DOCSLIB.ORG

YOHJI YAMAMOTO Y-3 Y's Known for His Philosophical Approach To

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
YOHJI YAMAMOTO Y-3 Y's Known for His Philosophical Approach To 54 THE EYE YOHJI YAMAMOTO Known for his philosophical approach to YOHJI YAMAMOTO design, Yohji Yamamoto is one of fashion’s Y-3 most pioneering and idiosyncratic thinkers, Y’S often fnding lyrical parallels between cloth- ing and the curiosity of the human condition. “Just as man lives and grows old, so too does fabric live and age,” he theorizes in his poetic 2010 autobiography, My Dear Bomb. “When fabric is left to age for a year or two, it natu- rally contracts, and at this point, it reveals its charm,”. Alongside contemporaries including Rei Kawakubo, Issey Miyake and Keno Takada, Yamamoto was one of the leading proponents of the avant-garde design wave that emerged from Japan in the 1970s and ’80s. Artfully mixing high concept and traditional crafts- manship, they transformed global fashion with radical new ideas on gender, streetwear and contemporary garment construction. If it’s possible to defne the Yamamoto signature, it is perhaps his uncanny desire to design clothing that feels aged, preworn → and imperfect. “I think perfection is ugly,” Yamamoto says he can’t imagine himself retired. he stated in his 2002 publication Talking to “I also think it’s hard to Myself. “Somewhere in the things humans imagine my brand without make, I want to see scars, failure, disorder, me,” he told i-D. “I think Yohji Yamamoto will die distortion.” As such, his unstructured, with Yohji Yamamoto.” “anti-ft” silhouettes with their asymmetric 56 THE EYE 57 FASHION lines, distressed fnishes and raw seams historical design references and a decidedly create a masterful sense of dishevelment. modern elegance. Often turning to ancient Japanese draping His frst show caused outrage in parts of and European tailoring techniques for the fashion world, condemned as “Hiroshima inspiration, Yamamoto also provides an oddly chic” by many in the French press who were familiar touch to his collections. By infusing shocked by his fercely abstract all-black his designs with age and wear, Yamamoto looks. Yet others seemed to instantly recog- attempts to create the security of a favorite old nize something interesting in his work, and as sweater or coat that envelops and guards the he continued to fnd his voice as a designer, he wearer’s body. “I make clothing like armor,” he achieved growing acclaim for using his plat- told Details magazine in 2005. “My clothing form as a way to discuss new cultural shifts. protects you from unwelcome eyes.” Today, Yamamoto’s multiple fashion This singular vision often places lines have a cult-like level of devotion around Yamamoto at odds with current trends. “I the world. Continually challenging notions want to achieve anti-fashion through fashion. of what fashion can be, he has undertaken That’s why I’m always heading in my own unique collaborations with brands such direction, in parallel to fashion,” he explains as Adidas, Hermès and Mikimoto as well in Talking to Myself. Throughout his long as artists, flmmakers and choreographers career he has always opposed trend-led including Heiner Müller, Wim Wenders and design, often decrying the superfciality of fast Pina Bausch.† In recognition of his contribu- fashion and modern digital culture. Instead, tions to culture and fashion, he has received his vision is a more subversive driving force an array of notable awards including France’s that counterbalances the momentum and Chevalier de l’Ordre des Arts et des Lettres direction of contemporary style. “I hate fash- and the Medal of Honor with Purple Ribbon ion,” he later reveals. “Or the word fashion, from the government of Japan. which sounds colorful, extravagant, expensive Yamamoto himself is an enigma. Rarely and gorgeous. I never wanted to walk the giving interviews, he appears equal parts main street of fashion. I have been walking the bold iconoclast and introspective, humble sidewalks of fashion from the beginning, so philosopher. In a 2013 conversation with I’m a bit dark.” his friend and collaborator Wim Wenders Yamamoto spent his early life studying for Interview magazine, Yamamoto told law in Tokyo, but soon after graduating and the flmmaker, “I feel like I have become a starting to work in the feld, he realized that he living fossil in the fashion world. I was on had no real interest in pursuing it as a career. a Japanese designers’ pedestal—considered At the time, his mother owned a dressmaking a maestro. My design was getting closer to a business, and it was while working for her couturier’s work, and I felt like I was missing that he learned how to cut and sew from †In 2003, Adidas and something.” He continued, “At a certain point, skilled seamstresses. Quickly discovering a Yamamoto debuted a new I stopped seeing my clothing worn by people sportswear line called talent for design and tailoring, he enrolled on the streets. it seemed like they were Y-3. The “Y” stands for in the prestigious Bunka Fashion College. Yohji Yamamoto, the “3” being treated as museum items.” His work Yamamoto’s frst label was launched in 1972 represents Adidas’ three may examine complex, cerebral ideas but in Tokyo, a ready-to-wear women’s line called signature stripes, and the Yamamoto wants above all for his collections dash signifies the bond Y’s, with a namesake men’s line launching two between the two. The col- to connect with the simple realities of life. To years later. In the early 1980s he moved to laboration pioneered the this point, his autobiography ofers readers a Paris, the city where his young brands would breakdown between sport wry piece of advice: “Rather than prattle on and fashion, well before fourish and develop their signature eclectic the buzzword “athleisure” endlessly about art and concept, one is better mix—androgynous silhouettes informed by was ever uttered. served by living.”* My clothing protects you from unwelcome eyes. 58 THE EYE 59 FASHION → Growing up in poverty with a widowed mother, Yamamoto says he realized that the world was unfair by the age of five..
Load more

Recommended publications
  • Swagger Like Us: Black Millennials' Perceptions of 1990S Urban Brands
    Iowa State University Capstones, Theses and Graduate Theses and Dissertations Dissertations 2018 Swagger like us: Black millennials’ perceptions of 1990s urban brands Courtney Danielle Johnson Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/etd Part of the American Material Culture Commons, and the Fashion Design Commons Recommended Citation Johnson, Courtney Danielle, "Swagger like us: Black millennials’ perceptions of 1990s urban brands" (2018). Graduate Theses and Dissertations. 16600. https://lib.dr.iastate.edu/etd/16600 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Swagger like us: Black millennials’ perceptions of 1990s urban brands by Courtney Danielle Johnson A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE Major: Apparel, Merchandising and Design Program of study committee: Eulanda A. Sanders, Co-major Professor Kelly L. Reddy-Best, Co-major Professor Tera Jordan The student author, whose presentation of the scholarship herein was approved by the program of study committee, is solely responsible for the content of this thesis. The Graduate College will ensure this thesis is globally accessible and will not permit alterations after a degree is conferred. Iowa State University Ames, Iowa 2018 Copyright © Courtney Danielle Johnson, 2018. All rights reserved. ii DEDICATION This thesis is dedicated to Black folks.
    [Show full text]
  • Kansai-Yamamoto Paper
    Alexandria Lewis-Hawthorne Kansai Yamamoto is a Japanese designer, born on February 8, 1944 in Yokohama, Japan. Kansai studied both civil engineering and english at Nippon University. He then completed his studies at Bunka Fashion College and pursued a career in design. Kansai opened his own boutique in Tokyo in 1968. In 1971, he started his own company, Yamamoto Kansai Company Ltd, with his two partners ( Journal Runway Archive, 2018). Kansai set the foundation for Japanese fashion going mainstream in western fashion. Kansai was the first Japanese designer to move to Europe, a decade before Rei Kawakubo and Yohji Yamamoto started showing their collections in Paris. He was at the forefront of contemporary Japanese fashion during the 1970s and 1980s. His saturated patterns and exaggerated silhouettes were influenced by the colorful art of the Momoyama period of Japanese art, 1573-1615 along with vibrant costumes of Kabuki theatre and classic manga illustrations, some of which could be seen in prints and mask motifs during Louis Vuitton’s 2018 Cruise Collection. Kansai is known for his avant-gardist designs which reference Japanese art and theatre. He is also credited with renewing interest in the traditional Kimono. David Bowie reached out to Kansai about making costumes for him after seeing one of his looks featured on the cover of Harper’s and Queen. Kansai was then commissioned by David Bowie to design the costumes for his Ziggy Stardust tour. He was the first designer to create a Bowie stage costume. The costumes consisted of widely cut and printed Kimono, extravagant silhouettes and suits made out of synthetic shiney materials.
    [Show full text]
  • The Evolution of Streetwear
    The Evolution of Streetwear The newfound reality of Streetwear and its luxury-like management Trabalho Final na modalidade de Dissertação apresentado à Universidade Católica Portuguesa para obtenção do grau de mestre em Marketing por Miguel Lobo de Macedo sob orientação de Professora Doutora Joana César Machado Universidade Católica, Faculdade de Economia e Gestão, Maio de 2015 Acknowledgements Máximo 1 página (facultativo) Abstract Purpose: To explore the critical dimensions of successful streetwear brands and how they garner customers’ attention, devotion and regard for the brand. Ultimately, the goal is to compare the anatomy of a streetwear brand to that of a luxury fashion brand and analyze the main differences and similarities between the two in order to understand how a streetwear brand, Supreme, operates in its niche market. By using a case study approach, this study plans on analyzing the newfound reality of streetwear, the reasons for its unprecedented consumption and what the biggest brands in this industry do in order to appeal, constantly, to different crowds: the devoted followers and the fashion-driven consumers. With this in mind, the study intends to validate the relevancy of these streetwear labels in today’s luxury fashion markets. Findings: The aspirational consumer of today’s streetwear will be the aspirational consumer of the eventual luxury market of tomorrow. I understand that there is still a lot to be studied within this streetwear industry but believe to have validated the importance of these brands in the purchasing intention of today’s consumers, by deconstructing the brands. Three important levels of analysis cement my study.
    [Show full text]
  • How Fashion Erased the Politics of Streetwear in 2017
    City University of New York (CUNY) CUNY Academic Works Capstones Craig Newmark Graduate School of Journalism Fall 12-15-2017 Mask On: How Fashion Erased the Politics of Streetwear in 2017 Frances Sola-Santiago How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gj_etds/219 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Mask On: How Fashion Erased the Politics of Streetwear in 2017 By Frances Sola-Santiago Hip-hop culture dominated the fashion zeitgeist in 2017. From a Louis Vuitton and Supreme collaboration to Gucci’s support of Harlem designer Dapper Dan’s store reopening, the fashion industry welcomed Black culture into the highest echelons of high fashion. Rapper Cardi B became the darling of New York Fashion Week in September after being rejected by designers throughout most of her career. Marc Jacobs traded the runway for the street, staging a show that included bucket hats, oversized jackets, and loads of corduroy on a large number of models of color. But while the industry appeared to diversify by acknowledging the indomitable force of hip-hop culture, it truly didn’t. The politics of hip-hop and Black culture were left out of the conversation and the players behind-the-scenes remained a homogeneous mass of privileged white Westerners. Nearly every high fashion brand this year capitalized on streetwear— a style of clothing born out of hip-hop culture in marginalized neighborhoods of New York City and Los Angeles, and none recognized the historical, cultural, and political heritage that made streetwear a worldwide phenomenon, symbolizing power and cool.
    [Show full text]
  • WHY ARE YOU CREATIVE? Teilnehmerinnen Und Teilnehmer
    Leipziger Straße 16 Telefon +49 (0)30 202 94 0 D-10117 Berlin Telefax +49 (0)30 202 94 111 E-Mail [email protected] www.museumsstiftung.de WHY ARE YOU CREATIVE? Teilnehmerinnen und Teilnehmer ARTISTS ACTORS Marina Abramovic – Amsterdam 2012 Johnny Depp – Berlin 1994 Christo & Jeanne-Claude – Berlin 2001 Mel Gibson – Los Angeles 2000 Damien Hirst – Berlin 1994 Dennis Hopper – Marrakesh 1995 David Hockney – Bonn 1999 Sean Penn – San Francisco 1999 Jeff Koons – Berlin 2000 Gérard Depardieu – Berlin 2012 Jonathan Meese – Berlin 2007 Ben Kingsley – London 1995 Georg Baselitz – Derneburg 2000 Till Schweiger – Los Angeles 2000 Mordillo – Frankfurt 1999 Sir Ian McKellen – Los Angeles 1995 Yoko Ono – Venice 2002 Forest Whittaker - Los Angeles 2002 Tracey Emin – London 1999 Armin Mueller-Stahl – Los Angeles 1998 Eva & Adele – Berlin 2001 Sir Peter Ustinov – London 1999 Tom Sachs – New York 2000 Gary Oldman – Los Angeles 2001 Kenny Scharf – Los Angeles 1999 Karl-Heinz Böhm - Frankfurt 1997 Douglas Gordon – Frankfurt 2012 Vadim Glowna – Berlin 1998 Okwui Enwezor - New York 2002 Anthony Quinn – New York 1995 Joe Coleman – New York 2003 Otto Sander - Berlin 1997 Mariscal - Barcelona 1999 Bruno Ganz – Berlin 2002 Olu Oguibe – London 2000 Bill Murray – Los Angeles 2004 Klaus Staeck – Frankfurt 1995 Michael Madsen – Los Angeles 2010 Roland Topor - Hamburg 1994 John Hurt – London 2013 George Lois – New York 1995 Stephen Dorff – Istanbul 2013 Ana Zarubica – Prague 2009 Michael Douglas - Berlin 2013 Sebastian Horsley – London 2008 Willem Dafoe – New York
    [Show full text]
  • Urban Representation in Fashion Magazines
    Chair of Urban Studies and Social Research Faculty of Architecture and Urbanism Bauhaus-University Weimar Fashion in the City and The City in Fashion: Urban Representation in Fashion Magazines Doctoral dissertation presented in fulfillment of the requirement for the degree of Doctor philosophiae (Dr. phil.) Maria Skivko 10.03.1986 Supervising committee: First Supervisor: Prof. Dr. Frank Eckardt, Bauhaus-University, Weimar Second Supervisor: Prof. Dr. Stephan Sonnenburg, Karlshochschule International University, Karlsruhe Thesis Defence: 22.01.2018 Contents Acknowledgements ................................................................................................................................. 5 Thesis Introduction .................................................................................................................................. 6 Part I. Conceptual Approach for Studying Fashion and City: Theoretical Framework ........................ 16 Chapter 1. Fashion in the city ................................................................................................................ 16 Introduction ....................................................................................................................................... 16 1.1. Fashion concepts in the perspective ........................................................................................... 18 1.1.1. Imitation and differentiation ................................................................................................ 18 1.1.2. Identity
    [Show full text]
  • Innovating a 90'S Streetwear Brand for Today's Fashion Industry
    FOR US BY US: INNOVATING A 90'S STREETWEAR BRAND FOR TODAY'S FASHION INDUSTRY A Thesis submitted to the FAculty of the Graduate School of Arts and Sciences of Georgetown University in partiAl fulfillment of the requirements for the degree of MAsters of Arts in CommunicAtion, Culture And Technology By Dominique HAywood, B.S WAshington, DC May 26, 2020 Copyright 2020 by Dominique HAywood All Rights Reserved ii FOR US BY US: INNOVATING A 90'S STREETWEAR BRAND FOR TODAY'S FASHION INDUSTRY Dominique HAywood, BS Thesis Advisor: J.R. Osborn, Ph.D ABSTRACT This thesis is a cAse study of how a vintAge fashion brand cAn be innovated through humAn centered design for the current fashion industry. IDEO, global design and innovation company, has clAssified humAn centered design as A method for identifying viAble, feAsible and desirable solutions with the integration of multidisciplinary insights (IDEO). For this thesis, the brand of focus is FUBU, for us by us, a 90’s era streetweAr brand that is a product of New York City hip-hop culture. A succinct proposAl for FUBU’s resurgence in the fashion industry will be designed by first identifying the viAbility of the fashion industry and feAsibility of the brand’s revival. ViAbility will be determined by detAiling the current stAte of the fashion and streetweAr industries. This is to estAblish the opportunities and threAts of new and returning entrants into the industry. FeAsibility will be declAred by reseArching the history and current stAte of the brand, its cultural relevancy, and its strengths and weAknesses.
    [Show full text]
  • Accumulation and Avant-Garde Apparel
    Confente 1 Oriana Confente Accumulation and Avant-Garde Apparel In his essay, “A Marginal System: Collecting,” French sociologist Jean Baudrillard writes: “Let us grant that our everyday objects are in fact objects of a passion – the passion for private property, emotional investment in which is every bit as intense as investment in the ‘human’ passions… they become mental precincts over which I hold sway, they become things of which I am the meaning, they become my property and my passion” (Baudrillard 259). A leading theorist on the discussion of consumerism, Baudrillard uses a semiotic analysis to explore the materialistic nature of contemporary culture and the integral role of object ownership in the lives of human beings. Accumulating items offers purpose and can contribute to an individual’s security as a person. This can be tied to the fashion industry, with a focus on clothing and dress. Fashion has been long understood to have a sociological function as “a social process of mutual adaptation” wherein “actors are free to decide if and to what extent they will adopt a new object, practice, or representation” (Aspers and Godart 185). The meaning behind choices of apparel influences the consumption of this aspect of culture, as Roland Barthes (a contemporary of Baudrillard who was at the forefront of semiotics) suggests “there is a ‘lexicon and syntax’ in clothing that resembles the structure of language” (Aspers and Godart 183). The desire to speak through the items one wears only heightens the urge to collect particular objects which would open those lines of communication. This is especially true in the realm of current high fashion – “expensive, fashionable clothes produced by leading fashion houses” which are not to be confused with the cheaply constructed, mass-produced items of the fast fashion world (“High Fashion, noun”).
    [Show full text]
  • The Deconstruction of Fashion Through the Creative Process of Music Vittorio Linfante* Published: July 29, 2020
    Essays – peer-reviewed ZoneModa Journal. Vol.10 n.1 (2020) https://doi.org/10.6092/issn.2611-0563/11090 ISSN 2611-0563 Fading, Mixing, Slicing, and Looping: the Deconstruction of Fashion Through the Creative Process of Music Vittorio Linfante* Published: July 29, 2020 Abstract Fashion as mirror of socio-cultural evolutions. In light of the ever-increasing plurality and hybridiza- tion of languages, fashion change, through disassembling and reconstruction actions according to creative processes capable of generating new design approaches. The creative process, having passed the phase of revival, rediscovery and re-proposal of styles, today acts more and more according to an approach far from citationism. A method that deconstructs and reassembles products, materials and styles, in a mash-up, generating new signs, meanings and shapes, that recall, but do not refer di- dactically to precise references. Shapes, symbols, textures are thus deconstructed and recomposed according to logics and approaches that generate a multiplicity of meanings. Brands such as Vetements,Off-White, United Standard, Marcelo Burlon borrow from music notonly cultural references but also a design approach. There is a form of deconstruction that looks more like a music mix using techniques such as Fading, Harmonic Mixing, Slicing, Swap or Looping. Thus a new identity of contemporary fashion takes shape: we witness to a meta-design process that, thanks to a group of emerging figures hovering between DJs and fashion designers, defines an idea ofdecon- struction according to approaches that owe much to consoles, mixers, and synthesizers. Keywords: Deconstruction; Design processes; Creative industries; Fashion Branding; Music. * Politecnico di Milano (Italy); [email protected] Copyright © 2020 Vittorio Linfante 79 The text of this work is licensed under the Creative Commons BY License.
    [Show full text]
  • How Can Luxury Fashion Brands Use Hip Hop Artists to Mix and Master Their Influencer Marketing Campaigns?
    28th of June, 2019 How can luxury fashion brands use hip hop artists to mix and master their influencer marketing campaigns? With the rise of hip hop’s popularity in pop culture and influencer marketing as a strategy adopted by companies, how can luxury fashion brands employ both to market their products? Student: Karl Huggenberger S1832832 Supervisor: Ruud Jacobs, PhD Program: Communication Science Abstract Influencer marketing is now an integral part of successful marketing campaigns, with companies across all markets adopting this strategy. Luxury fashion brands have been using various personalities to market their products for years, and are also aligning their strategy to current trends. The rise in popularity of hip hop personalities sees a growing trend of luxury brands working alongside them. Endorsements from these celebrities vary from being included in adverts by the brand, receiving products from the brand and putting them up on their social media account, and wearing them to public events. This research aims at clarifying which method appeals to the consumer the most and could possibly lead to an improvement of brand behaviour, recognition and intention among consumers. A sample of 107 respondents were subjected to a survey showcasing three posts of a single type of endorsement, traditional, active, or passive depending on the group they are in. Then the effect of these influencer marketing efforts on the respondents’ intentions concerning the brand in question was measured. Results showed that the difference in groups only had an effect on brand recognition, as participants were more familiar with the brands presented by traditional and passive endorsements.
    [Show full text]
  • The Elegance of the Past
    Editor in chief Giuliano Deidda Issue #2 - Dicembre 2017 STYLE STYLE Q.&A. DIGITAL FASHION WHO READS You Love, It Lies GIULIANO GIOVANNI ITALIAN LINDA CALZA ALLEGRI THEY GO MESSERKLINGER Creative director of GCDS The debut of Major at Pitti The top influencers Fashion as expression of personality Page 14 Uomo Page 26 Page 62 Page 16 THE ELEGANCE OF THE PAST Total Look Prada An eclectic mix of cult pieces and contrasting prints and patterns. Page 44 TREND Ballet Rossorame Cloudlike dresses with showy tulles and crinolines Page 22 ACCESSORIES Luxury Athleisure Kate Winslet and Justin Timberlake in Wonder Wheel (Photo Courtesy of Lucky Red) Brimarts A selection of the most innovative sneakers, both for Woody Allen surprises us thought it would be a stimulating setting for a The same thing has been happening for years her and for him. once again. He uses the dramatic film.” It is no coincidence that most of in fashion, which continues season after season Page 52 Wpast to talk about contemporary neurosis and the films screened in the latter part of the year to bring past references up to date again. Thus, sets his latest film, Wonder Wheel, in Coney are set in the past. Nowadays, to turn to a past on the runway, the impeccable elegance of the Island in the fifties. “It always had a great effect which is more or less remote and more or less fifties meets the anti-fashion transgressions on me. There are a lot of colourful, quirky mythologized seeking that inspiration which our of the sixties and the excesses of the eighties people there and so much hustle and bustle digital reality is perhaps ever less able to give, is in a megamix which perfectly represents our that the atmosphere was particularly vibrant.
    [Show full text]
  • Preview JANUARY SPORTS LINE-UP JANUARY SPORTS YEAR in CHAMPAGNE BARS TOAST to 2017 to TOAST
    JAN 2017 JAN ® TOAST TO 2017 CHAMPAGNE BARS CHAMPAGNE YEAR IN JANUARY SPORTSJANUARY LINE-UP Preview NYC Monthly JAN2017 NYCMONTHLY.COM VOL. 7 NO.1 PATRAVI TRAVELTEC DLC AUTOMATIC MOVEMENT · THREE TIME ZONES CHRONOGRAPH · DIAMOND-LIKE CARBON COATING 1118 Kings Highway · Brooklyn · NY 718.375.1818 CONTENTS FEATURES MUSEUMS 16 Winter Art 16 Here's To 2017 Stills, Portraits, and a New York Connection A Year in Preview 18 Exhibits Calendars DINING & DRINKS Must-see Exhibits in January 18 Bring the Heat LIVE ENTERTAINMENT Warm Up This Winter with a Spicy Meal 20 Brand New Day 20 Raise a Glass to the New Year Ring in the New Year with Live Music Get Bubbly at a Champagne Bar to Ring in 2017 24 Live Entertainment Calendar SHOPPING Must-see Concerts in January 24 Boots with Fur ATTRACTIONS Pumped Up Kicks for Cold Weather 26 January Attractions Can't Miss Attractions in January BROADWAY 26 Stories In The City SPORTS The Lives of New Yorkers Take Center Stage 26 January Sports Calendar of Can't Miss Sporting Events 4 NYCMONTHLY.COM CONTENTS INTERVIEWS 16 Carla Hall Star of "The View" Brings her Southern Charm & Chow to NYC 18 John Slattery Celebrated Actor Returns to Broadway in an American Classic 20 Alan Menken Hit Hometown Composer Scores Powerful New Musical 24 Judah & The Lion Eclectic Nashville Band Electrifies Major Tri-State Venues IN EVERY ISSUE 16 Top 10 Things ON THE COVER: To Do in January WINTER WONDERLAND photo by Cory Schloss Images 18 Broadway Listings It's January and New Yorkers are once again finding themselves pulling out their parkas as the anniversary of last year's record- Musicals, Plays breaking Winter Storm Jonas approaches.
    [Show full text]