The Story Of Visvim Shoe Founder Zhong Cun Century

Word of mouth and celebrity effect make Weiss Vee M (Visvim) a favorite of experts.

Now, it seems to be getting rid of its low profile and coming out all over the world.

In the shop.

This may be the precursor of Weiss's vulgar vulgarity, but it may also be the opening of a magic miracle.

On a warm summer morning in Florence, Italy, the air is filled with the fragrance of Camellia.

Trade Fairs - guests from the Florence men's Wear Exhibition stroll through the beautifully pruned green tunnel in the Renaissance Po Po Garden, and come to Hiroki Nakamura, a Japanese designer.

。

They stopped in front of Porta Romana and wore a herringbone pattern Kimono Jacket, which is now custom made by a 45 year old Mr. Zhong Cun from a traditional Rome craftsman.

After dressing, they moved to Lemon House, a famous architect in Italy in eighteenth Century. The scene appeared to be like the Japanese diplomatic engraving mission of Kagawa Hiroshige (Hiroshige), which visited the Medici palace.

In fact, they are just buyers, media and fashion people.

However, the fashion without stories can only be regarded as sewing.

It is precisely this kind of thorough understanding of ritual norms that makes Mr. Weiss, the brand of Mr. Nakamura, become an independent fashion company from Tokyo.

"Weiss Wei wood has such a powerful energy because it wakes up something inside you," John Mayer, who wears Weiss from the daily stage to the stage, said, "all of my wardrobes are Weiss Vivian, and I have almost bought all the styles of Madras flower designs."

Mel is a representative of the upper class fans of Mr. Nakamura, who also includes music artistes Farrell Williams (Pharrell Williams), guitarist Eric Clapton (Eric Clapton) and ASAP Rocky.

Although the brand is somewhat strange to ordinary people, the secret of this expert is being released in the past 15 years. At present, Weiss Vee M has 7 independent stores in Japan and 135 international retailers.

"Most of my inspiration comes from some old fashioned fabrics," said Nakamura.

"When I first started my business, I asked myself what else I wanted, and then I realized what I wanted was products that could make me happy," he said in an interview. "I also hope to create a brand with eternal value and no boundaries."

{page_break}

Nakamura decided to achieve this goal in a whimsical way at the time - word of mouth publicity.

Weiss Vee M never advertised, and Mr. Nakamura was only moderately active in social media.

The last news about Weiss's new products is still like the spread of espionage work. Consumers are passing on the Ins on each other. For example, Mel shares a new Weiss Wei wood product - a pair of half mocashin semi canvas shoes priced at $750.

That is to say, there is no market price.

Even Kanye West was still waiting in line.

Nakamura and his American wife, CORSI, flew from Losangeles to Florence to spend half a year with their 11 year old daughter, who was born in the previous relationship. Kelsi

I spent the rest of the time in Tokyo, an old wooden house with a thick garden.

A few weeks before the opening of the Florence men's wear exhibition, I interviewed Mr. Nakamura in that wooden house.

There, we can better understand this man's creation. His energy in the collection is no less than that of his design. He studies all kinds of things tirelessly, from tribal fabric to country rock hairstyle to the old car.

"I started collecting since I was fourteen years old," said Zhong Cun century. "And I can't stop now."

That morning, he just returned home from Narita Airport on 1964, producing the navy blue Rolls-Royce silver cloud 3, which was produced in the morning.

The week before, he also ran around: from Tokyo to London, and then to Hongkong, Losangeles and Florence.

In the Nakamura century, the tall, handsome and untidy man wore a short jacket, paired with holes in shirt and jeans, and walked barefoot on the floor of his Edo era.

He picked out James Taylor's first edition of "sweet baby James" from a collection and put it into the giant, original and new JBL Paragon D44000 loudspeaker in the 80s of last century.

All these seemingly incomparable things -- Hippie ballads, old-fashioned sound systems, and thick and airy old buildings -- are indeed the fundamental way to observe the world in the village of China. It is also the best embodiment of the Wabi-sabi concept (an aesthetic idea of Zen, with fragmentary beauty).

In a year, Nakamura and his wife lived in Tokyo for half a year, surrounded by a luxuriant garden.

Mr. Nakamura opened a chest of drawers (a locker).

There are many cloth fabrics stacked in it: the Turk North Paz Bbu of Calcutta, the Herat of India, the silk embroidery sample of Herat, and the carmine dyed Nepali wool fabrics, all sealed in fresh bags to prevent the destruction of molds and insects.

"Most of my inspiration comes from old fashioned fabrics, those exquisite objects that were made in the past."

Nakamura said.

When it was a teenager, the Nakamura century picked up the remnant of World War II among the grocery stores, such as cowboy clothes and Buddhist Pilgrims' coats in 1950s.

"I always want to create works that are just as old and powerful as those that fascinate me deeply."

This is what the middle village says.

When asked why some old things would have "energy" and some old things were not available, Mr. Nakamura smiled and shrugged.

The answer to this question may also be related to Japanese philosophy.

It is said that some carpenters (or "skills") will emerge as a result of the training of masters who have trained for a lifetime.

The process of constantly improving skills is like Samurai grinding the sword - not only the result itself, but the process of constantly shaping the breadth of life.

Every beautiful thing, if you think of the hands behind the creation, will have an attraction.

Mr. Nakamura likes to tell a story about how he got the robe of Nepal.

The cloth of the robe is the deepest carmine.

"It has a power, but I don't know where this power comes from," says Nakamura.

"So I will discuss with my team how to rebuild a cloth with such strength."

That piece of cloth is actually dyed with substances extracted from cochineal insects.

Cochineal insects are a parasite of the cactus, which is recorded in the manuscripts of the ancient Aztecs.

Nakamura is not the first person to be deeply attracted by dyestuffs born in the first Century B.C.

Before the widespread use of chemical dyes, this dyeing method became the largest export business in Mexico after the silverware.

The beauty of cochineal dyeing fabrics is that they will change with time as the dyeing effect of madder, indigo or clay.

"The machine product is so perfect that it has lost its original goal," Mr Nakamura said. "Commodities in the modern world are monotonous monotonous.

In my opinion, this is boring.

I like things that are natural and subtle, and the humanized difference of handicraft products fascinates me. "

{page_break}

The answer may not be clear enough to satisfy the rapid expansion of modern Tokyo's anti Utopian plot. However, we can easily find that there is a clear divergence between the consciousness of highly industrialization in twenty-first Century and the deep-rooted cultural aesthetic consciousness of people.

For the Italy magazine editor Gianluca Cantaro (Gianluca Cantaro), it is this difference that has made the brand of the Nakamura century unknown.

"They are like an isolated island and a never changing Island," Cantaro said. "No matter what kind of influence the outside world has on them, the life and imagination of the United States and California have given them unlimited inspiration -- but the United States in their eyes has never been a real United States.

They are not quoted.

It's not a replica. "

In the middle of the century, in the "most American" brand - Buerton Snowboards in Vermont, Burton was a small test knife, where he learned to deal with high-tech materials.

He will open a limited edition of Jeep Wagoneer in Losangeles in 1979, and will also be riding on the 1948 cruising motorized Indian Chief into the California desert in 1979.

He will decorate himself with the old Navajo Silver or hang a broken American flag on the wall of the old house in Tokyo.

However, as he has received countless traditional American style compatriots, the Nakamura century is still a "complete Japanese" as Cantaro said.

This is also the consensus of the guests who are puzzled by the Florence men's Wear Exhibition.

Wearing kimono in the French Baroque architecture, they found themselves watching the performance of dancers wearing sailors' clothes and American sailors' caps.

The dancers or their female partners, or wobble sticks, perform the old dance steps. The soundtrack is the early rock and roll, the kind of song you can get on the old jukebox on the nostalgic drinks store.

This fashion show inherits the look of a very American theme: pastures and cowboys, oil workers and sweater suits, retro denim, and Marlon Barndo, and James Dean.

But if you look at this fashion show again, you will find hidden concealed flats and a fish flag pattern designed by the traditional fish flag craftsman in Kyoto.

Almost all of the fabric, technology and technology of Weiss Weir's Americanization were born in the United States.

Most of the American manufacturing traditions are past.

Weiss's fashion show did not deliberately imitate, did not comply with the salute, nor superficial satire, showing something more complex and unforgettable.

It is a description of a place travelled by a traveler. He may have looked at it briefly, perhaps just a dream that he had never set foot in: the United States, it is a mirage.