Art connoisseurs know that there is a lot more than just a nightmarish quality behind the paintings of Tetsuya Ishida. The late Japanese artist grew up during an economic boom that suddenly came to an end, turning into a financial crisis. Ishida therefore attempted to translate the feelings of isolation, anxiety, identity crisis, claustrophobia and solitude, via works that surrealistically portray every day Japanese society. Metamorphosis is one of the main themes of his works, with figures that are often disembodied and blended with machinery or objects. The arms of ordinary businessmen transform for example into something else, like crab's claws or a conveyor belt, in a process that tries to conjure up through art the monotony of a Japanese salary man's routine, symbolised also by figures of men packed into a subway car as if they were inanimate goods ready to be shipped or as robot-like figures that can be assembled in a factory.
The feeling of being forced to conform to work culture and the theme of camouflage and transformation in Tetsuya Ishida's art reappear in a recent installation by Mason Jung for Dover Street Market in Ginza, Tokyo.
The fashion designer displayed in one of the department store new spaces garments from his "Camouflage" series, showcasing them inside several boxes. There is a peculiarity about the garments and the boxes, though - they are all black. People are therefore asked to really focus on the pieces and on the detailed tailoring.
While from a distance the garments may indeed look like ordinary suits, a closer inspection will reveal a shirt that merges into a jacket combined with a coat. Boundaries between layers of fabrics and styles are therefore erased through a very skilled contruction method that Jung has cleverly developed throughout the years.
The starting point of this "Camouflage" display was a morning scene at the zebra crossing in Tokyo's Shibuya, with businessmen hurrying across all dressed in more or less identical suits. Mason Jung combined this image and his tailoring techniques to prompt us to think about the uniformity and loss of individuality in modern society, reminding us that, too often, we are encouraged to forget about our identity and silently conform or adapt to social and technological changes. Behind the dark shade of the display, Jung invites us to be radically rebellious via surreal details that can genuinely subvert the most established cultural codes while bringing back in fashion healthy doses of twisted irony and satire.
Can you tell us more about developing this project for Dover Street Market Ginza - what did you want to express through it?
Mason Jung: It was a great experience in a sense that I could present my work "in the context" which is quite a rare opportunity in retail environment and I appreciate DSM for offering such freedom. My entire "Camouflage" series is showcased in a black space where each garment is framed in a black box. The starting point of "Camouflage" is a morning scene at the zebra crossing in Tokyo's Shibuya, where a multitude of 'salary men' hurries across in suits. It's quite an astounding scene to witness such uniformity imposed by a culture followed by so many people and by a society that doesn't acknowledge individuality. The "Camouflage" series is a satirical expression of men's habitual dress code which exposes this unanimity and fossilised formality. For this exhibition I wanted to extend the concept of camouflage into a space. The garments appear blended in with the environment, so the characteristic of each design isn't easily recognised before paying attention, so you get the same impression you may get from looking at men wearing suits from a distance.
Why did you opt for a monochromatic display? Is there any kind of symbolism behind your colour of choice - black?
Mason Jung: Black is the colour of anonymity and termination. In Japanese culture, the colour is often associated with formality and I wanted to evoke this subconscious emotion. At the same time, it also represents mystery and potential which I tried to manifest through garment construction and detailing.
There is something architecturally minimalist in the concept for this space with the black boxes acting as containers/wardrobes, but also as boxes that camouflage the garments inside them – while working on this project did you also have to develop the ideas for the space presentation?
Mason Jung: It developed through a long discussion with DSM. I had to consider the shop's environment which is well known for its dynamic feel and energy. On the other hand, my work is static and silent. It was quite challenging to combine these contrasting characters, but DSM Ginza has been very supportive. They took time to understand my concept and intention and helped realise the project in the best possible way.
Are the garments designed to be part of this display all taken from your "Camouflage" design "chapter", or did you include in the installation also pieces from other "chapters" (Assemblage, Dépaysement, Ligature...)?
Mason Jung: It is currently showing the entire "Camouflage" collection and the setting is devised around this particular series.
How long have you been working on this display?
Mason Jung: Conversation with DSM started about a year ago. We discussed and tested different display ideas and versions. The concept of the project was clear, however, finding the visual/material solution, was a different story. To create a sense of "Camouflage", the materials had to be in almost identical tones of black - from the flooring and the boxes to the mannequins, labels and even threads. When different black materials are presented together, the subtle difference becomes apparent and appear as completely different colours. Sourcing materials in similar shades and tones of black was surprisingly difficult. We also had to carry out many tests with different techniques and finishings to ensure that everything was blended in and achieved an even tone overall. Garment production also required lengthy process as each piece had to be individually handmade in-house because of its unconventional construction process and complexity. I have been very lucky to have incredibly dedicated and generous people around who were there to help realise this project.
How long will the display be on at DSM in Ginza, Tokyo?
Mason Jung: The exhibition will be up till the end of this year.
How was visiting Tokyo, do you have any favourite shops and spots there that you may recommend to our readers?
Mason Jung: Tokyo is an amazing place as a whole - everyone seems to strive to perfect and master what they do. Especially when it come to retail experience, customers' level of knowledge and retailer's research and selection make it one of the best places in the world. This time I enjoyed the city's market places such as Kappabashi, Ueno and Tsukiji,visiting local shops, tool makers and being encountered with unexpected discoveries.
Images 2 to 6 in this post courtesy and copyright Mason Jung.
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