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Meet Tomi Kono, Whose Wild Wigs Have Graced The Heads Of Gigi Hadid And More Collaborations with Comme des Garçons and Proenza Schouler have left us in awe Text by Kristian Bateman Stepping into Tomi Kono's Tokyo exhibition earlier this spring was akin to entering another world.
Inside a sunlit room constructed almost entirely out of windows at the gallery space called Place by Method in Shibuyahis creations hung from clear strings attached to the ceiling.
A platinum blond-and-black wig Gigi Hadid wore; Grace Coddington-inspired, fiery red, fluffy curls; quirky braids with beads; and colorful mohawks the latter two posed as tributes to Japanese icons in entertainment from the '80s were all there.
And perhaps the most innovative part of the show was the fact that anyone who walked in could try on every single one of the styles and snap a selfie to reveal a total transformation.
As a Japanese wig designer and hairstylist, Tomi Kono has virtually created a brand-new category in the editorial world.
Kono crafts lifelike wigs and headpieces in dramatic colors and shapes for runways for brands like Proenza Schouler and Comme des Garcons.
Some of his pieces are so unique, such as the aforementioned Gigi Hadid piece, that people reach out and contact Kono to buy them, when, in fact, they aren't even for sale.
And the Tokyo exhibition, dubbed Personas, was one of several PC無料でプレイするためのドラゴンボールゲーム he has presented around the world.
He's also had shows in Paris and New York and also published a book on his process of making headpieces, going into deep detail on the many interesting head props he has crafted for the Japanese designer Junya Watanabe, who is a part of the Comme des Garcons family.
That's not all: He's worked with Vogue Italia, Vogue Japan, Vogue China, Vogue Germany, Vogue Korea, T Magazine, Interview, W Magazine, V Magazine, Mert and Marcus, Patrick Demarchelier, Ben Hasset, Derek Lam, Jil Sander, Roberto Cavalli, and many more.
I like the fantasy and creativity in the process.
That's why I started making head props as an extended element on heads, and then I started making wigs.
He knots, colors, weaves, and individually strands each one.
Some of his most well-known work, however, was for Watanabe.
Known for avant-garde geometrical shapes that project out of jackets and dresses, as well as a penchant for the color black and punk style, Watanabe often includes headpieces in his shows.
I'm not given any information," says Kono of the process.
It was a complete guess, and I had to come up with many ideas and proposals.
As for his creative process when it comes to his wigs, which range from almost every color, style and texture imaginable, he says it's something he works on nearly every single day.
Styling is the very last thing to do, as it doesn't last long.
One of the other unconventional projects Kono has taken on recently is making wigs for a portrait series for the photographer Jeff Bark, who had an exhibition called "Paradise Garage" last month at Palazzo Delle Esposizioni in Rome.
The project explores surreal, baroque scenes in Bark's own garage, and the wigs that Kono created are fitting.
Kono falls into a unique role as he pushes the boundaries of the role of a hairstylist and wig maker, constantly working on atypical projects.
For example, he also collaborated with a Tokyo antique shop Tatami Antiques to stage an exhibition of antique-inspired wigs.
He also just launched T-shirts at Vacancy Projects Salon and has an upcoming September 4 to 6 group exhibition with other emerging designers and artists, titled "I just αm," at Rooms Tokyo, presented by H.
His pieces are undoubtedly works of art, and rather than just use them in an editorial photoshoot and then store them in his personal archive, he's able to bring them to the masses so people can experience them.
Kono's exhibitions come with a not-so-precious approach which is also unusual for almost any other form of art: "To actually feel and see how realistic the wigs are, I think people need to touch and wear it," he says.
Interview by John William Wig wizard Tomi Kono has been letting the public loose on his hairy creations.
I see them getting very excited and obsessed with their instant hairstyle change.
Photography SAYAKA MARUYAMA Hair TOMI KONO Interview JOHN WILLIAM View Images image description image description Beauty Papers: What was the last beautiful thing you saw?
Tomi Kono: Cherry blossom in Japan early April.
It was beautiful and special indeed.
BP: What was the idea or the inspiration behind these images?
TK: To see the transformations of Tokyo kids wearing my hand-made wigs.
It was an experiment to see how wigs can change your personality… without cutting or colouring your own hair.
When I make a book or put together an exhibition, it comes from inside.
What do I really want to do?
For my last exhibition, where we created these images, my hair inspiration was musicians and pop stars from the 1980s.
Back then they had such iconic hair styles and so I reinterpreted them with modern wigs and colours.
Both garments and wigs seemed to hide indeed a sort of duplicity: the clothes looked at times unfinished or mixing two patterns and prints together in the same designs.
Tomihiro Kono actually devised the idea of wig-cum-mask a few months before this show, while experimenting on his avant-garde wigs, and the headpieces ended up accessorising the garments in a striking https://deposit-jackpot-spin.site/2/2030.html />The main narrative behind the show - - told the story of a woman on a journey.
The latter could have been interpreted in many different ways: it could have been a journey through space, so from one place to another, or through the here space - a carpenter's workshop - with models walking along the machines.
But it was also a journey through time, since the designs included historical references and Victorian moods see the black gowns that wouldn't look out of place in a Gothic fantasy series à la "Penny Dreadful" and details such as the shoulder construction or the feather elements on jackets and skirts, combined with more modern, almost punk, touches.
The journey through time theme was also evoked by the treatments imposed 大きな魚のゲーム隠されたオブジェクト2019 the fabrics that at times seemed to have been bleached or reduced to pale ghosts of their previous selves.
Last but not least, this was a personal journey through a multiple personality in constant evolution: we all change, the designers seemed to say, and that's why the models often donned clothes with unfinished hems that unravelled behind them, or represented a wide range of characters, from younger punks and rebels, to romantic yet strong girls check out the white dresses with feathery hems matched with boxing style boots kept together by safety pins.
The design duo employs for these designs the same patterns of their ready-to-wear collections, but the link are different and more luxurious when it comes to Haute Couture: gold paint decorated for example a white shirtdress and refined textiles by Venetian for that touch were used for a sleeveless gown Aganovich already used Rubelli's fabrics in their previous Haute Couture collection.
Photography: Attila Tomihiro Kono's veiled masks hid, revealed and constricted the models' heads adding a mysterious edge to the collection.
The main theme of the collection was a woman's journey: did this inspiration reflect also in your headpieces?
Tomihiro Kono: Not really.
I proposed my idea of using partial hair attached on masks 6 months ago to a designer.
The theme of my pieces was Anglomania - so I combined punk, the looks of British fanatics and maniacs, mohawks, suede cuts, hairstyles inspired by the curly wigs of High Court Judges and 18th century styles.
The idea was mixing royalty with eccentricity.
That's why I also bleached hair partially to get some worn-out effect that matched the textures of clothes and I dyed the wigs unevenly mixing different colours.
Photography: Attila Compared to the previous in this one your wigs seem to have expanded into the clothes: in some looks they were used as ties or they seemed to be integrated into the clothes.
Do you feel this is a new development and direction for your wigs?
Do you see them becoming part of the actual outfit, rather than just something used to accessorise it?
Tomihiro Kono: Soon after I started wig-making I realised that wigs can be attached anywhere - so they don't need to just stay on the head, but they can be reinterpreted as expansions.
In this case it was a positive collaboration between clothes and hairstyles.
For a unique show like this one a wig can become an integral part of the clothes to create a strong character that may reflect the designer's vision.
It may become also something interesting to see for the audience, something that adds a little bit of fantasy.
Besides, historically speaking, hair was used as a part of costumes, so it can also be employed in a ritual way like an amulet, an accessory.
Last but not least, think about the hair used as part of a warrior's clothes.
Which was the most difficult piece you read more for this collection in terms of technique or materials?
Tomihiro Kono: These two pieces.
Colouring the hair was a very difficult process as I used bleaches.
I didn't want to damage the piece but I needed the effect.
The concept being the exhibition is Japan, Spring and Hanami cherry-blossom viewing.
I will be exhibiting some wigs and head props especially made for this exhibition.
It is therefore not uncommon for many designers to give up their more avant-garde ideas in favour of less original, but definitely more saleable creations.
Nana Aganovich and Brooke Taylor may instead just have found a way to avoid finding difficult balances between commercial and original forces and compromising their creativity: this July they were indeed invited by the French Chambre Syndicale de la Haute Couture to show on the high fashion schedule.
The design duo limited the number of designs on the runway a space outside their 11th Arrondissement atelier to 12 looks, and borrowed many inspirations from their ready-to-wear pieces, recreating some of them with couture fabrics and luxury textiles.
Many designs bore therefore the duo's trademark passion for pieces inspired by history in which they injected Victorian moods à la Dickens or Gothic details of the kind that Miss Peregrine in Ransom Riggs' books about the extraordinary Peculiar Children would favour.
Black prevailed at the very beginning of the show with ample sculptural skirts and pants matched with ruffled white organza shirts, black brocade skinny suits paired with shirts decorated with multiple layers of organza around the neck, a black leather jacket that looked as if it were made of plastic, and black deconstructed mourning dresses.
A Marie Antoinette palette was introduced thanks to brocades by Venetian it is worth remembering thatemployed for frock coats characterised by pleated motifs on the front and matched with light powdery pink or cream skirts.
Even though these designs clearly showed a historical derivation, none of them looked like costumes: the emphasis was indeed on creating a refined artisanal offer for Aganovich's private clients interested in https://deposit-jackpot-spin.site/2/2462.html bespoke pieces.
That is also the main reason why the designers turned to milliner Stephen Jones who created two headpieces for this runway, and to Japanese hair artist, head prop designer and wig maker who worked on the colourful wigs that gave a contemporary punk twist to the designs.
Fresh from an exhibition of at, Kono opted for rebellious looks that broke with the romantic brocades in pale blue and peach, and called to mind the flamboyant hairstyles in Miloš Forman's Amadeus.
You can bet this experience will be chronicled and recounted in detail by the hairstylist and wig maker in a new book, maybe a follow-up tobut, for the time being, you can learn more about it from this brief interview with Kono.
What does Haute Couture represent for you?
This Aganovich show only featured 12 looks, and that made it very special since you didn't get that classic army-style runway in which every model looked the same, but each model became a character with her own fantastic aesthetic.
I have always loved one-off, bespoke pieces as opposed to mass production.
I s this the first time you took part in a Haute Couture show?
Tomihiro Kono: Yes, it was and for me it was as if one of my dreams had become true.
How did the collaboration with Aganovich happen?
They really loved the bandage hairstyles I did and, in between a glass of wine or two, we shared our creative visions.
I started making wigs from scratch two years ago using a time-consuming handmade process that consists in making a foundation, knotting hair strands into it and colouring, cutting and styling the wigs into any shape.
It takes a lot of patience to go through this process, but it's really worth doing it since it can be considered as real couture.
I have presented some of my most recent designs during my compact exhibition at.
Brooke and Nana absolutely loved my wigs and my idea of "hair-couture", so this collaboration started from there.
D id the designers give you a theme or a story you could develop while working on your wigs?
Tomihiro Kono: They didn't give me any specific theme, but we share some common aesthetics, so it was a natural process in which we tried to match clothes, wigs and models as we did the fittings.
T here was a historical component in the clothes with some designs evoking a sort of Marie Antoinette style - did those design inspire the pastel shades of some of your wigs?
Tomihiro Kono: The Aganovich duo has a specific taste in their clothes that evokes historical elements.
I personally like that, but I wanted to break up with classical elements and I opted to use pastel coloured wigs to make the garments look fresh and young.
I also wanted to avoid coming up with a very traditional image, so I aimed at making more contemporary pieces with new, energetic vibes.
Tomihiro Kono: Europe is more or less my home, everytime I visit I get inspired by the European aesthetics.
What inspires me the most is that people in Paris really appericiate what I do, they do have a lot of respect for the artisanal spirit and I like this attitude.
During at people were willing to try my wigs on and stopped to ask me how I made them and so on and that felt really encouraging.
Maybe I should move back to Europe at some point!
He continued to exhibit his head props and began using these in his editorials, making bespoke pieces.
Tomi is now based in New York and is represented by Julian Watson agency.
Each wig is beautiful as an object.
Tomihiro hand-stitches each of these wigs, strand by strand into a lace net, for over 50 hours a piece.
It can be quite meditating for me.
He uses knotting hook and fine nylon thread to sew the lace together.
The hairs are individually knotted to the lace foundation in various directions that follows natural hair growth.
He respects traditional wig making.
As a partecipative art exhibition, people were invited to come in for trying on some wigs, while Tomihiro was working on making wigs in the gallery space.
The documentation of people visiting and trying on wigs will later be included in the second book about wigs by Tomihiro Kono published by konomad editions.
Home to a huge number of hair suppliers, wig makers, and beauty stores, the area is also where chose to set up shop.
Taking over an old barber shop — the traces of which can be seen in the marks on the wall where mirrors and display cases have been removed — The Community was founded by an art collective of the same name, and has played host to a series of exhibitions, events, and fashion parties.
Last weekend saw the space taken over by renowned wigmakerwho created an installation showcasing his handcrafted hair pieces.
Kono was taught the art of Geisha hairstyling by a Japanese master and has collaborated with the likes of and throughout his two-decade-long career, making each wig from scratch — he painstakingly hand-stitches each and every strand of hair onto fine lace net.
I like the dark and romantic mood of the images.
He continued to exhibit his head props and began using these in his editorials, making bespoke pieces.
Tomi is now based in New York and is represented by Julian Watson agency.
His impressive portfolio consists of numerous shoots for worldwide Vogues, Luomo Vogue, Luncheon, document journal, Interview, W Magazine and V Magazine.
We recently caught up with Tomi to discuss everything from the opening of his first ever wig exhibition in Paris, to his latest project with legendary photographer Albert Watson.
What made you decide to start your career in hairdressing?
I was going to be a trimmer for dogs because I loved animals.
When I proposed that to my parents, they suggested that I become a hair stylist for people instead.
Their advice was basically that dogs never say thank you but people do.
Once you can cut hair well for people, you can also do animal hair!
So I followed their advice : Q.
What made you decide to leave salon work in Japan and move to London?
I had worked in a hair salon in Japan for 10 years before I moved to London in 2007.
I had a lot of cultural influences from London in terms of fashion and music so I had always wanted to visit.
In the beginning, I was only going to stay in London for a year but I ended up staying there until 2012.
I met many creative friends, it was really exciting to work there and at the same time it was very comfortable for me.
Tell us about that, was it difficult coming from Japan to London?
At the beginning of my career, I had a stall showcasing my head props in Spitalfields Market on Thursdays next to an antique dealers.
I was lucky enough that Dazed and Confuzed came over to interview me about my head props.
This is how I started my career as a sesson hair stylist in 2008, just a year after I had moved to London.
My english was totally poor.
What advice would you give to young hairdressers who are thinking of leaving their home country to pursue their dreams?
However, what I like about leaving my home country is that being in a totally different culture inspires me a lot in different ways.
However, it is also important to have your own time, maybe a quiet period in your life.
When you create some work, or you want to improve your skills, you need more time for yourself, without people distracting you so much.
For me, coming to Europe is very exciting always.
When and why did you decide to focus on making head pieces?
It was a big moment for head pieces and masks when I moved to London around 2007.
Many stylists asked me to make something special for magazines.
It was very organic the way I started.
In 2013 you moved to New York, why did you decided to move again?
I decided to move to New York without knowing much about the city and it was a big challenge for me.
What made you decide to please click for source a book and share your ideas?
People only have a chance to see the images from the show but not the process, behind the stages.
By making this book, I wanted to share my ideas and the process, which will also be something interesting for me to look back in the future.
Where can we buy your book?
I guess you can buy my book at Donlon books otherwise you can order at konomad, they will ship worldwide.
Working with Albert Watson for a personal project 大きな魚のゲーム隠されたオブジェクト2019 NY.
It was my dream to work with him.
Being such an important project for you, can you tell us more about it?
I met with Albert at an editorial shoot for Vogue Japan.
After that, he asked me to collaborate with him for his personal project.
I like the dark and romantic mood.
It was pleasure to complete the series with him.
We might still keep on shooting.
He アンドロイドの携帯電話の寺院ラン用の無料ダウンロードゲーム be exhibiting these images in the galleries in Canada, and possibly in Europe.
What really inspires you?
Nature, art, the world, artists ateliers Q.
We are excited about your new focus, wig making.
Tell us about the movement from head pieces to wigs?
What is it that you enjoy about wig making?
Historical wigs are very inspiring and I wanted to know their structures and how they're made.
Wigs have been around for hundreds of years and we still make wigs by hand, with almost the same techniques.
I appreciate the artisan mind, people who take so much time making one elaborate piece of wig.
Wig making requires technique and patience.
Do you have a favourite wig and why?
I would say coloured short cut wigs.
Your wig installation is soon to open in Paris.
Tell us why you 新しい無料カジノゲーム to showcase your wigs and what we can expect at the exhibition?
Now my dream has come true.
Finally I can do my exhibition with them.
I heard that the building of 'the Community' used to be a hair salon in the past, so I thought it would be the perfect place to exhibit my handmade wigs.
My handmade wigs will be be hung from the ceiling to look as if they are floating in the air.
I wanted to make them look more like art pieces, objects floating in the air.
Also because I knot each strand of hair into the ゲームブラックベリーカーブ8520 lace, I want people to be able to see inside the wig as well as the outside.
I'm fascinated by the beauty of wigs from the inside.
If we wanted arrange a book signing how would we do that?
To be secure, please come to the opening on the 22nd, 19h00- 21h00.
I might pop out sometime Q.
And finally what is your favourite tool?
My favourite tool is my hand ; Interview by Beginning his career as a classically trained hairstylist in Harajuku, Japan, has become a true source of artistry and innovation in the high fashion hairstyling community.
After establishing a distinguished international career as a session hairstylist, Kono expanded his artistry to includean addition that has truly demonstrated the caliber of mastery this artist is operating at.
Kono curated an experience that is simultaneously both individual and ubiquitous, micro and macro.
So naturally, considering our penchant for paradox, we had some questions for the dude.
What is the significance of the location of your first exhibition?
I know that while you were making wigs at the Community for this exhibition, you welcomed people to come in and try them on.
What was your reasoning behind this?
The Community used to be a barber shop, and its location is the Mecca of hair and beauty salons.
Most hairdressers come to buy supplies in this area during fashion week.
I wanted people to come in and try on wigs because I wanted the exhibition to be more interactive.
I also wanted to document the experiences of people trying on the wigs, which may be included in my second book about wigs in collaboration with Konomad edition.
Although they were initially very shy, kids were especially excited to try on my pieces.
I like how this exhibition turned out to be kind of like an amusement park for people.
I think that wigs have a universality that transcends age.
Each wig you prepared for this exhibition is an art piece, and you are the artist.
Are there any other artistic projects that you have been involved with or are currently working on?
I started my career as a hairdresser working at a hair salon in Harajuku.
But I always wanted to express myself as an artist, so I started moving images, and making characters and photographs as a unit artist.
Our basis has always been one sourced from an artistic background, so it feels organic for me to showcase my work at a gallery.
Credits: HAIR TOMIHIRO KONO JULIAN WATSONMAKEUP MARIKO ARAI THE WALL GROUPPHOTOGRAPHY ASSISTANT JAMES GINGOLD, STYLIST ASSISTANT AMIRAH JONES, HAIR ASSISTANT JINN, MAKEUP ASSISTANT MINAKO KIUCHI, RETOUCHING BY VENICE POST LOS ANGELES, LIGHTING + GRIP BY MOZ Apologise, 無料のPCゲーム12月2019 topic NEW YORK, WWW.
COM, LOCATION BATHOUSE STUDIOS NEW YORK, SPECIAL THANKS TO VENICE POST, BATHOUSE STUDIOS, GENESIS MANNEQUINS, AND ROOTSTEIN MANNEQUINS.
Each frame contains the same serene-looking mannequin topped with gold metallic paper, but from there, the fun begins.
You can imagine Tilda Swinton wearing one, or the Egyptian queen Nefertiti, from the 14th century BCE.
In permutations of pliable cork loops encircling the head from above, behind, on either side.
In punk pixies made from snippets of hair extensions pasted every which way.
Raised in southern Japan, Kono traces the seeds of his genre-blurring career to an early job alongside a master of classical Japanese hairdressing, where the young apprentice learned the fundamentals of geisha hair, an exercise in precision involving specialized combs called tsuge-gushi and unlikely materials wax glue, paper ribbons.
But his mentor also instilled a sense of self-determination.
For now, though, Kono is happy rooting back into nature.
It can be energetic, mysterious, creepy, and happy.
Not mentioning his creations frequently appearing in many an issue of our very own fashion bible.
His work draws influence from the early 20th century Dada movement, as well as assemblage expressionism think: Robert Rauschenbergcreating headpieces that are entirely unique.
And now, Kono is releasing a brand new book all about his incredible career, from his time as a classically trained hair-dresser in a tiny village in Japan, through to archived collections of his world renowned head prop designs.
For the real jet-setters amongst you, Kono also has his own exhibition opening at the Place by Method gallery in Tokyo, from the 2nd to the 26th August.
His longstanding collaborative partnership with designer Junya Watanabe Kono has created pieces for the shows since 2014 has made him a recognisable force within the fashion world.
Kono moved to London in 2007, where he swapped salon-based hairstyling for session work.
Every collaboration I did in London was so vibrant.
Here, his approach to designing head props has become increasingly mathematical and methodological.
Stylistically, his pieces have become very graphic and distinctive, with Kono incorporating a diverse array of materials into his projects, including vinyl, rope, iron sand, rubber tubing and visual motion effects.
Released this monththe book demonstrates how he transforms his ideas into malleable 3D objects.
It also represents another notable career shift for Kono as he sets up the Brooklyn based independent publisher Konomad, whilst simultaneously branching out into wig making.
INFRINGE spoke to him about the concept behind his new book.
What inspired your move from hairdressing towards head prop artistry?
I actually still consider hair styling as the main part of my job despite having made many head props.
When I moved to London in 2007 it felt really natural to start creating head props — I felt creative and saw this as a way to build my career in my own, original way.
Eventually people started to ask me to make exclusive pieces for shoots and to be part of exciting collaborations with artists and performers.
Does your background in hairdressing influence your approach to creating head props?
The techniques used are almost inseparable.
They are always related to each other.
Which materials do you most enjoy working with?
Having experimented with lots of different materials I find hair the most interesting one to work with.
Hair is a responsive material, easily affected by weather, humidity and change of environment, which makes it both profound and challenging.
When I am visit web page set, I try to constantly adjust the hair as the photographer shoots as even minor changes in hairstyling can transform a photograph.
Your new book Head Prop: Studies 2013—2016 is comprised of diagrams, sketches and photos.
Why did you decide to present the book in this way?
I wanted my book to inspire as many people as possible, which is why I adopted both a graphic and educational approach inspired by Typology.
There was something very satisfactory about organising the images into a grid-like system as it gave the book an unemotional quality where the results are objectively recorded, like a catalogue.
What made you decide to compile this book, a retrospective from 2013-2016, now?
I started the book in April last year as a personal documentation of all my experiments and the trials and errors of my creations.
I had spent so much time and effort on the pieces that I wanted to keep a record for myself and the rest of the world.
I hope that upcoming creators or next generations will have a chance to dig out my book someday, just like I have done with old haircutting and styling process books.
What is your most unlikely source of inspiration?
Daily life is my inspiration.
Head Prop: Studies 2013-2016 by Tomihiro Kono After having illustrated his one-of-a-kind aesthetic, punctuated with Japanese influences and surrealist graphics at the Junya Watanabe shows, Tomihiro Kono shows the creative process behind some of his most beautiful hair effects in a new book.
Head Prop: Studies 2013-2016 explores three main points: the shape, materials like string, rubber and glass and the surprising end hair result, which is think, ソフトウェアのダウンロードゲーム無料 think a 3D structure.
Using these references tells a story in the photography.
I especially like what he was producing between 1970-1980, when he was creatively directing the experimental commercial work for Shiseido.
I hope to be like him and make creative work, constantly.
But the work is going to disappear in the constant updates of all kinds of random information.
Making and publishing a book by myself is like having a personal space to put together my archives.
I am totally in charge.
I find the working process hidden behind this just as interesting as the final result.
TOMIHIRO KONO THE MASTER OF HAIR Tomihiro Kono started as a hairstylist in a small village in Japan, but now he is designing hairpieces in a city where most people can only dream about, New York.
He worked together with several designers to create the most extravagant hairpieces for their shows and now he launched his book called Head Prop where he explains his design process.
We had the opportunity to talk with this master of hair about his work.
Can you tell us a little bit about yourself?
I grew up in the country of Ehime, in the south of Japan.
My village was surrounded by nature, just by the sea and behind my house was orange farm mountain.
I had many girlfriends around me that I used to play with.
I would catch insects or make a secret base.
I used to play in nature a lot and that was my main playground.
Where does your love for hair come from?
How did you career in hair begin?
So it was a joy for me to go to a hair salon to get my hair done nicely.
It was like when you start being interested in fashion as a teenager.
I wanted to be like the hairdresser guy who used to cut my hair.
I thought it would be cool to be like him.
You were born in Japan and then moved in 2007 to London — at the moment you are living in New York.
It seems like you have seen it all.
Which city feels like home for you?
Yes, I have seen a lot by now.
So far London is my home because I have many friends there, but I would love to live in Paris too.
I like traveling and moving to different places.
It inspires me a lot.
Did for instance your style changed while you were living in London or New York?
It really affects my style.
I would say I am very adjustable to the places.
I feel people are different, how they work in the fashion industry is different so I try to think how I should deal with my situation next and I enjoy changing my style by adjusting to the places.
You created hair pieces for the collections of designer Junya Watanabe; can you tell us more about your collaboration?
Our collaboration started off with my proposals.
I was given total freedom of expression to create my own designs.
It was a good training for me to search for ideas to create new forms and find out a clear concept in design.
Can you tell us something about the new projects you are working on?
I am always seeking to learn new things and keeping my work and myself in progress.
For me it is one of meditations knotting hair into lace cap one by one.
It is special for me to have my personal time concentrating on that.
I am planning a special project with my partner Sayaka Maruyama which will showcase my handmade wigs.
For now we are focused on our own personal work and publish it as a book.
Head Prop is going to be the Konomad edition No.
In an exclusive first look at his upcoming book, the master of hair and head props reveals how he carved out his own unique path in fashion.
And he should know, having carved out a career within the fashion industry quite unlike any other.
Curiosity lies at the heart of everything Kono does: as a young boy growing up in a small mountain village in southern Ehime, he spent his days exploring and cultivating an enduring love of natural forms.
As a teenager, he discovered music and fashion, burying himself in British magazines and, after finishing school he moved to Tokyo, securing a job in a traditional Japanese hair salon.
At first, he felt unconfident in his ability to master such intricate skills, he explains, but this all changed when he met his hairdressing teacher.
I was very impressed.
After that, I realised I could teach myself anything, and even create my own equipment for hairstyling.
There he gained acclaim as a session stylist for publications like Dazed and i-D, using his brooding bespoke headpieces, crafted from found objects such as metal and feathers, to further enliven shoots.
Since then, Kono has established himself as the doyen of his trade, constantly pushing at the boundaries of hair and head styling.
The publication is divided into three sections, each fabulously illustrated with infographics, diagrams, sketches and photo grids.
The first focuses on forms, shedding light on the ways in which Kono uses 2D shapes, from curved lines to typography, to conjure elegant, wearable 3D artworks.
The second explores materials, showcasing creations made from rope, beer bottles, rubber tubes, you name it — there are even beards sculpted from iron sand.
Junya Watanabe SS15 Photography Susie Lau What are the key ingredients of a great head prop?
Tomihiro Kono: Inspiration, ideas and research.
The beauty of form.
Unconventional material choices and combinations.
I like to create pieces that are unrealistic and extraordinary, but the head prop can also look like a hairstyle, which I find interesting and clever.
What should a head prop make the wearer feel?
Tomihiro Kono: A head prop is a piece of wearable art.
So the wearer can be transformed into new character when they wear it.
You look at a lot of very varied references in your work.
Who or what would you say has most inspired your practice?
I was looking for more graphic elements.
Ideas can be found anywhere, though — an interesting idea once occurred to me in an art materials shop.
Tomihiro Kono: He first asked me to collaborate on a show when I was in Japan at the beginning of 2014.
I sent him my initial proposal around one and a half to two months prior to the show.
I think he works this way because looking at clothes in the beginning might narrow my ideas, in a way.
What is your favourite material to https://deposit-jackpot-spin.site/2/1956.html in and why?
What prompted you to first branch out into making head props?
Tomihiro Kono: I think it was natural for me to start making head props when I began working as a session hair stylist in.
Fashion was in a very creative mood and people were shooting really interesting images, which I was really excited about.
When hair stylists are working on editorials or shows — basically anything that will be photographed — our aim is to make a photograph look better, look phenomenal.
I think hair and head prop design plays a very important role in fashion photography.
Why did you decide to compile this book?
Tomihiro Kono: This book can be viewed as tool for sparking ideas and inspiration, not just for people working in fashion industry but for all creatives.
I think the way I work is different from other hairstylists, so I hope it will prove understand 豚ペンオンラインゲーム confirm for readers, not just now but in the future.
I believe good designs are timeless.
What would your advice be for young artists looking to follow in your footsteps?
I think you need both the sense and the techniques to be a real creative.
If you want to be a hairstylist and make head props too, like me, firstly you need to learn about basic hairstyling, then tap your imagination and make some props to realise your ideas.
Head Prop by Tomihiro Kono is available from April 1, 2017, distributed bywith a l aunch Friday April 7th from 6pm to 8pm, at OFFICE MAGAZINE newsstand atCanal Street Market 265, New York.
A cross-section of his CV reveals disparate possibilities: pierced leather in archetypal bondage style; Elizabethan era frivolity; the droll surrealism of René Magritte; and the follicular decisions of English new-wave band, A Flock of Seagulls.
For his final trick, Read article diluted the conceptual quality, dressing heads in permutations of a short inky asymmetrical wig.
Surely the more elaborate ones are not easy to hold up?!
They also click to see more to be light to stay on the head and thin so that they could be bound at both ends with metal screws.
The craft of head prop design is very different to the craft of, say, orange farming you guessed it!
He moved increasingly into synthetics, quickly accumulating a plump resumé of work that was bound up in a self-published book earlier this year: Head Prop 2013-2016.
It could have easily been just a glossy coffee table book — there are enough alluring images.
The swirling of old and new feels very true to the land Kono hails from.
I had to dance all day long to pray when I was six.
Years later, Kono, a master of experimental coiffure-making, has evolved from stylist to artist-at-large, creating an oeuvre of multidimensional head forms that display logic order in the most beautiful fashion.
Michael Beshara—What emotion best describes your work?
Tomihiro Kono—Surprise: I hope my work is surprising for people; ideally, I want to be surprised by what I have made, too.
Michael—How have you 大きな魚のゲーム隠されたオブジェクト2019 hair specifically as an artistic practice?
Tomihiro—I have worked as a hairstylist for over 20 years.
Hair is such a mysterious material to work with.
The fact that it is living—meaning it is part of nature—is something I cannot control enough.
Different types of hair and textures keep me sharp!
Its condition is easily affected by the weather.
I have also started making wigs, which keeps me busy—to make them from scratch is my next challenge.
I need to acquire new techniques such as sewing and knitting.
I've always consider myself a hairstylist rather than a head prop artist.
Michael—How has ascribing to mathematical orders given dimension to your artistry?
Tomihiro—Most of the designs I make are based on the mathematical process that is revealed inside the book.
The final product, as a result, can be closely related to that of graphic design.
Thinking back to my time as a hairdresser, we used mathematical sequences such as 3D haircut diagrams to understand how to divide and pull out panels in the creation of particular styles.
Hair design is counted as the latter.
To meet accidental design is the exciting part of it.
I first start with research, which leads to the initial design and selection of materials; then a redesign for resize and quality improvement before completion.
This way is practical.
When you work as a team, you have to make head props size-adjustable.
Michael—Tell me about your experience collaborating with Junya Watanabe?
https://deposit-jackpot-spin.site/2/3344.html felt so honored.
Tomihiro—Making a character for me 大きな魚のゲーム隠されたオブジェクト2019 making a concept, which I find the most exciting in the whole process.
I do a lot of research for inspirations, mostly found pictures.
Nowadays you can search for any sort of images online.
I also visit libraries; I tend to read books from genres that normally disinterest me.
For example, I was not so into Pop art, Minimal art, or graphic design-related books before 2014, but since then I have started to adopt their essences into my work.
Tomihiro—London was influential in so many ways.
I loved the antiques that I rarely encountered in Japan.
I used to make head props inspired by found materials in those days.
I once made feather pieces with real feathers of birds I picked up from park grounds.
Michael—Your work is almost gothic; religious in its control, conceptual, yet you create with a childlike freedom, making pieces with a lot of wit and humor at the same time.
How do you achieve that?
Tomihiro—The most essential thing is to be curious.
I like to have both childlike freedom of imagination and professionalism at the same time.
Michael—To what extent do you self-edit?
Is it important in your creative process and how this book reveals your way of artistry?
Tomihiro—For this book, I wanted to unveil my working process and works that have not yet been seen—the things that are not usually exposed to the public and my creative process of making them.
We discussed making this book look educative, design-related.
The format is so important to visualize our ideas and she did most of its design.
It was important for me to take the responsibility of my work and be in the position to oversee and direct how the archive was compiled.
I like going to secondhand bookshops in whatever cities I visit.
You can feel the textures and taste in books, which I love.
In what ways is it a reflection of your own work?
Tomihiro—You might ask why I exposed so much in the book: I thought it would be interesting for people not only in the fashion industry to see how a single hairstylist could venture into creation as an individual.
The book fully reflects my history, archive, and trial and errors.
Tomihiro—I came across this idea through the amazing graphic and product designer Sori Yanagi in Japan.
When I discovered his work, I realized that I wanted to share his thought: It is what I wanted to achieve with my head design practice.
That can take over a generation.
Tomihiro Kono Hair Stylist and Head Prop Designer Tomihiro Kono, a hair stylist and head props creator, currently based in New York City, is best know for his outstanding work with designers such as Jil Sander and Junya Watanabe.
His launch of his own book 'Head Prop' is a 'documentation of distinctive head prop work produced' by himself.
Not only does Tomihiro produce 'visually striking head designs' but 'designs that focus on functionality in the beauty of form'.
Kono has grown to become the master of a genre he created from himself.
But how did the idea of creating wigs and head props appear in the first place?
What was the starting point for you?
I started my career as a hairdresser in Osaka, where I studied basic hair skills.
Four years later I had gotten seriously obsessed with geometric haircut techniques and decided to master the method.
I ended up working in a few different hair salons in Tokyo and acquired the best haircut skills.
In 2017, when I branched into session styling, I moved to London.
The act of hair styling and designing head props are, according to me, closely related to each other.
They go hand in hand.
Was this all a part of your childhood dream or was it something you grew into as you got older?
When I was a young boy I wanted to become a veterinarian, which is quite different from what I do now.
So I would definitely say that, as I got older, it was something I grew into loving.
I have just always been focused on doing the best I can and working hard.
This is where it has taken me.
From a creative point of view, what was it like to grow up in Japan?
Did the Japanese culture become a strong source of inspiration to you or was it just an influential cultural background?
Personally, I always got more inspired by the Western cultures.
But when I moved to London I started to find more understanding of my own background.
I think that the Japanese culture used to be something I would just take for granted.
After moving to London, I created a Geisha inspired ウィルミントン島のカジノ series.
Many successful people have said that having access to a big city is always an important part of your career.
After living in both London and New York, two of the largest fashion capitals in the world, what do you think is the most significant difference between the designs you've produced in each city?
In what way did the city affect your work?
I believe that my first choice of city was the right one.
London has a great hair culture, especially the avant-garde style with its young creative- and punk influential spirit.
For me, working in London was a mix of crazy dark, romantic goth and experimental design, which was very satisfying from a creative aspect.
But I do think that New York is the best place to establish oneself.
Therefore, since I moved to Manhattan, my work has been quite clean and modern.
The line between most creative subjects and art is often very blurred.
Do you consider yourself to be an artist?
If so, did you always feel like one or was there a significant moment in your life when you realised that you wanted to become one?
If there is one hairstylist that could be called an artist, I might be that person.
But that is not how I see myself.
However if I could choose, I would much rather be the only one than the best one.
By being involved in the fashion industry, you are constantly surrounded by the idea of beauty and how it should be presented, but in 大きな魚のゲーム隠されたオブジェクト2019 and where do you personally find beauty in the world?
Personally I find beauty in the world of nature, music and old Japanese films - which I like the aesthetics in.
Working with craftsmanship and creating link design by hand must be very creativity challenging from time to time.
What is currently your biggest source of inspiration?
When you lose track, where do you go to find it?
At the moment, my source of inspiration comes from wigmakers around the world.
That is the subject I will build my new project around.
What motivates you to grow and do better?
I motivate myself to be original at all times.
A lot of people tend to seek comfort in hiding behind their hair, do you ever feel like your bold and fearless style comes as a shock to people?
Would you say that this is a part of the purpose for you?
My designs tell a story of what I do in life, if that tends to shock people, I take it positively.
I know what I have done in the past three to four years is completely different to what most other hairstylists in this industry do.
I personally like both natural hair styling and over-the-top head prop design at the same time, because I feel confident in both shadowing trends and being original at the same time.
So if head props become 無料ゲームマスキンバースロット that inspires upcoming artists and they want to follow that, or even keep building on this path I have created just click for source them, that is something that would be very interesting to me.
Have you seen any good examples of how people have adapted your creative work into their everyday lives?
I see them as head art.
What is your best piece of advice for the people who want to follow your footsteps?
Be creative and work on building your originality.
If you want to be a hairstylist and make head props as well, you need to learn about the basics of hairstyling, then play with your imagination from there on.
This is how I started my career and I hope that my story can be helpful for young artists who want to pursue their dreams in Fashion.
You have worked with some of the biggest names in the current fashion industry and has had your work published in the most influential magazines and online platforms in the world.
Now, just a couple of weeks ago you had your very first book launch as well.
Where do you see yourself going from now on?
I never really expected my first book to get so much attention!
It was a big surprise for me to see that people are curious about what this book was all about.
Towards the end of the process, after having had several meetings with some very talented good publishers, I decided to publish the book myself, because I wanted to keep the creation as pure and personal as I possible could.
I consider the release of this book too both mean the end of one chapter and the beginning of a new one.
Well, as you go, your career establishes your style and, for now, I have a lot of wig making to do.
Hair will keep me busy for a while.
The Weird and Wonderful World of Architecturally Mathematical Hairstyles: Interview with Tomihiro Kono Text by Anna Battista When you see a fashion show your mind naturally focuses on the clothes and accessories on the runway.
Makeup and hairstyles are other important aspects, but, quite often, they become secondary elements and in reviews they get neglected in favour of a description of the space where a show is taking place or a mention of the best-dressed celebrity sitting in the front row.
A visionary master in the art of hairstyling, who developed an intriguing seems 無料のカジノゲームアメリカンポーカー opinion of traditional techniques combined with the most modern moods captured in the vibrant cities where he has lived, Tomihiro Kono has worked for different designers, including Jil Sander and.
Hairstyles designed by Tomihiro Kono go from to.
The models wearing them could be considered as punk Alice-like characters lost in space rather than in the proverbial Wonderland.
A few months ago published the volume distributed internationally bythat could be described as a compendium of Tomihiro Kono's creations and an introduction to his modus operandi.
Photographs, sketches and photo grids in the volume show his passion for forms such as circular shapes and linesmaterials ropes, wire mesh, felt, plastic bottles and rubber tubes.
THE STUDY OF NEW HEAD DESIGN galley Place by Method Tokyo August 2017 © konomad The background reasearch included in the book proves that Tomihiro Kono's practice is suspended between mathematics, https://deposit-jackpot-spin.site/2/3206.html and architecture, and sprinkled with childish glee.
The author of Alice in Wonderland, Lewis Carroll, was a writer with a powerful imagination, but also a mathematician and logician; Tomihiro Kono, the father of modern Alice characters in a punk wonderland, is an artist and a hairstylist playing with mathematical and logical principles.
You can bet we will soon find him collaborating with a major artist or architect.
Head Prop features a very intriguing documentation about your work: why did you decide to publish it only now and how long did it take you to compile all the material you had?
Tomihiro Kono: The reason why I decided to publish the materials in a book format is that, as first thing, I wanted to document what I had worked on and had kept as a record for myself.
Secondly, I thought that revealing my secrets - that is the stages of my creative process - would have been inspiring for all sorts of people and not just for those ones working in the fashion industry.
I also wanted to expand my personal boundaries: taking the book on the road through exhibitions means getting the chance to meet new people, and even find more creative possibilities and collaborations with individuals working in other industries.
My partner Sayaka and I worked on this book design for a year, we did a lot of editing, adding texts as well, and I genuinely hope that Head Prop will be inspiring for readers even in ten or twenty years' time.
Some creative people do not like revealing their modus operandi or background researches, but you willingly take readers behind the scenes of your work, what prompted you to do it?
Tomihiro Kono: I used to hide my process and background researches because I thought that in that way I was protecting my originality.
However, now I'm positive about sharing my background researches with my readers.
I think that, to keep searching for a new style, I must release what I have done.
This is my past archive anyway and I don't think I should hang on what I have done in the past too much!
Besides, if I hadn't published these projects I would only remember them roughly and that would be a shame considering the time and effort that went into those creations.
Last but not least, the book format allows me to share my creativity and protect my copyright, so releasing this volume at this stage of my career makes perfect sense to me.
In the book you show us many inspirations behind your projects — where do you usually go to get inspired - museums, libraries or the Internet?
Tomihiro Kono: My inspirations can be found in many differemt places, I go to museums and libraries, but not so often.
I guess nowadays I use the Internet more and カードゲームの心の遊び方 at photography of artists' studios.
I also get inspired by documentary films.
Surrealism, Dada, Bauhaus and Fluxus - very energetic movements - are my favourite ones.
The academic approach of Bauhaus was one of the inspirations when making my book.
The late Vidal Sassoon once told me in an interview that the Five-Point Geometric Cut was based on different ideas and concepts, including the Bauhaus and architecture.
Your work clearly displays links with disciplines such as art and architecture, but also mathematics and geometry, can you tell us more about them in connection with your work?
Tomihiro Kono: I developed my career as a hairdresser and a hairstylist, so I didn't specialize in architecture or graphic design, but I learnt all the haircut techniques at the Vidal Sassoon salon.
The way they worked on hair was mathematical and logical, so each 大きな魚のゲーム隠されたオブジェクト2019 is perfectly calculated to be made.
I learnt there that there is a hair diagram to design hairstyles and an accurate work was needed to create a complete hairstyle, for example you must take into consideration which angle you are pulling the hair strands out おもちゃ「r」私たちのゲームシステム create the think, 無料ゲームを検索してフルバージョンをダウンロードする thanks that you want.
There are haircuts called "geometric cuts", so they consider hair as regulated by geometrical and graphic principles.
I therefore think that these mathematical connections in my work come from my haircut training.
Which is your favourite section from the book and why?
Tomihiro Kono: The diagram of systematic process and artistic process https://deposit-jackpot-spin.site/2/3235.html the beginning of the book.
This was the first time I analyzed how I proceed with my work and found out that I have two different processes.
The diagram tells the readers that my process of hair design is somehow connected with other disciplines - such as architecture, design and products.
What's the most unusual material you have used so far for your hair pieces?
Tomihiro Kono: I would say iron sand, I used it to design a moving beard.
It was kind of exciting to experiment with it.
I often try to express the concept of hair using other materials.
What do you like or dislike about contemporary fashion?
Tomihiro Kono: I like the fact that huge social media platforms such as Instagram allow us to show our work whenever we want, so there are more chances for young designers which is a positive side as we become our own producers in this way.
At the same time, I dislike the fact that so many things look alike nowadays, they are on a same average level and it's harder to find more originality or high quality.
You did two exhibitions in Tokyo in August: what did they feature, images from your book or also your materials and sketches?
Tomihiro Kono: In "The Study of New Head Design" at Gallery Place by Method in Shibuya, I exhibited posters of different head prop design variations and some paper prototypes; in the other for the bookshop POST, I showcased real head props as an installation - they were not on mannequins but arranged in modern displays.
It was good for me to have two https://deposit-jackpot-spin.site/2/3117.html at once as one complemented the other and visitors got a complete vision of my work by checking out both spaces.
How did the exhibitions go?
Tomihiro Kono: They were very successful.
A lot of people came over and we sold many books, more than expected.
I met new people from different industries - graphic design, art direction, architecture, interior design and product designs.
I was at the galleries as many days as possible to explain my work and the book and visitors were willing to stop, listen and understand what I was trying to achieve.
It made me realise how much publishing the book has meant to me.
What are your plans for the future, any chance to see an exhibition of your works in Europe as well?
Tomihiro Kono: I'd like to do an exhibition in Paris or in London, but I have no plans yet.
In the meantime, I'm working on an event entitled "Light Is Calling" that will And 新ジェネシスゲームシステムメーカー accept at HACO 31 Grand St, Brooklyn at the end of October in New York.
This exhibit will be a collaborative effort between me and my partner, photographer and filmmaker Sayaka Maruyama, reunited under the moniker Neon O'Clock Works.
It will focus on photography, short films, drawings, installations and books.
Visitors will be able to see during this event some of our early box collages that we created in 2006, tackling themes such as achieving beauty through pain - think about the history of corsets.
The boxes are connected with electric cables and light-up in the evening to create a sacred and solemn atmosphere.
The energy locked in these boxes has been sleeping for around 10 years in our closet, so it is time to awake it again and pass it on to a new generation!
You can all come and share the energy with us on the opening party night, on 31st October 6.
Text by Head Prop marks the first volume dedicated to the work of Tomihiro Kono, the visionary Hair and Head Prop Artist who designed the sculptural headpieces for Junya Watanabe.
Japanese-born, New York-based Tomihiro Kono is one of the most visionary hair stylists of his generation and over the last ten years has made his name known in the industry thanks to major editorial collaborations with prestigious publications, including Vogue Italia.
Distributed by IDEABOOKS, Head Prop by Tomihiro Kono will be presented today April 7th at Canal Street Market, Soho, New York.
Next August 2017 Tomihiro Kono will be celebrated in his native Japan with his own exhibition at the Place by Method gallery in Tokyo.
Text by Ivan Guzman Hair and head prop artist Tomihiro Kono is launching his archival book and limited edition poster at the on Friday, April 7th.
Head Prop is a documentation of his design work from 2013-2016, and the book clearly shows Tomihiro's innovative, uncompromising work.
Having developed a highly successful international career as a session hair stylist, here Tomi ventures into new territory.
He's not only attempting to produce visually striking head designs, but work that focuses on functionality without sacrificing overall beauty.
Tomihiro Kono started his click here as a classically trained Japanese hair stylist.
His passion soon lead him to begin exploring more creative hair and head designs.
Since 2013, when Tomi moved to New York, he has regularly shot for the likes of various editions of Vogue, Interview, W, and V.
Scroll down to learn more about him.
There are many different types of head art that you do.
Could you tell me about these?
I try not to categorize what I make.
I just randomly get inspired from different things, and my interests changes from time to time.
I learned traditional Japanese Geisha hair dressing before moving to London.
I enjoy a https://deposit-jackpot-spin.site/2/2594.html of styles related to hair.
How do you merge being a hairstylist with being a head prop artist?
What skills transfer over?
To fully satisfy my creativity and a passion to pursue my originality was a starting point.
Being a hairstylist and a head prop artist means that I have more options of head designs.
When people need my creativity for a collaboration, I believe we can bring out something conceptual and strong in us together.
Since I like photography more than anything, I always think about creating a strong visual image that inspires people.
Run through your creative process with us.
What are the steps in coming up with one of your head props?
For the mathematical designs, it goes like this: 1 Idea research 2 concept 3 planning 4 material selection 5 making prototypes 6 material selection 7 resize 8 redesign 9 overall improvement design development 10 model size fitting 11 completed.
The artistic process involves more intuitive and freehand styles.
How ラのカジノスロットブック moving from London to New York impact your creative process?
Moving from one city to a new city inspires me a lot.
I felt the creative vibe in London most, so I created so many head props.
Since moving to New York, I am more into hair and wig making for a variety of nationalities.
I have a lot to learn from New York.
I imagine that it can be hard sometimes to stop adding layers and layers.
I try to look at the head design objectively while making it, trying to avoid the head prop becoming too personal and too much in terms of consider, フルーツスロット something />What do you hope people take from your head art?
Hopefully what I create is something inspiring for people.
How do you think the emerging head prop movement, which you pioneered, could potentially make its way into the mainstream?
I think it depends on the changing trends.
For me, it seemed like head prop movements were in the mainstream when I was in London back in 2008-2011.
I felt people were really passionate about head props, and lot of stylists were looking for creative masks and head pieces.
Recently the trend worldwide is more natural, so hairstyling is relatively natural-looking.
This book gives a clear indication of the insight and path Tomihiro has followed in his innovative journey for new head designs through his uncompromising approach to his work.
Having developed a highly successful international career as a session hair stylist Tomihiro Kono ventures into new territory, not only attempting to produce visually striking head designs, but designs that focus on functionality in the beauty of form.
Book will be available at.
On April 7 from 6 to 8pm, will be held the book launch opening at Canal Street Market, NY.
question ビクトリアカジノポーカー topic his career as classically trained hairdresser in Japan, he has since become the man behind some of the most jaw-dropping headpieces in fashiondom, the go-to collaborator for Mr Junya Watanabe and a selection of other important fashion sorts.
Here, we talk to the head-based genius all about his work, accompanied by a selection exclusive images of his process for added visual stimulation… Where did you grow up?
Do you have memories of fashion from your childhood?
I grew up in a small village by the sea and the mountain in Uwajima in Ehime, south of Japan.
I was a country boy playing around in beautiful nature!
You started off in hair, but have since moved towards creating headpieces, which you are now most known for.
What prompted the change?
I love both hair styling and creating head props, it just depends on the job.
For the moment I mainly create head props for shows, I started making them when I moved to London in 2007.
Watanabe is so strong at using geometrical patterns on clothes and I interpreted that in the headpieces by seeing them as objects, sculptures; they were non-human.
At times, the headpieces for the show, created by frequent Comme des Garçons collaborator Tomi Kono, were helmetlike; other times, they were crafted like fragile bird feathers.
The garments, on the other hand, resembled paper dolls, featuring honeycomb cutouts and spiky hexagonal shapes.
Taking their show concept one step further for this Dazed shoot, the malfunctioning mannequins have gone into overdrive — a chance, for Kono, to develop the 2D symbolism of his hair-helmets.
Part Oskar Schlemmer, part pure imagination, the arresting design was the result of a suggest ブラックベリー9320用の無料ゲーム regret process.
Isamaya Ffrench: I was inspired by the precision of industrially produced objects and their synthetic material make-up.
The idea that something can appear to be mass-produced, but contain technical glitches that can subtly affect the overall appearance of the object, thus giving it a kind of personality.
How does the collaborative process work with Watanabe?
Are make-up and hair the very final things to be considered, or do they co-evolve with the collection?
What is collaborating with Junya Watanabe like?
I always have to come up with a design that suits the clothes, but the amazing thing — and I think the most 大きな魚のゲーム隠されたオブジェクト2019 part about the way that we work together — is that Junya never shows me the collection.
What inspired the headpieces?
Were there any particular references?
Under the theme of 'Semiotics and Structurism,' I came up with six or seven design propositions for Junya, and made paper prototypes of them.
When he chose the one he liked, I then had to think of what material to use.
The design that he chose was very big, so I had to think of a light material for stability and, of course, the model.
The design itself was originally inspired by a 3D haircut diagram, the technical drawings that stylists use for cutting hair, that I learned how to draw when I was working in a hair salon.
How did you construct them?
I started to calculate the circumference using the diameter…it was like studying maths back at school.
I made a column for the base of the head-pieces and then added some hair-wings in a radial pattern.
But after nearly 20 years creating some of the most think, アルファベット行く魚カードゲームのルール opinion looks in fashion, Tomi is just as curious and adventurous as he was when he spent his childhood afternoons searching for buried treasure hidden in the Japanese mountains.
We catch up with the designer about working with Junya, ditching orange groves for hair salons, and why his parents wouldn't let him play Nintendo.
Tell us about yourself.
Where did you grow up and what were you interested in as a teenager?
I grew up in a small village in southern Ehime, Japan learn more here by mountains and the sea, so most of my time was spent outside with nature, family and friends.
My parents encouraged me to spend time outside and refused to buy me a Nintendo game machine, which was popular with my peers.
Instead, they bought me a baseball glove.
I was first inspired by the film The Goonies; I pretended be an explorer and looked for treasures in the isolated islands surrounding my home town, built base camps and made treasure maps.
So many adventures and so much fun!
Then I became a teenager and loved rock and punk music and, of course, fashion.
I would sit and read UK culture and fashion magazines for hours.
How did you get started working in hair?
Quite funnily, really, as I was supposed to be going to the agricultural university to follow in my parents' footsteps.
They were orange farmers, but I didn't qualify and decided to go in a different direction: HAIR.
At first I was more into working with animals - I love animals - but my mother advised that I should work with people and cut their hair because I would be thanked by them.
You worked in Tokyo for ten years before moving to London in 2007.
Has either city influenced the direction of your work, and if so, how?
When living in Tokyo, I was fascinated by European cultures, design, fashion, everything.
Whilst working in the hair salon, I was into making cool images and studied photography by assisting photographers.
I wasn't able to sleep much when I was in Tokyo because I was so busy working in a salon during the day, training at night, and then hunting hair-cut models in Harajuku on my day off.
My aim was to concentrate and master all the basic haircut techniques before I left Tokyo.
Before I left Japan for London, This web page visited Kanasugi, a traditional Japanese beauty salon, to learn some Geisha hair techniques - called Takashimada - to help perfect hair technique from my culture.
When I got to London, I found there was so much inspiration around.
So many people were creative and original and had their own lifestyle and fashion.
When and how did you make the transition from hair styling to creating hair and headpieces?
In London, there was so much creativity and it felt avant-garde: mixing old with new, creating intelligent, edgy styles together.
I felt I needed my own originality as a hair stylist, my own voice, my own direction, so I started making head props.
I always loved visiting antique markets in London, they can be so inspirational.
I wanted to learn more and understand how things were made by hand - all the details of embroidery in Victorian period clothes and laces - to help with my head pieces and props.
You've worked with Junya Watanabe on several collections, including menswear.
What's your collaborative process like?
It's always very challenging to make something new between us, and I mean this in a good way.
Junya Watanabe doesn't show me the collections or what his vision is for the coming collection.
So every time, I have to come up with ideas to show Mr.
Junya Watanabe when we meet.
It's a very organic process, working in silence with Mr.
It's more of a feeling, an understanding between us.
When finalizing the looks, we discuss several times in meetings before we head to Paris for the show.
I always can't wait to see how my head props and his clothes come together.
What's the story behind your pieces for Mr.
Under the theme 'Semiotics and Structuralism,' I came up with six or seven designs and proposed them to Mr.
Junya Watanabe, and he chose one design he liked.
As I had made all prototypes in paper for Junya to see, I then had to think about what material to now use!
Junya Watanabe apologise, wwwダブルダウンカジノコム you was very big, so I had to think light material for stability and, of course, for the model.
Then I came up with the idea of SPONGE!
This was my first time using sponge as a head piece material.
The design is originally inspired by 3D hair-cut diagrams - technical drawings that hair stylists use for cutting hair.
I learned how to draw the diagrams when I was working in hair salons.
You've mentioned in the past that you enjoy working with vintage materials.
What are some of the most interesting materials you've found or sourced?
Whilst in London, I was very into vintage and natural material.
Then I moved to NYC and started playing with materials that are more chemical and industrial.
I like to adapt to my surroundings, so my style depends on where I'm living and what I see in my daily life.
Junya Watanabe AW15 Junya Watanabe is considered as one of the most modernistic designer of our times.
Isamaya Ffrench doodled mathematical equations onto the arms, legs and necks of the models while Tomihiro Kono created angular foam sculptures to sit on the top of their heads.
The two Japanese geniuses worked together to create fashion in new dimension.
If talking of the alien head-pieces, Kono approves — that was a hard thing to do.
I made a column for the base of the head-pieces and then added some hair-wings in a radial pattern.
We spoke to Tomihiro about his inspirations, how he managed to turn his ideas into reality for the show, and what the collaborative process is like with Watanabe.
What is collaborating with Junya Watanabe like?
I always have to come up with a design that suits the clothes, but the amazing thing — and I think the most important part about the way that we work together — is that Junya never shows me the collection.
What inspired the headpieces?
Were there any particular references?
Under the theme of 'Semiotics and Structurism,' I came up with six or seven design propositions for Junya, and made paper prototypes of them.
When he chose the one he liked, I then had to think of what material to use.
The design that he chose was very big, so I had to think of a light material for stability and, of course, the model.
The design itself was originally inspired by a 3D haircut diagram, the technical drawings that stylists use for cutting hair, that I learned how to draw when I was working in a hair salon.
How did you construct them?
I started to calculate the circumference using the diameter…it was like studying maths back at school.
I made a column for the base of the head-pieces and then added some hair-wings in a radial pattern.
In black and white, this exercise was rigorously followed through in pyramid forms accompanied by calculating formulae scrawled on the skin by Isamaya Ffrench — and then came the cuts and slashes.
Circular Chinese paper lanterns or 3D incarnations of Victor Vasarely paintings started to オーストラリアのカジノの仕事 over the body accompanied by bulbous-headed wigs by Tomihiro Kono.
One model even had her head completely obscured by a spherical helmet of pleat and fold, as though she were cocooned away from reality.
Paper lanterns hung still.
Vasarely paintings were static on walls.
Mathematically correct: Algebraic scribbles etched all over the bodies pointed to the technical complexity of conceiving such a collection.
Have we forgotten that clothes can also be feats of hardcore numerical calculation?
Extreme womenswear transformations of PFW SS15 From McQueen's fetishistic face masks to mouths sealed with sellotape at Junya Watanabe, we chart the city's top five most iconic beauty looks We didn't think much could topbut threw up some of this season's most boundary-pushing beauty looks.
We take a look at the artists who constructed masks, sealed mouths and painted bodies in Paris's five most directional transformations.
Junya Watanabe SS15 Photography: Susie Bubble Junya Watanabe enlisted to seal the mouths of his models for a show that brought back to the runway.
Initial reaction: This is the show we've been waiting for.
In what seems to be this season's month-long obsession with minimalism more info a lack of the conceptual, latest collection brought with it a welcomed sense of complexity, and conquered new ground.
We've come to expect nothing less from the elusive Japanese mastermind, but even for his standards, it felt revolutionary.
The look: A Watanabe show is always difficult to dissect, but that has become part of the charm of experiencing his work.
As for the clothes themselves, prints that made their way across garments in cut out coloured plastic felt like the hypnotic futurist paintings of Giacomo Balla, come to life.
It wasn't only the mouth that was restrained — several headpieces covered an eye entirely, the sense of the off key enhanced by the way bright shadow was daubed across only one eyelid.
Set against the disjointed soundtrack, these elements of the show gave the feeling of a building pressure.
Junya Watanabe When Junya Watanabe has anything to say about his collections, it is often gnomic to the point of obfuscatory, but today's declaration, "Japanese tradition," was as succinctly accurate as you could wish.
https://deposit-jackpot-spin.site/2/3241.html what feels like years absorbed by the nuances of European workwear, Watanabe came home this season with a brilliant collection built on boro, the traditional Japanese patchwork that began centuries ago as peasant clothing.
It was still the humble working man that the designer was celebrating, but boro has such a dense, furiously worked quality that each garment seemed to be telling a big story, rather like Raf Simons' mobile mood boards the other night.
Patchwork has served Watanabe well in the past.
Last season's jeans were instant fashion classics.
But boro has a particular beauty that elevated this collection.
As a whole suit—in the traditional indigo, but also in grayish and cream tones—it was the apotheosis of the hobo chic the designer has made a signature of.
But boro wasn't the only Japanese tradition he was honoring.
Ancient motifs like camellias and waves were integrated into patches of pinstripes, check, and denim, or woven into spectacular T-shirts.
A soundtrack of that salt-of-the-earth traditional entertainment, sumo wrestling, accompanied the show.
The models sported lacquered hairpieces by Tomihiro Kono, based on sumo styles.
After a few minutes of wrestlers slapping and grunting, jazz kicked in, a reminder of Japan's extraordinary ability to absorb cultural imports and make them its own.
Then there was a burst of the stringed koto, the country's national instrument.
Accessories were workers' flip-flops and a simple square of printed indigo fabric knotted into a sack, carried in the hand or slung across the chest.
Its rejection of excess means that Watanabe may have unwittingly come up with Spring's It-est man bag.
What is the influence of nature on fashion?
That is the intringuing perspective adopted by Gemma Williams, curator and designer of the Second Nature exhibition in the Pitzhanger Manor in Ealing.
Dresses are made with feathers and necklaces with dandelions, while black butterflies almost climb a wall and worms are worn as broches.
The show explores the elaborated relationship between nature and fashion, trying to understand its impact on inspiration, patterns, material and shapes.
Presenting a sparkling review of this underlying link, the exhibition features the work of more than 40 international artists and designers, such as Cong Tri, Giles Deason, Lara Jensen and Roksanda Ilincic.
Two gigantic greenhouses welcome some impressive pieces of clothing in the middle room making you feel like you are entering a white garden of fashion.
Inspired by the collective passion of Sir John Soane, the small room is designed as a cabinet of curiosities, gathering all the surprising pieces of this show.
Second Nature has adopted a captivating angle to talk fashion.
Tomi wrote me an email and had this to say about the film, "I'm so happy to update you that I'm going to launch this new beauty film 'Mnemosyne' which we have been working on for the last 6 months.
Showing respect to the beauty of nature, I used flowers as a main motif for this new head prop series.
This film is a piece of fantasy and romanticism reflected in the light and shadows.
The films we make are a way of expressing our vision which we hope to share with people.
Compared to the dark films we made last year, this year we are more into romanticism, escapism, and some kind of mystical feeling although our eternal theme is the sense of beauty.
The color of vivid red and blue connote the invisible emotional flows inside woman… the passion, anger, calmness and nothing.
This inspiring location where the sea is nearly eroding the land, and there are strange shaped trees are nearly drown is where Wendy Bevan grew up.
Tomi will have a head prop exhibition at Sister Tokyo in Tokyo on DEC 5-11TH 2011.
DADAIST SURREALISME POUR LA TETE.
I really dislike Tumblr.
What are the stories behind all of those pictures?
So…let me talk through my foot when I say that the last thing I want to do is write a bunch of hoo-haw words here when really all I want you to do is look at the damn amazing pictures.
I got somewhat exhausted just going through it all and trying to choose my favorites.
And he has only been making hats and masks since 2009??
How is that possible?!?
He is a machine, I am sure of it.
Text by Sophie Wedgwood Friday September 17 — Tomihiro Kono Hair and head prop artist Tomihiro Kono makes his debut appearance at London Fashion Week this Tuesday.
After working with leading performance artist Theo Adams, and with features in many leading fashion magazines to his name, it seems his time has come to shine.
Headwear Artist Tomihiro Kono's Deja Vu Inspired by nature and his own intuitions, the Japanese designer delves into memories for his new collection.
With a new collection reflecting the elements that make up his personality, head-piece designer suggests it カジノの無料スロットゲームcom a result from the influences in his life from childhood.
Kono constructed the pieces from memories, without thinking too much about particular shapes or materials.
Inspired by materials from everywhere and anywhere, such as bird feathers in the park, vintage lace, or spikes, leather, and metal pieces - the collection was an amalgamation of his patterns of thought and a sense of 'deja vu'.
Dazed Digital: Where did the inspirations of 'deja vu' come from?
Tomihiro Kono: By viewing this collection, we are stepping in to the field of my unconsciousness where you find various different characters wearing unique head pieces.
It says that these are characters I've never seen before - but it is something based on my background, where I 古典的なゲームipadアプリ up and what I was inspired by.
So it's not something I've seen for the first time either.
It's just like a deja-vu.
This is the strangest world ever made up from my memory and imagination.
What I do as a head prop artist is the embodiment of my personality and the nature of things.
So basically the theme came up last.
When I stepped back and saw what I had done, I found out that it is my identity to create things like this.
DD: Who are the characters in the film?
Tomihiro Kono: These are the characters I got inspired by nature, like creatures and organic things.
Like when Man Ray took a group shot of people in avant garde costumes.
They are reflecting all my background.
And they are actually my friends, and friends of friends or even some people we met by chance.
I carefully selected who should be in what costume as an encounter!
DD: Was it intentional to make it somewhat sinister and eerie?
Tomihiro Kono: So my work tends to go that way somehow.
I'd say what we create as Neon O'clock Works with my partner Sayaka Maruyama always has a darker edge in the way of observing things.
I like something theatrical, tribal, Victorian and contemporary.
So it's rather automatically, naturally rather than intentionally.
DD: What kind of reaction do you expect from an audience?
Tomihiro Kono: Any reactions we would like to expect!
I'd love people to enjoy and see something different and unique in our way.
It's something totally quirky and distinctive.
Head pieces, costumes, films and portraits, music.
And I really want people to see how creative we can be.
DD: Who made the music for it?
What kind of music is it?
Tomihiro Kono: A friend and a music composer Christos Fanaras aka for the short film.
Cross-genre, experimental music and a mix of Western and Japanese elements.
Mainly inspired by Japanese 60-70s film music.
He mixes various sound and noise from everywhere.
The photo exhibition runs from 20 - 21 September 2010, at 78 Luke Link London EC2A free entry with a performance show on the 17th at Studio Private, 1 Click Road London Kono's In Utero Japanese designer and artist Tomihiro Kono launches his new collection at Soho's Machine-A Text by Japanese designer and head piece creator has resided in London for three years, but he has thankfully not lost all creative ties to his native country.
The artful fashion of Kono - together with his fashionable art - have made waves throughout the capital ever since Kono started.
This was partly because of his Japanese aesthetics and Dadaist influences.
Now, Kono has upgraded his location, moved it to Soho and taken over Machine-A for an exhibition.
Dazed Digital spoke to him.
Dazed Digital: Why did you choose to exhibit at Article source />Tomihiro Kono: They actually found me.
I knew the shop has upcoming young designers and I thought it was a good place to put my pieces.
The shop's concept really suits my style.
I'm not just interested in selling products but we'd like to keep doing installations and showing my pieces with concepts.
DD: What inspired your current collection?
Tomihiro Kono: These pieces are inspired from the words 'in utero'.
They wanted me to do some bondage looks for the shop so the current collection is made for Machine-A.
I've been researching the Machine-A style by looking at past installations and who they like to have in the boutique etc.
For my headpieces I use various materials.
Sometimes very romantic, tribal, punk, classical etc.
I just thought something punk and hard this time, no colour, almost skin texture and spikes that look like new creatures.
I want to express the process of human's birth and death in a window display.
DD: What initially attracted you to fashion?
Tomihiro Kono: What interests me about fashion is the 'mentality' of people who wear clothes.
The act of restraining body begins when we are a foetus in our mother's body, just when we were given birth in the womb and even after we were born, we restrain our bodies by wearing clothes like tight skirts, heels and lingerie.
I like the idea that humans will finally be released from all those restraints when they are dead.
Nowadays it's not so common to restrain the body so much as it used to be 100 years ago, but the culture of wearing corsets, lingerie, belts and things like that.
People have always been seeking beauty and been changing their style somehow to make themselves look beautiful.
It might be a different approach, but I think going on a hard diet is also taken as a body restraint.
DD: And what influenced the window display?
Tomihiro Kono: For the window installation, I focused more on the mentality of humans rather than to take bondage pieces just as objects to wear for fashion.
There are quite a few tiny details like the broken glass on the floor, red string spread in the window, a bloody heart, cracks on the wall and floor.
So birth and death which coexist in this window can be observed by viewers in various ways.
I think it's interesting for me to put some ideas in a not so obvious way and also for viewers to find those tiny reactions happening in the window displays which might not be seen in the first glance, but some people might stay there longer and will find something interesting to them.
Also it is important for me that the whole images look beautiful and grotesque.
DD: Your collection is called 'in utero' which you say implies restrictions, but does it also create a sense of innocence or naivety that links to the foetus and child-like idea?
Tomihiro Kono: When it comes to bondage or fetish, people tend to think about more sexual pleasure, punk, its striking visuals and as a fashion style.
But for my exhibition, I wanted to focus more on birth and death - in which I mean human's fragility and weakness, disappearance and endurance.
I take spikes as protection to hide one's weakness and to protect one's naivety.
So it somehow connects to the idea of innocence or naivety as well.
DD: Why then did you feel the need to add such hard elements such as spikes?
Were they intentionally to be gothic and almost punk creations?
Tomihiro Kono: My hair salon was in Harajuku in Tokyo.
There are so many punk and gothic boys and girls on the street.
They always dress perfectly, do proper hair and make up themselves.
They are actually really good at making spiky hair themselves.
I take so much inspiration from them.
I think they wear that kind of costume to protect their sensitive minds.
DD: What is it about fetish wear and leather and nails that appeals to you?
Tomihiro Kono: For this project, I used hard materials as something to protect oneself.
Those, for me, are equivalent to animal's nails and tusks.
It shows pain and aggressiveness.
DD: Are you based in London?
Do you feel tied to the London fashion or do you feel roots to Japan?
Tomihiro Kono: I really love staying London.
There are so many chance to meet creative people.
I always think and express and compare cultures as a Japanese person.
DD: Are there any other Japanese artists or designers that you feel linked to?
Tomihiro Kono: Of course I really respect Rei Kawakubo.
Her style and concept.
Recently I really love contemporary jewellery article source based in Japan.
His work is beautiful and he uses recycle material to make pieces.
Machine-A, 60 Berwick St, London, W1F 8SU.
Closing party at 6-9pm on Friday 16th, see for details.
Be a superstar in the chorus.
Step forward and Cry Out.
Tomihiro Kono Heads for Wonders Hairdresser and headpiece craftsman showcased his talent for mixing the old with click new at Spitalfields last week.
London is full of creative people — fashion designers, hat makers, music artists etc — that all work with new and polished materials, be it fabrics or melodies.
But, like hair stylist has discovered, it is when old materials mix with new that true magic happens.
Afterwards Dazed Digital sat him down for a tea break at the nearby Coffee Market House.
Dazed Digital: Where do you find material for the hairpieces?
Tomihiro Kono: Mostly from markets and on the streets.
Or from friends — I have one who works in a pet shop and every other month he gives me parrot feathers that he has collected!
DD: How would you describe your style?
Tomihiro Kono: I love vintage fabrics, but I want my designs to be more contemporary.
DD: How come you are exhibiting in a Spitalfields market stall?
But antique dealers seem to like my stuff — many have asked to buy pieces.
And earlier on Jónsi Birgersson, the singer in Sigur Rós, came by and wanted to use hats for a video!
DD: Which exhibited piece is your personal favourite?
It reflects light and looks great in pictures.
It's all hand-stitched on one by one!
DD: What other hair stylists and hat designers do you admire?
Tomihiro Kono: I really like Juien Dys and Kamo Katsuya, who click to see more a lot with Comme des Garcons, Junya Watanabe and Undercover.
I create concepts and packages!
Tomihiro Kono: I really like wire because I can make and control the shape of the hat.
DD: Generally, what inspires you?
Tomihiro Kono: Antique objects and old portrait pictures I find in markets or on the street.
After World War II there was a movement called Assemblage that I find very interesting.
They made three-dimensional artistic compositions, put together from different objects.
DD: Did it 大きな魚のゲーム隠されたオブジェクト2019 having been a hairdresser for 10 years?
Tomihiro Kono: Yes definitely, because learnt about head shapes and techniques to work with hair.
DD: You also worked with traditional Japanese Geisha styles in Japan!
Tomihiro Kono: Yes, that experience was actually impressive because my teacher used any commodities and materials around him to make his own hair-styling tools.
I found the process very inventive and primitive and I thought I could do something similar, which was head wear making for me.
So I'm quite different from milliners in terms of flexibility on the shoot - I can change and arrange styles either with my head wears or without, depending on what the team wants.
DD: You have also worked with performer — how was that?
I contacted him and he understood my ideas and concept, so now all dancers in his show wear my hats.
DD: You have lived in London for two years — how does the UK compare with Tokyo?
I was very stressed in Japan.
London is more contemporary, which I like.
DD: What else are you working on?
Tomihiro Kono: I would love to find a designer to collaborate with for London Fashion Week, but until then I have two London exhibitions coming up — one off Oxford Street and one in a book shop on Charing Cross Road.

【実況】 ママにゲーム隠された! 前編



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にじいろびより 大きな魚のゲーム隠されたオブジェクト2019

Neon Warp is a super casual puzzle connection game for Android! Once started, It is difficult to. スマイリー2、思考ゲームは何ですか あなたはスマイリーの背後にある言葉を推測することはできますか? →. 10K+. のゲームをパズル。 100以上の無料の隠されたオブジェクトのパズル!. の簡単釣りゲーム。決闘で競う、漁具を収集し、大きな魚をキャッチ! 究極のスポーツフィッシングシミュレーター2019。
【フォートバイト17】木製の魚の建物の中で発見可能#17(シーズン9チャレンジ攻略)【フォートナイト】. 2019/06/06. SHARE. ツイート · シェア · はてブ. フォートナイトで昔からよくある資材で作られたオブジェクトです。 この魚の建物のしっぽの部分にあります。
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