EFFECTOR, GABOR, GORO'S, GROK LEATHER, MAGICAL DESIGN, NEIGHBORHOOD, NUMBER (N) INE, OLD JOE & COMPANY, RATS, ROCK STEADY, RUDE GALLERY, TRY GOD, UNDERCOVER, UNRIVALED, VISVIM, WACKO MARIA, WOLF'S HEAD, WTAPS

Wednesday, December 23, 2009

Goro's

Goro Takahashi (born in 1939 Tokyo)



“I’ll never be satisfied with my works, which push me to make the next one better, someday I found some work which I am satisfied, it’s the end of Goro’s.”
“A Silver work could last and existed over thousands years, I am very proud to have my work stay in the world even if I had passed away.”
“Silver has its own spirit, we could find something on it that money cannot buy everyone should wear something like this, there might be some reasons for us to meet them.”
“No advertising, merely small amount handiwork.”
“It’s not only about silver, it’s art.”
No website, only one physical shop in Tokyo.
Legend, Mystery, Rare!!



Biography

-went to Navajo in the United States after he was graduated from the College.
-1966 Takahashi went back Yokyo, and Goro’s first exposure in Aoyama, Tokyo
-1971 the first and only shop opened in Omotesandō, Harajuku, Tokyo
-“YELLOW EAGLE The Legend Story & Spirits of GORO’S” was wrote and edited by SHIN IKEDA , and was published by A-Works.



Goro’s

Goro’s has already become a legend of luxurious sterling accessory in Japan with Chrome Hearts. Goro’s was created in 1971, and so far there is only one shop in the world.



“No advertising, merely small amount handiwork.” Whenever you pass Goro’s in Tokyo, you may notice that people are always in a long line waiting for entering Goro’s as kind of pilgrimage, almost everyday. Goro’s could be the symbol or the representative of Japanese sterling silver accessory (some people regard it as jewelry.)



The designer of Goro’s, Goro Takahashi, insists to make each piece of work merely by his hands, which is the reason why Goro’s sterling silver accessory would be that hard to own. Even though you have the chance to enter the shop, the staff will see and decide to sell you their accessory or not. If your style does not match their accessory’s personality, they won’t sell you anything. Generally, you need to keep in touch with them and go several times to create a good relationship with them and their silver accessory. As being their friend, you can have your first Goro’s. Takahashi believed that, there might be some reasons for us to meet the silver, and we could find something on them that money cannot buy, “Silver has its own spirit.” In other words, you have to listen and communicate with the silver, and then you have the qualification to own it.



He had lived in the Navajo (the Native American tribe in Utah) for many years. There he learned antique skills to make silver accessory, meanwhile, he was given an honor of being an Indian warrior, and regarding of the blessedness, he had the right to make Navajo’s silver works. Because the yellow eagle and the sun he made were the holy and inviolable symbols for Navajo.





In Japan, he is more like an artist than just a silversmith or jeweler. He combines the Navajo’s traditional silver-making skills with his unique ideas and designs into his works, presenting by extraordinary delicate exquisite details. You may notice that, I said “works” or “accessory”, not “products.” Goro’s is unique and Takahashi seems to become a celebrity, on the other hand, Takahashi does not need to pay or hire any celebrities, such as famous singers, artists, designers, music producers, actors/ actresses, to endorse for Goro’s. There are many famous celebrities, such as Fujiwara Hiroshi, Kimura Takuya, love and wear Goro’s, and they become the best advertisement of Goro’s. That is the real fascination of Goro’s. “It’s not only about silver, it’s art.” Their most symbolic works should be the feathers and yellow eagles. When you check closely, you may find the each hair or fibril of the feathers, looks like swinging in the wind. That shows us how exquisite it could be, not overlook and details, they are fine and delicate.



By the way, there is one specific thing only happened in Japan, that is, you could go to any selected stores and pawn shops in Tokyo, and exchange your own Goro’s works to Cash. The Goro’s works still enhance in value as a mechanical watches, some people regard Goro’s as investments or collections.



Tuesday, December 8, 2009

Visvim 2009 Fall/Winter All Black Serra Veggie F.I.L Exclusive


While the simple black Serra boot proved to be a success from the capsule collection ‘The Black Sense Market’ between visvim and SENSE Magazine. This week we see a fully blacked out version of the Serra boot being released from its 2009 Fall/Winter Collection. This time, with a few minor changes on the upper and in veggie tanned leather. Available now only at F.I.L locations.

Sunday, November 29, 2009

Visvim Logan Lo X Original Fake


Kaws’ Original Fake brand has released its latest collaboration with Visvim. Familar sketches are used to customise this staple summer shoe from Visvim.

Tuesday, November 17, 2009

WTAPS TET Sunglasses


The frames to come from WTAPS in recent season have really defined Tetsu Nishiyama a.k.a. TET approach to the label. These sunglasses simply named after the designer/founder of the label are simple and well crafted with a classic solid black, slight wrap round design and detailing that epitomizes WTAPS.

Sunday, November 8, 2009

WTAPS “Looks Gentleman but Rude” Warp Magazine Editorial


WTAPS show off some of its new looks via a fashion editorial in the latest issue of Warp Magazine (December 2009). The toned down images follow a timeless aesthetic with classic WTAPS looks, featuring new knits, sweaters, headwear, and leather outerwear. The styling was done by WTAPS with an appearance by Brayden Jessen and photography from Shiro Katagiri.



Friday, October 30, 2009

Blackflag x Wolf’s Head Accessories Collection


Having already seen a collaboration piece in WTAPS’ LAMF Collection, Tet hooks up with Wolf’s Head once again on a new set of jewelry for the WTAPS/NEIGHBORHOOD retail store, Blackflag. Features are two pieces, including a belt and ring, all sporting a luxurious aesthetic with encrusted Rubies, Sapphires, and Emeralds.

Thursday, October 15, 2009

Visvim for SENSE 9th Anniversary “The Black Sense Market” Collection


Celebrating SENSE Magazine’s 9th Anniversary, visvim work up a new set of collaborations for what will be the “The Black Sense Market” Collection. Included in the lineup is a pair of Serra Boots, cut-and-sew t-shirt, and ballistic backpack, all done in a tonal black motif.

Tuesday, October 13, 2009

Visvim Serra Denali


On the horizon from visvim is the brand’s re-design of the traditional hiking boot, the Serra Denali. The boot features a white midsole with a combination leather and mesh upper and a close-set lacing system. Three colors include black/purple, burgundy/red and brown/yellow. Look for the Serra Denali to release at select visvim dealers on October 14th, 2009.

RATS 2009 Fall/Winter Collection Lookbook


RATS feature a typically dark and rough approach to there designs with items like Cardigans, A-2 Deck Hand Jackets, Family Vests, Corduroy Jackets accompanied by grungy flannel shirts make for much of the aesthetic. In addition the accessories and jewelry complete the collection with the Rat ashtray a hugely impressive piece.







Thursday, September 17, 2009

honeyee Feature: Blackflag Style-Focus 2009 Fall/Winter



honeyee in conjunction with WTAPS and Bape URSUS’s Tetsuya Nishiyama present a series of outfits revolving around Nishiyama’s multi-brand retailer, Blackflag. The looks take inspirations from various styles and incorporate some familiar brands including visvim, WTAPS, Wacko Maria, Rats and Rock Steady.







Tuesday, August 25, 2009

UNDERCOVER BEAR KAWS COMPANION


Jun Takahashi of UNDERCOVER puts us on this latest collaboration toy featuring both the work of UNDERCOVER and KAWS. Culminiating in the UNDERCOVER BEAR KAWS COMPANION, you can expect this piece of design to have a far-reach hitting various demographics as it comes in both tonal black and off-white versons

Monday, August 24, 2009

WTAPS Fall/Winter 2009 Dazed and Confused Colle


WTAPS’ 2009-2nd DAZED AND CONFUSED collection sees its unveiling here. The brand brings a vintage aesthetic to the table with the mood conveyed via some retro-styled photography. A series of highlights for the collection include a collaboration jacket with Supreme, an N3-B jacket, a new Jungle shirt and Cowichan sweater.



Wednesday, August 19, 2009

adidas Originals by Originals kzk × Neighborhood | Talk Session


Here is another great preview to the collection Kazuki Kuraishi and Shinsuke Takizawa have compiled for adidas Originals by Originals. The two discuss the direction and what went into the collection to create such hysteria around the collection. Felicity, is the source of the article and a well compiled piece makes for some great reading.

Tuesday, August 18, 2009

Kaws Interview | Complex Magazine



Brian Donnelly has grown from street art prodigy to commercial success and art-gallery darling. We pause for the Kaws to talk about his latest projects and where he’s going next.

By Bradley Carbone; Photography by Kai Regan

Of all the artists in the Complex universe, none wields more influence than 34-year-old Brian Donnelly, a.k.a. KAWS. Starting with his street graffiti work in the ’90s, and evolving to clothing collaborations and toys, the Jersey-raised Brooklyn rep has managed to walk the line between art and commercialism and still be respected. Over the past year he’s created the cover for Kanye’s 808s & Heartbreak, debuted exhibitions at major NYC and L.A. galleries, and seen his clothing line, Original Fake, kill it globally. In short, the man is Style and Design. Check out the extended online cut of the magazine interview...

You've been ding more exhibitions recently; what motivated that move?

KAWS: As far as exhibiting work, that’s newer, but I’ve been painting nonstop since the ‘90s. I started doing commissions early on for Nigo [of A Bathing Ape], and later, for Pharrell. That made it easy, because I like to sell the work to people who know what I’m doing and to people who I respect.

So you were essentially able to skip the whole exhibition step in the art hustle and work directly with collectors from the start.

KAWS: Well, I learned to be guarded with where I exhibited my stuff. I grew up under Futura and Dondi White; CRASH was one of my best friends. They were all glamorized during the ’80s in the art scene, and then it dropped them. [The art] is kind of like a kid, or like letting someone watch your pet: You want to be careful with where it winds up.

What about Clipse? You did their new album art.

KAWS: I met Clipse through Pharrell. I’m a huge fan of theirs to start, so when they wanted to work together it was like immediately, “Yes.” I didn’t really need to know the details.
It’s funny how the blogs were labeling the single, “Clipse x Kanye x KAWS.”

KAWS: For the first Clipse song that leaked ["Kind of Like a Big Deal"], I just adjusted their logo as a fun, quick thing before I got the album art done. I had no idea how much that was going to get out there. That was kind of nuts.

Do you design all of Original Fake?

KAWS: I don’t design the shapes of the clothes, but I do all of the graphics and I design and direct the line aesthetics.

Was that a new step, moving into clothing?

KAWS: Actually, no. I’ve worked with BAPE, Undercover, Supreme—all brands that gave me insight into those worlds—since I was like 16. Designing Original Fake was the next step, and it allows me to do projects that don’t have anything specific to do with one thing. If you work with another company you kind of have to fit the product within their image.

How did you wind up in Japan initially?

KAWS: I first went there in 1997 to do some street work and billboards, and there was no graf on the street. But when I went back the next time, MQ had killed it with fill-ins, and then Barry [McGee] and other guys got over there. [Bringing graffiti to Tokyo] isn’t something I’m necessarily proud of, but it’s kind of funny. Now there is stuff in the streets like any other city. I don’t think there are any more untouched cities, or will ever be anything like that again.

Do you do street work anymore?

KAWS: A couple years ago, me and REAS were in Tokyo and did some bombing, just ’cause we were bored. The process is fun, but I’m not interested anymore. I have new challenges.


poses with his most famous creation in his Brooklyn studio.

Has the “fuck it” graffiti mentality faded?

KAWS: I think I still have the same “fuck it” mentality; the reality is that now I’m a business. My interests are other risks, like trying to put together a new studio building. To me, that’s a risk; I don’t have a safety net. If I mess up, then that’s hard.

Where’s the new studio?

KAWS: I’m working on a studio space in Brooklyn with Masamichi Katayama [of Japanese architecture firm Wonderwall]. More on that to come.

What influences the new work?

KAWS: I don’t really know where the new stuff is coming from. It’s super-colorful and friendly looking, but for me it’s really dark. When I paint identifiable pop stuff like the SpongeBob series, I’m not seeing SpongeBob at all, and it’s weird to have someone connect it to the TV show because I forget that that’s how the viewer relates. Now I’m abstracting it and making it more about color and shape. As far as artists influencing my work, when I get into another artist, I try to work with them—like Hajime Sorayama, who we did the figure with.

How did you put the piece together?

KAWS: I’ve become friends with him through traveling to Japan. I wanted to take the figure work to another level, to do something totally outside of what I did. So, in 2006, I asked him to paint a version of the Companion, which I then worked on turning into the figure. I didn’t want to compromise the project at all, so I let it take as long as it needed to, and let it get as expensive as it needed to.

Do you collect his work?

KAWS: I’ve been collecting Sorayama’s paintings for a few years, and I'll buy one or two every time I go over there. He’s 60 and was the Playboy illustrator in the ’70s and ’80s, and probably the best living illustrator in Japan—not exaggerating. He designed the Aibo robot dog for Sony.

Sorayama plays the line between art and commercial work kind of like you do, right?

KAWS: Well, it’s only recently that there even really is an art market in Japan, so his craft was about finding a way to do what he wanted to within a commercial world. But instead of doing product like I do, he painted and made money through illustration work. I think it’s awesome that he figured out a way to chill and make the paintings he wants.
That’s not so bad.

KAWS: I mean, really, that’s my goal. To know that I can just make paintings and be all set.