Japanese magazine editor Yasumasa Yonehara is the original mastermind of the lo-fi erotic photography dominating pop culture today. He has taken instant lomography and his Cheki style of photography to new heights that are often imitated, but hardly duplicated. Simply known as Yone, he is as cool and articulate as any modern day artist we could name. Magazine perverts call his Japanese creation Smart Girls as “the world’s hippest booby magazine.” We just call it “dope.”

Being involved in art came subordinating to my lifestyle.

We’ve read that your main motivation for pursuing a path in the arts was to not become an “Ojisan” or Japanese middle-aged man who are ruled by traditional company ideals. Please explain.
I would say that I have chosen to create my original lifestyle and not really had the intention to do art. Being involved in art came subordinating to my lifestyle. In Japan when we become an adult it means nothing but unconditional acceptance of the existing world. It means that Japan’s society and the system will not change under the influence of the economic or the political climate. The Japanese “Salary-man” system is a institution of slavery that many people are unconscious of.

We are made to believe that “restraining yourself is the way to adulthood” and we do not have a chance to say what we want to say. But, once the sake comes in to the scene then they suddenly change and people reveal themselves. You can see this system triggers people to be the typical Japanese “Ojisan”.

I would always want to be accepted as “a sexy and attractive man toward women” but, if you live in the Japanese system it is totally impossible. So by choosing to “create your life yourself” lead me become an artist.

You are highly noted for your Cheki style photography (instant lomography). What attracted you to this medium initially?
I have always been interested in women not the camera… and the artistic activity of thinking of how to present the Cheki photos comes totally after that.

When I have worked on the magazine Smart Girls as an editor, I realized there was time for the girls while waiting for the set up the lighting by photographers. It was obvious that models had nothing to do in these times. I thought it would be bad manners to take a picture of them with an ordinary camera, so I decided to use Cheki and take pictures of the models which was very popular among young high school girls. The camera lets you check what you have taken on site and simply record the atmosphere without criticizing the photo as being well shot or not and suited my means of expression.

I have always been interested in women not the camera… and the artistic activity of thinking of how to present the Cheki photos comes totally after that.

You don’t consider yourself a photographer per se, but as a creative… has the accessibility of digital photography tempted you to explore the medium deeper?
Before I became a photographer, I had been working as an editor (and I still am). I always feel that ”I am an editor” and will not change. I guess that stance makes me in a position where I get involved in creation overall.

Is it true that American Apparel CEO Dov ripped off your photographic style?
Yes, it is true. It was the year 2002. After he bought my work at the Magic trade show in Las Vegas, their visual campaign had started. It looks to me that they are copying it all including the core essence of my concept. So for me it sure is funny.

It’s funny to us too because it’s pretty obvious.  When we first saw the American Apparel ads, we thought you shot them.  You recently turned your attention to the Japanese adult industry and worked with several adult entertainers. Explain your attraction to its culture.
I feel through the girls that the Japanese system based on moralism is collapsing by the idea of consumerism.

Porn video is not a product developed by sex culture, but just a product that is consumed.

Japan has the second largest porn industry next to the United States. American adult entertainers like Jenna Jameson are starting to penetrate the mainstream market. Who would of thought NBC would have had the balls to allow her to make an appearance on Donald Trump’s Celebrity Apprentice. Will Japanese porn ever receive this type of mainstream acceptance in your country?
In middle-aged men’s magazines and tv programs I see that the girls are already in the mainstream. Japanese porn stars’ existence is especially a bit complicating. Here is a text I wrote in the past. I explained about what the complicating points are so I would like you to read and see.

“I was so surprised to see the sales figure by multiplying 3000yen/per video times the number of video sold annually. Vast sum. These kinds of industry and company is accepted as standing on a very successful business model in such times when people estimate the value of business on how much money you have made than how you earned the money. Porn video is not a product developed by sex culture, but just a product that is consumed.

There are 15000 of porn titles that are produced annually, which means 42 videos are produced in a day. There is no officially announced numbers of porn video actresses (for short, “AV actresses”) so we can’t estimate the total numbers of them but, it tells you that there are awfully a lot of them. I have asked many times to many of them why they became AV actresses. The reason is unbelievable. The most answered phrases are “No special reason. Just sort of … felt like being it”… “Just sort of … wanted money”… “Just sort of wanted to be famous…” etc… There is no ambition of trying to become a star in the entertainment business. The vague mood of “if I get in this system and get involved in AV industry my life might change and can become someone else…” hypnotized the girls in the industry.

There was a girl who had been scouted on the street and could not say “no” (could not make her intention clear) and had been led to the industry. I heard from her that there were lots of other girls who worked in the industry for the same reason. There is almost no girl who is encountering poverty in Japan. But, they feel fear when they think they can’t buy a “Louis Vuitton” purse. I once took a survey to high school girls “why does high school girls want Louis Vuitton?” and many of them answered that “Possession of Louis Vuitton is a start line”. To the majority of the Japanese, the action of “buying something that everyone knows” means “joining the group”. No one cares how the money was earned and there is no sense of moral in the society to verify how it was earned.

“Adult Video(Porn video)”. Ever since it made its appearance in the scene, irrespective of likes and dislikes it has grown into one of the most notorious Japanese cultures known to the world. The term of “AV” as well as “bukkake” which means numbers of people splashing seminal fluid on to the girls face has become a national language. And Japanese people are the only people who don’t know that. In spite of the situation, it is quite difficult to give names of AV actresses now in the scene if you are not a AV freak. But without our awareness the industry is still getting structured and is building up the consumueristic culture. If you can not deny your feelings “wanting to possess money to join the group” distinctly it would not be so difficult for anyone to be mounted in the toothed wheel of this kind of society.”

My photography is a documentary so there always needs to be a motive in each photograph.

I am only interested in women to choose as an object of shooting, so the action of “taking a photograph” would not start if I do not like the object.

Do you watch American porn? If so, have you seen the cutting edge work of Eon McKai and his army of directors from Vivid-Alt?
Never do. It’s my first time to hear of Eon McKai & Vivid-Alt’s names. I checked it out and it was pretty interesting.

You guys should connect next time your in the US.  In terms of models, tell us who have been your favorites to work with and why?
I am only interested in women to choose as an object of shooting, so the action of “taking a photograph” would not start if I do not like the object. To simply explain, I like all the women that I have photographed in the past.

If you could work with any model or celebrity in the States who would it be and why?
I live in Japan so that is why I take photos of Japanese women. My photography is a documentary so there always needs to be a motive in each photograph. It is because I want to shoot with sufficient understanding of the position in the community in which the object/model stands. If I live in America and learn more about America and if it gets explained by someone who really understands the community just like I do for Japan, I might consider shooting for them.

I think “street culture” has always been “a new system” opposed to the existent established system. I always have worked and had been standing in this position.

You have a substantial streewear following around the world. You are a contributing blogger for Upper Playground in the States and you also collaborate with many streetwear brands on exclusive products. Describe the current state of streetwear and do you feel its over saturated and too accessible at the moment?
I think “street culture” has always been “a new system” opposed to the existent established system. I always have worked and had been standing in this position. But even in the birth place of such culture including Japan “street culture” has become a part of established brands and now it has become “then-new culture that has been accepted by high-brands.” I am not considering to work in this framework, and even if I did, I will not change my position.

Are you working on any projects at the moment that we should know about?
There will be a big project touring Asian cities like Shanghai, Beijing, Hangzhou, Hong Kong, Taiwan and Singapore in April. There are lots more, so please check it out on my blog.

Taste It:
www.loveyone.blogspot.com
www.cexwork.com