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2 | MADE NOW /

Shibuya streets

by @Omarjlm

渋 谷 区

日 本 へ よ う こ そ


by @Omarjlm

Tokyo Tower

東 京 タ ワ ー




EDITOR’S LETTER Japan, and nothing else. Because there’s no need to add any other word. Japan is, has been and will always be one of the biggest sources for inspiration in the fashion industry. Just few seasons manage to escape from its refreshing images, and although it is not always explicitly, we can see some references this winter such as the embroidered flowers in those delicious bombers by Gucci, super-high waists in the golden corsets seen at Loewe, minimal style in Rick Owens’s total-white looks, or the most original origami in the multicoloured drapes presented in the Haute Couture collections by Versace. Everything the Empire of the Rising Sun offers is present in our eighteenth edition, absolutely visual and classically modern. The most extrovert street-styling, seen in the different fashion weeks by Ms Castro Rides and her “gun” —or army— of photographers. Interviews to designers such as Juan Brea, whose prints remind us of the ancient Nippon dynasties. Pieces that create an enormous contrast as the ones by Flori Gómez

or Claudia Kurzweil, who show with their new collections, on the one side, obsession for luxury at its best and, in the other, cutting-edge designs. Legendary creators as Kenzo Takada, Issey Miyake or Rei Kawabuko, next protagonist of the MET Gala in New York with her bran Commes des Garçons. And the Japanese girls’ beauty routines are analyzed by our experts, who drive us from the most adorable

100% UNIQUE, 100% CUTTING-EDGE 100% MADE Now Hello Kitty, to the nature and freshness of orchids. And, what about the rest? Oh, lots of fashion. And what fashion. All the Japanese imaginary in interpreted through some editorials that close with this 18th volume a year 2016 which has been perfect in every single aspect. From tradition in the kamishibai —popular Japanese tales— illustrated here by the wonderful Carlos Carvajal, to urban cultures in

which the new genderless and the Harajuku rule, going through some samurai warrior, reinterpreted here in a 100% minimal style. But what calls our attention the most is, undoubtedly, the originality of this country. Yes, ORIGINALITY, in capital letters. A unique culture, capable of reinventing itself against every challenge; a culture full of variety, of contrasts, but with an unlimited visual and social power. A culture in which both the classic and rural live together with the biggest metropolis in the world, modernity and technological vanguard. Because of this —and some other reasons—, MADE Now wanted to pay tribute to this nation. Because, in a way, we feel identified with a lot of aspects which define and differentiate it, which define and differentiate us, from many others: aim to be outstanding, flee from copies, be unique, be avant-garde, create fashion. Now turn the page, and say goodbye to 2016 in the best way possible, with a good dose of our magazine at its best: 100% unique, 100% cutting-edge, 100% MADE Now.

Daniel Albericio, Editor-in-chief



Silver earrings with zircon and crystals, FLORI GÓMEZ

Director Rubén González Stylist Isabel Nóbrega Stylist Raúl Rodríguez Stylist Dan García Stylist Cris León Stylist Katia León Hairdresser Moisés Pérez Make-up Patricia Santana Make-up Andrea Pérez Photographer Sara García Photographer Luis Sosa Photographer Gema Hernández Photographer Cristian Navarro Spots Eduardo Giménez Graphic Designer Nayra González Graphic Designer Naila Pérez Graphic Designer Ana Lía Pérez Web Designer Carla Correa

Co-Director Lola Rufino Creative Director Rubén González Editor-in-chief Daniel Albericio Fashion Editor Carlos Carvajal Art Director Carlos Carvajal Redactor Florángel Sánchez Production Director Agnelymar Reyes Beauty Director Lulú Ventura Make Up Director Romina Elorrieta Public Relations Lupe Castro Communication Mónica Rodríguez Redactor Susana Martín Redactor Yolanda Castrodá Redactor Paula Albericio Translation David González


Sedomir Rodríguez de la Sierra / GM by Je / By Loleiro Atelier / Domingo Ayala / Contemporary Jewellery by Claudia Kurzweil / POPHOUSE / +QMODA / OLÉ GROUP





008 | Fashion Diaries by Ms Castro Rides 015 | Interview to Irina Babanova 016 | Personal Shopper by Borja Romero 018 | Always Three - Never Again 021 | MAX.TAN by Daniel Albericio 025 | Elvira Manrique de Lara in seven key answers 028 | Interview to João Rôlo 032 | Japan, home of designers by Paula Albericio 038 | Interview to Hajime Yamamoto 042 | Interview to Giorgia Gabriele 044 | UIMP by Sara de la Cuesta 048 | Interview to Juan Brea 050 | Interview to DILIGENT 054 | Interview to MANONIK 057 | Beauty: Know the secrets of japanese skincare 068 | Kamishibai 080 | Contemporary Samurai 090 | Asian Society 098 | Claudia Kurzweil 112 | Tokyo Without Gender 120 | About Last Night

ON COVER PAGE: Menglei Li (OLÉ GROUP) photographed by Gema Hernandez, styled by Daniel Albericio. Make-up: Andrea Pérez and hairstyle: Moisés Pérez. Wears a long mustard-yellow coat with embroidery by Sedomir Rodríguez de la Sierra and white scarf by GM by JE. Illustration: Carlos Carvajal


Silver and zircon ring, FLORI GÓMEZ

Made Now. Tenerife: 38297 La Laguna Canary Islands / Spain MADE Now Magazine is not responsible for the opinions expressed by contributors in their articles. © MADE NOW Reproduction prohibited, edit or transmitted or in part by any means run out written authorization of MADE NOW.







Fashion Diaries Ms Castro Rides

Is it really possible that we are already hitting December, and the invites are already coming in for Berlin Fashion Week and London Collections Men?

It has been an extremely busy year fashion-wise and it looks like next year is going to be just as packed. Travelling around the world for various shows, fashion weeks, meetings and exhibitions is always tiring, but I always love

it and I must say I am already looking forward to next year’s increasingly full schedule. August and September 2017, I will be at the International Design Exhibition Brussels, which means I’ll be spending Summer in this beautiful city, filling my spare time with many little trips to its costume and lace museum and the fantastic antique shops whenever I get a chance to escape. I am also going to be organizing something with My Treasure Box at London Fashion Week, so 2017 will also have a fair share of grey skies and cold weather for me. But it always balances


out because it’s the time that I get the chance to see the new talent and meet some of my favorite people. Finally, my Fashion Space at the Arts will open in June, which will be an opportunity for me to show off all my fabulous vintage pieces, and that’s not all! I also have some exciting collaborations coming on line which I can’t reveal until a later stage – watch this space! •L.C.

Ayana Miyamoto

Tokyo Style Photography Kyoung Duck Park



Misha Janette

Misha Janette

Yuri Nakagawa

Chan Woo Lee | Designer of label ACOUD

Tokyo Style

Fotografía Kyoung Duck Park


Parisian Style Photographie Parisdise Photography

Vanessa Hong, | @hautepursuit

Vogue Fashion Feature editor Shizue Hamano

ス ト リ ー ト ス タ イ ル



Liu Tao

Faye Tsui

Parisian Style

Photography Parisdise Photography Justine Lee


Irina Babanova Interview to



Originally from Bulgaria, Irina has been living in Japan for eleven years now. In 2012 she established her jewelry brand Eenabo Jewelry, and so far, has presented twelve collections and over 300 original pieces. Her designs feature unique, handcrafted art items using only high-quality materials such as gemstones, cultured pearls or Swarovsky crystals. Irina has collaborated in various projects with artists and fashion brands from many countries as a stylist, art director and brand promoter. Her work has been featured in top fashion magazines, beauty contests and international exhibitions.

Her mission? To inspire and make people happy. Irina, as a European and a mover and shaker in Tokyo’s fashion scene for almost six years, what are the most particular differences between both parts of the world? It is difficult to speak about fashion all around Europe… I feel that there, fashion in general is more elegant, colors are more muted and carefully matched. People don’t experiment very much and prefer practical, comfortable clothes. On the other hand, in Asia, and particularly in Japan, fashion is very bold, featuring bright colors and variety of styles

Fotografía: Terrence Jones

Digital artist, jewelry designer, event designer and producer, fashion blogger and model, I met Irina through a mutual friend Joe Nickols, Japan has brought us some of the greatest designers, but they are particular by the way they envisage fashion.



that often clash. It feels like there are no rules for fashion and everybody is free to experiment. Girls’ look is “cute” (kawaii) and more feminine, while European girls’ look is more “cool” and stylish. People in Japan wear hats and scarves a lot; high heels are very popular at any time of the day among most of women, while in Europe women prefer comfortable shoes and wear high heels only when they go out in the evening, or for special occasions. Europeans prefer big, bold, in many cases simple pieces of jewelry and love wearing sunglasses, in Japan women wear very small and delicate pieces with a lot of sparkle; and sunglasses are just a fashion accessory, no practical reasons for using them.

Photographies: Terrence Jones y Hugo Poveda

I should also mention that there is a strict dress code for business people here! Mainly black suits, white shirt and a tie. If you happen to use the public transportation during peak hours, you will see people wearing the same type of business suits, which is in a great contrast with the vibrant, colorful street fashion.


From a point of view of “establishing yourself as a designer or artist in Japan”, how hard can it be? What I found challenging at the beginning is that foreign artists in Japan can feel very isolated and it takes a lot of time to be able to be accepted in the fashion and art circles. Even if you have talent and are good at what you do, even if you work hard, you still need connections, to be introduced by an established name, to get your name out there. I guess this is how

it works everywhere, but I feel in Japan everything takes too much time until they trust you to work with them, especially if you are not introduced by someone who knows you well. Language is another barrier. It took me several years to establish my own network and to figure out how exactly things work here. And I am still learning. Nowadays, I can support other creative fellows —artists and designers of various nationalities, through organizing art and fashion events where they can exhibit their work, expand their network, get confidence and support and find opportunities for future collaborations. Tokyo is renowned for its fashion tribes. Can you give me an insight? Which are your current favorites, and the most popular in Tokyo? Going even further, where does your style fit in? Fashion in Tokyo is amazing in terms of variety, uniqueness and freedom of expression. Street fashion gathers a worldwide attention. There is a variety of Japanese subcultures and the scene is constantly changing, which makes it very hard to keep a track on them. However, there are several fashion styles, or “kei” in Japanese that have managed to evolve while preserving their original style, such as Gosurori, Fairy Kei, Lolita Kei... For several decades, the heart of Tokyo’s street fashion has been Harajuku, where mainly young teenage girls and boys gather and experiment with fashion and have fun expressing who they are. Tokyo fashion scene is very intense, intriguing and ever-evolving.

At last month’s Amazon Fashion Week, who did you consider the most exciting upcoming designer? There were many great talented designers! Well- established ones, others doing their debut. For me the most exciting upcoming one is Chanwoo Lee and brand ACUOD by Chanu, featuring unisex street fashion. His philosophy is based on assimilation of “men’s & lady’s” and sporty.

In other words, we can see a wider interpretation of the genderless fashion style we mentioned before. Another designer worth mentioning is Leonard Wong, who creates amazing futuristic silhouettes from leather and other materials. He put up a great show starring guest performers Ayabambi and Japanese top model Kozue Akimoto. You can follow Irina’s works in these webs:

Photographies: Yuki Tei y Kyoung-Duck Park

Being a part of all this inevitably changes your outlook, the way you perceive fashion and self-expression. Regarding my style —I have always been interested and respected various styles and creativity in fashion. There is no color or style I wouldn’t try on myself and enjoy wearing, depending on the mood and circumstances, of course. That’s why I feel very much “at home” in Japan —whatever you are wearing, no one will judge you or give you a look of disapproval. I guess such an attitude fosters and encourages creativity, self-expression, originality, which results in the various fashion styles and trends we have been seeing. I truly respect and draw a lot of inspiration from them for my designs or styling activities. I love to experiment, and the safe fashion environment in Japan gives me the freedom to do that. I create my own style; the one I am comfortable with. Most people describe my style as elegantly brave, “having European feel”. Well, I am European and it is nice to be reminded I have stayed true to my origins to some extent.




INSPIRATION Personal Shopper service available

Few seasons escape the influence of an age-old culture that leaves its imprint in any sector of the industry. brick red define the lines of new oriental looks.

It is common to see in shops the influence of ancient civilizations or cultures in both spring / summer and autumn / winter collections. Typical dresses, prints, designs or fashions from certain periods influence the creations of many designers. On this occasion, we will talk about inspiring Japan. Kenzo was one of the pioneers in looking at this country when it came to creating his collections. Later, other designers like Chanel followed this tradition.

These types of prints can not only be seen in luxury signatures; The low cost shops also have great representations of them. Signatures like Sfera show the bomber jackets with oriental embroidery on back and arms. Amitié offers kimonos with current touches such as the use of metallized fabrics in lamé. And in young fashion, the skort or origami, which remind us of the art of origami.

The oriental trend prints are those that represent zen gardens combined with geometric motifs, flowers and almond tree, cranes and typical architecture. In addition, it is characterized by the urban use of color, where black, dusty rose, sage and

This autumn / winter 2016, silk pajamas with oriental motifs (especially with Japanese flower print) can not be missing in the closet of both men and women. The typical Japanese print not only takes possession of this type of garments, but also invades dresses


with obi girdles and cross closure, mini-blouses with geisha sleeves, and contrasting hems. So far we have talked about western fashion inspired in Japan, but ... How do the inhabitants of this great country dress? I could not finish this article without mentioning the peculiar styles that coexist among the Japanese. Undoubtedly, there is no other place in the world where iconic freedom is so original and attractive. The Japanese style is characterized by taking the looks to the limit, and the mixture of contemporaneity and tradition without prejudice or historical ties. Women are not used to exposing much skin or wearing a seductive image - at least in their Western concept. In general, they look for a

feminine and sweet touch, where firm accessories are of “vital” importance. With regard to young fashion, urban tribes have flooded the streets of Tokyo; We found girls dressed as French dolls, with very white skins and lady style. Or, on the contrary, gothic and punk versions of these. In men’s fashion, boys wear androgynous garments with striking colors. In short, Japan is a country rich in culture and traditions that serve as a source of inspiration for multiple artists. From its traditional, or otherwise, contemporary architecture, until its representative writing will continue to decorate catwalks, dressing them with ancient customs and care of detail. • B.R.

by Nayra Gonzรกlez



Always Three Never again

Sunday morning. Julia, while sited on the sofa, writes a single sentence in his diary: “mi prison is not made from concrete, my prison is inside me”. She starts crying as she cannot stop thinking about what happened the previous afternoon. “Sometimes I don’t understand my own feelings, I don’t know what happens. Why am I like this? Why do I allow Orlando to control me? Again! I wasn´t able to say no! It was his kisses, his cuddles, his words… I still love him, but I can’t keep on with this relationship, I makes no sense after all this suffering. NO, NEVER AGAIN! Never again”, speaks Julia to herself.

thinking of organizing her closet and changing the furniture, giving fresh air to her house. *** The next morning Margarita walks slowly, she’s on time to the place where she’ll meet Roberto. She is nervous and, at the same time, excited, feelings she hadn’t experimented for a long time. She’s especially beautiful today. For first time in years she’s got her hair free. With a multicolored trouser, a white shirt, and accessorized with a bel, heels and bag in gold. She looks modern without losing a bit of elegance. Roberto is 52. He’s thing and looks young, only his silver her confirms his age. He may not have the best face, but his sharp, masculine features make him absolutely handsome.

She gets up to the tune of her phone. “It’s Marta”, she whispers.

After the call, Julia decides not to think more about her problems. She needs something to do. She has been


Margarita is close to the place they’ll meet. She listens to someone telling her name, and she sees Roberto there. “How handsome…”, she thinks. -¡Hi Margarita! —Roberto shows great excitement when he sees her. -¡Hi Roberto! How are you? -Good. You are radiant, as always. God, so much time I didn’t see you! -More than 30 years —Margarita answers.

Ilustrations: Israel Castro

-Hi Marta! What’s up? -I’m fine. What are you doing? -Nothing, just lying on the sofa. How is it with Jorge? -Terrific. We had some laughs, he is fun, really fun. I enjoyed it a lot. -How good for you, Marta! I imagine you will meet again soon. -Of course. He phoned me some minutes ago. To be sincere, I like him a lot. -He’s hot, isn’t he? —comments Julia, laughing. -Yup. But be careful! —adds Marta, laughing too. -Where is Kamel? -He’s with my parents, I’ll go for him now. -You know what —says Julia—, I forgot to tell you yesterday, but I wanted to propose a trip to the Sahara. -Sahara?! —answers Marta, amazed—. Not bad! But my dream is travelling to Japan. It calls my attention so bad: its culture, its food, its people… -Its décor —Julia interrupts—, your house is full of Japanese sculptures. -Sure, I like it a lot —confirms Marta—. We should go there some day. -It’s not a bad idea, but we should wait till Susana has her baby. -Let’s talk about other things, Julia… How are you? Well… I don’t want to bore you with my stuff, better if you go for Kamel. We’ll talk later. -Well, well —says Marta—, take care. -You too. Kisses.

Always Three Never Again

-It’s incredible how time flies, but not for you; you are as beautiful as always —Roberto flatters one more time. They keep on talking while they head to a café. They are both nervous, excited… There is so much to tell, so many questions to ask. It looks like time has not passed for them, they feel comfortable with each other. They cannot stop talking, and even interrupt each other. Too many things to tell in just one morning.

She does not know what to do. “May I say hello?”, she asks herself. “I think she hasn’t seen me”, she thinks, “I’d better leave”. Margarita is having such a good time that she does not see her. Julia pays for the coffee and leaves immediately. She does not know whether she would have done good in greeting her or not. Just as she leaves the café, her phone rings. She answers really angry:

They are sited at a small café in an alley. Julia goes out early in the morning. She has been in the shop doing some orders from clients, but she cannot find a specific bag. “I don’t know where to look for it”, she thinks, “I think I’ve gone to every single shop in Ceuta… Well, not all of them, but almost. I’ll continue in the afternoon.” Tired, she decides to stop for a coffee. She enters a café and sits at the corner of the counter. While the waiter serves her coffee, she looks around and sees Margarita, talking and laughing with a man.

-What do you want now, Orlando? -Sorry. I just wanted to know how you were and ask you if my wife was with you this morning. -I don’t understand —Julia answers, surprised and intrigued at the same time. -What is it that you don’t understand, Julia? -I don’t understand why you ask me about your wife. Orlando, in a bad mood, asks again: -Has she been with you or not? Julia does not know what to say. She remains quiet… • Y.C.




Feminine details made masculine, masculinity is softened. Androgyny is more than boys in dresses and girls in suits. Really looking into those details that define gender, reimagining them to break stereotypes. Those could be the aspects that would describe its latest collection for 2017. Exclusively for MADE Now, MAX.TAN.

his label made its full debut with its “Pressed� collection in 2010. He has been the first Asian-based designer who showcases his collections in Amsterdam. Additionally, he has been featured by some editions of Vogue magazine and Surface Asia.

Images: courtesy of MAX.TAN

Experiments with quirk cuts and expanding on extremely simple ideas define the MAX.TAN language. Maximizing on minimalistic ideas, its collections evoke a serene universe nuanced with a rebellious spirit. With a touch of contemporary art, the garments play with volume, modified shapes and use, oversized, undersized, deconstruction, reconstruction and transformation. These factors form the underlying DNA of MAX.TAN. After graduating ten years ago in Fashion Design from the Nanyang Academy of Fine Arts, Max goes on to show his first collection at the Singapore Fashion Week in 2007, being awarded the second runner-up position at the Singapore Fashion Designers Contest. With the recognition and after some projects,



For his next spring-summer 2017 collection, five characteristics merge in his creations: ruffles, which go from feminine to masculine, as they are given more structure using a cotton/ rayon fabric, stiffened and introducing sports elastic bands to create ruffles to replace the traditional way of cutting flounces, placed in a more deconstructed and patch on manner to unexpected parts of the


body, introducing volume and breaking silhouettes. Striped nautical sweatshirts, which in this case go from masculine to feminine, deconstructed in the form of fabric manipulation. Stripes on a single piece of fabric are being slashed out into individual pattern pieces and used as fabric fringes on deconstructed patchwork on tee-shirt, fringe dress‌

Thinner stripes are deconstructed and placed on different graininess to highlight the feminine form, breaking away from the normal boxy silhouette. Corsetry lacework, traditionally feminine, is applied onto masculine items such as a denim jackets, shirt dresses and T-shirts, but still used to shape parts of the body. Embroidery work in order to introduce tex

tures and used to suggest a different garment type on blank canvases. And finally, deconstruction, whose androgynous deconstructed look is often boxy, oversized and slouchy, is used here in a more feminine way, sha- ping the body, but still very relaxed. For the years to come, MAX.TAN sounds as one of the hottest names to look for in fashion. • D.A.

In these pages, images from MAX.TAN’s next spring/summer 2017, an ode to black an white which blurs the frontier between masculine and feminine.



by @Omarjlm

Fushimi Inari Taisha

伏 見 稲 荷 大 社 24 | MADE NOW / JAPAN

1 | MADE NOW /



lvira Manrique de Lara

in seven key answers

Comfortable, practical, personal. What characteristic prevails when creating over the others? functionality, in harmony with beauty. A favorite style? Mine, the freedom to be able to develop each project according to its circumstances. Technology is part of our day to day. How do you integrate it into a project? So that it makes it as comfor-

table as possible, it imposes do optics, it facilitates life! How important is geometry? It is important to balance, an instrument, tool to seek harmony and beauty.

調 和 、 光 と 美

What do you think about the great demand for the “old” or “vintage” that travels the world today? That is part of our life, there is a recognition to the classic, basic, that is reinvented again and again. Creativity always oscillates between conservatism and innovation.

Photography: Aljosa Petric

Is each work / design printed with something personal? Yeah right. In every project I always put soul, life and heart.

Three guidelines to create an ideal working space. Harmony, light and beauty.



26 | MADE NOW / by @Omarjlm

Imperial Palace

皇 居



Deeply attracted by the design, he started very young at the Antonio Arroio School of Decorative Arts in Lisbon. He opened his first shop and sewing workshop in the 80’s, and the privileges of personalized service to this day. We chatted with the Portuguese designer Joâo Rôlo in our winter edition.


fter 30 years of career, how to renew and continue to surprise the public? It is easy to keep surprising. I am a very observant and attentive person, I try to inspire myself in everything that surrounds me: in women, in music, in paintings and trips ... I consider these things always very rich in inspiration. Creating and reinventing myself is part of my own DNA.

Your designs echo the elegance, as we have seen in the last Malaga Film Festival, where actress Patricia Montero entered the top 10 of the best dressed with one of your dresses, the hand of the designer Juan Acuñas, always so successful. What is the key to creating pieces that are not only attractive to our eyes? My training is classic, and although on the one hand I really like the classic, in my creations I always try to mix the classic with the more contemporary style, so I look for what both styles can offer. I like to work fine and delicate fabrics, giving them a sexy and romantic touch, I think that it is what gives a chic and elegant look. Also, I was very happy


that Juan Acuñas contacted me to dress an actress as beautiful as Patricia Montero, It has been a good entry into mainland, and after seeing that she was among the most elegant of the red carpet in the Film Festival of Malaga, I can not be happier. I love working with people with good taste, and Juan Acuñas has it.

Background: Freepik

Who would be your dream customer? My clients are sophisticated women, chic, elegant and they like to have a very careful image, which also give importance to the fabrics and all the small details, which are an integral part of all my creations. “João Rôlo Home” encompasses another creative aspect. What guide-

lines do you have in mind to design? Just inspiration in fashion, or a set of factors? As for «João Rôlo Home» I also like, as in fashion, to mix more classic pieces with other more risky, so when designing the collection, I like to be more modern. Finally, what are your plans for 2017? I wish it is a year of projects. 2017 will involve many changes in my career. I will start by presenting my new collection of glasses, and also high jewelry, while in fashion, it will be a year of internationalization. My clothes, I want more and more to be worked manually, so that they become even more beautiful and desired objects.



富 士 山 Mount Fuji by @Omarjlm


eyond its rich culture and traditions, Japan owes much to fashion, not just because designers and companies are inspired to elaborate their collections in everything that this mystic country offers. From the Japanese country come many creative directors who have put their art and knowledge to the service of the fashion industry giving rise to the most varied and wonderful proposals overflowing with imagination and breaking the monotony of what we usually see on the catwalks. For those who conceive fashion as art and as a show beyond the design of more or less wearable garments and to open the minds of the rest a little, we will review the professional tour of some of the most prominent Japanese fashion designers who crossed borders Conquering the Fashion Weeks of the West throughout history. Rei kawakubo (October 11, 1942, Tokyo), founder of the firm Comme Des Garçons, maximum


exponent of the so-called conceptual design. For over 40 years, Kawakubo has been designing garments with a personal and recognizable style that stand out for their special attention to the quality and care of the materials as well as the detail in the production process. Since 1981, for the first time in Paris Fashion Week, the world has witnessed his art at the time not only of creating fashion, but of interpreting it. With numerous awards and recognitions behind him, such as the honorary doctorate from the Royal College of Art in Britain, or the mention of excellence granted by Harvard University, Rei Kawakuwo will be the

protagonist of the theme of the next exhibition of the fashion department in the Metropolitan Museum of New York (Met), which will be centered on the figure of the architect and founder of the Comme Des Garçons brand. Kawakubo will be the first live designer to star in the Met’s annual fashion show since Yves Saint Laurent in 1983. Did you know that the character of Edna Moda in the animated film The Incredibles is inspired by the Japanese designer?

Designer Rei Kawabuko and two of her creations.

Yohji Yamamoto (October 3, 1943, Tokyo) Although he initially studied Law, in 1969 he decided to start his fashion design career by enrolling in Bunka Fukusō Gakuin. After presenting his own prêt-à-porter creations in 1977 and winning several awards, with the money obtained from them he decides to move to Paris, he debuts on the catwalk in 1981 and the following year he takes his baptism in the New Yor Fashion Week . Obsessed as he has repeatedly stated with black color and oversized silhouettes, Yamamoto soon becomes one of the favorite designers in the American arena, in addition to increasing his prestige

and recognition as a stylist. The designer has inspired artists such as Gwen Stefani (who mentions him in his song “Harajuku Girls”), designed the costumes for Elton John’s 2003 tour, he has also been in charge of the costumes for the film director Takeshi Kitano, as well as producing a sportwear line in collaboration with Adidas.

Yohji Yamamoto with a design for spring/ summer 2017.



Creator Issey Miyake and the “Pleats Please”, 1993.

Issey Miyake (April 22, 1938, Hiroshima), specialist in masterfully combining design and technology in conceptual exploration of the natural, both in his collections and in his designs. A graduate of graphic arts at the famous Tama Art University in Tokyo, he graduated from Paris to study at the Ecole de la Chambre Syndicale de la Couture Parisienne. In 1966 he begins to work next to Guy Laroche and in 1968 he enters Givenchy. The following year he moves to New York, where he works in collaboration with Geoffrey Beene. In 1970 he opened his own design studio in Tokyo where he experimented with new fabrics and clothing methods until, in 1971, he founded his own brand: Miyake In-


ternational Incorporated, and this is how his first collection, exhibited in New York York. His second collection was presented in Paris in 1973, and it is this that definitively enshrines him in the world of fashion. Up to this point he had remained faithful to his radical design philosophy, but when the decade of the eighties arrived, he changed his orientation to give his clothes a more practical tint and he launched his characteristic pleated suits. Miyake is one of Japan’s most respected and well-known designers, his designs have come to be considered “art architecture”. His garments do not

dress the body separating it, protecting it and differentiating it from the environment that surrounds it, but it gives it in complete participation. Miyake has made use of the most advanced textile technology, which has allowed him to almost completely banish the use of buttons, seams and other elements unrelated to the essence of the garment. One of the greatest ambitions of the designer has been to create an intrinsically oriental garment that is the equivalent

to jeans for its practicality, comfort and reach. Thus, in 1998, appears Pleats Please. It is a collection created in pleated polyester fabrics, which have not shifted to jeans, but it has become the line that more scope and recognition has been given.

Designer Hanae Mori, now retired.

Images: Pinterest / Livingly / Tumblr

Hanae Mori (January 8, 1926, Yoshika), who is the only Japanese woman who has presented her collections on the catwalks of Paris and New York, and the first Asian woman to be admitted as a member of the high Sewing design by the French Federation of Couture. Graduated from the Tokyo Women’s Christian Uni-

Kenzo Takada.

Kenzo Takada (February 27, 1939, Hyogo Prefecture). He graduated from the Tokio’s Fashion Academy

versity and after studying at the clothing school, she opened her first workshop in 1951 and in the following years was in charge of designing the costumes for hundreds of films. In 1965, his first collection in New York, “East Meets West”, was successfully presented. Twelve years later, a haute couture showroom opened

Bunka Fashion College. After finishing his studies, he settled in Paris in 1964, where he tried to earn a place in the fashion world by attending events, making contacts with the media and selling his sketches until in 1970 he founded his own firm, KENZO, which he personally handled until his retirement in 1990. The vibrant and surprising and unpredictable colors printed are the hallmark of the garments created by the designer. Responsible for a new way of understanding the prêt-à-porter, for the Japanese, dressing their creations meant leaving the everyday to “enter a dream.” Takada himself lamented and affirmed in

in Paris, giving rise to her appointment as a member of La Chambre Syndicale de la Couture Parisienne. Mori also designed the uniforms of the flight attendants of Japan Airlines during three consecutive years: the first uniform was used between 1967 and 1970; The second, which caused a sensation when presenting a miniskirt, was used between 1970 and 1977; And the third stage, from 1977 to 1988. With a butterfly as inspiration and seal of her signature, her clients include Princess Grace of Monaco and Princess Masako of Japan, for whom Mori made a wedding dress; She has also performed opera costumes such as Madame Butterfly and Elektra, ballets such as Cinderella and musicals such as Evita’s Japanese production, as well as

some post-retirement interviews that “in the past, it was easy to distinguish which garments were from each brand. Today it is not like that”. After his absence from the firm and replaced by Antonio Marras, since 2011, Carol Lim and Humberto Leon are in charge of the creative direction of KENZO, integrating in each collection the oriental spirit and the urban pragmatism giving back its colorful, risky and , above all, dreamer spirit philosophy of the founder.

creating perfumes and publishing autobiographical books. Currently retired, her creative work and her career as a designer have been awarded the Cross of the French Legion of Honor by French President François Mitterrand and the Order of Culture by the Emperor of Japan in 1989 and 1996 respectively.

Neither they are all that are, nor are they all that are, but to those mentioned, the fashion industry should not only have opened the doors to the new generations of oriental designers, but also provide an eccentric approach and a breath of fresh air and originality, beyond the trends that each season prevail. And, in the end, that is the fashion: risk, originality and change. • P.A.



EDITOR LOVES From top downwards: silver and zircon ring; ring set in gold, pearls and ruby; and silver and zircon earrings, all FLORI GĂ“MEZ.

HAJIME YAMAMOTO We talk to the Japanese illustrator, icon for the new wave of creators who love the male body.


When does your interest in illustration begin? It all started at a very young age. I remember my aunt gave me a set of crayons for my birthday, I was 6 back then, and from that moment I’ve never stopped drawing. I loved it so much that my mother always got mad because I won’t take nap, instead I would keep using my crayons and pens. A huge collection of male nudes; how does this artistic movement arise? It the world of art I think it is still a cultural taboo that of seeing a frontal male nude, unlike when we use a fema-

le model, which is more acceptable. So I’m making a statement that male nudes can be as beautiful as female ones! Black is imposed on your works. What is your star color? For this series [the ones that goes with the text] I wanted to go back to basics, so that’s why I used black. Black is one of the strongest colors, and I personally love it, but if you’ve seen my previous works, I love using other ones such as violet or warm orange. If you ask me which ones are my star ones, they would be black and violet.

Does a culture as rich as Japanese inspire you, or does it make the work difficult? Living in Japan is such a great thing for me, our culture and lifestyle is an inspiration by itself, so I’ve never had any problem when it comes to inspiration, it’s everywhere here in Japan! Who could be your favorite illustrator? Ahm… My favorite illustrator is Aubrey Beardsley. He’s one of my major inspirations. I also love Gustav Klimt and Egon Schiele.

BEARDSLEY and GYOKUSEN JO, two of his references



金 閣 寺 Golden Pavillion by @Omarjlm


GABRIELE Leaving aside her relationship with Gianluca Vacchi, object to all flashes, the Italian style is worldrenowned, being the latest model-entrepreneureconomist combo to success in fashion.

It has been quite a bit that celebrities have begun to design with more or less recognizable success. Was it an easy process in your case? I mean, the Olsen twins and Victoria Beckham were heavily criticized by some media and the public at first, for example. I have to say it was easy for me, because unlike Victoria Beckham or the Olsen twins, I was already in the fashion world. I mean I’ve become popular later, while they went into this business after being famous, and you know full well that when you’re famous, there are many more eyes on you. Fashion has always fascinated me, and mine was a true vocation since I was very young. Our colleague Mónica Rodríguez, with Valentina Bombaci at the InStyle showroom in Milan

デザイナー 42 | MADE NOW / JAPAN

What is the most important factor in your designs? The style, the manufacture, the materials, the equipment ... First, we face each collection with a very clear inspiration in mind and we work with combinations of colors, embroidery and fine materials, naturally flanked by my team. It is the set of elements that wins! What type of woman is your last collection designed for? It could be said that there is much imprint of your personal style. There’s a lot of my style in it. I am inspired by a feminine woman, modern and unconventional, that reflects the way I am.

ty wear, where do you envisage a bigger market? I believe there are no limits. Knowing how to mix elegant night-time pieces with others is the best choice for me, and that’s what comes to be easier; The fusion of styles is very important to me. You say that “jeans could not stay out of the collection”, and we could see during the last weeks of fashion how many designers thought in a similar way: Vaccarello in Saint Laurent, Sarah Burton in McQueen, among others. What do jeans bring in to fashion? Are they the

フ ァ ッ シ ョ ン basic par excellence, or are not they? Totally, it always works. It is par excellence the basic of the street-wear, but over time has been used in all occasions. I love to mix and, if necessary, play with new blends. I think it’s the only essential tool ... along with white T-shirts! If you could design an actress’s wardrobe for the

red carpet season, who would it be? And why? My icon is Charlize Theron; One day I would like to see her on the red carpet with one of my creations; In my opinion, she expresses any situation its simplicity and elegance.

Potographies: Karel Losenicky

“Wandering,” your latest collection - for the spring / summer of 2017 - could be described as “a series of day and night looks for cosmopolitan women.” Street-style or par-




or several years, the Menéndez Pelayo International University of Tenerife has been carrying out a series of courses, seminars and workshops dedicated to the world of fashion. Each edition deals with topics of interest and topicality in fashion, selected as chapters that conform and help the complementary training of professionals in the sector.

ning to costume designer Yvonne Blake, winner of An Oscar and four Goya Awards and current President of the Academy of Spanish Cinema, who made a tour of his career through the most outstanding films.


Also, María Ortega Cornejo, director of production of the Cornejo Sastrería that since 1920 is dedicated to cinema and shows, took us into the world of ambience and reuse of costumes, highlighting special productions of memorable films. ‘‘I think the great forgotten is man’s design.” Everything seems to revolve around design for women. When teaching we even work more feminine than masculine fashion, but important changes are being made and, perhaps, new lines of design are emerging that are setting trends.

Japanese This is marked by the search for excellence with the participation of high level speakers who year after year participate and leave their mark in the classrooms of the UIMP of Tenerife. In October, the sixth edition of these courses was held under the title: Ancients and Moderns,  Costume Design, Men’s and Tailor’s Drawer. Its director, Sara de la Cuesta Taboada licensed in Fine Arts and specialized in fashion, tells us how the event was developed.

Elegant pattern

-This year we wanted to gather in our Tailor’s Drawer the design of clothing and men, trends and sustainability in fashion. At a time when the Canary Islands is becoming one of the favorite venues for the big filmmakers, costume design was one of our main themes, and we have had the pleasure of liste-


We had the opportunity to know two ways to understand men’s design: on the one hand, Jesús Vargas, director of the firm Fuentecapala, explained the evolution of the classic dress up to the present and how traditional ways can also be innovated. On the other hand, the designer Josep Abril, who has also done costume designs for different plays, explained his philosophy and line

of design that make his creations so special, where the pattern and the making of the fabric have an important role. Trends exist, but you have to know how to look. Javier Plazas, Vidorreta Brand Manager and Coolhunter, told us at his conference where the spaces that create trend are located. We must not only observe the street but everything around, and see where nobody looks. To think that we are not the center of the world because there are many other centers, other looks and other visions.

selves between the old and the modern, the masculine and the feminine, the form and the function. Sustainability emerges in our box of tailor almost naturally. Already at the moment of the ideation and creation in fashion we are using new parameters marked by cultural identity and design, from the choice of raw material, the future of the garment is being designed in a circular, non-linear evolution as usual. Pilar Riaùo, director of Modaes. es, asked us if sustainability was a business, if it can be sustainable from a small or medium-sized company. In our agenda, sustainability is an essential element, it constitutes an added value that will differentiate us within the fashion sector. • S.D.L.C.


The debate of the Ancients and Moderns comes from afar, but perhaps it is more current than ever and Pedro Mansilla Viedma, sociologist and fashion critic, established the guidelines to be able to position our-

Japanese Elegant pattern





Juan Brea a talk with...

rity of clients of our firm run away from eccentricity, so when designing it is thought first and foremost of them. A definite style, what are the keys to finding the right style in such a wide range of products in the industry? I think that each person is different, the key is to be one. Brea is a very personal insigne of the world that surrounds me, it is a way of escape to the perceptions, tastes, experiences of my life, and all this materializes in the


garments that we make, in each collection. Your collections overflow elegance, do you consider yourself a modern classic? Hahaha, it could be said so. I have always been very influenced by my grandmother and mother, and they are not eccentric, so they mark much of an indirect way the style of the signature. In addition, the majo-

You produce in Spain. Do you believe in the importance of “made in” and “handmade”? Of course we do, we praise the quality, above all, quality of fabrics and cut, many of which force us to make them by hand. It is an added value to the garments, but also the production time of each piece must be controlled a lot, in order not to increase costs.

Name a garment / design you would never do? I do not usually think about designing a garment, many times customers come asking for clothes that I had never made but they are challenges, and I like that.   Have you created a trend with the “Blue BREA” Has it become a feature for the firm? The truth is yes, the blue Brea, now haunts me, hahaha, well it is a color that I have always liked, and I was lucky, with a manufacturer of Valencia, that gave the

exact tone that I like. Now in the collections we will try to make it present, either in complete garments or in details.   What will we see in BREA soon, can you tell us some of your plans and details? Well an advance of the collection of February, It’s going to be a very intimate vision about love, and you need to think about the court of Louis XIV.

Images by BREA

Designer Juan Brea at the showroom of Mazzuco Comunicación. Below, his brand’s winter collection



DILIGENT In their multicolored designs one can find connotations to the novel which brought Jerzy Kosiński international acclaim. DILIGENT is a brand that brings to mind associations with ambition, diligence and extraordinary imagination of the duo Szymon Mrózek & Marta Pospieszna, interviewed here for MADE Now.

How is DILIGENT born? History of DILIGENT starts in Poznan, beautiful Polish city where Marta Pospieszna and Szymon Mrozek met. They met during the psychology classes at School of Form, and from the very beginning they established a great contact. They are both Virgos, and thus they are perfect in all their undertakings, including fashion, selection of fabrics, cuts and colors. Szymon studied product design at the Academy of Fine Arts in Wroclaw. However, his love for fashion proved to be stronger, and that is why in 2013 the brand DILIGENT came to life. The brand


was characterized by elegant minimalism. Initially, DILIGENT designs were created for women only, those appreciating lightness, properly accentuated silhouette and high quality of craftsmanship. In 2015 DILIGENT was joined by Marta, a speech therapist by trade who cannot imagine life without fashion. She enriched the creative potential of the brand with a note of extravagance and bold colors.

it varies from one collection to another. It is determined by the season and inspiration. We find inspiration in art, history; environment as well as current trends and we try to discover what is new and interesting. We are looking for unnoticed and unappreciated, like gold in our soft power collection, which we contrasted with common rouge. By this we add a new perspective and non-obviousness to our projects.

With such a rich chromatic range, do you have any predetermined color that identifies the brand? If so, why? Color defines our brand but

Fashion and art. Is it a explosive mix of creativity? Fashion without art as well as art without fashion does not exist. They always inspire each other. Art is a

field that provides us with inspiration particularly when it comes to form, color. Apart from that, as the designers, in art we find balance and relaxation, which influence our reflection and thinking out of the box. DILIGENT is a firm that designs for the young and the not-so-young. Do you have any key audience? Nowadays it is hard to target a specific audience when it comes to luxury clothing. The key to find a client is to trigger emotions, to make the client desire our product. We are doing that by using a lot of color, which cannot be

Images: courtesy of DILIGENT.

left unnoticed. DILIGENT creates clothes for people searching for proposals bold in color and form, for those who are not afraid to go against the flow. This is the characteristic feature of youth, but we know that the world is also full of 50-year-olds who like to stand out from the crowd, and thus this is a brand for both young and a bit more mature people. Age does not count. We give our customers the possibility to freely combine the designs depending on their willingness and unlimited power of imagination. How do you see the future with the recent boom in the fashion industry? One of our concepts is to release collections for the middle season, or so-called resort. Resort collections determine the season and the style of the brand for a specific year. It also becomes a basis for spring/ summer and fall/winter collections. Besides this concept we focus on a niche audience that already has enough of the chain stores and wants to try out something original. We identify future fashion with authenticity —authenticity of origin and the self-awareness of consumers when it comes to the product. We count on it, that in the near future, the customer will begin to look for quality and the benefits of it.



52 | MADE NOW /

by @Omarjlm

West Lake Embankment

西 湖 の 堤




Promoting the culture of hand-crafting


The soul of Manonik is Yoshiyuki Minami,just a pair of hands in a humble studio in Brooklyn, who tells MADE Now how hand-crafting is seen in fashion today.

Development and production are hallmarks of Manonik. How do you pamper your products? My pieces are the reflection of the materials and processes I employ. Design at Manonik does not just mean creating a mood board with illustrations and fabric swatches. It means designing the whole process from the very beginning, which is the production of materials. I collaborate with small local farmers and mills to produce materials which are crafted for the particular methods I use them. What I create is by all means influenced by them, and their creations. Before the actual making, I consider the shapes, textures and colors of the garments, but these are all guided by the materials, the equipments, and my own knowledge in traditional textile- making. I have been reinventing and advancing an underdeveloped technique called “shape-weaving” on the loom,

and this requires every pattern piece to be designed and calculated before I can even start weaving. There are different sets of calculations I need to make for knitting and felting. Once these preparatory steps are complete, each piece becomes an art project that is based on multiple variants such as materials, techniques, my own mood, the weather, the season, what is happening socially in our community, the music that fills the studio… The design aesthetics of Manonik are the results of my own philosophy to use as much of materials as possible and to create artistic pieces that grow over time as they are worn. Do you think the term “craft” has become a symbol of luxury thanks to industrial fashion? Absolutely. Craft used to be the norm, regardless of where we stood inside society. Everything used to be hand-made and hand-crafted. After industrialization, craft became the antonym and the antithesis of modern societies and because of its scarcity, it also became considered as “luxury”. To me, luxury simply means care and unrestricted labor, not necessarily high-culture or monetary luxury. There is also a sentimental value that comes with crafted luxury. We are nostalgic about making things by hand. Hands are synonyms with humanity, like mothers’ hands. Mechanization takes away this quality. Craft also has a role in preserving pieces of history and human ingenuities, whereas mechanization dumbs down these qualities, so that things are made cheaper and faster. In this sense, without the

contrasting existence of industrial production, craft is just common-place without deserving of the term “luxury”. Why just grey or white? I have not quite figured out why I would introduce “color” when materials come in different colors already. I have a tendency to simplify an idea, so that in conveys its core without much explanation, at least visually. I guess it is a habit I developed as a graphic designer and art director in advertising. I have recently restricted myself to locally crafted materials: organic cotton and ethically-produced luxury wool. Wool comes in shades of grey, black, white, brown and beige, while cotton comes in white, brown, green and blue (which I have not produced in the vicinity), and I have primarily been using white cotton. I used to use more colors when I was exploring substantive natural dyes, water-based non-toxic screen printing paints, and natural pigments. Because I have been stricter in applying “locality” to my materials, the use of color has become more and more limited, which I think makes my pieces more conceptually coherent.

ested in making clothes that “everyone” can wear. Manonik: minimalism and comfort. Where does the inspiration come from? I am inspired by the people and things that blur the existing social constructs and categories. I like the musicians that use traditional instruments in the ways that they have never been used, and yet achieve to create sound that touch my heart. I like the chefs that employ ingredients and techniques in the ways they have never been used, and yet successfully deliver the coherence on the tongue. I like artists, philosophers, writers, politicians, comedians, etc. who challenge the way we live and perceive. I am also inspired by my family and close friends who pour their unconditional trust and belief in my decisions and visions. Though my pieces, visually, may be influenced by modernism, post-modernism, utilitarianism, etc. that molded me as I am today, my inspirations come from those that are working for others because they care not just about themselves, but also about our society as a whole.

Unisex clothing is increasingly consolidating. Could it be a future plan for Manonik? Sex will continue to dictate as long as there are men and women, biologically speaking. Unisex clothing, I do not think is the only future. There will still be homme and femme as there have been and as we have different body types, but I do think unisex will be one of the options. I am inter-




by @Omarjlm

坂 城

Osaka Castle






a beauty

Can you improve


“Every time I go down the street and accidentally get stuck with a Japanese girl, my eyes undoubtedly get lost in that face with a soft, uniform tone and a crystal clear health. I can not help but wonder “how will they do it?”.


oday we want to share the most affordable steps of a routine of facial care based on the secrets of Japanese (which are no longer so secretive), since for years there have made quite a large impact in many Western routines, with various brands that have even adopted some of these steps in their beauty protocols. Most of their techniques are simple, we simply lack what they mainly characterize them: patience and discipline.

Images: Freepik / Cliqueimg / Takaski / Ibukimagazin / Bestjapaneseskincare

But what is the difference between Western and Eastern routines? Japanese, because of their mentality and education, do most of the things without stress, have a diet with very healthy habits and avoid harmful foods, but in addition to this, in their beauty routines they focus on how to apply the products (massages and order), their combinations (mix of products and time) and they rigorously complete all those steps (daily and special routines when necessary), rather than the chosen products; Instead, in the western routines, we focus on choosing a good cream or serum and many times we skip a few steps due to the rush.

How to start adopting Japanese techniques at home?

The SAHO technique is based on 3 steps: the first is the most widespread and let’s say the most visible inheritance of its ritual, double cleaning. This is to

eliminate the impurities of our face as much as if we make up or not, using oils, water or cleansing creams with the help of cottons or special towels, and then

Now that we have seen the main difference, everything counts, but it is possible to begin to adopt these beauty rituals calmly, seeking the benefit for our health. The process should not be a burden, rather you should seek harmony and well-being. So let’s start with one of the most important steps: facial cleansing.



remove all the remains that may have stayed after that cleaning with water and soaps, or non-aggressive gels. The second, and also by double entry: hydration. With this process the skin is filled with moisture and the second application would perform a revitalization function. The third, but not least, the double application of the final products. They apply the products twice, improving the absorption of them and, of course, applying them with massages all over the face up to the neck. In this step all those products necessary for the individual needs of each person (anti-age, specific and / or nutritious care ...) are applied.


Now which products to choose? What else can I do to improve my routine?

A frequent question is what are the best products. We could talk about many options, but without a doubt and in general, we will see some tips to make the election more effective. Choose products with sun protection, both in face creams and makeup, and avoid long periods of time in the sun between ten and four in the afternoon. Facial cleansing is vital. Do not skip this important step; Without hydration, even though we use best-selling products, your routine will not work. Use mild water and non-alcoholic, non-aggressive soaps. Keep in mind the tonic. There are those who say that this is a necessary step, but we should certainly consider it as a key. If you use it as Chizu Saeki, as a face mask or keeping cotton with the toning lotion on the face, you will notice the difference. Goodbye impurities: the exfoliating. Used once or twice a week, verify that the grain of the product is not

too thick, as it can cause the reaction to reverse or damage sensitive skins. This step is important to remove dead skin or embedded dirt. The moisturizers. Choose those that have many nutrients, natural essential oils, use the appropriate ones to your skin and environmental conditions. KEY FACTOR: Sleep well enough. We can not lose sight of this important habit. It helps the body to look younger and have a lot more energy. Control your diet. One of the main points of Japanese beauty is undoubtedly the contribution of good quality nutrients. We must equip the body with the necessary minerals and antioxidants that many times we can not find in a beauty product.



for the well-being of your health. Try to avoid stress most of the time - or when possible.

We are not perfect. You have to know how to find the balance.

Exercise frequently. This helps the toxins to be removed and the pores cleaned, the circulation is improved and in the skin we notice it in its uniform tone. It will also help us sleep better and, in the long run, is a benefit to our overall health. Abandon bad habits: alcohol and cigarettes. These two habits are totally contraindicated to achieve a care and youthful skin. Alcohol dehydrates, so there is no doubt that you will have to keep at bay this part of the skincare, overhydrate your skin to prevent damages of some afternoon of drinks. The cigarettes literally turns off the luminosity of the skin, aging it Avoid stress. Unfortunately, our busy rhythm of life can damage even the best skin. When you notice that you are experiencing it, you will have to control it


We have to admit it: we all like to go out and have a drink, we have spent sleepless nights for different circumstances, we have certain stress that we can not control immediately, we probably like to eat something that we know is not good for us. But, without a doubt, we must pause for a moment and think about our health and, in this case, our skincare ritual. It really does not take much time to focus on it, we have to adopt good routines to improve, try to find the balance and counteract as much as we can the adverse effects. How? By adding better nutrients to our body, intensifying the process of hydration in our skin, performing massages, sleep cures, going for a walk and breathing fresh air to fight stress, days to provide cleaning to our body, and invest in good products adapted to our needs. This will help us achieve a skin like the one we have always wanted to look.• L.V. Remember that you can follow tips, routines and beauty and lifestyle protocols by Lulu on her YouTube channel and her blog icegirl75 Icegirlventura makeupyourbeauty









Model: Andrés Álvarez. Digital technician: R.W. Artistic direction: Rubén González.


As in the popular Japanese tales, our cover girl gets into a story in which, through colorful images, we tell the legend behind each image of subtle elegance. 68 | MADE NOW / JAPAN

TRADITIONAL Blue asymmetric kimono by GM BY JE, over a white silk shirt by UTERQÃœE, and earrings by MANGO.




STRUCTURE Aubergine midi skirt by SEDOMIR RODRÍGUEZ DE LA SIERRA, over wide leg pants and combined with V-neck top both by GM BY JE, and “ALICE” soft pink hat by CARLOS CARVAJAL.




EMPIRE Long mustard-yellow coat with embroidery by SEDOMIR RODRÍGUEZ DE LA SIERRA, over printed pants by MANGO, and white scarf by GM BY JE.



PERSONAL STYLE Oversized vest with logo printed on the back by GM BY JE, and black leather flats by ZARA.




LINEAL Embroidered orange and black jacket over golden jacket both by SEDOMIR RODRĂ?GUEZ DE LA SIERRA, with wide leg pants by GM BY JE, and black leather belts by MASSIMO DUTTI.






Model: Menglei (OLÉ GROUP). Make-up: Andrea Pérez. Hairstyling: Moisés Pérez. Digital technician: R.W. Artistic direction: Daniel Albericio. Creative direction: Rubén González & Carlos Carvajal.

White gown with oversized flower applied on the chest by GM BY JE, with “UFO” hat by CARLOS CARVAJAL.






Photographed by Rubén González Styled by Daniel Albericio

Andrea, with an EMIDIO TUCCI suit, a POSSUM leather belt and necklaces with metallic piece, and with leather leaves, both by DOMINGO AYALA.


Here with a DUSTIN blazer, EMIDIO TUCCI pants and a DOMINGO AYALA necklace.




Grey cape by ZARA and black leather belt by PIERRE CARDIN.



Minimal, with a MASSIMO DUTTI white silk shirt, satin pants by STRADIVARIUS, and a metallic DOMINGO AYALA necklace.




Black skirt over black cigarette pants, both by ZARA, combined with a natural leather necklace by DOMINGO AYALA.




Model: Andrea Carta. Hairstyling: Moisés Pérez. Creative direction: Rubén González

88 | MADE NOW /

by @Omarjlm

- Temple Senso-ji

金 龍 山 浅 草 寺



ASIAN SOCIETY The influence of Japan and the styles it inspires floats among our three muses.

Photographed by SARA GARCÍA Styled by DANIEL ALBERICIO


Models Ámbar Carrasco, Raquel Castro and Raquel Calviche wearing ball-skirts by MOISÉS PÉREZ, embellished clutches from by LOLEIRO ATELIER, and bras, models’ own.




From left to right, black blazer by MASSIMO DUTTI, with polka-dotted tights by CALZEDONIA; white blazer by ZARA, with black tights by CALZEDONIA; and blue jacket by MOISÉS PÉREZ, with vintage lace tights. They wear hats and belts, all by LOLEIRO ATELIER.



Raquel Castro wears golden skirt by MOISÉS PÉREZ with a COS blazer, belt from by LOLEIRO ATELIER and bra and shoes are model’s own. Center, Ámbar with white blouse by MOISÉS PÉREZ, black cigarette pants by ZARA and burgundy leather boots by DR. MARTENS. On the right, Raquel Calviche donning the MADE Now T-shirt with ballskirt and jacket, both by MOISÉS PÉREZ.




96 | MADE NOW / JAPAN Models: Raquel Castro and Ámbar Carrasco (both at POPHOUSE), Raquel Calviche (+QMODA). Make-up: Andrea Pérez. Hairstyling: Moisés Pérez. Artistic direction: Carlos Carvajal. Creative direction: Rubén González & Daniel Albericio

Here, the three models with MOISÉS PÉREZ blouses, ZARA pants and CARLOS CARVAJAL masks.












Pendant ROUGE
















Claudia Kurzweil - Jewellery -

Pendant BUNT



By @lavarmsg

110 | MADE NOW /




TOKYO WITHOUT Photography Eduardo Cabrera

GENDER Stylist Raúl Rodríguez



A BENETTON shirt under a MAGPIE kimono, with ZARA pants, a LEVI’S belt and a vintage cap.




Shirt by RUBÉN GALARRETA with gloves fron the KENZO x H&M collection, ZARA boots and stylist’s own umbrella.




Kimono by MAGPIE, dress by BERSHKA, H&M pants, SKYNNIDIP bag and KENZO x H&M cap.



MAGPIE dress with a vintage sweater and YRU flatforms.


Model: Carlos Carvento. Light assistant: Sergio San JosĂŠ. Camera assistant: Sara Magdaleno.



男 男

男 竜




NIGHT Photography




幽 玄 Yugen

幽 玄







木 漏 れ

木 漏 れ 日




Model Antonio González (+QMODA) Hairdress Noelia Contioso


し ょ う が し ょ う が な い










130 | MADE NOW /

English Made Now issue 18, Japan  

English Made Now issue 18, Japan

English Made Now issue 18, Japan  

English Made Now issue 18, Japan