2008 SONBAHAR KIŞ KAZAK MODELLERİ-1
19/9/2007
İşte bu kış çok moda olacak japon stil kazak modellerinden biri.
Mini etek,şort,kumaş veya kot pantolonla kombine edebileceğiniz şık bir kazak.
Bu kazağın toptan alımı ile ilgileniyorsanız lütfen bana ulaşın.
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Hangi Moda?Moda nerede doğuyor?
18/9/2007
Diyerek bir başlık attım sitenin ilk girişine.Uzun uzun yazılar yazmak istemiyorum.Sadece fikirlerimi,gözlemlemelerimi ve sezgilerimi paylaşmak istiyorum sizlerle.
Modacılar özellikle son yıllarda sokaklara çıkıp,halkı izlemeye başladılar.Hitap ettikleri,kendi kafalarında kalıplara sokmaya çalıştıkları halk acaba ne giyiyor,ne içip yiyor,nerelerde eğleniyor..Bunların hepsi birer moda.Baktıklar ki kurallardan bıkan insanlar kendi modalarını,tarzlarını yaratıyor.Bu defa onlar sokak modası yaratma çabasına girdiler.
Olanı alı giydikten sonra moda nasıl yaratılır diye düşünebilirsiniz.Doğru ama bir noktaya kadar.
Kendi yaptığı çantayı takan,kendi ördüğü şalı boynuna dolayan,annesinin,teyzesinin dolabındaki yıllanmış elbiseyi giyip,kendi takısını tasarlayan nice insanlar,moda endüstrisinin prangalarını kırmış olsa gerek.
İşte bu sitede moda haberlerinden başka dünyanın her yerinden sokak modası,sokak modasını tetikleyen diğer giyim tarzları ve sıradan olmayan insanların,gizemli,kışkırtıcı tablolarıyla karşılaşabilirsiniz.
Şimdiden iyi okumalar.
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JAPON STYLE
17/9/2007
Street Fashion
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There are several factors at work behind Japan’s unusual fashion scene: a safe and peaceful social environment, a decline in the country’s birth rate, and young people working part-time jobs who have money to spend on fashion. Internationally, Japanese people are stereotypically viewed as the consumers most drawn to brand name items and imported goods. However, Tokyo’s fashion style has tremendous originality, and it has produced its own brands popular with the younger crowd.
The contrast between the established European or American brands and the younger, upstart Tokyo fashion can best be seen in Tokyo’s Omotesando district. Omotedori Street is lined with upscale boutiques of world-famous designers, such as Louis Vuitton, Gucci, Chanel, and Dior. The stores are housed in buildings designed by world-famous architects, and they have the requisite size and style for the flagship stores of global brands. In terms of the number of brands and the variety of products available, Omotesando now rivals Paris’s Faubourg Saint Honore or Milan’s Montenapoleone. The area, with its shady, zelkova-lined streets, has become one of the finest luxury towns in the world.
Take one step off the main road, however, and you enter Ura Harajuku, better known as “Urahara.” This is a collection of smaller brand-name shops that congregated on the streets of the district to avoid paying the high Omotesando rents. The back street brands of Urahara and the world-famous luxury brands on Omotedori Street coexist to create Japan’s premier fashion district, a vibrant mix reflected in the place names—ura means “back,” and omote means “front” in Japanese.
Many of the back street Urahara brands are now hot designer labels, such as bape and Number (N)ine. Prices are high, and production runs are limited. Some Urahara enthusiasts bid up prices of designs to several times their original value in Internet auctions the day after an item is launched. For the younger generation at least, the Urahara brands have topped Omotesando brands in exclusivity.
Not all of Tokyo’s new desingers want to end up in the international spotlight, as Comme des Garcons superstar Rei Kawakubo did in the 1980s. As one designer put it, “I don’t really feel like going all the way to Paris.” These young designers simply enjoy creating the things they like in Japan. They are well rewarded financially, and they enjoy good reputations in the domestic mass media. They don’t see much point in heading off the Paris to face crushing competition, knowing all the while that collections could be heavily criticized.
These small brands of course differ in size from the major European and American brands that are not profitable in their own countries and have to put all their energy into exports, particularly to the Far East. The small Urahara brands show how fashion designers can build up a business based on domestic demand alone. These designers are only creating the clothes they themselves want to wear. Despite their revolutionary designs, their attitudes are quite conservative—in many ways reflecting the current culture of young Japan.