Why Issey Miyake is one of fashion's most gifted technicians Updated 17th March An entire collection from one piece of cloth? Why Issey Miyake is one of fashion's most gifted technicians. This week, Japanese designer Issey Miyake is being honored for his enormous contributions to fashion over his highly successful year career. The French government awarded Miyake the Legion of Honor, its highest decoration, for his long influence on French fashion at a ceremony in Tokyo on March The very next day, the year-old's design and technical innovation were celebrated at the opening of Miyake Issey Exhibitionat the city's National Art Center.
In the lead-up to the exhibition's opening, Miyake reflects on his storied past and shares his plans for the future. CNN: What have been your most important influences throughout your career?
Noguchi-san for his bridge between the East and the West; Penn's images that were so strong and represented a completely different way of seeing; and realizing that the world was moving beyond the needs of haute couture for the few and toward simple more universal elements such as jeans and t-shirts. How has technology shaped your design over the years, and how do you see it continuing to influence your label?
Technology allows us to do many things, but it is always important to combine it with traditional handcrafts, and in fact use technology to replicate dying arts so that they are not lost. Dizzying Heights: Tokyo's future skyline could include a mile-high skyscraper.
Technology is valuable in a world with diminishing resources in terms of lowering waste and facilitating mass production, but we can never lose sight of the power of the touch of human hands. Can you shed some light on your concept of constructing garments with one piece of cloth?
Paris vs New York: Which is the most stylish? Kenzo's directors weigh in. My fascination has been the space between cloth and the body, and using a two-dimensional element to clothe a three-dimensional form.
If you look back throughout history, from the ancient Egyptians onwards, most cultures started making clothing from a very basic premise: a single piece of cloth. I wanted to take an element as simple as this and explore the possibilities using different handcrafts, fabrics and technologies. The exhibition at the National Art Center Tokyo is the most comprehensive look at your design and construction approach to date.
What is it like seeing your career presented like this? I like to assess every so often and explore different aspects of our work.
The work that came before is to give a foundation and show evolution, but the focus is on our work going forward. I am not sentimental about the past. I like to think about what is next. You founded the Reality Lab in to turn a focus to resource-conscious materials.
What have been the key findings in your work in this lab? How can designers can be more environmentally friendly in their work? There are many new advances including companies using recycled PET products to reduce waste.Xbox one headset can hear but not talk
Designers must be increasingly sensitive to our Earth's dwindling resources. It is our responsibility. Miyake's design houses continue to produce exceptional clothing, as shown here at the Issey Miyake show finale at Paris Fashion Week, March Looking ahead, what will you and your design studio be exploring in the future? Passion Points: London fashion designer Erdem Moralioglu on his love of books. The Reality Lab and I will continue to explore new avenues.
I will also be working on a major project that has been a focus of mine for several years now, which is the need to establish a national museum in Japan devoted entirely to design. Design is a vital component to the enrichment of our everyday lives. Japan has a very rich history and culture of design, and I feel it is a very important dialogue to open and keep evolving.
Do you have any plans to retire?Miyake works in a manner that not only advances his own ideas but also cultivates skills in the people around him, constantly pushing both the tradition and the evolution of design.
Built inand later renamed: to Create and to Go. When the World Design Conference was first held in Japan inMiyake, who was a student at the then Faculty of Graphic Design at Tama Art University, sent a letter to the head office, questioning why clothing design was not included in the program. His focus on clothing as design instead of fashion gained attention.
Shortly thereafter, he began designing his own clothing. Miyake presented his first collection, Nuno to ishi no uta Poems of cloth and stone after graduating from Tama Art University in InMiyake traveled to Paris. After studying haute couture, he worked as an assistant at two fashion houses. He witnessed the May Paris riots, an event that inspired a determination to create clothing for a wider range of people.
The following year,he moved to New York. Then he returned to Japan. The Peace Bridge Tsukuru to createHiroshima. In the same year he established the Miyake Design Studio. In the s, Miyake joined with a number of collaborators, the result of which was the development of many new fabrics and ways by which to make things that incorporated traditional handcrafts wedded to the newest technology.
While making innovative improvements to the cutting-edge synthetic technologies of the time and incorporating them into his pieces, Miyake also visited historic production regions and excavated traditional techniques, such as dyeing and weaving, that were on the verge of extinction.
He forged ahead with his work, bringing traditional methods back to life to respond to the demands of the times. Miyake established a working method of collaborating with manufacturers and artists, trying to adapt new products to the needs of a contemporary lifestyle.
It was the first monograph of a living fashion designer to be published in the world. Miyake also used computers to incorporate a variety of jacquard patterns and textures into his work. Inhe launched the brand Plantation, which offered beautifully designed, practical modern solutions without losing the essence of handcrafts.
The brand, which uses mostly natural materials, features simple and comfortably loose designs and remains popular today. Miyake believes in creating clothing that addresses the demands of the times by combining traditional techniques from Japan and elsewhere with cutting edge technologies.
His work is collaborative, and his staff, over the years has included many talented people including Makiko Minagawa and Tomio Mohri, as well as Akira Onozuka, Naoki Takizawa, and Tokujin Yoshioka.
His clothing speaks to the hearts of its wearers, and invokes feelings of joy and happiness. Here, an oversized piece of cloth was cut and sewn in the shape of the desired garment and then sandwiched between two layers of washi paper and fed into a heat-press.
This body of work represents not only an archive documenting a unique artistic collaboration but also of the spiritual connection between two creators, separated by two continents but which resonate and transcend the realm of fashion photography. A-POC was not only able to create clothing with a high degree of variation, but was also able to control the amount created through the process of casting, where each thread receives computerized instructions.Issey Miyakeoriginal name Miyake Kazumaruborn April 22,HiroshimaJapanJapanese fashion designer who was known for combining Eastern and Western elements in his work.
He began his career inworking behind the scenes for four years in ateliers operated by a trio of 20th-century fashion legends—French couturiers Guy Laroche and Hubert de Givenchy as well as the meticulous American designer Geoffrey Beene. Inthree years after he established a Tokyo studio, Miyake displayed his own independent collection in a Paris group fashion show and developed the layered and wrapped look that became his trademark.
Miyake became an internationally recognized name in the s together with Japanese designers Rei Kawakubo and Yohji Yamamoto, who presented their avant-garde creations alongside his fresh, boldly coloured work during the Paris ready-to-wear collections. Miyake had begun experimenting on A-POC more than 10 years earlier with textile expert Dai Fujiwara before launching it commercially in Insisting that A-POC was an ensemble piece, he refused to imprint his name on that collection.
He sold it simply as a long tube of jersey, and it was then up to the customer to cut and shape it. In addition to his clothing, Issey Miyake was known for his collection of perfumes and colognes. The light scent, which was inspired by water, was hugely influential, helping to popularize oceanic perfumes.
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Graphic designthe art and profession of selecting and arranging visual elements—such as typography, images, symbols, and colours—to convey a message to an audience. Guy LarocheFrench couturier known for designing elegant fashions at moderate prices. Hubert de GivenchyFrench fashion designer noted for his couture and ready-to-wear designs, especially those he created for the actress Audrey Hepburn. At 17 he was apprenticed to….Issey Miyake is a famous Japanese fashion designer, the founder of his own fashion brand, the first fashion designer from the land of the rising sun who received recognition in Paris.
Born on April 22,in the Japanese city of Hiroshima. Inafter finishing the art school, Issey moves to Tokyo, where he studies at the graphic design faculty of the prestigious Tama Art University. Receives a diploma with honors inand gets a job offer as an assistant in the fashion house of Guy Laroche. A year later, the young man starts working for Hubert de Givenchy. Some time later, Issey Miyake decides to move to the world of the popular culture and pop art — the United States, where he lives in New York and works as a stylist in the studio of the fashion designer Geoffrey Beene.
However, later Issey decides to leave the United States and returns to his homeland. After returning to Japan, with the help of his friend Tomoko Komuru, Miyake begins to work on creating his own brand — Miyake Design Studio.
InIssey Miyake presents his spring-summer collection under his own brand name.Google fotos gezichtsherkenning
Intakes part in Parisian and New York fashion weeks. The very first models created by Miyake impress the public because unlike any other it was fundamentally new. The designer borrows a desire for comfort and versatility, multi-layered and free wide cut from the Japanese traditions of costume.
He is attracted by geometric shapes — rectangles, squares and circles. The fashion designer likes to experiment with the clothing which consists of folds, corrugations and bends.
Such an outfit will suit anyone regardless of the body type, and will be comfortable when moving, as well as create a feeling of comfort and freedom. The designer suggested placing the ready-made clothes between two paper layers and then press them with a heat press. After this procedure, the fabric retained its folds.
The bottle, designed by Miyake himself, is based on the view of the moon behind the Eiffel Tower from his Paris apartment. Infinally launches his new collection based on the concept A-POC which he started to develop yet in Miyake often takes inspiration from traveling to different countries, and the results of that can be clearly seen from his use of traditional Japanese prints or rich colors of Morocco in his collections.
A well-known Australian artist and his long-term friend, Lucy Rie, presented him a collection of antique buttons made of porcelain and ceramics, which were actively used by the designer in his new creations. Issey Miyake February 7, Post navigation Prev.Issey Miyake is quite excited about his paper suit.
It springs back to perfectly smooth. But this is typical Issey Miyake. In more than 45 years of designing clothes, he has never stopped innovating. He has a youthful face, wavy hair which is turning grey, and he walks with a pronounced limp — a result of surviving the atomic bomb dropped on his hometown of Hiroshima on 6 Augustwhen he was just seven. His mother died of radiation exposure within three years of the bomb.Dragon, Explosion on Pleats Please - Performance de Cai Guo-Qiang \u0026 Issey Miyake - 1998
His words awakened something buried deeply within me, something about which I have until now been reluctant to discuss. In December he spoke again about the day the bomb dropped, telling the Japanese newspaper Yomiuri Shimbun how he heard the boom as he went into a classroom after morning assembly.
After he found his mother at home, she told him to leave for the countryside. Last month he made a rare public appearance. He opened up a suitcase.
In it was a big piece of handmade washi paperand a simple kimono-type jacket made crudely out of the paper. He has been researching the material and had been sent this particular paper, which was woven by hand by a craftswoman in Shiraishi in the Miyagi prefecture in the north of Japan. He was keen to chat despite the fact that there was a crowd gathering in the entrance to the museum to hear him officially open the exhibition.
One of his brightly coloured flying saucer dresses hovered above them as they waited, suspended from the ceiling. There is nobody to inherit this precious technique. Depending on how you produce it, it could be useful for many things. Now there is just one. Tradition is very important to Miyake. It is the fusion of the most basic of materials and ancient of traditions with new and innovative techniques that has kept his brand at the forefront of fashion — technically if not always critically — for the past four and a half decades.
One of his biggest fans was the late Zaha Hadidwho loved wearing his clothes. Each garment is exquisitely displayed on a figure. Miyake anticipated sustainability issues in the industry long before they were a talking point. I ask him what he thinks the key challenges will be for future generations of fashion designers.
In Paris we call the people who make clothing couturiers — they develop new clothing items — but actually the work of designing is to make something that works in real life. Even the status of a designer will undergo changes, I believe. The A-POC in particular is the perfect fusion of computer technology and basic knitting machine.
With his textile engineer at the time, Dai Fujiwara, Miyake worked out a way to create clothing that is knitted from a single strand of thread without the need for additional sewing or cutting. It is an industrialised process that eliminates the final cutting and sewing. According to Lidewij Edelkoort, the fashion predictions guru who runs the company Trend UnionMiyake is the past, present and future of fashion.
There is a consistency in taste, colour, shape, yet evolving innovation, and always this keen interest in textiles. As a child, Miyake wanted to be an athlete. One of the exhibits in the show is the official uniform he designed for the newly independent Lithuanian team for the Barcelona Olympics in He enrolled at the Chambre Syndicale de la Couture Parisienne to learn how to make clothes and went on to work with Hubert de Givenchy.
Hard to imagine how his early couture training would result in him collaborating with, say, his friend the product designer Ron Arad in making a chair covering that could double as a piece of clothing another A-POC innovation.
But Miyake witnessed the student protests and was not interested in dressing bourgeois ladies who lunched. One of his earliest pieces is a jersey body fromhand-painted using traditional Japanese tattoo techniques with a portrait of Jimi Hendrix and Janis Joplin.
This has always been a collaborative effort. Recently the Miyake Design Studio worked with the archive of the late Japanese graphic designer and Muji co-founder Ikko Tanaka, using an image from his poster of Nihon Buyo dance for a collection of Pleats Please clothes and accessories. But perhaps his most famous collaboration was with American photographer Irving Penn.Copyright for the above image is held by MAAS and may be subject to third-party copyright restrictions.
This includes artworks, artifacts, images and recordings of people who may have passed away, and other objects which may be culturally sensitive. Next Continue. This example of Issey Miyake's work exemplifies his approach to clothing, combining a respect for tradition with technological experimentation. A-POC derives its name from a concept of Miyake's from the early 70s and is an abbreviation of 'a piece of cloth'.
A-POC is a long tube of knitted cloth from which one can cut, without wasting any material, a variety of different clothes to suit the customer's style, taste and requirements.
In Miyake was interviewed for The Weekend Australian and explained that ' A-POC goes beyond people's ideas about clothing, beyond couture, beyond the traditional concept of clothing and the process of making clothing We are trying to find a new kind of clothes. This is our concept for the next century. He is a leading international fashion designer whose garments are often inspired by aspects of Japanese tradition, culture and aesthetics.
After graduating with a degree in graphic design in Japan, Miyake was apprenticed to the Parisienne haute couture houses of Guy Larouch and Givenchy in the s. The student riots in Paris at the time influenced his approach to fashion and inspired him to design clothes for 'the people'. Since establishing the Miyake Design Studio in Tokyo inhe has consistently researched materials and technologies.
His first Paris collection was shown in and since has been exhibited internationally in museums. His approach to clothing combines a respect for tradition with technological experimentation. The A-POC clothing complements the holdings of Miyake fashion held in the Powerhouse collection, including a pleated lantern dress dated from Miyake's 'Pleats Please' range, a "Dinosaur" jacket dated inspired by origami, and an all-in-one jumpsuit dated Summary Object No.
The garments are unsewn and unlined. The top is a long-sleeved, tight-fitting piece with self patterned hounds-tooth design on the sleeves. It has a V-neck and short fringing at the neck, cuffs and hem. The skirt is a tight-fitting, knee length skirt with self-patterned geometric designs at the knee and hips. There are two slit pockets at hip level and a short fringe at the waistband and hem. The bra is a cropped top with a round neck at the front and V-neck at the back with a self-patterned geometric design at the centre front and along the back.
There is short fringing around the neck and armholes. The underpants are hipster style with a self-patterned diamond design at left and right front and on the back. There is a short fringe around the leg holes. The socks are a pair of long socks with hounds-tooth design and cut-outs at the knees. They also have a short fringing at the cuffs and feet. The gloves are a pair of short gloves with fishnet on the hands and fingers and short fringing at cuffs.
The hat is close fitting with a self-patterned diamonds and stripes design and fringe at the hem. The bag is a tote with two handles and ties at the top. There are self patterned diamonds on each side and short fringing along the bottom and around the opening. The ensemble also comes with colour printed instructions in English and Japanese for cutting and wearing the A-POC garments on a long narrow rectangle of white paper.Issey Miyake was born on April 22,in Hiroshima, Japan.
In the s, he designed for Givenchy in Paris, after which he designed for Geoffrey Bean in Manhattan. InMiyake started his own design studio. During the s, he toyed with avant-garde Eastern designs. In the s, he began using technology new East meets West textiles. Inthree years after he established a Tokyo studio, Miyake displayed his own independent collection in a Paris group fashion show and developed the layered and wrapped look that became his trademark.
In which the garments are cut and sewn first, then sandwiched between layers of paper and fed into a heat press, where they are pleated. Miyake had begun experimenting on A-POC more than 10 years earlier with textile expert Dai Fujiwara before launching it commercially in Insisting that A-POC was an ensemble piece, he refused to imprint his name on that collection. He sold it simply as a long tube of jersey, and it was then up to the customer to cut and shape it.
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