The the effect of weathering on layers

The characteristic features and material qualities of this Japanese
aesthetic is its “suggestion of natural process” (Koren, 2008)
wabi-sabi is an expression of frozen time. The materials used are vulnerable to
the effects of weathering they record the sun, rain, wind and cold and the
human treatment in a “language of discoloration” (Koren, 2008)
The wear and tear, the imperfection the staining, peeling and cracking adds to
the beauty and mystery of the object. (Figure. 3) In this picture we see the
effect of weathering on layers of old paint. The rust and the peeling is
capturing and recording time.

 

 

 

 

 

 

 

 

 

Another key characteristic of wabi-sabi is its irregularity, these
wabi-sabi objects are indifferent to the conventional norms of beauty
standards. Wabi-sabi offers what one could argue to be the “wrong solution” (Koren, 2008)
Therefore things wabi-sabi often appear asymmetric in shape, misshaped and even
awkward, for some people wabi-sabi object could be considered ugly.  Wabi-sabi could also display effects of
accident, similar to a broken ceramic bowl, which has been glued back together
in a process called ‘kintsugi’ also known as ‘golden repair’. The kintsugi
technique involves repairing broken pottery with powdered gold, embracing its flaws
and imperfections. The highlighted cracks mark the life of an object, the crack
is an event of its life and has not ended its use but is celebrating its change
and its fate. (Figure. 4) It is the acceptance of the inevitable, an aesthetic
appreciation of the “evanescence of life” (Koren, 2008)
therefore wabi-sabi’s characteristic could be also understood as a state of
mind.

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Wabi-sabi objects are unpretentious they are “unstudied and
inevitable looking” (Koren, 2008)
They do not desire or demand attention, on the other hand wabi-sabi objects are
understated, however not without presence or “quite authority” they coexist
easily with the rest of the environment. It is only during the direct contact
and use with things wabi-sabi that one could really appreciate it. According to
Koren wabi-sabiness in no way depends on “knowledge of creators background” and
in fact is “best if the creator is of no distinction, invisible or anonymous.” (Koren, 2008, p. 68)  

 

Another important characteristic of wabi-sabi is its murky quality; these
objects are vague and blurry. Similar to things that approach nothingness or
things that come out of it, the colours fade into smoky hues, muddy earth tones
and blackish deep tones. Simplicity is however the core aspect of wabi-sabi.

Nothingness is the ultimate simplicity, “but before and after nothingness,
simplicity is not so simple”. (Koren, 2008)
The idea is to pare down an object to its essence but making sure not to remove
the poetry. Japanese metaphor of the idea of something coming and going into
existence and leaving subtle evidence behind is the cherry blossom, one of
Japans most cliché visual and cultural representations. In spring the cherry
tree blossoms for about a week, but a sudden change in the weather could cause
all the fragile flowers to fall off. During this period the people of Japan
spread their mats under the tree to observe the flowers. It is due to our
ever-present awareness of the ephemerality of it all that the enduring power of
wabi-sabi come into existence, (Figure. 5) a “moment before there were no
blossoms. A moment hence there will be no blossoms…” (Koren, 2008, p. 84)

 

 

 

 

 

 

 

 

 

The characteristics of this Japanese quintessential aesthetic of
wabi-sabi can be found in the works of Yohji Yamamoto and Rei Kawakubo for
Comme des Garçons collections from the very first showcased in Paris in 1981 to
present day. I will look at five examples that display the essence of this
aesthetic. Yohji Yamamoto’s 1983 womenswear ready-to-wear collection displays a
strong essence of the wabi-sabi aesthetic. (Figure. 6) In the photograph below
we can see three models, two of them facing the camera and one with her back
turned to us. The models have messy hair and no makeup. The garments are ripped
and slashed at the sleeves, they have holes in them, and there are threads
hanging from all directions. The fabric seems to be simple cottons, to Yamamoto
the best materials are those “where the primary material is used in the most
natural way”. (Yamamoto, 2014, p. 64) Cotton as a
natural fabric has a connection to the wabi-sabi, it is a humble workwear
fabric, and for Yamamoto coming back to cotton creates a “new elegance”. Yamamoto’s
choice and way of working the cotton, shifts these garments into a realm of the
sculptural. The hemlines and edges of fabrics are raw. The fall of the fabrics
on the body is comfortable and relaxed, Yamamoto is using soft tailoring to
achieve this oversized relaxed silhouettes. The fabric seems to have been aged,
this is a technique that is used throughout the work of Yamamoto and that is
extremely important to 

The characteristic features and material qualities of this Japanese
aesthetic is its “suggestion of natural process” (Koren, 2008)
wabi-sabi is an expression of frozen time. The materials used are vulnerable to
the effects of weathering they record the sun, rain, wind and cold and the
human treatment in a “language of discoloration” (Koren, 2008)
The wear and tear, the imperfection the staining, peeling and cracking adds to
the beauty and mystery of the object. (Figure. 3) In this picture we see the
effect of weathering on layers of old paint. The rust and the peeling is
capturing and recording time.

 

 

 

 

 

 

 

 

 

Another key characteristic of wabi-sabi is its irregularity, these
wabi-sabi objects are indifferent to the conventional norms of beauty
standards. Wabi-sabi offers what one could argue to be the “wrong solution” (Koren, 2008)
Therefore things wabi-sabi often appear asymmetric in shape, misshaped and even
awkward, for some people wabi-sabi object could be considered ugly.  Wabi-sabi could also display effects of
accident, similar to a broken ceramic bowl, which has been glued back together
in a process called ‘kintsugi’ also known as ‘golden repair’. The kintsugi
technique involves repairing broken pottery with powdered gold, embracing its flaws
and imperfections. The highlighted cracks mark the life of an object, the crack
is an event of its life and has not ended its use but is celebrating its change
and its fate. (Figure. 4) It is the acceptance of the inevitable, an aesthetic
appreciation of the “evanescence of life” (Koren, 2008)
therefore wabi-sabi’s characteristic could be also understood as a state of
mind.

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For You For Only $13.90/page!


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Wabi-sabi objects are unpretentious they are “unstudied and
inevitable looking” (Koren, 2008)
They do not desire or demand attention, on the other hand wabi-sabi objects are
understated, however not without presence or “quite authority” they coexist
easily with the rest of the environment. It is only during the direct contact
and use with things wabi-sabi that one could really appreciate it. According to
Koren wabi-sabiness in no way depends on “knowledge of creators background” and
in fact is “best if the creator is of no distinction, invisible or anonymous.” (Koren, 2008, p. 68)  

 

Another important characteristic of wabi-sabi is its murky quality; these
objects are vague and blurry. Similar to things that approach nothingness or
things that come out of it, the colours fade into smoky hues, muddy earth tones
and blackish deep tones. Simplicity is however the core aspect of wabi-sabi.

Nothingness is the ultimate simplicity, “but before and after nothingness,
simplicity is not so simple”. (Koren, 2008)
The idea is to pare down an object to its essence but making sure not to remove
the poetry. Japanese metaphor of the idea of something coming and going into
existence and leaving subtle evidence behind is the cherry blossom, one of
Japans most cliché visual and cultural representations. In spring the cherry
tree blossoms for about a week, but a sudden change in the weather could cause
all the fragile flowers to fall off. During this period the people of Japan
spread their mats under the tree to observe the flowers. It is due to our
ever-present awareness of the ephemerality of it all that the enduring power of
wabi-sabi come into existence, (Figure. 5) a “moment before there were no
blossoms. A moment hence there will be no blossoms…” (Koren, 2008, p. 84)

 

 

 

 

 

 

 

 

 

The characteristics of this Japanese quintessential aesthetic of
wabi-sabi can be found in the works of Yohji Yamamoto and Rei Kawakubo for
Comme des Garçons collections from the very first showcased in Paris in 1981 to
present day. I will look at five examples that display the essence of this
aesthetic. Yohji Yamamoto’s 1983 womenswear ready-to-wear collection displays a
strong essence of the wabi-sabi aesthetic. (Figure. 6) In the photograph below
we can see three models, two of them facing the camera and one with her back
turned to us. The models have messy hair and no makeup. The garments are ripped
and slashed at the sleeves, they have holes in them, and there are threads
hanging from all directions. The fabric seems to be simple cottons, to Yamamoto
the best materials are those “where the primary material is used in the most
natural way”. (Yamamoto, 2014, p. 64) Cotton as a
natural fabric has a connection to the wabi-sabi, it is a humble workwear
fabric, and for Yamamoto coming back to cotton creates a “new elegance”. Yamamoto’s
choice and way of working the cotton, shifts these garments into a realm of the
sculptural. The hemlines and edges of fabrics are raw. The fall of the fabrics
on the body is comfortable and relaxed, Yamamoto is using soft tailoring to
achieve this oversized relaxed silhouettes. The fabric seems to have been aged,
this is a technique that is used throughout the work of Yamamoto and that is
extremely important to 

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