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Following on from the enormous success of Fruits, Fresh Fruits features the latest from Tokyo based Fruits Magazine. Fresh Fruits uncovers how street fashion has changed in the downtown districts of Tokyo as seen through the eye of Japanese fashion photographer Shoichi Aoki. Sublime in its simplicity, Fresh Fruits captures the strange and often `surreal' fashion sense of Japanese teenagers
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Shoichi Aoki (b.1955) is a leading publisher and photographer of street fashion in Japan. He is the editor and sole photographer of the prime popular fashion magazines Street, Fruits and Tune. Fruits magazine originated in 1997 and to this day records and celebrates the vibrancy of Japanese street fashion. It all began when his eye was caught by two girls on a street corner outside his office, doing nothing in particular, in tartan duffle coats. His impulse was to take their picture: the result became Fruits. Aoki's uniqueness is revealed by his sensitive eye for individuality and for the contagious intensity of cult status. His creation of Fruits captured the essence of a surging eruption in street fashion in Harajuku, Tokyo, whilst also fuelling it. He created a new niche: a forum for identity formation, transformation and affirmation in the avant-garde fashion-world of Tokyo. In turn, he has immortalized the bold details of teenage reality, and the bright colours of teenage expression and escapism. Culminating in Fresh Fruits, he exposes with force the energy of self-perception and self-definition: a concept with which anyone can identify. This unprecedented surge is in perpetual re-invention, yet his images attain timeless insight.From The New Yorker:
In 1997, Aoki, a Japanese photographer who specialized in capturing street fashion in Paris, London, and New York, turned his eye to Tokyo's Harajuku district. There young people swarmed the streets in a playful riot of candy-colored, eye-catching ensembles, creatively blending hand-modified designer-label items with T-shirts and thrift-shop finds. Fruits, the magazine Aoki founded to feature his Harajuku photographs, went on to acquire an international following. A previous volume of Fruits pictures appeared in 2001, and in this follow-up the eclecticism seems inexhaustible. The portrait subjects, asked to explain their outfits, are drolly laconic ("boring feeling," "like Snow White"). And though recognizable types-punks, hip-hop kids, jocks-regularly appear, the over-all effect is less that of a tribal identity than of a super-cute costume party.
Copyright © 2005 The New Yorker
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