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The Manipulator Magazine

The Manipulator Magazine
In the mid-1980s, while living in Miami, I came across a strange magazine called The Manipulator.  Its large format meant - to me - that each page was worth considering and to pay attention to. Being printed in black & white, it was the opposite of a traditional fashion magazine. 

Buying The Manipulator was an odyssey, an almost impossible task given its extremely limited print and distribution. It could have been for lack of financial resources but I don’t want to think that was the reason. 

The definition of manipulation is often reduced to a negative connotation while in fact manipulation requires skillful manner. In this spirit, The Manipulator was certainly a truly innovative publication: a courageous and intelligent interpretation of media as a polar extreme of global pop culture. 

Every page was, at the same time, a poster and a cover page. 

Missed greatly as a source of inspiration. 

- Maurizio

 

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The largest magazine of its time, THE MANIPULATOR was founded in 1984 by artists Wilhelm Moser and David Colby and championed photography in a way that only a uniquely-formatted 50cm x 70cm publication could. The poster-like proportions of its imagery gave compelling dimension to topics that, at the time, had yet to be covered in a consumer magazine: deforestation, rising sea levels, and acid rain, to name a few. Along with exploring cutting-edge topics, the magazine often filled its pages with rare archival photography: hand-tinted images of Japanese brothels of the late 19th century, Spanish bull-fighters from the early 20th century, and even photographs from the records of Victorian-era Egyptologists. The magazine shuttered in 1994, but to this day represents the best of the golden age of independent publication and the analog-inspired creativity in an era not yet touched by the expansive and culturally-dominating nature of the internet. 

 

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17 Questions with Yosuke Otsubo

17 Questions with Yosuke Otsubo

I met Yosuke in 1988 on a trip to Japan and I knew that he was going to be a constant presence in my life both personally and professionally. 

Describing Yosuke is not an easy task:

Eccentric in his simplicity. Confident in his shyness. Hermetically eloquent.

At 64 years old, Yosuke is a walking information-desk for whoever wants to learn more about Japan, the business of clothes, where to eat perfect food, as well as the places to avoid. After having spent 29 years living in the United States, Yosuke brings a thoughtful perspective on the cross cultural pollination of East and West.

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Made in Japan: The Future of Vintage Denim

Made in Japan: The Future of Vintage Denim

At TRANSNOMADICA we look to those who insist on making things in a better way, honoring their efforts by preserving and making their work available to a new generation of citizens: ones who find value in clothing that expresses character and creativity, while also recognizing the beauty in quality objects that only get better with age. 

The Made in Japan Denim Story
To understand the role that Japanese brands and manufacturers hold in the recent history and current day of the denim industry, one may first look to the cultural influences of America on mid-twentieth century Japanese society. This timeline actually begins with Japan’s own rich legacy of textile looming and indigo dyeing and ultimately leads us to a vibrant modern-day community of exceptional denim makers.

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