毋庸置疑，日本設計師們和他們所設計的服裝已風靡全球, 然而似乎卻從未有人對日本時裝的發展繁榮及現狀進行過一番檢驗似的審視。正是因為這個念頭, 深井晃子女士才籌辦了《未來之美：日本服裝30年》展，而觀眾們也因此有幸可以把握日本設計在時裝界崛起和繁盛的脈絡並感受日本服飾之美。在2014年11月-2015年2月期間，觀眾們可以在布里斯班當代藝術館欣賞到《未來之美：日本服裝三十年》展。展覽的外圍是關於日本時尚界30年的發展歷史，而核心區則是滿滿的幹貨：上百件日本設計師所制作的衣服盡數被實物展出。
In Praise of Shadows
Tradition and Innovation
Interview with Tarun Nagesh and Akiko Fukai
Mr. Tarun Nagesh, Associate Curator, Asian Art, Queensland Art Gallery and Gallery of Modern Art. Facilitating curator of ‘Future Beauty: 30 Years of Japanese Fashion’ at GOMA.
ART.ZIP: I notice that there are many exhibitions in GOMA which are related with Asian arts. Then I learned that you pay a lot of attention on Asia arts, why?
TN: QAGOMA has had a long commitment to representing Asian art and has one of the most significant collections of contemporary Asian Art in the world. This has primarily developed through the Asia Pacific Triennial, which began in 1993 and has grown into one of the largest exhibitions in Australia. Through the triennial series we have worked with many of the leading Asian artists such as Ai Weiwei, Zhang Xiaogang, Cai-Guo Qiang, Takashi Murakami and Yayoi Kusama, and from each of these artists we have collected major works from some of them have continued to stage solo exhibitions here. The triennial now covers the area basically from Hawaii to Turkey and looks to represent both the established art centres as well as areas that are emerging, and provides a platform where art and artist from across the region can have dialogue between each other as well as amongst leading contemporary practices from Australian and around the world. We look at ourselves as being part of the Asia Pacific and strive to be the leaders in representing all forms of contemporary art from Asia, Australia and the Pacific, alongside our broader programs and collections.
ART.ZIP: Personally, I am addicted to Future Beauty, and I came to the exhibitions many times. As the audience, what do you think they might get from the Future Beauty?
TN: Future Beauty comprehensively covers one of the most influential developments in recent world fashion history, at the heart of the exhibition is how Japanese designers have remained some of the most innovative and experimental but also how they have challenged conventions of beauty, clothing and the role of fashion. So I think audiences will realise how fashion can be used and interpreted in different ways and how different cultures and histories might influence contemporary fashion. The show includes some of the really important collection by pioneers like Issey Miyake, Rei Kawakubo (Comme des Garçons) and Yohji Yamamoto, but also includes younger labels and designers as well as how streets styles and subcultures in Tokyo have continued to position Japan as one of the world centres for avant-garde fashion. Some of the designs are beautiful and elegant and some are wild and outrageous, but there are some really interesting concepts and ideas that inform some of the labels and designs and many of these relate to broader aspects of Japanese art and culture.
Akiko Fukai, Director and Chief Curator, Kyoto Costume Institute, Japan
ART.ZIP: Why did you organize an exhibition for the Japanese fashion of the past three decades?
AF: In Japan, fashion made a great leap forward in conjunction with the growth of the ready-to-wear industry in the 1960’s. Then around 1980, backed by economic prosperity at home, an increasing number of Japanese designers began showing their works in Paris. Amongst them, Rei Kawakubo of Comme des Garçons and Yohji Yamamoto debuted in Paris in 1981. They ingeniously, and sometimes provocatively, began to tear into and remake the Western aesthetic paradigm that had dominated the fashion world up to that time. Those two and including Issey Miyake often termed Japanese ‘avant-garde’ challenged established Western notions of beauty, and eventually bought fashion into a new era. I believe that the time early 1980’s when Japanese fashion garnered fervent attention worldwide is very significant for the fashion history, which had long been created within the western culture. Therefore in parallel with the leap of Japanese fashion, I or KCI had been conceived long-term vision to amassing a collection which carries out a reexamination of Japanese fashion based on actual garments. Meantime there has been much discourse on Japanese fashion. Nevertheless, there had never been a comprehensive examination and verification of the garments themselves created by Japanese fashion designers. This exhibition “Future Beauty” originally stemmed from that realization, and represents a new evaluation of Japanese fashion.
ART.ZIP: Through the exhibition, it demonstrates that fashion designers in Japan are always trying to recreate and innovate for decades, however, in your opinion, are there any elements which have never changed and have penetrated the Japanese fashion of thirty years?
AF: Fabric is an essential element in delivering a new look, texture, and shape. In particular, for kimono, it is fabric which is an absolutely essential element since Kimono’s shape is identical. Japan has, over the centuries, developed an exquisitely sophisticated textile industry.The Japanese designers were well versed in this through their knowledge and understanding of kimono culture. These designers already had their own ideas for fabric when embarking on a design. This contrasts with Western designers who are more likely to choose their fabric from what textile makers make available.Since the first generation of Japanese designers, the relationship and level of collaboration between Japanese designers and their national textile industry has been unparalleled around the globe. As seen in the section,” Tradition and Innovation” in the Future Beauty, I firmly believe this distinctive advantage will be passed on to the coming generations.
ART.ZIP：Do you think that the economic conditions in Japan might influence the costume’s designing?
AF: Yes, it is a difficult moment than before for the fashion designer. The young people do not buy expensive garment but the lowest price garment such as fast fashion or Uniqlo. However this is not only because of the economic condition but because of the mass consummation of information. We are in the transitional moment of the information revolution right now even in the fashion field. Therefore desingers in the younger generation do not embrace the same image or feeling toward designer than before. They are seeking another image of designer. They do not conceive to spread their activity in the world-wide, but rather try to find the people who can co-own the world of the designer’s creativity, focused more on eco conscious, hand –made, one –off, etc. and to deliver this world to them. By the internet, it might work I think.