PostPosted: 04 Apr 2016, 18:19 
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yes he was less of a yeti. the presence was not that rare and as I said before elsewhere he was the model who wore his own stuff and was taken pics of at the showroom. but those were when the general speed of internet was slow.
back then you'd have watched some pop singer (hiromi go, if you're interested) dancing in head-to-toe carpe on TV and must have noticed the awkwardness of his movement. also such fashion people as gucci wearers were part of the customers ( which was not especially wonderful when guidi was proud of themselves being the leather supplier for gucci). but as mentioned in the general discussion and personal aesthetics thread here, those luxury types were to be chilled sooner or later. something about carpe was too heavy for just fashion.

although I don't know well about what is currently happening on instagram etc, it feels like this below rather than the second coming.

" we are in a situation of travelers in a train that has met with an accident in a tunnel, and this at a place where the light of the beginning can no longer be seen, and the light of the end is so very small a glimmer that the gaze must continually search for it and is always losing it again, and, furthermore, both the beginning and the end are not even certainties. Round about us, however, in the confusion of our senses, or in the supersensitiveness of our senses, we have nothing but monstrosities and a kaleidoscopic play of things that is either delightful or exhausting according to the mood and injury of each individual. What shall I do? or: Why should I do it? are not questions to be asked in such places. ”
- kafka



one more

" we thus have dwelt in a continuous pre evental situation in which an invisible barrier seems to prevent again and again the genesis of a proper Event, the rise of something New. "
- zizek


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 Post subject: Re: 1+1=3
PostPosted: 16 Apr 2016, 02:23 
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crouka wrote:
those luxury types were to be chilled sooner or later. something about carpe was too heavy for just fashion.

EDIT: fix quote.

Perhaps, what I'm suggesting is that even what could easily fall into "those luxury types" are no longer being chilled by carpe's output. We can observe, even outside of instagram- a familiar lineage beginning from (let's the contemporary day equivalent fashultural marker are Rick Owen sneakers instead of Gucci belts), deviating through some mash up of aggressively proposed intermediates (rhymes with porous), and eventually land on what many fathom as "the dark side of the moon". So in the past, maybe the moon would've phased "luxury types" out, at present they persist. I'm casting thoughts on super-mutant micro-organism strains, maybe there's a similarity here.
Even: They've adapted- why is it consistent.

Maybe a inherently complex question and definitely not one where we could point at a discernible variable and conclude "increased leather-grain".

But I think Zizek, as you've indicated, proposes a number of good reasons on how media is conceived, digested, and interpreted is different to how it was a decade ago (at least in reference to political and film information) and those devices could, in similar ways, be applied to why carpe diem is enacted in this new way.


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 Post subject: Re: 1+1=3
PostPosted: 01 May 2016, 18:04 
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I'd compare rick sneakers to any dirk bikkembergs footwear and isn't the then stuff like gucci belts today's louboutin mens accessories line or something ? though these things could be vernacular and so be perceived differently where you are. anyway now it sounds as if what annoys you mainly were what zizek calls human animal type rather than any luxury one and their privatizing the public space or expanding their private space to include you like copulating in front of you.

probably those who first got happy with the direction of altieri's current work were the owners of zintala, strictly speaking, zintala from a certain period, around 2000 - 2005, practically directed and designed by the comme related apparel organization (who once did one of comme lines and also had been the biggest client for altieri and the first one that, before lift, had taken out guidi to the market where guidi today is. also it included someone who bought about 40% of helmut lang from 95 to the beginning of prada era). in this particular context at least, it's hard to find gucci customers. what I see here, diehard fashion omnivores.


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 Post subject: Re: 1+1=3
PostPosted: 01 May 2016, 18:11 
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( what is generally known as) the universe by a notorious zen monk, sengai
and sort of a response piece by daisetsu suzuki


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 Post subject: Re: 1+1=3
PostPosted: 24 May 2016, 18:10 
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for anyone who quests after something similar to that carpe bag in the shape of the shoe bag
just thought this might be a bit good.
there is an old style bag called shingen bukuro. it could come in any traditional textiles.
but when it is in oshima tsumugi, more chance it goes with altieri's work
since many of it is mud-dyed and the tone is dark.


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 Post subject: Re: 1+1=3
PostPosted: 24 May 2016, 18:58 
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great to see bits and pieces of reference highlighted. i enjoyed most how disparate many of them were, though there is a clear connection with some japanese and middle-eastern traditional garments and construction techniques, often monastic vestments but just as often something that would fit in the working wardrobe of a mechanic or rather obscure references to athletic clothing from 1800s/early 1900s..

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