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INTERNATIONAL MAN IN TRAVEL issue 01. volume 01
Tomoko Azumi - 10, Jacob Hashimoto - 14, Pointer x Porter - 17, Dover Street Market - 18, Tadao Ando 20, CMCA Kanazawa - 30, Naoshima - 32, National Art Center - 34, Sou Fujimoto - 37, Tama Library - 40, Back To Folks - 42, Tokyo Style - 50, Visvim - 53, Japanese Marine - 54, Dream Match - 56, Haneda - 59, Shinkansen - 60, Kendo - 62, Tsukiji Market - 69, 9H - 74, Hoto Fudo - 75, Creative Destruction - 76, C ove r
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Printed and bound by ScanPlus Print Group in the United Kingdom at 133 Great Suffolk Street, London SE1 1PP. For non-commercial use only. Reproduction of any part of this publication is strictly prohibited without prior permission from the publishers including all logos, titles and graphic elements. All rights reserved. Copyright 2011 by International Man in Travel.
Ma sth ead
international man in travel
- Marcin Liwarski. Contributing Editors - Kuniharu Wakabayashi, Dan Sayle, James Surowiecki. Advertising Enquiries +44 79 0202 0598. Special thanks - Iwan Baan, Radha Pancham, Kuniharu Wakabayashi, Dan Sayle, Miko Urbanski, Akihiro Oda, David San Miguel, Simon Das. Founder, Editor-in-Chief & Art Director
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E d ito rs Letter
international man in travel
The idea of International Man in Travel was born from the lack of travel magazines focused entirely on male reader. This bi-monthly journal guides you to a new way of travel full of unique experience. For a first time reader is able to find all the must see and the must do in one place, whether it is art, culture, design, architecture, fashion, music, publishing, transport or food. With its focus on male readership International Man in Travel offers something entirely new to its readers, something the men’s market has long been striving for.
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Shibuya Station by David San Miguel
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Tomoko Azumi - 10, Jacob Hashimoto - 14, Pointer x Porter - 17, Dover Street Market - 18, Tadao Ando 20, CMCA Kanazawa - 30, Naoshima - 32, National Art Center - 34, Sou Fujimoto - 37, Tama Library - 40, Back To Folks - 42, Tokyo Style - 50, Visvim - 53, Japanese Marine - 54, Dream Match - 56, Haneda - 59, Shinkansen - 60, Kendo - 62, Tsukiji Market - 69, 9H - 74, Hoto Fudo - 75, Creative Destruction - 76, C o n tent
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DESIGNER
Design must have been in Tomoko Azumi’s blood. From the age of eight she was saving pages from newspaper property supplements, collating the floor plans they contained, and using them to build her dream house. A dream house fashioned from cardboard, but a meticulously built one all the same. What filled Azumi’s childish playtime hours took root, though, and after a BA in Architecture and Space Design in her native Japan and three years in an architect’s office in Tokyo, she had a creeping realisation that she “wanted to do things on a human scale”.
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TOMOKO AZUMI,
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This is how she found herself in London, taking an MA in Furniture Design at the Royal College of Art, and then on graduating in 1995 setting up a design business with her husband. Yet after 10 years of honing their skills as a team, the partnership came to an end, each branching out on their own, professionally and personally. TNA Design Studio, Tomoko’s own company, was created from this split, bringing with it a new way of working. “It wasn’t an easy time for me,” says the 41-year-old Tomoko,.“So I was thinking about what I really wanted to do.” After working on the Craft Council’s 2005-06 exhibition Table Manners, building unique flat-pack exhibition stands and playing with the notion of space and light, Tomoko came back to furniture and product design with an altered perspective. The paper of her youth became important again last year when Habitat stocked her Square Moon design, a light made from layers of Yuki, a type of Japanese paper. Next month, her miniature flat-packed lights with crystals that are hidden until the beam causes reflections and refractions across the lampshade, will be at the launch of the Swarovski Wedding range in Paris. And prepare to see her Twiggy lamp as soon as the Japanese manufacturers are able in the UK: a bulb triple-wrapped with twig shapes cut from a very thin sheet of non-flammable artificial paper. It is a beautifully simple design, one she describes as “a translation of feeling of walking in winter when I see low light through the twigs of trees, all overlapping shadows and lines. I wanted to recreate that atmosphere at home.” Somewhat less whimsically, she was in the process of submitting design ideas for the UK Supreme Court when it opened in 2009 “the furniture wasn’t made of paper there,” she laughs. “I had to make something more permanent.”
Available at www.furnish.co.uk/brands/mark-product
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REIKO KANEKO,
london
Reiko Kaneko established her design studio in London’s East End in 2007, having studied Arts and Design at Central St. Martin’s College.She was born in Britain but spent her childhood in Japan, influencing her products in an inimitable blend of English and Japanese style throughout the product ranges. Her love of ceramics has led Reiko to specialise in ceramic design and supplies bone china designs based around her typically British fine bone china tableware and home accessories with a Japanese twist. www.www.reikokaneko.co.uk
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TOKYO BAR,
NEW YORK
At Tokyo Bar, the walls and ceiling are decorated with Japanese comics, and chef Kensuke Kuri, late of Lan, has fashioned an eclectic menu that he calls “new Japanese comfort food.” To drink, there’s sake and shochu as well as roasted-chestnut coffee and cocktails both alcoholic and non- (Safe Sex on the Beach, for one). And to eat, there’s Berkshire-porksausage soup and smoked-duck-breast salad with garam masala dressing. Of particular note are the assimilated versions of Italian specialties that have become as mainstream in Tokyo as they have here: the Tokyo “Napolitan” spaghetti, for instance, served with a ketchup-based approximation of tomato sauce. 277 Church St., New York, NY 10013
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Opened in February 2010 by Colin and Manami Sloley, the founders of London’s Tokio clothing boutique, Tombo is a homely Japanese restaurant and deli in South Kensington. Offering food “that Japanese people would take home from the amazing delis that fill the basements of Japanese departments stores”, the Tombo experience is thankfully not quite as dizzying as Isetan’s food hall at 18.00. With a large communal table and art by Natsko Seki on the walls, the restaurant is welcome respite from the busy streets.
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TOMBO,
29 Thurloe Place,London SW7 2HQ
london
Tokyo FIxed Gear opened in November 2009 in London’s Soho - it’s a paradise for commuter who like a speedy fixed gear bike, which has no freewheel and offers the ability to brake by pedalling backwards. The shop sells Japanese imports and mechanics can build you a bike in the basement workshop. “More people are getting on bikes and choosing to buy fixed”, says Max Lewis, co-owner with his partner Megumi Takeyama. “It’s only going to snowball”. www.tokyofixedgear.com
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jacob hashimoto,
artist
Jacob Hashimoto uses the traditional kite-making techniques and forms to construct his three dimensional wall works. His works are existing as neither sculpture nor painting, Hashimoto’s compositions delicately float before the eye, mounted on an intricate network of interlaced nylon thread suspended from the wall by a line of pegs at both top and bottom. Tied to this support are hundreds of swatches of rice paper and bamboo slivers - some collaged or painted with complex designs - dangling in abstracted motifs. Through this unique process Hashimoto’s works convey an ephemeral wonder, entrancing the viewer with their continuously shifting illusion of light, space, motion, and sense of flight. Jacob hashimoto is one of the most interesting young activists in the contemporary art scene.
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What he does with paper creates real magic - a ravishing cascade of cloud white paper shapes flowing from ceiling to floor like a waterfall frozen by winters icy breath. Viewing the piece fills you with a deep and profound stillness. Jacob hashimoto is perhaps bestknown for his installations in which he creates large-scale sculptural forms out of thousands of ‘kites’. Drawing on the tradition of kite making, he creates each of the kites by hand, using bamboo rods, string, and offset prints. For all of their exquisite lightness and ethereality, the sculptures are expression of air, light, and space. Hashimoto’s craftsman-like activity of making the elements by hand is central in his works. The pieces embody the meditative rhythm of
repetitive esecution (the tying and knotting involved in their making). The use of japanese paper gives his work a very strong connection to the natural world. For indeed the paper is born from the bark of a living plant, cleansed in the swiftly rinning waters of a winter river, and finally, in sheet form, dried by wind and sun on boards hewn from forest wood... Hashimoto is now involved in works with a greater complexity at the planning stage. he uses new technologies, such as computerised three-dimensional drawing. we’ll stay tuned to the results.
More info at www. jacobhashimoto.com
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Pointer x porter Established in 2004, Pointer was created with the aim of making simple, well-designed casual shoes in response to a market then saturated with increasingly technical trainers and hyped-up limited edition sneakers. Pointer employs people it likes, from artists to interns; based in London, the company is backed by a creative stable of friends and co-conspirators, inspired and informed by everything from art and music to skateboarding and breakfast. Since launch Pointer have executed tonnes of great collaborations Comme des Garcons, Christopher Shannon, Baracuta to name the few. International Man in Travel is particularly excited about the newest one with Japanese language brand Porter. Backpack, shoe bag and a wallet which came out from collaboration beautifully coordinate what brand are all about - wearability, simplicity and comfort. Orange lining so well know for Porter with camel used heavily in last Pointer collection combined with old classic navy create products same fashionable as well as classical which definitely can be wear for many seasons.
www.pointerfootwear.com
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“I want to create a kind of market where various creators from various fields gather together and encounter each other in an ongoing atmosphere of beautiful chaos: the mixing up and coming together of different kindred souls who all share a strong personal vision.� - Rei KAWAKUBO
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DOVER STREET MARKET, london
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Most stores, eager to increase retail profits, end up selling both the sales clothes and new collections at the same time at one point. And why not? If you have the Spring Summer 2011 fashion in, why not whack it on the floor and show off the colourful and summery clothes? In a time when the commercial side to fashion is one of the most prominent ones, it’s not only refreshing but also crucial to have such a princaipally steadfast store as Dover Street Market.
Dover Street Market, 17-18 Dover Street, London, W1S 4LT
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During its biannula Tachiagari which means Beginning/Start, the Comme des Garçons-run store closes down DSM and re-open the space after a few days with brand new collections, new designer spaces, and especially curated shops-in-shops. Under the strict supervision of Comme’s husband and wife head honchos, Rei Kawakubo and Adrian Joffe, the store is not only in- bloom in charteristic CdG gear but also provides other brands and designers with a peaceful retail heaven to flourish in.
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TADAO ANDO,
arCHITECT
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Interview : Design Boom
Tadao Ando was born in Osaka, Japan, in 1941. From ages 10 to 17 Ando spent his time mostly making wood models of ships, airplanes, and moulds, learning the craft from a carpenter whose shop was across the street from his home. By his early twenties, Ando had decided on a self-directed course of architectural study that took him throughout Japan to visit temples, shrines, and tea houses, to Europe, Africa and to the United States. He was studying architecture by going to see actual buildings, and reading books about works of architects such as Le Corbusier, Ludwig Mies Van Der Rohe, Alvar Aalto, Frank Lloyd Wright, and Louis Kahn before returning to Osaka at the age of 28 to open his own studio. A rch itecture
Ando rejects the rampant consumerism visible within much of today’s architecture. He responds both sensitively and critically to the chaotic Japanese urban environment, but maintains a connection to the landscape. Although Ando rejects cultural fads, he uses materials and forms to incorporate the materialism of modern society into his architecture. Accordingly, his concrete and glass buildings reflect, the modern progress underway in both Japan and the world. In opposition to traditional Japanese architecture, Ando creates spaces of enclosure rather than openness. He uses walls to establish a human zone and to counter the monotony of commercial architecture. On the exterior, the wall deflects the surrounding urban chaos, while on the interior it encloses a private space. Ando developed a radically new architecture characterized by the use of unfinished reinforced concrete structures. Using a geometric simplicity which reveals a subtlety and richness in spatial articulation, Ando has generated an architecture that shares the serenity and clarity that characterize traditional Japanese architecture.
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Where do you work on your designs and projects? Once I traveled a lot, to see the nature, the countryside and the cities, with a sketchbook... a practice I continue today. But plans actually I draw in my office.
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Who would you like to design something for? I believe that the way people live can be directed a little by architecture. I would like my architecture to inspire people to use their own resources, to move into the future. Although now we are more and more governed by the american way of thinking, money, the economy... I hope that now people will shift to a more european way (of thinking), culture, individuality, and that people move towards new goals. So for me to be able to contribute to this would be great. Describe your style, like a good friend of yours would describe it. Walls are the most basic elements of architecture, and in all my works, light is an important factor. The primary reason is to create a place for the individual, a zone for oneself within society. Its very difficult to explain or describe my style, I hope the answer will come out of the interview. What project has given you the most satisfaction? As an architect you have to do your best work for any project, but for me the most satisfying thing is when architecture can do something to make people’s lives better, to inspire them.
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Do you try to find meeting points between asian and european cultures? I don’t see them as opposites, the west and the east, but for example western society seems to be centered on American culture. But I think it is important to understand that apart from that main culture, there are so many other cultures, and it is necessary to respect them all and their differences.
What current architects do you appreciate? Like with the work of the past, as an architect you have to look around and see what your contemporaries are creating, for my contemporaries I have respect and interest.
Buildings as follow: 4x4 House, Tarumi-ku, Kobe, Japan Langen Foundation Neuss, Japan Chichu Art Museum, Naoshima, Japan Awaji Yumebutai Conference Centre, Awaji Island, Japan.
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Is there any architect from the past you admire? Of course I learned from history, from the renaissance, from Mies Van Der Rohe, Le Corbusier, Terragni‌ many architects.
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NOT THAT JUNK
POCKY is a biscuit stick coated with chocolate. It was named after the Japanese onomatopoetic word for the sound Pocky makes when bitten, pokkin. The original was followed by “Almond Pocky” in 1971, with an almond coating, and “Strawberry Pocky” in 1977. Today, the product line includes such variations as milk, mousse, green tea, honey, banana and coconut flavored coatings, and themed products such as “Decorer Pocky,” with colorful decorative stripes in the coating, and “Men’s Pocky,” a dark (bittersweet) chocolate and “mature” version.
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POCARI SWEAT is a mild-tasting, relatively light, noncarbonated sweet beverage and is advertised as an “ion supply drink.� It has a mild grapefruit flavor with little aftertaste. Ingredients listed are water, sugar, citric acid, sodium citrate, sodium chloride, potassium chloride, calcium lactate, magnesium carbonate and flavoring. It is sold in aluminium cans and plastic bottles and as a powder for mixing with water.
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CALPICO is a Japanese uncarbonated soft drink, manufactured by Calpis Co., Ltd. The beverage has a light, somewhat milky, and slightly acidic flavor, similar to plain or vanillaflavored yogurt or Yakult. Its ingredients include water, nonfat dry milk and lactic acid, and is produced by lactic acid fermentation.
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All products available at: Japan Centre, 14-16 Regent Street, London, SW1Y 4PH
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CARAMEL CORN are basically cheese puffs that aren’t cheese flavored. These corn snacks come in a variety of flavors with the original being Caramel Corn. If you get your hands on a fresh bag, then the corn puffs are always light, airy, and crispy. The outside is coated with a crunchy caramelized coating of sugar which provides a nice contrasting crunch to the softer corn grit insides. Afterwards, the snack quickly disintegrates and melts in your mouth. A perfect light afternoon snack.
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City Densities: Japan by Dan Sayle This poster visually communicates the density of Japans 7 highest populated cities according to 2009. The cities are in order of position in Japan from left to right and are then colour coded. Below the country outline the density of each city is shown by concentric circles within an outer coloured circle that is scale representation of the overall
area of the city in square kilometers. Each circle represents around 150,000 people and the more densely populated cities are clearly shown by a small area and many circles squeezed within. Obviously Tokyo with its population of aroun 14 million is extremely dense but Osaka is also very dense due to the fact it is one of Japans smaller cities.
Ja p an Section
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XXI Century Museum of Contemporary Art Kanazawa
Kanazawa, Ishikawa Prefecture, Japan Shinkansen from Tokyo: Time: 246 Minutes. Transfer: 1 Distance: 460.6 km Ticket:짜 12,710
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21st Century Museum of Contemporary Art, Kanazawa is situated in the center of Kanazawa city. Anybody can drop in whenever they want. The Museum is designed as a park where people can gather and meet with one another. The glass-made circle results in an ambiguous spatial definition. a kind of reversible membrane, through which visitors can sense each other’s presence. The museum pays careful attention to its openness and brightness from the courtyards with sky-lights. The Museum, in order to meet various needs of visitors, has also a shop and restaurant open to the night. The aim of the Museum is “casualness”, “enjoyment”, and “accessibility”.
21st Century Museum of Contemporary Art, Kanazawa has been established with the mission of generating new culture and revitalizing its community. Innovative city planning has become intensely important to our society, which faces a historical turning point in the 21st century. Through a spirit of cooperation, 21st Century Museum of Contemporary Art, Kanazawa will seek to awaken Kanazawa’s creative energy and become a compelling regional cultural attraction. Site area: 26,000 square meters Building area: 9,500 m2 Total Floor area: 17,300 square meters Completed: 2004
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The most visible characterisic of this Museum is its unusual form. The site, surrounded by three streets, is accessible from multiple directions, which led to the actual plan of circularity. Anyone can enter the Museum through any entrance which helps to facilitate easy access and a sense of closeness between the building and the city.
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NAOSHIMA, SETO ISLAND SEA
Naoshima, Kagawa Prefecture, Japan Shinkansen from Tokyo to Uno: Time: 252 Minutes. Transfer: 1 Distance: 765.4 km Ticket:짜 10,500 Boat from Uno to Naoshima: Time 20 Minutes. Ticket: 짜 280
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Naoshima is best known for the Benesse House complex. There has been extensive domestic attention to the recently completed radical Chichu Art Museum. The island itself has been settled as long as there have been Japanese. The original settlement is the now-diminuitive fishing port of Tsumuura. The most prominent settlement on the island is Honmura which was established as a coastal castle town (warring states) period (1467-1568). A number of houses in this town have been radically reformed in the Art House Project. Miyanoura - the port at which you will likely alight - is now the passenger and transport hub for the island, yet remains a sleepy coastal town. The island can be quite hilly but pleasant enough along the coasts for biking and walking, except for the road from Miyanoura to Chichu Art Museum. It is entirely feasible for all sights on this island to be seen in one day but take a note from the locals and enjoy the island as a whole, in your own pace. There are beaches and mountains here, so pack swimming trunks, sunscreen and some good walking shoes if you are so inclined.
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Naoshima is an island located in the Seto Inland Sea of Japan. It is renowned for its collection of contemporary art galleries and exhibits.
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the national art center,
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Tokyo
7-22-2 Roppongi, Minato-ku, Tokyo, 106-8858
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With its eye-catching, giant wave like glass façade, which flows with the greenery that surrounds it, is the fifth national art institution in Japan. Making great use of its vast gallery space, it holds many exhibitions mostly focusing on modern contemporary art. Complete with an art library, museum shop, restaurant and cafÊ, it is an inner-city relax spot where you can enjoy art in a relaxed manner. The National Art Center, Tokyo is a unique and innovative art exhibition facility: Instead of maintaining a permanent collection, it makes the most of a total of 14,000 square meters of exhibition space, one of the largest in Japan, and focuses on serving as a venue for various art exhibitions. The Center also promotes outreach activities through its educational programs, and the Art Library serves to collect and disseminate information related to art.
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Photo: Marcin Liwarski
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was born in hokkaido, japan, on august 4th, 1971. in 1994 he graduated from the department of architecture in the faculty of engineering at the university of tokyo. he established his own architectural practice in tokyo in 2000. Sou is one of the most fresh architects around at the moment. Interview : Design Boom. Photo: Iwan Baan
Where do you work on your designs and projects? Mainly in the office because my work is not only done by me. I collaborate with my staff through discussions and models, but when I want to focus on something I prefer to be alone. In that case I work at home or in a Starbucks Cafe. Describe your style, like a good friend of yours would describe it. I call it ‘primitive future’. A sort of primitive situation that relates to the human ‘cave’
habitation but at the same time I like to create something new for the future. I recently gave a lecture ‘Cave or Nest’, the two embryonic states of architecture. a ‘Nest’ Is a place for people that is very well prepared, everything is assembled and very functional, meanwhile the ‘Cave’ is just a raw space, which people need to explore and find their own comfort within. This is a situation where people can use space creatively. I prefer something like the cavelike-unintentional space. something that is in between nature and artifact - formless form. Formless form? Space is relationships and architecture generates various senses of distances. I’m very optimistic and see architecture as something between living together and independently. There are many degrees of interaction amongst people. To construct a wall is to bisect a space into 0 and 1, however a space must have intrinsically many graduations between 0 and 1. I like to create an in-between-space, therefore my works are very basic (I’ve designed architecture that is very simple but looks complex due to its
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When you were a child, did you want to become a architect? I grew up in Hokkaido, in the northern part of Japan, surrounded by nature and I enjoyed just playing in the forest. I didn’t think about any future of mine. My hero was Albert Einstein, so originally I wanted to be a physicist like him, I was interested in the physical aspects of our world. Now I find many similarities in the research and practice in both fields, architecture and physics. My first experience with architecture was with Antonio Gaudi (through reading a book about him).
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geometric form). Please describe an evolution in your work, from your first projects to the present day. The projects are becoming bigger because I get the chance to do more prestigious work, but I don’t want to limit myself just to expensive things. Sometimes with private projects that are low-budget I have more possibilities. What project has given you the most satisfaction? There are two low-budget projects that I have just recently finished.One is named house N which is a very simple box house. An outdoor space that feels like the indoors and an indoor space that feels like the outdoors. I think we were successful in creating a space between the house and city. My ideal is architecture too be roofless and garden-like. the other project is called ‘Final wooden house’. We stacked wooden blocks together to create a very small house, in which there are no categorization of floors, walls, and ceilings.Because floor levels are relative people reinterpret the spatiality according to where they are. It was a big challenge for us, as we needed to consider if there was enough space for people (laughs). Did you modify your buildings a lot during development, because the client wanted something different? I like to answer to the clients request as much as possible, but I do not see it as compromises. I react with a more creative development. Of course clients always have an idea of what they want and some site specific concerns but at the same time they like to have something unexpected or something beyond their imagination. Many clients want a new lifestyle through a new style of
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house. I propose something beyond their request and if they like the idea, the project will start. If they don’t like the project at all it will stop. Fortunately our idea, our scheme is a flexible one. The basic scheme is very strong but it can adapt while still remaining strong. Who would you like to design something for? An art museum or some kind of museum would be very interesting for me, or an art gallery and a photo studio. I like to design medical facilities. In 2006 I have worked for a mental hospital, developing the children’s center for psychic rehabilitation. Right now we are designing a library.
What are you afraid of regarding the future? I think I we have to be very serious about the change in climate and the situation of nature. I think that it is a great opportunity for us to rethink about the modern age culture of controlling everything. We have to change that kind of whole super controlling situation. For example air conditioning - when we use it we close and shut out nature and we are limited in the space we have. The artificial machine of the air conditioning is controlling our space and separating each other. Instead we might be able to live together and use a kind of natural power to create a more comfortable space. Humans should adapt a bit more, rather than control. Buildings as follow: House N, Oita, Japan . Tokyo Apartments,Tokyo. House H, Tokyo
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Is there any architect from the past, you appreciate a lot? Louis Kahn, Le Corbusier, Mies Van Der Rohe... and of course Michelangelo. I also like the architecture designed by nobody, for example gothic cathedrals.
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Tama art university library, Tokyo
3-15-34 Kaminoge,Setagaya-ku,Tokyo 158-8558
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This library for an art university located in the suburbs of Tokyo was designed by the Japanese architect Toyo Ito. It was completed in 2007. Passing through the main entrance gate, the site lies behind a front garden with small and large trees, and stretches up a gentle slope. The two-story building’s exterior glass walls and large arches allow the contours of the natural environment surrounding the campus to extend into the interior creating an exhilaratingly open space. The intersections of the rows of arches help to articulate softly separated zones within this one space. Shelves and study desks of various shapes, glass partitions that function as bulletin boards, etc., give these zones a sense of both individual character and visual as well as spatial continuity. Photo: Iwan Baan
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-back to the folks-
photo: K uni ha ru Wa k a bayash i m ode l : Paw e l B e d n a r e k ST Y L I ST : Kom at su H i r osh i
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Stole 22.050¥ (169£) by BRUN VAN DYCK, Shirt 16.800¥ (128£) by PS-PAUL SMITH, Pants 16.800¥ (128£) by MOTEL, Hat 10.500¥(80£) by FACTOTUM, Belt 12.600¥ (96£) by BEAUTY&YOUTH
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Opposite page: Engineer Jacket 20.790¥ (159£) by GB, Shirt 9.975¥ (75£) by PENGUIN FOR MUNSINGWEAR, Pants 15.750¥ (120£) by MONKEY TIME.
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Jacket 66.150¥ (500£) by COSMIC WONDER Light Source,T-shirt 7.975¥ (60£) by YOUTH MAGAZINE, Pants 14.490¥ (110£) by BEAMS PLUS, Hat 15.750¥ (120£) by FACTOTUM, Necklace 18.900¥ (145£) by GB.
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Coat 69.000¥ (526£) by LOZINZA, Cut&Saw 8.925¥ (69£) by BROWN BUNNY, Knit Pants 24.150¥ (185£) by TROVE, Hat 6.090¥ (46£) by SORBATTI, Shoes 33.600¥ (256£) by SELECTED UPPERS CUT for GC.
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Jacket 39.900¥ (305£) by BEN DAVIS, Pants 19.950¥ (150£) by BEN DAVIS, T-shirt 6.090¥ (46£) by GOOD OL’, Hat 14.490¥ (110£) by ROTTWEILER.
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Cardigan (price unknown) by FRED PERRY X BEAMS, Shirt 22.050¥ (169£) by LITHIUM HOMME, Pants 18.900¥ (144£) by FACTOTUM,
Fash io n
international man in travel
Hoodie Jacket 25.200¥ (192£) by The DUFFER of St.GEORGE, Shirt 17.640¥ (134£) by ONE TRUE SAXSON, Denim Pants 14.700¥ (112£) by BEAUTY&YOUTH, Hat 16.800¥ (129£) by JOHN LAWRENCE SULLIVAN,
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Cardigan 18.900¥ (144£) by LACOSTE, T-shrts 7.875¥ (60£) by HIGH LIGHT CAVALET, Denim Pants 18.900¥ (144£) by BEN DAVIS.
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Shirt (price unknown) by MOUNTAIN RESEARCH, Jacket (price unknown) by WHITE MOUNTAINEERING, Denim Pants (price unknown) by MODERN WORKS, Backpack (price unknown) by HOBO x ARAI TENT(SHERPA).
international man in travel
tokyo style by Kun ih a ru Wa k a bayas hi
Fashion
Pants (price unknown) by BEN DAVIS, Hat 19.950¥ (152£) by LAGOMARSINO, Scarf 3.990¥ (30£) by CAROLINA, Sweatshirt 15.540¥ (119£) by DULCAMARA, Boots 50.400¥ (385£) by MATADEROS for EL RESERO ,
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international man in travel
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Pants 8.400¥ (64£) by CHEAP MONDAY, Hat 5.040¥ (64£) by NEW YORK HAT COMPANY, Shoes (price unknown) by NIKE, Wrap Around Skirt (price unknown) by MOUNTAIN ENGINEERING RESEARCH, Vest (price unknown) by PATAGONIA.
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Visvim japan’s most innovative clothing brand
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F.I.L Tokyo, 5-9-17-B1 Jingumae Shibuya-Ku Tokyo 150-0001 Japan
The collection was first shown in Paris this past summer where they had found an incredible space in the heart of the city. As we stepped inside the raw and beauitfully unfinished wharehouse, the Visvim scents and atmosphere quickly took us to another place. Photo: Ryan Willms
Fash io n
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Visvim’s spring collection picks up where fall left of. That’s saying a lot as it was arguably their best collection to date. With an extensive selection of more formal pieces along with several new footwear models, the development of a glueless sneakers and the constant drive to work with the best fabrics possible, it was deeper and more rich in all of the right ways. This spring we will see a beautiful selection of completely original patterns and fabrics. With one of the rare Japanese licenses to use Sea Island Cotton – the collection utilizes the world’s best cotton through their shirting and cut and sew to perfection. The lightweight technical outwear is now complimented by great fitting madras and seersucker sport coats and matching pants – building on their great offering of standard and high water chinos.
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japanese marine
international man in travel
issue 01. volume 01
new dress code of marine style When you think about marine style you think about sailor sweatshirts and sailor pants, but this season this classic style has a bit different taste. This time marine style has been mixed with Caribbean and West-Indian feel. Knits, loafers, chino pants, deck shoes, uniforms - all quite masculine in marine colours.
JOHN SMEDLEY stripy t-shirts. 29.400¥ (219£) by BEAMS F
NAFI DE LUCA hat. 19.950¥ (149£) by International gallery BEAMS
JOHN SMEDLEY
NAFI DE LUCA
Derbyshire established (1784) english
This Italian brand is known for their
brand has its special way of making
hats which are based on linen dyed
knitwear and source its cotton from
to give them denim look. Characters
Caribbean and West India.
are outlined by hand on a coloured background.
Trousers. 14.490¥ (109£) by BEAMS PLUS Riders Jacket. 19.950¥ (149£) by BEAMS
BEAMS PLUS Chinos are must buys for this season.
BEAMS
Straight style with hand painted
Riders jacket detailed with white
detail inside. When roll them up detail
zippers and inside stripy linen is
appears. w
very simple but its attention to detail makes it suits the marine style and looks light.
Accessories
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left: slip-ons 12.600¥ (95£) by BEAMS PLUS right: deck shoes 9.450¥ (70£) by BEAMS
BEAMS PLUS/BEAMS anti-slip sole. On the right: authentic deck shoes in selvage denim in a classic style.
left top: selvage chambray shirt 11.550¥ (86£) by CAT’S PAW left bottom: chambray scarf 12.940¥ (22£) by BEAMS PLUS right: selvage chambray cropped pants 9.345¥(70£) by BEAMS
issue 01. volume 01
On the left: canvas slip-ons with
BEAMS PLUS/CAT’S PAW This items are a symbol fo decky worker style, must have for this season. Original indigo selvage chambray denim used here creates vintage look. All hems are tripple stitched.
Tote bag [W35xH43xD15] 46.200¥ (349£) by BEAMS
BEDWIN Hand made tote bag. Body is made
Stretched 5 pockets trousers 12.600¥ (95£) by BEAMS PLUS
Stripe belts 13.650¥ (100£) by Brilla per il gusto
made by swiss company using bridle
BEAMS PLUS
BELTMANIA
leather dyed with vegatable dyes.
For those trousers white selvage
Hand made in Florence leather belts
denim has been used. Available in
with painted stripy motive. Available
navy blue or white they create a
in navy, red and turquoise.
by british military company which
nobel marine style. Fifth coin pocket.
All products available at BEAMS shops around Japan. www.beams.co.jp
Acce ssories
international man in travel
produce waxed jackets. Handle
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dream match
issue 01. volume 01
special collection of b yoshida
B Yoshida opened his store in Daikanyama in 2003 and since then become a bag institution in Japan with people coming from around the world to visit his shop. All bags sold here ares specially made for the shop and they are mainly collaborations with media brands,
newspapers, artist, clothing brands or photographers. Yoshida as native Tokyoite is proud where his from and by his products he wants to show how proud he is of being born in Tokyo. Each bag from the idea to the real product takes one to two years which might be
consider as waste of time but he want his products to be perfect and perfectly wearable. By collaborations he keeps his products fresh and bespoke for different professions. Right now he is working with Saturday Surf shop in New York, cycle shop Charlie & Co. and ACE Hotels.
White Mountaineering x PORTER
MARGARET HOWELL x PORTER
Waist bag with seperate pockets for iPod, mobile and
Backpack with shoulder strips made out of anti-slip
others. [W49xH20xD6cm] 56.700¥ (425£)
material that they won’t fall. [W30xH48xD14cm] 24.150¥
international man in travel
(180£)
ROCK STEADY x PORTER
Oumori x PORTER
2-tacs x PORTER
Book cover made with quality leather
Cover designed by famous japanese
Bag collaborated with Honma, yellow
in black with shade of brown.More is
actor which he uses for the scripts.
with white stripes [W46xH34xD21cm]
used better it looks [W12xH16.5cm]
[W19xH26.5cm] 21.000¥ (155£)
16.500¥ (125£)
6.300¥ (47£)
Accessories
Ichikawa x PORTER
HOBONIKEI x PORTER
Leather bussiness card
Cordura nylon case for digital
holder designed by artist
camera and pens designed by
Ichikawa[W7xH10cm] 7.750¥ (58£)
japanese newspaper Hobonikei [W11.5xH18.5xD3.5cm] 12.000¥ (90£)
M line by Toshio Matsuura x PORTER Trolley record bag designed by
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famous 1990’s DJ Toshio matsura [W39xH37xD27cm] 81.900¥ (615£)
WACKO MARIA x PORTER Natural and easy to carry every day tote bag in a vintage style [W35xH35xD11cm] 15.750¥ (120£)
KANNO x PORTER Collaboration with photographer Kanno first camera bag in a form of tote bag.[W47xH35xD20cm] 22.050¥
Monocle x PORTER Travel wallet which has pocket for passport, iPod and phone,and a
Waste Twice x PORTER
mesh compartment for currency.
Water proof casual bag with shoulder
[W25xH14xD4cm] 15.750¥ (120£)
stripe designed in collaboration with Tokyo clothing shop Waste Twice [W44xH30xD14cm] 52.500¥ (395£)
Acce ssories
B Yoshida 19-6 Sarugaku-cho Shibuya-ku. Tokyo www.bjirushi.com
international man in travel
(165£)
international man in travel
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HAnEDA AIRPORT, TOKYO
The new terminal of Haneda Airport replaces the shabby old one that saw destinations dwindle to a handful in China and South Korea. The expansion means that Haneda – Tokyo’s thriving domestic airport – is about to make its international comeback. With a new runway built on reclaimed land in Tokyo Bay, an extra 60,000 flights and seven million passengers every year will arrive from and depart to Europe, the US and other parts of Asia.
The retail centrepiece of the departure building is the Edo Koji, an extraordinary recreation of a historic Tokyo street. This is no piece of ersatz Disneyfication – it’s the work of Yoshiaki Nakamura, a master craftsman from Kyoto who usually works on temples and teahouses. He and a team of 30 carpenters have replicated the Edo’s (the ancient name for Tokyo) streets using traditional materials and techniques. Jun Mitsui, whose architectural studio was one of three involved in the project, says that Japan was referenced everywhere from the Mount Fuji-esque roof to the seasonal-coloured floor tiles that greet travellers on landing. “We want passengers to know they are in Japan as soon as they arrive,” he says. Mission accomplished.
Tra n sp ort
international man in travel
The group behind the new terminal comprises 13 companies including Japan Airlines and All Nippon Airways (ana). Early on, they decided the best way to distinguish Tokyo International Air Terminal (tiat) from rival regional airports such as Incheon and Shanghai was to highlight something Haneda has that they don’t – its location.Their plan from the outset was to emphasise that this airport is “Made in Japan”.
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Max TOKI E4
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maximum speed 240km/h
HAYATE E2 maximum speed 275km/h
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NOZOMI N700 maximum speed 300km/h
international man in travel
international man in travel
The Shinkansen (new main line), also known as the bullet train, is a network of high-speed railway lines in Japan operated by four Japan Railways Group companies. Starting with the Tokaido Shinkansen in 1964, the network has expanded to currently consist of 2,387.7 km (1,483.6 mi) of lines with maximum speeds of 240–300 km/h.
Tra n sp ort
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Kendo competition in Ogikubo Suginami ward Kendo - meaning “Way of The Sword�, is a modern Japanese martial art of sword-fighting based on traditional Samurai swordsmanship, or Kenjutsu. Kendo is a physically and mentally challenging activity that combines strong martial arts values with sport-like physical elements.
Peo p le
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Photo: Dan Sayle
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Purpose of Kendo: To mold the mind and body. To cultivate a vigorous spirit. To strive for improvement in the art of Kendo. To hold in esteem human courtesy and honor. To associate with others with sincerity. And to forever pursue the cultivation of oneself. Thus will one be able: To love ones country and society; To contribute to the development of culture; And to promote peace and prosperity among all peoples.
Peo p le
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Tsukiji fish market
Traders
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Pe o p le
Economics The market handles more than 400 different types of seafood from cheap seaweed to the most expensive caviar, and from tiny sardines to 300kg tuna and controversial whale species. Overall, more than 700,000 metric tons of seafood are handled every year at the three seafood markets in Tokyo, with a total value in excess of 600 billion yen (approximately 5.5 billion US dollars). Tsukiji alone handles over 2000 metric tons of seafood per day. The number of registered employees as of 25 January 2010 varies from 60,000 to 65,000, including wholesalers, accountants, auctioneers, company officials, and distributors.
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Pe o p le
Location Tsukiji Fish Market is located near the Tsukijishij Station on the Toei Oedo Line and Tsukiji Station on the Tokyo Metro Hibiya Line. There are two distinct sections of the market as a whole. The “inner market” (jonai shijo) is the licensed wholesale market, where the auctions and most of the processing of the fish take place, and where licensed wholesale dealers (approximately 900 of them) operate small stalls. The “outer market” (jogai shijo) is a mixture of wholesale and retail shops that sell Japanese kitchen tools, restaurant supplies, groceries, and seafood, and many restaurants, especially sushi restaurants. Most of the shops in the outer market close by the early afternoon, and in the inner market even earlier.
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9H, kyoto
international man in travel
9 h (nainawasu) is a new capsule hotel that offers luxury in a minimum living space. The 9h capsule hotel and all amenities were designed by Fumie Shibata of Design Studio S, which she founded in 1994. With her team, she defined the elements necessary for a ‘minimal transit space’ in big cities in Japan. The product designer has been pursuing the 9h project as a creative director for 3 years. The first hotel opened in December 2009, located in Shimogyo-ku, Kyoto, located on Teramachi Street between department store Fujii Daimaru and convenience store AMPM, two minutes walk from Kawaramachi Station. the building itself is 9 stories tall, and it hostsc125 capsules, locker rooms, showers, and a lounge.
588 Teianmaneo-cho, Shijyo, Teramachi-dori, Shimogyo-ku, Kyoto, 600-8031
H o te l
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Yamanashi prefecture in Japan’s central Honshu is famous for its Hoto Noodles. Resembling thick udon, the dish was cooked only at home until 25 years ago when Noboru Furuya decided to invite visitors to the area a give them a chance to experience the taste by opening a small chain of restaurants. For this fourth branch, Furuya decided to go for a radically different look from the traditional architecture in his other establishments and consulted architect Takeshi Hosaka. The result is a white, igloolike structure at the base of Mount Fuji, serving just one dish, Fudo Hoto - spongy noodles cooked with 10 freshly harvested vegetables including pumpkins and mushrooms and served in a secret-recipe miso broth.
2458, Funatu, Fujikawaguchiko-machi, Minamisturu-gun, Yamanashi
R esta urant
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HOTO FUDO, YAMANASHI
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Creative Destruction? text james surowiecki
international man in travel
Even if Japan’s nuclear crisis is contained, its earthquake and tsunami now seem certain to be, economically speaking, among the worst natural disasters in history, with total losses potentially as high as two hundred billion dollars. In response, fearful investors sent the Nikkei down almost twenty per cent on the first day of trading after the tsunami, and it’s still down more than ten per cent. Yet, while the fear is understandable, this may turn out to have been an overreaction: history suggests that, despite the terrifying destruction and the horrific human toll, the long-term impact of the quake on the Japanese economy could be surprisingly small. That may seem hard to reconcile with the scale and the scope of the devastation. But, as the economists Eduardo Cavallo and Ilan Noy have recently suggested, in developed countries even major disasters “are unlikely to affect economic growth in the long run.” Modern economies, it turns out, are adept at rebuilding and are often startlingly resilient. The quintessential example comes from Japan itself: in 1995, an earthquake levelled the port city of Kobe, which at the time was
a manufacturing hub and the world’s sixthlargest trading port. The quake killed sixty-four hundred people, left more than three hundred thousand homeless, and did more than a hundred billion dollars in damage (almost all of it uninsured). There were predictions that it would take years, if not decades, for Japan to recover. Yet twelve months after the disaster trade at the port had already returned almost to normal, and within fifteen months manufacturing was at ninety-eight per cent of where it would have been had the quake never happened. On the national level, Japan’s industrial production rose in the months after the quake, and its G.D.P. growth in the following two years was above expectations. Similarly, after the Northridge earthquake, in 1994, the Southern California economy grew faster than it had before the disaster. A recent FEMA study found that after Hurricane Hugo devastated Charleston, in 1989, the city outpaced growth predictions in seven of the following ten quarters. And the 2008 Sichuan earthquake, despite its enormous human toll, may have actually boosted the economy’s growth rate.
A ffairs
on a variety of factors. Skidmore and Toya have found that geological disasters don’t seem to have the same effects on growth rates as climatic disasters. And growth rates seem to be resilient only for relatively wealthy, well-run countries, which can raise money easily and administer reconstruction funds efficiently. In poor countries, by contrast, disasters are doubly disastrous: they often do more damage to begin with, since infrastructure is in such woeful shape, and the damage is harder to repair. Haiti’s economy has shrunk more than eight per cent since the earthquake last year, and much of the country remains in rubble. Furthermore, it’s important to remember that even cities that do successfully rebuild still lose enormous amounts of capital. In that sense, the biggest economic effect of disasters is to redistribute resources rather than create them. Disasters redistribute money from taxpayers to construction workers, from insurance companies to homeowners, and even from those who once lived in the destroyed city to those who replace them. It’s remarkable that this redistribution can happen so smoothly and quickly, with devastated regions reinventing themselves in a matter of months. But that doesn’t make the devastation any less real. Modern economies are good at recovering from disasters, but it’s a tragedy that they’re getting so much practice.
A ffairs
international man in travel
These were all monumental catastrophes, and yet, a couple of years after the fact, domestic growth rates showed little sign that they had happened. The biggest reason for this, as the economist George Horwich argued, is that even though natural disasters destroy physical capital they don’t diminish the true engines of economic growth: human ingenuity and productivity. With enough resources, a damaged region can reconstruct itself with surprising speed. Although the Northridge quake demolished the Santa Monica Freeway, it reopened after just sixtysix days. Healthy economies are by definition adaptive: in the case of Kobe, other Japanese ports picked up the slack until it was back on line. And, because governments generally flood disaster areas with money, there’s no dearth of cash for new investments. In a study of eighty-nine countries, the economists Mark Skidmore and Hideki Toya, after controlling for every variable they could think of, found that countries that suffered more climatic disasters actually grew faster and were more productive. This seems bizarre: it’s close to the broken-windows fallacy identified by the nineteenth-century economist Frédéric Bastiat—the idea that breaking windows is economically useful, because it makes work for glaziers. But Skidmore and Toya argue that disaster-stricken economies don’t simply replace broken windows, as it were; they upgrade infrastructure and technology, and shift investment away from older, less productive industries. (After the Kobe quake, the city’s plastic-shoe factories never returned.) In Horwich’s somewhat ruthless phrase, disasters can function as a form of “accelerated depreciation.” Something similar often happens on the level of the individual consumer: homeowners rebuilding after a disaster take the opportunity to upgrade, a phenomenon known as “the Jacuzzi effect.” In ordinary times, inertia keeps old technologies in place; it may be easier to make dramatic changes when you have to start from scratch. Still, the impact of any given disaster depends
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rebuilding Japan
It took 10 years to rebuild Kobe after the earthquake in 1995, but that timeframe is now looking optimistic for the reconstruction needed along the north-eastern coastline of Japan. Two months ago, the black wave of the tsunami engulfed 16 towns, 95,000 buildings, 23 railway stations, hundreds of miles of road, railway tracks and sea walls. Over 60,000 acres of agricultural land were contaminated. It will take three years just to clear the debris.
This contrasts with the recommendation of Britain’s climate change committee this week to increase reliance on nuclear energy. The Department of Energy and Climate Change is also considering a proposal that would cut the subsidy, through feed-in tariffs for generators of solar power. Disaster-stricken Japan is moving in the opposite direction, and it is brutally clear why. Over 80,000 people living within 12 miles of Fukushima have been forced out of their homes and it is far from clear when they will be able to return. Farmers have been forced to abandon their cows, or dump their milk. The compensation bill alone for the 50,000 families forced to leave the exclusion zone could be astronomical. Tepco may apologise deeply and profusely, but Japan’s nuclear industry has lost the stranglehold it once had over the energy debate. There are no votes in trying to defend it now.
In spite of the enormity of the task ahead, there are signs that Japan is moving away from disaster management. It may not be, however, politics as usual. Hauled over the coals, not least by his own party, for the way his government dealt with the operator of the crippled Fukushima Daiichi plant, Tokyo Electric Power (Tepco), the embattled prime minister, Naoto Kan, has begun to make decisions which are political in nature. He ordered the temporary closure of Hamaoka – the nuclear plant which sits on an active faultline – while a new tsunami wall is built, and he has abandoned plans to build 14 reactors over the next 20 years, opting instead for a 20% increase in renewables.
Stabilising Fukushima and building 70,000 temporary homes are immediate problems. But long-term answers will be just as significant. These are being sought by an ambitious team of philosophers and architects led by Makoto Iokibe, a former professor at Kobe university and someone determined not to repeat the same mistakes. Seeking higher ground for the new communities of the north-east is the least of their ideas. He talks of creative reconstruction – decentralising power away from Tokyo, a reconstruction tax, decreasing the wealth gap between urban and rural areas, creating a springboard for green energy. A truly radical approach will be resisted, but the debate itself has to be had.
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text miko urbanski
A ffa irs
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i ssue 02. volu me 01 - avai l abl e augus t 2011 B ack C over