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All my friends are dead, Jonk
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Louis Faurer
naomi osaka for wimbledon 2026
‘I worked 20-hour days to make Naomi Osaka’s Wimbledon dress’
The Japanese designer Hana Yagi created the striking all-white bridal-inspired kimono that drew cheers from the crowd at the All England Club
The Japanese kimono and the traditional western wedding dress are difficult enough to walk in, let alone play tennis. But Naomi Osaka did so anyway, emerging on to Wimbledon’s Court 3 in a gown that was a hybrid of both garments to play a round of practice shots.
The dress, which drew cheers and wolf whistles from the crowd, was the Japanese player’s latest fashion display, following the gold sequinned outfit that she wore at the French Open and her extravagant turquoise and green dress at the Australian Open in January. Her Wimbledon effort was the work of Hana Yagi, a 26-year old Japanese designer, who created it alone in ten days in her studio in Tokyo.
2026 French open, designed by Kevin Germanier in collaboration with Nike:
Yagi was asked to create an outfit for the “walk on”, when players enter the court before the beginning of a match, a well-established opportunity for fashion statements. At the French Open, Osaka compared her sparkling dress to the illuminations of the Eiffel Tower. Her extraordinary Australian Open outfit was inspired by jellyfish.
Australian Open 2026, designed by Robert Wun for Nike:
But Wimbledon imposes strict rules — above all that all clothes must be completely white (Roger Federer once got a telling-off for wearing shoes with orange soles). “First, it had to be all white,” says Yagi. “Visually, [Harper] gave me the image of a kimono or junihitoe [a traditional 12-layered kimono of the Japanese imperial court]. As a part of the concept, they wanted to reinterpret the tradition in the context of sport.”
The vintage wedding dresses she had in her own stock were cream and ivory — shades unacceptable at Wimbledon. She went to shops in Tokyo and bought the pure white western style wedding dress that forms the lower part of the Osaka gown, and a shiromuku, the traditional nuptial kimono in which brides are wrapped for delivery to their new husbands.
It is this, embroidered with brocade images of cranes and cherry blossoms, that forms the upper part of the dress, but drastically restructured to allow freedom of movement. “I didn’t want her to walk with small steps — in this she won’t have any difficulty walking,” Yagi says. “And it’s not like a tight corset, but a dress that Naomi herself can adjust.” Osaka wore her playing dress, created by her sponsor Nike, below Yagi’s creation, so it had to be lighter than a conventional kimono. The other condition was that the player had to be able to put on and remove the dress quickly.
“It was my first experience of that, because all my past works were art pieces, and not really aiming to be functional,” she says. “But this has to come on and off in three minutes. I kept it putting it on myself over and over again to confirm that it worked.” The secret ingredient? Extensive strips of Velcro.
Some more of Naomi Osaka's show-stoppers:
US Open 2024. Designed by Yoon Ahn for Nike:
US Open 2025. Designed by Osaka herself:
find your self
心象風景
俺 said: 中平は世界を見るという「意志」が介在しない方法を模索し、「事物が事物であることを明確化することだけで成立する」 と言ったが、シャッターを切る時点で、そこには明確な心の意思がある。意思の否定などイチイチ哲学的に考えたところで何も生まれはしない。
Gemini said: 中平卓馬が求めた「意志の排除」という命題に対するあなたの指摘は、写真論において最も根源的かつ重要な批判点です。あなたが提示した「撮影の瞬間に介在する主観(意志)」を前提とした上で、それでもなお中平がなぜその不可能に挑もうとしたのか、彼を擁護する側の視点(反対意見)を整理します。
1. 「意志」を「制度」と捉える視点 中平にとっての「意志」とは、単なる個人の感情ではなく、**「対象を自分の都合の良いように解釈し、意味づけようとする習性(=文化的なコード)」**を指していました。 彼は、我々が世界を見る時、既に「きれいだ」、「悲しい」、「こう撮れば芸術的だ」という既存の文脈(制度)で対象を切り取っていると考えました。中平の言う「意志の否定」とは、そうした**「意味の押し付け」を無効化する試み**です。つまり、彼が消そうとしたのは「感情」そのものではなく、「世界を解釈可能な物語に回収しようとする自己の眼差し」であったと言えます。
2. 「事物の明確化」は「記述」への退行 中平の言う「事物が事物であることを明確化する」という態度は、撮影者による「演出」を極限まで減らし、対象をただ突き放して提示する「記述(記述=記録)」への転換を意味します。 あなたが指摘する通り、シャッターを切るという行為自体に物理的な意志は不可避です。しかし、中平の論理では、「対象に何かを語らせる」のではなく、「対象をそこに存在させる」ことだけに全力を尽くすことで、結果として撮影者の主観的・饒舌な物語を排除しようとしました。これは意志の完全な消滅というよりは、**「意志の透明化」を志向するストイシズム(禁欲主義)**と見なすことができます。
3. 「何も生まれない」という批判に対する反論 「哲学的に考えたところで何も生まれない」という点については、中平の晩年の写真群がその回答となります。 彼は、自身の記憶や解釈が崩壊したあとの世界を、可能な限り「意味の染み付かない単なる物」として撮ろうとしました。もし彼が「どう撮るか(意志)」に固執していれば、自己の病や内面性を表現するドラマチックな写真になったはずです。しかし、実際に彼が残したのは、あまりにも即物的な、無機質な記録でした。 彼にとって、この**「自分というノイズが限りなく除去された、世界そのものの露出」**こそが、彼が到達したかった成果物だったと言えます。
結論としての対比 あなたの意見は**「写真という表現は、そもそも主観的な関与なしに成立しない」という現実的なプラグマティズムに基づいています。一方で中平の思想は、「人間の認識の限界(どうしても主観が混じる)を承知の上で、あえてそれを剥ぎ取ろうとする絶望的なまでの試行」**です。 中平にとって重要だったのは、「意志を消せるかどうか」という達成の可否ではなく、「自分というフィルターを極限まで薄くしようとあがき続けるプロセスそのもの」が、既成概念を打ち破る行為(=写真の政治性)であったのではないでしょうか。
この議論において、あなたは「写真の本質は主体にある」と主張していますが、中平は「写真の本質は、主体をいかに客体(世界)に埋没させるかにある」と見ていたという点で、両者の視点は決定的に異なります。
俺 said: まぁ、どうでもええねんけど。。
my time has come
The lost patrol, Richard Cartwright
A Look Inside the Peeps Factory - via NYTimes
Photos by Christopher Payne
editor's note: This is not a paid advertisement, but it should be. I 💛 Peeps!
Over 700 Fortune Cookie Papers
I ran the blog Fortune A Day for ten years, from August of 2011 to August 2021. As part of the blog wrap-up I did a final layout of all the physical fortune papers.
Here’s a process gif:
The full set was laid out by color (papers had blue, red, and black text). More specifically they were grouped by font, and whether or not lucky numbers and Chinese phrases appeared on front or back. However, it’s hard to differentiate those sub-groups in pictures of the full set. I made a couple posts about the full layout (the first one here) in order to show some close-ups (the second one here), and also posted a takedown video on IG (linked in the third post).
For those who enjoy numbers organized neatly, individual fortune image posts were tagged with numbers when the papers listed a set of “lucky” or “lotto” numbers. An evaluation at the end of the blog showed that the numbers 1 through 56 and 76 are considered lucky. 57 through 75 and 77 and up are unlucky. I go into details on this post.
(All photos by mee. Images inserted with descriptive/alt text.)
Max Yavno
Max Yavno. San Francisco. 1947.
Garage Doors;
Max Yavno
via
Photograph by Arturo Rodríguez
for National Geographic
Gold, silver, and copper sequins, found by archaeologists at T’aqrachullo in 2022. These tiny round plates, which would have adorned ceremonial clothing around 500 years ago, signaled that the site was one of spiritual significance.