Translated (c/o dibango)
Anyway, so to give you an idea of what this graph represents, it’s all Japanese fashion magazines. As most may know, Japanese fashion magazines are very specific and centered around common aesthetics, age and socioeconomic statuses, etc. This idea of partitioning and cordoning is actually very effective and logical, and manifests itself pretty reliably, even outside of Japan like America where style is mostly confused and not identifiable. It’s to the point where we can consider these boxes to be ‘zoku’ (families/tribes) and you can be part of a certain magazine’s ‘zoku’ - like Free and Easy-zoku, etc.
Counter-clockwise from top left:
The box that includes Lightning, Free and Easy is ‘Ame-oya-kei’ = American oyaji look = Americana for old guys. Denim, heritage, repro. Superdenim.
below that in blue-grey with Samurai, Cool Trans, Street Jack = ‘Street-kei’ = streetwear. From Dunks to Kiks Tyo, used to include Visvim but it migrated a bit.
green box = ‘Kireii-kei’ = pretty boy stuff. Not necessarily gay, but not masculine, more cute. This is probably more suited to very young guys, high school age. Not really relevant to most discussion within the English-language fashion internet world.
purple center box = ‘Onii-kei’ = ‘Big brother style’ - Shibuya gal-o kei (the male counterpart to the Shibuya gyaru) - a sub-demographic of the Shibuya-kei (popular from about 1993 to 1996) style that many my identify with the tanned ‘kogal’ look - this is the male counterpart to them, and big brother in a fantasy sense that the guys are older than the girls (who were thought to be young) - this is 109 and Men’s 109, the hairstyles and the clothes - within this realm also exists the Host (bar) look, male prostitution or pimping/scouting type subcultures that have been around the gyaru/gyaru-oh forever, the whole onii-kei look is generally marginalized as ‘cheap’ because well, the clothes are cheap (in relation to other ‘serious’ fashion lifestyles), and the lifestyle has some connotations of the sex industry, driven by the idea of turning to the sex industry rather than taking up a normal job, alternative lifestyles from 1990’s Japan, yada yada. This is mostly in the past and not a relevant aesthetic in Japan, and not what it is in Shibuya nowadays like it used to be 15-20 years ago.
Pink box - Salon-kei = Hair salon stylist magazines. Not really relevant to the English language internet again, because nobody really cares about hair! haha. Anyway, these are fashion magazines, and not exclusively about hair, but they are focused around the idea that Ura-Harajuku/Aoyama/Omotesando hair stylists are creative/stylish types and therefore the focus of these magazines is to show off their own culture, the guys with cool hair and clothes and stylist’s waist bags, etc. Naturally, not everybody in Japan lives near Harajuku and so it’s a moveable piece of Japanese youth culture for the rest.
Grey box- ‘Men’s Non-kei’ = Men’s Non-no, ie young, mid-priced fashion. Occasionally featuring fast fashion, some elements of Mode, but stylized in a Japanese young menswear style. Obviously a huge category worthy of it’s own box, and by far and large, the most important for this particular age group.
Taupe box - ‘Mode-kei’ - this is mode, high fashion. Enough said.
The dusty rose colored box, top right - ‘Ita-oya-kei’ = Italian oyaji kei = Italian old guy style. Men’s Ex. Menswear. Styleforum’s MC.
The N/W/S/E compass points on the edges of this matrix are qualities:
North = unchiku - knowledge - for the data/trivia obsessed
West = for the hobby of ‘clothes’ - i.e. to define ‘Fashion, vs Style’
South = for aesthetic and stylistic interests - i.e. define ‘Style, vs Fashion’
East = for ‘Lifestyle’
Naturally, the intermediary areas are a mix, so Men’s Ex - styleforum MC - naturally, it lies between the area between ‘clothes’ and ‘trivia’
So interesting points to focus on here, just from the descriptions -
-you notice that Superfuture and Styleforum encompass many of these aesthetics, but at the same time, superfuture has ‘superdenim’ that is strictly Ameoya-kei, and styleforum has it’s own counterpart in ‘Itaoya-kei’ with the MC forum. Both are strong, and completely different.
- ‘Onii-kei’ - which many fromthe outside might view as ‘dress up’ or costume-y, or based on fantasy and imagination - that box skews towards the unlikely direction (though not colliding) where Amekaji and Streetwear are floating, because you have to realize that Amekaji and Streetwear in Japan are also dress-up and costume-y in a similar sense. They are niche looks, subcultures ranging from hobbyists (Americana) to almost full-on lifestyle prescriptions (Onii-kei) - and naturally, you can see where Streetwear falls between that, as Streetwear tends to prescribe a certain set of interests on it’s own (perhaps skating and certain kinds of music), but is more livable within normal society than the Shibuya-kei lifestyles.
I’ve added and boxed in where I think Styleforum, Superfuture, TOJ, and Uncontrol exist on the matrix. The groupings of magazines and ‘kei’s are fairly accurate, whereas the size of the boxes are not intended to represent anything… and therefore the representation of overlap is not intended to show anything proportional, just the fact, mainly.
Superfuture and Styleforum, as non-Japanese sites operated in the English language, they avoid Onii-kei, and I’ve shown that in the matrix as well by cookie-cutting them out of the main lasso’d areas.
Anyway, tons of info on this graph, have a look at it and see where you are.
-ToJ’s Drew, via this thread
“Skinny Love” explained by Bon Iver:
We dated and she’s an incredibly important person that I lived with for a long time, but it’s about that time in a relationship that I was going through; you’re in a relationship because you need help, but that’s not necessarily why you should be in a relationship. and that’s skinny. It doesn’t have weight. Skinny love doesn’t have a chance because it’s not nourished.
“For me, trees have always been the most penetrating preachers. I revere them when they live in tribes and families, in forests and groves. And even more I revere them when they stand alone. They are like lonely persons. Not like hermits who have stolen away out of some weakness, but like great, solitary men, like Beethoven and Nietzsche. In their highest boughs the world rustles, their roots rest in infinity; but they do not lose themselves there, they struggle with all the force of their lives for one thing only: to fulfil themselves according to their own laws, to build up their own form, to represent themselves. Nothing is holier, nothing is more exemplary than a beautiful, strong tree. When a tree is cut down and reveals its naked death-wound to the sun, one can read its whole history in the luminous, inscribed disk of its trunk: in the rings of its years, its scars, all the struggle, all the suffering, all the sickness, all the happiness and prosperity stand truly written, the narrow years and the luxurious years, the attacks withstood, the storms endured. And every young farmboy knows that the hardest and noblest wood has the narrowest rings, that high on the mountains and in continuing danger the most indestructible, the strongest, the ideal trees grow.
Trees are sanctuaries. Whoever knows how to speak to them, whoever knows how to listen to them, can learn the truth. They do not preach learning and precepts, they preach, undeterred by particulars, the ancient law of life.
A tree says: A kernel is hidden in me, a spark, a thought, I am life from eternal life. The attempt and the risk that the eternal mother took with me is unique, unique the form and veins of my skin, unique the smallest play of leaves in my branches and the smallest scar on my bark. I was made to form and reveal the eternal in my smallest special detail.
A tree says: My strength is trust. I know nothing about my fathers, I know nothing about the thousand children that every year spring out of me. I live out the secret of my seed to the very end, and I care for nothing else. I trust that God is in me. I trust that my labor is holy. Out of this trust I live.
When we are stricken and cannot bear our lives any longer, then a tree has something to say to us: Be still! Be still! Look at me! Life is not easy, life is not difficult. Those are childish thoughts. Let God speak within you, and your thoughts will grow silent. You are anxious because your path leads away from mother and home. But every step and every day lead you back again to the mother. Home is neither here nor there. Home is within you, or home is nowhere at all.
A longing to wander tears my heart when I hear trees rustling in the wind at evening. If one listens to them silently for a long time, this longing reveals its kernel, its meaning. It is not so much a matter of escaping from one’s suffering, though it may seem to be so. It is a longing for home, for a memory of the mother, for new metaphors for life. It leads home. Every path leads homeward, every step is birth, every step is death, every grave is mother.
So the tree rustles in the evening, when we stand uneasy before our own childish thoughts: Trees have long thoughts, long-breathing and restful, just as they have longer lives than ours. They are wiser than we are, as long as we do not listen to them. But when we have learned how to listen to trees, then the brevity and the quickness and the childlike hastiness of our thoughts achieve an incomparable joy. Whoever has learned how to listen to trees no longer wants to be a tree. He wants to be nothing except what he is. That is home. That is happiness.”
― Hermann Hesse