является кагами

source: vk

Дизайнер Kei Kagami привык одежду «строить», а не шить. Он утверждает, что разница между модой и архитектурой невелика, просто в первом случае речь идет о пространстве вокруг человеческого тела. Обувь от Kei Kagami сочетает в себе металл, кожу, дерево и безграничную фантазию талантливого архитектора-модельера.
Сразу скажем о том, что одежду и обувь от Kagami носить смогут только сильные девушки: металл, железо, шурупы и пр. элементы весят не меньше, чем оборудование в спортзале. И спорт, и мода.
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source: randommization

Shoe designer Kei Kagami has been making these unique and creative shoes for over a decade now. The London based Japanese shoe designer doesn’t seem to hold back in experimenting with appearances and materials for these radically designed shoes. If walking in a bit different style is your thing, there’s every reason you should check these out.
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source: bauedes

La exposición recoge el trabajo que K. Kagami realiza en colaboración con su socio Yoshi Yamakuwa. Kagami, se formó como arquitecto y trabajó para Kenzo antes de re-enfocar su carrera hacía el mundo de la moda. Su trabajo tiene gran calidad estructural y experimental, influenciado por su experiencia como arquitecto y también por su relación con el radical John Galliano.

Cada uno de los 60 pares de zapatos que formaban parte de la muestra son al mismo tiempo conceptuales, llevables y piezas de arte.
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source: dididadidi

此次展出的作品是kagami和他的合伙人yoshi yamakuwa共同设计的，他们运用多种不同媒介和材料制作鞋子，在设计和材料之间建立了独特的联系。

在成为时尚设计师之前，加贺美敬曾是一位建筑师，在日本著名建筑大师丹下健三的事务所工作。

除了建筑学背景之外，著名时装设计师john galliano也对加贺美敬有很大影响，所以他的作品常常带有极强的结构性和实验性。

日本时尚设计师kei kagami加贺美敬10年回顾展
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source: dazeddigital

THE KAGAMI WORKSPACE

No doubt about it, Kei Kagami lives and breathes the creative process. His workspace is filled with all aspects of it: multiple clothing rails full of archive pieces, rows upon rows of fascinating footwear constructions, mannequins hung with brand label tags, stacks and stack of fabrics, sewing machines, mechanical tools, even a picture of him riding a motorcycle from his Selfridges Bright Young Things window installation. “Francis Bacon’s studio really encouraged me. Basically it’s a mess but I thought it was brilliant,” he laughs. But perhaps the abundance of materials and creations only helps envelope the designer all the more in his creative world. Classical instrumental music plays in the background, adding a sense of zen-like concentration to the sensory overload of it all.

TRAINED IN TOKYO

Hailing from Tokyo, Kagami’s original career path saw him pursue a bachelor’s degree in architecture, something he soon supplemented with a simultaneous tailoring diploma course at Bunka Fashion College. “At that time I didn’t really put a boundary between fashion or architecture. For me it was one and the same thing: starting from something flat and two-dimensional and making it three-dimensional,” he explains. However, fashion soon won him over. “I just wanted to create something for myself and express what I wanted. With clothing, I can design, draw patterns, stitch and wear it. I thought that is fantastic. I can express myself in each process and manage everything by myself up until the very end,” Kagami says.

WORKING ALONGSIDE HIS HERO

Having held a fascination for all things British since his childhood, the young designer came to London in 1989 to work alongside his hero John Galliano. After three seasons, the studio declared bankruptcy and relocated to Paris. Kagami decided to stay in London and enroll in the MA Fashion course at Saint Martins college, graduating alongside Alexander McQueen and Wakako Kishimoto. But while some of his peers went on to have houses backed by major luxury groups, Kagami stayed true to his craft-focused roots. “I don’t really like fashion. I love clothes, creation and making conceptual things,” he openly admits, adding: “I’d never been fascinated by money. If you get a job from a commercial company, obviously you get paid a lot, but I rather preferred making what I wanted.”

A LOVE OF CRAFTMANSHIP

Kagami describes his love for handmade and unusual creations as “a matter of craftsmanship. I don’t want to have a boundary between thinking and actual making. Intrinsic, genuine creation is both. I have always had that kind of spirit.” When it comes to this introverted style of production, the designer literally calls his studio home. “I have a favourite area in the back of my studio, surrounded by many machineries, which I love. Usually we work on shoes there. Sometimes when things are busy, I will sleep in my studio upstairs and often go to this space on my own before I go to bed,” he says.

FUNCTIONAL BEAUTY

His creation over a corporate way of thinking struck a chord with YKK, who began their collaboration with the designer when he proposed a design to them in 1998. Said piece was a dress constructed entirely of zippers. “The idea was about using zips as a textile but still each piece had a function. I don’t like using things just for decoration. Each part has a meaning. That functional beauty is an important element for me,” Kagami states. Since then, the international manufacturer has continued to work closely with the designer. “I like working for YKK because it has an educational value and is not business-minded,” he says. With the company’s backing, he has been able to create radical designs like resin fibreglass and mechanically constructed metal footwear, but Kagami is quick to admit that his avant-garde ideas don’t come easily. “To do something new in fashion is very, very difficult, so many things have already been done. I do struggle each time, to be honest. That’s why I try to use different materials, I believe it is still possible to create something new,” the designer explains.

DO SOMETHING RADICAL

This concept of the new seems to become all the more difficult in the frantic pace of today’s fashion cycle. “Nowadays things are too mass-produced, too commercial and everyone basically works in fashion as a business for money. To break it, you have to do something extraordinary and extreme. If someone doesn’t do something creative, eventually culture will stop developing. I’m more interested in contributing to culture or education in the end. If I could be an influential designer to someone else, that would make me more than happy,” Kagami notes. His words of advice to young designers starting out? “Do something radical and truly express yourself rather than thinking about what other people are doing. The power of the trend vector in fashion is too strong, new designers should break it to keep their identity.”
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source: prezi

Kei Kagami Biografía Nació en Japón
Estudió arquitectura y diseño
Kagami originalmente estudió arquitectura con Kenzo Tange en su país natal Japón.
Estudió sastrería al mismo tiempo y fue por este segundo interés que él se trasladó a Londres para trabajar con John Galliano. Había admirado de él la fusión entre la alta costura y el espíritu punk.

Conoció a los 17 años a Tokio Kumagai que mostró zapatos diseñados para que parezcan que se han hecho a partir de los alimentos. Su mezcla de alegría y el surrealismo influyó en Kagami y a no inspirarse en las tradiciones de la moda occidental, sino más bien de temas estilísticos: el futurismo, el de-constructivismo, arquitectura. Para expresar lo que quiere en su colección, primero se analiza a él mismo. Busca que le interesa, atrae, le parece bello y enoja en el momento. Una vez decidido el tema, los materiales y las técnicas, trata de diseñar lo más sinceramente posible lo que quiere expresar.

Hay un interés en la relación entre la mecánica y la orgánica, el patrón y el usuario.

Indaga en la estructura no convencional, y en lo lúdico del vestir, interactuando con las prendas. Método de trabajo Influencias John Galliano Partido Conceptual Partido Morfológico Índices Sistema Operativo Kei Kagami Tokio Kumagai Kei Kagami Yohji Yamamoto Kei Kagami Kenzo Tange Tange creía que el diseño debe combinar tecnología y humanidad. La tradición puede estar presente de alguna manera en la creación de un nuevo proyecto, pero ya no es visible en la obra terminada. Las influencias de Tange en Kagami se evidencian en la combinación de aparatos y estructuras movibles en sus diseños rectores asi como en el uso de la tradición (sastrería) en la construcción de las prendas. Colecciones Fall – Winter 2006 Modo compositivo La silueta geométrico regular: rectángulo Recursos constructivos Colección compuesta por un sistema de prendas en donde los ejes direccionales predominan son, diagonales dadas por la rotación de pinzas, desplazamiento del sistema de ingreso, recortes e inclusiones de tela.
El diseñador utiliza las siguientes renovaciones tipológicas: revisión y fusión.
Hay una clara simetría con la participación del equilibrio que está dado por el uso de diagonales, recortes e inclusiones. Distribución del peso compositivo de forma equitativa y diametralmente opuesta.
La tensión generalmente esta dada en la tipología superior y el recorrido visual esta guiado por los recortes e inclusiones de tela, guían el recorrido desde el lateral superior del conjunto hasta su lado contrario e inferior. El recorrido puede ser cíclico, guiado por recortes, armazones y pliegues.
Las relaciones entre las prendas son: superposición y toque en el sistema de cerramiento. Materialidad Propuesta cromática: gama Tejido: plano y punto
Tejido: no tejido Imagen: Urbano – Tecnológico Construcción de prendas – Terminación Volumen Otoño – Invierno 2005 Primavera – Verano 2007 Enriquecer el textil Sistema de cerramiento No convencional Lineal Puntual Gótico Biología Futurismo Surrealismo Sastrería.
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source: fashionunitedit

Nato a Tokyo, lo stilista cominciò a studiare architettura e a lavorare come assistente nello studio di una figura eminente, il designer di edifici avveniristici Kenzo Tange. Durante quel periodo, Kagami si rese conto di nutrire un’altra vocazione e si iscrive al Bunka College di Tokyo per studiare sartoria. Secondo alcuni, entrambe le discipline hanno a che fare con lo spazio che circonda i corpi. Nel 1989 Kei entra nello studio londinese di John Galliano, che riconosce il suo talento e la sua determinazione, assumendolo all’istante.