The F de C Reader 2012-1

저자 :
Erik Bernhardsson 외 (eds.)
출판사 :
발매국 :
출간일 :
크기 :
102 x 143 mm
페이지수 :
디자인 :
Ski Projects
프린팅 :
Spirit Komunika Grogol, Jakarta
A bi-yearly ”fashion magazine”, the Reader will be complemented by a separate visual publication, also published twice a year.

180 pages, containing only the images necessary to give it sense, the F de C de  Reader is a ‘fashion’ magazine in the sense that it both starts from and constantly returns to ‘clothing’, but in between it’s focused on everything but. Perhaps closer to a short story about a life in clothes, told by a dozen different characters…

The CONTENTS in this first issue are primarily centered on Japan and China; with a series of conversations starting in Tokyo in the wake of the March 2011 disaster coiling some 40 years into the past and future, in addition to a look at China and creativity, culture and context.

The PRODUCTION itself completely reflects the F de C philosophy: 
The first issue is printed in Indonesia where the editorial team worked hands-on with a small local printing company completing the whole job in two all-night sessions. The main design concept was finally inspired by the pocket-sized standard textbooks of the country.

Printed in one color on inexpensive, unbleached paper, with a compact size of 102 x 143 mm and weighing only 80g it is the diametrical opposite of glossy fashion publications. As they say in China, things develop in the opposite direction when they reach their limit.

Anders Edström did photography for Martin Margiela in the early days when the Maison was actually a small Paris apartment and talks about those days as well as about his life in Tokyo where he sometimes experiences difficulties communicating.

Well-known ‘super-tourist’ photographer Max Pam would never do fashion photography, but we discovered that that’s actually what he did when he went to Xinjiang province in 1986. He also talks about the thrills and perils of exhibiting in a Museum in Japan during the economic bubble.

ffiXXed have been making clothes in New York, Berlin and Hong Kong but ended up settling in Shenzhen. What’s it like to work and live in China as a designer, and to be completely independent, meaning you’re actually responsible for your work and production and most of all: able to make real change happen?

Toshio Nakanishi, founder of the influential Japanese new wave band Plastics, talks about the time when Japan erupted in a wave of creativity having previously been flooded by ‘western’ and other cultural influences — a situation not at all dissimilar from China today, as it becomes clear in several conversations with young Chinese designers and fashion design students at The Central Academy of Fine Arts in Beijing.

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