Ｈａｐｐｙ ｖｉｃｔｉｍｓ ― 著倒れ方丈記

用戶評論 (總計6條)

•   　　By John H Lee | Issue 2, Summer 2005 I Live Here
  　　
  　　A guy taking pictures of a bunch of people’s bedrooms sounds, well, it sounds kind of creepy. But when that guy is Kyoichi Tsuzuki and the photos go into a book called Tokyo Style, the end result is a much talked-about, candid window into the lives of Generation X Tokyoites.
  　　That was a decade ago, and Tsuzuki’s been busy ever since. Very busy. The award-winning journalist has authored about a hundred books on topics ranging from the chronicles of love hotels (short-term motels designed to be rented by the hour, usually for sexual trysts) to roadside attractions of rural Japan. For the past several years he’s been showing his “Happy Victims” project in galleries around Europe. The project consiss of unflinching depictions of ordinary people’s obsessions with high fashion.
  　　Theme met up with Kyoichi in his fantastic, airy lot in the Chiyodaku section of Tokyo, where he graciously served us tea, revealed his collection of replica oil paintings from Thailand, and imparted a great deal of insight into the psyche of youth living in Japan today.
  　　
  　　Theme: Tokyo Style was shot in 1993. Do you think the insides of apartments have changed much since then?
  　　
  　　Not really. Maybe more computers and less TVs, and more mobile phones than regular phones. A lot of young people’s apartments still look like they do in the book.
  　　
  　　Before you shot the book, you were editing for the magazines Brutus and Popeye. What was the first thing you did as a photographer?
  　　
  　　The first thing I did as a photographer was, in fact, Tokyo Style, in 1993. Then I expanded to the Osaka and Kyoto areas. I published another book three or four years ago called Universe for Rent which covered not just Tokyo but other cities too.
  　　
  　　How did you get into doing Tokyo Style?
  　　
  　　In the late 1980s I was working in magazines. At the time I made a group of young friends, younger than me. We started to go out. They took me to their hangouts, cheap bars and restaurants. And then they started to take me to their own apartments because they didn’t have money to go to bars all the time. Their spaces were so small, like “How can you party here?” But it felt so comfortable. Everything was there, we didn’t have to move. It was fun. I thought it would be fun to make a book about this.
  　　
  　　The publishers I talked to all said no, so I started the project myself. I had no money for a photographer, so I purchased some camera equipment and started to learn how to load cameras. I had never used a large format camera before. I wasn’t sure I could do it, but it wasn’t that difficult.
  　　
  　　How did you get these people to invite you into their homes?
  　　
  　　That was my first concern—when I was doing the magazine, it was very difficult to gain access to the types of high-end apartments we were covering. The architect and the flower arranger had to be there when we were shooting, you know? But people living in small spaces are much more open. They don’t care, they say, “Come in if you want!” Sometimes I would ask them to recommend some other apartments; they would take me next door, to their friend’s apartment and say “Take the picture, I’ll tell them later.” These apartments weren’t locked. Poor people are more open. I asked 100 people, and only one or two people turned me down.
  　　
  　　Is Tokyo rent really that affordable?
  　　
  　　Yeah, it’s a big myth that Tokyo is expensive. It costs twice as much in London and New York. I’d say the average rent of the apartments featured in the book was about 50,000 yen [US$500]. I tried not to cover apartments over 100,000 yen. Some of the Kyoto apartments were less than US$100 a month.
  　　
  　　Why the title Tokyo Style?
  　　
  　　At that time I realized, in order to really call something a style, it has to be everywhere; if it’s hard to find, it’s not the style, it’s the exception. Style means that that particular aesthetic dominates. So I thought the normal apartments shown in the book should be the Tokyo Style.
  　　
  　　After I saw the photos I took, it looked so interesting because it shows their own lifestyle. When you go to a “beautiful” apartment, like the kinds I was covering for the magazines, those don’t really show what kind of people live there.
  　　
  　　Rich people with big spaces—when there’s more than one level in the house, and all these walkin closets—it doesn’t really show what you have. But in a three-meter by three-meter room, everything shows. The room becomes a part of yourself.
  　　
  　　Maybe it’s more obvious in Japan. Because in, let’s say the U.S., you might have a dinner party in your home, your friend might bring a friend, you’re enjoying yourself, you go into your bedroom and you might find someone you don’t know talking on your bed. That is normal in the West. But that would be really abnormal in Japan, because your room is much more private here. In Western culture, your home is an extension of the public area—that’s why the bed has to be made. But in a Japanese environment it’s different. The living environment is closed off from the outside world. So when you go in, there’s much more personality shown.
  　　
  　　Tell us about “Happy Victims.”
  　　
  　　It’s about how fashion is consumed and appreciated, about the people who are buying these clothes. Recently I was at a fashion show for a good Japanese label named Dress Camp. All the media people had seats, and the younger people stood in the back and couldn’t see the show. But they are the customers! I got a seat, but I don’t buy those clothes.
  　　
  　　I wanted to see how fans of fashion live. They are not rich. Actually, the people buying these clothes live in a small place, saving their money to buy the clothes, but they don’t have any beautiful place to go. That’s the truth.
  　　
  　　I don’t want to say it’s stupid, but imagine it: A very small room, the person doesn’t have a lot of money but they spend all their money on books, and they fill their small room with books, you wouldn’t say they’re stupid. Right? But a small room filled with Comme des Gar?ons, looks really stupid, no? That is our prejudice—that the person who spends all their money on books looks better than the person with Comme des Gar?ons. There’s a hierarchy: Books have the highest position, then records, and fashion is kind of on the bottom. But it’s all the same. It’s how your passion flows.
  　　
  　　Speaking of books, someone could fill their room with your books, seeing as you’ve written about a hundred. Do you consider yourself a writer?
  　　
  　　Journalist.
  　　
  　　A photographer?
  　　
  　　Not really, I shoot because I have no budget, so it’s purely economics. It would be nice if I could hire a photographer or writer, because there are so many things I want to do. Doing it by myself takes lots of time. If I had a budget, I would hire a huge team.
  　　
  　　I never use a researcher for my projects, so it’s time consuming. Like driving half a day to find out a museum in Idaho is closed in the winter. It would be easier if I could hire a researcher, but that’s not interesting. Because then the researcher sets the schedule and I just go for the ride. The experience is more important. Driving half a day to find out the museum is closed makes you decide if you’re really interested in that museum. I’ll go back if I’m interested.
  　　
  　　So what are you working on right now?
  　　
  　　One of my new projects is to record the “International Villages” scattered throughout the Japanese countryside. There are so many. Let me explain: “International Villages” are these perfect, idealistic recreations of foreign countries. For instance, a beautiful recreation of Holland, complete with replica windmills and canals. And these are full-scale, immersive villages. No people actually live there, they are purely for tourists. You pay to enter and it’s supposedly like being in that country. They are peculiar to Japan; you can’t find these in any other country.
  　　
  　　Most of them were made fifteen to twenty years ago, during the bubble economy, and most are now closing down due to financial problems. I want to photograph these places in a dreamy way.
  　　
  　　One of my long-term projects is visiting every state in America. I published some books called Roadside Japan and Roadside Europe, and now I’m doing a story called Roadside America. I’m going to New Jersey in a couple of weeks. It’s my fortieth state.
  　　
  　　It’s my sixth year working on the project now. I go every couple of months to do a story for a monthly magazine in Japan. So I go to the real countryside parts of America. I really like it.
  　　
  　　With the work that you do, what really fascinates you?
  　　
  　　What fascinates me most is imbalance. You are taught that it’s nice to have a hobby, but also that you have to think about balance—30% of your income should be spent on your home, 15% on your hobby, 20% on your food, whatever—to have a harmonious lifestyle.
  　　
  　　But some people lose their balance. They spend like, 80% on their hobby. I like that! That might sound stupid, but that’s energy. A harmonious life doesn’t have energy. So that sort of imbalance encourages me. These young people could move out to the suburbs and have better rooms; if they didn’t spend so much money on clubbing and mobile phones, they might be able to have a better lifestyle. But they don’t, that’s not their interest.
  　　
  　　I like that they know the power to step out of balance. Whether it’s in their home or with fashion. The subject might change, but it’s that lack of balance that makes me interested.
  　　
  　　http://www.thememagazine.com/stories/kyoichi-tsuzuki/
•   　　都筑：《HAPPY VICTIMS穿衣穿到窮》是對服裝品牌癡迷者的記錄，最先在《流行通信》雜志連載。書里共有85個服裝名牌和它們的狂熱愛好者。他們拼命盯著某個固定的服裝品牌，買到自己天天穿也穿不完的程度。說來有趣，這個世界上有很多人癡迷各種各樣的東西，愛情啊、美食啊、書籍啊等等。若有一個人很愛書，天天買書買到1萬冊，大家通常會夸贊，接受他吧。但若是你不顧一切地買名牌服裝，能接受他們的人極少，弄不好還會被嘲笑。
  　　
  　　一般人認為，到了一定年紀應(yīng)該有一種“balance”，為了生活，應(yīng)該把自己的收入安排好，如三分之一付房租，三分之一是伙食費，還要存款什么的。但這樣“balance”的生活太四平八穩(wěn)?！禜APPY VICTIMS穿衣穿到窮》中的人們沒有這種“balance”，反而有意思。
  　　
  　　剛開始采訪這些人的時候，我以為時裝公司會很高興，幫他們做宣傳嘛。實際情況是，這些大公司不停打電話向我抗議，有幾家還威脅要起訴我。我的拍攝對象是花大錢買這些高高級時裝的呀，顧客嘛，所以我完全沒理會。后來發(fā)現(xiàn)，原來那些公司很害怕拍攝對象不適合所謂的“品牌形象”。他們都住著很小很小的房間，生活水平也不高，和公司所追求的“形象”離得太遠。大公司在意的是出席巴黎時裝秀的名流，但實際上支撐公司的就是這些普通市民。看來，消費者和名牌之間是“單戀”的關(guān)系。
  　　
  　　全文詳見：《城市畫報》2009年第五期
•   　　《TOKYO STYLE》（京都書院、1993年）：約100位東京普通年輕人的房間內(nèi)景。
  　　
  　　《ROADESIDE JAPAN 珍日本紀行》（ASPECT、1996年）：揭秘日本各地雷人詭異之處。
  　　
  　　《東京烏賊干俱樂部 如何在地球上迷路》（文藝春秋、2004年）：和村上春樹、隨筆作家吉本由美共著的旅游記。
  　　
  　　《賃貸宇宙 UNIVERSE for RENT》（筑摩書房、2005年）：《TOKYO STYLE》的姐妹篇。
  　　
  　　《夜露死苦現(xiàn)代詩》（新潮社、2006年）：日常生活中的“現(xiàn)代詩”，包含暴走族特攻服上的口號、老人家的嘟噥等。
  　　
  　　《巡禮——珍日本超老傳》（雙葉社、2007年）：日本各地最具個性的超級老人的采訪。
  　　
  　　《HAPPY VICTIMS 穿衣穿到窮》（青幻社、2008年）：85位時裝癡迷者和他們的房間。
  　　
  　　《Boro破布》（ASPECT、2008年）：青森縣的補丁文化。
  　　
  　　《誰都不買的書也要人買》（晶文社、2008年）：日本、中國臺灣、泰國各地的特色書店和書籍。
  　　
  　　《情人旅館Satelite of LOVE》（ASPECT、2008年）：各具特色的日本情人旅館房間。
  　　
  　　都筑先生有一博客，更新也蠻勤快，不過在這邊打不開。都筑聞訊表示“深感光榮”。
  　　
•   這篇文章在《城畫》上看了，原來是你寫的啊。
  請教下，記得《Tokyo Style》得過文部省的獎項，忘了在那個雜志上看到的，是有這回事嗎。
•   回姜老師，是我老婆寫的啊，當(dāng)時在上海做的采訪?！禩OKYO STYLE》的得獎情況我去查查看。
•   哦原來這樣哈哈。

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