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«For me, creation means creating one thing that I’ve by no means tried earlier than: repeating issues shouldn’t be creation. Working like this can be a steady danger, after all, however I can solely be myself by means of this inventive act. I’m all the time looking, I discover the ability of novelty, to shock myself before everything.” Word of Yohji Yamamoto, guru of deconstruction and fearless torchbearer of the unconventional nature of inventing, even at present when style definitely favors different points, inserting mercantilism earlier than invention, brutal revenue earlier than creation. Unshakably himself, unable to be something apart from Yohji-san, Yamamoto is in Milan with the Yohji Yamamoto exhibition. Letter to the longer term, open till 31 July within the renovated areas of the Galleria di 10 Corso Como.
He shouldn’t be there, bodily, however his ideas, condensed into 25 creations spanning a profession spanning fifty years, successfully displayed on tailor’s busts. Alessio de’ Navasques, creator and curator of the exhibition, says: «Yamamoto has all the time opposed the monumentalisation of his work and that is a side that’s mirrored within the strategies chosen to current it, i.e. by exhibiting the garments as such and never as artistic endeavors ».
Words that are echoed by these of the designer: «I desire to proceed creating my collections in order that they are often worn by folks: unworn garments change into objects and I like to think about my outfits not as objects, however as dwelling issues».
This shouldn’t be a retrospective, due to this fact. Rather, a synchronic exploration of Yamamoto’s work, which is each all the time the identical and all the time completely different, motionless however very cell. The curatorship focuses on two key themes: the connection between gown and physique and the dialogue between the type of gown and time, understood as a reference to historic costume. «I wish to draw time», Yamamoto stated prior to now, satisfied of the insoluble continuity between previous and current. The exhibition itinerary investigates the designer’s work, highlighting the double drive in direction of deconstruction and development: a yin/yang able to rewriting the grammar of clothes within the joint relationship with the individual and with area.
The void between physique and gown, in addition to the amount of air surrounding the gown, are for Yamamoto as a lot and maybe extra essential than fullness. He is a product of Japanese tradition, which calls that shaping void mā. Yamamoto is each uncooked and lyrical: a inventive perspective that materializes within the virtually unique use of the non-colours black and white, invariably accented by the violent channel of pink. Ultimately, nonetheless, even when he’s abrasive, there stays one thing melancholic in his tune of floating kinds. It is not any coincidence that poet is the ascription most frequently attributed to him.