Drawn Faces Fight

1. Jan Lehner No Colours Anymore, I Want Them To Turn Black, 2014
2. Pablo Picasso Untitled, 1945

Looking back to the beginnings and discovering the category The Fight. Visual analogies that built the foundation of this aesthetic commentary. And let's face it, everything else is travesty. Yet, one could always wear Alex Bottenberg.
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Exoticism

Photos DC Chang

For some reason, these images remind me of the very great Mishima Yukio and his autobiographical novel 'Confessions of a Mask'. A piece of world literature that should be consumed by everyone.
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Appendix:

Mishima Yukio Confessions of a Mask, 1949

For further homoerotic discourse see HORST and HORST

Discrepancy

Yohji Yamamoto Spring/Summer 2013

Brutalism in fashion is a poetic remark. Soft, fluid fabrics, playfully strapped suits and battered faces. Black eye and bloody nose as next season's accessory. What a great and loveable collection, absolutely to-die-for.
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Beauty, Recycled

1. Comme des Garçons Fall/Winter 2000
2. Daniel Jackson A Scanner Darkly, Dazed & Confused 2012
3. Junya Watanabe Fall/Winter 2009

The displaced lip as mentioned in a previous chapter is further continued with the flattened face. Reducing the physiognomy to strong black lines and holohedral white surfaces. Make-up as Japanese xylography.
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A Short History Of Lips In Popular Culture

1. Man Ray Le Baiser, 1930
2. Comme des Garçons Fall/Winter 2004
3. Comme des Garçons Spring/Summer 2006
4. Man Ray A l’heure de l’observatoire – Les Amoureux, 1934
5. Comme des Garçons Fall/Winter 2009

A surreal kiss between Man Ray and Rei Kawakubo that has never been. Paired and displaced, multiplied and supersized. For Man Ray, the 'nakedness of two faces' was a socially tolerated form of sexual portraiture and therefore being chosen. Rei Kawakubo says: ‘If you are to put color on the face, it need not to be on the lips. It can be anywhere’. While Man Ray tends towards sensuality, Rei Kawakubo prefers destroyed feminity as an anti-position and de-sexualisation. And lips don't lie.
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