Miyake claims that simplicity is often the key to wearing his clothes, which are versatile enough to be worn in a variety of ways. Western female clothes have historically been fitted to expose the contours of the body, but Miyake introduced large, loose-fitting garments, such as jackets with no traditional construction and a minimum of detail or buttons. His dresses often have a straight, simple shape, and his large coats with sweepingly oversized proportions can be worn by both men and women.
He challenged not only the conventions of garment construction, but also the normative concept of fashion. All of this came at a time when women's clothes by most traditional Western designers were moving in the opposite direction, toward a tighter fit and greater formality. The avant-garde Japanese view of fashion was opposed to the conventional Western fashion. It was not Miyake's intention to reproduce Western fashion, as he pointed out in his speech at the Japan Society in San Francisco in I was free of Western tradition or convention … The lack of western tradition was the very thing I needed to create contemporary and universal fashion.
Miyake is best known for his original fabrics. He collaborates with his textile director, Makiko Minagawa, who interprets his abstract ideas. With Minagawa and the Japanese textile mills, he introduced his most commercially successful collection, Pleats Please, in Traditionally, pleats are permanently pressed before a garment is cut, but he did it the other way round.
He cut and assembled a garment two-and-a-half to three times its proper size. Then he folded, ironed, and oversewed the material so that the straight lines remained in place. Finally the garment was placed in a press between two sheets of paper, from which it emerged with permanent pleats Sato , p.
For a person who creates things to utter too many words means to regulate himself, a frightening prospect. I wanted to change the rigid formula of clothing that the Japanese followed. He introduced the line, which evolved from his earlier concept, in The A-POC clothes consist of a long tube of jersey from which individuals can cut without wasting any material. A large variety of different clothes can be made in this manner; the tubes are manufactured with an old knitting machine controlled by a computer and can be made in large quantities.
His objective was to minimize waste by using all leftover material. These garments allow the buyer to size and cut out a small hat, gloves, socks, a skirt, or a dress. Depending on the way the dress is cut, it may appear in two or three pieces. In addition to Miyake's APOC project, new techniques of sewing garments, such as heat taping and cutting by ultrasound, were also featured in his Making Things exhibition at the Fondation Cartier pour l'art contemporain in Paris in No history of fashion is complete without the mention of Issey Miyake, as he has made a major contribution to the world of fashion.
Miyake retired from the Paris fashion scene in , when Kenzo also decided to withdraw from his own brand. Every convention carries with it an aesthetic, according to which-what is conventional becomes the standard by which artistic beauty and effectiveness is judged.
The conception of fashion is synonymous with the conception of beauty. Therefore, an attack on a convention becomes an attack on the aesthetic related to it. By breaking the Western convention of fashion, Miyake suggested the new style and new definition of aesthetics. It could have been taken as an offense not only against the Western aesthetic, but also against the existing arrangement of ranked statuses, a stratification system in fashion, or the hegemony of the French system.
This is the birth of Issey Miyake. Reaching the whole world through Pleats Please, I feel that I have finally become a designer. Yasumasa Morimura. Known as a conceptual photographer for inserting his own face and body into historic artworks, Morimura was the first guest designer who participated in the collaborations.
Nobuyoshi Araki. With his particular photography style, he became the second collaborating artist with Pleats Please. Tim Hawkinson. Hawkinson likes to use all kinds of different materials, such as plastic bags, used socks and even organic matter peeled off from his own body, and then combining with sound effects or machinery.
For instance, Emoter was a dissection of photographs of his own face, connected with machine that controls the manifestation of emotions. To Miyake, this type of collaboration is an attempt to incorporate things that hang on walls and clothes that are worn on bodies, prompting us to consider the intersection of fashion and art and challenging our preconceptions of gender and identity.
Cai Guoqiang is a Chinese artist specialised in incorporating gunpowder and controlled explosions in his work. The most difficult part was the high flammability of the polyester fibre; previous tests had reduced the garments to ashes. Subsequently these were transferred as prints onto the stage. At the same time it was the first Olympics after the end of the Cold War and the first time Lithuania took part in the event after the dissolution of the Soviet Union.
Californian surgeon Dr Edward Domanskis, physician of the Lithuanian team at the time, invited Issey Miyake to design their national uniforms. Despite the urgency within such a short time frame, the team invented a new lightweight polyester fabric cut with a new technique involving hot metal and a new method of pleating the fabric. A playful spirit of vivid colors and varicolored patterns, offering a delightful line-up including lightweight, compact stretch pleats.
Inspired from textiles, bringing the wearers fabrics featuring the best of Japanese and Indian handcrafting for fashion that offers long-lasting joy. ISSEY MIYAKE has grown to include a vast number of creative personnel and innovative new techniques, but its core design style - creating clothes from original materials starting with the research of a single thread - has transcended generations.
The space was designed by Tokujin Yoshioka.
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