Reporter | Editor Yin Qinglu | Huang Yue The famous fashion designer Issey Miyake passed away on August 5. His passing reminded people of his iconic "lifetime pleats" or "piece of cloth" concept, and many friends in the industry also paid tribute. In mourning, for example, artist

reporter | Yin Qinglu

editor | Huang Yue

The famous fashion designer Issey Miyake passed away on August 5. His passing reminded people of his iconic "lifetime pleats" or "piece of cloth" concept, and many friends in the industry also Tributes have been paid one after another. For example, artist Cai Guoqiang emphasized the "beauty and power of the East" in Miyake's works:

The emotional communication and methodology reflected in

's life's works often remind us of the beauty and power of the East. Including the most important "yi" in I Ching , which is "change", his works give people rich and free ways to wear and match.

In the study of clothing culture "Japanese Fashion Designers: The Work and Influence of Issey Miyake, Yohji Yamamoto and Rei Kawakubo", Griffith University art history scholar Bonnie English (Bonnie English) It carefully analyzes the origin of Miyake's design methodology and traces how he created new clothing for the 21st century while inheriting Japan's rich heritage.

In the following excerpt from "Japanese Fashion Designer", we can see that this cultural inheritance is full of Miyake's own inspiration and insights, such as incorporating kimono draping technology into modern clothing and using samurai armor as a Metaphors create corsets and transparent textiles modeled after natural objects such as cicada wings and seashells. In this way, while the young generation of post-war Japan was still enamored with clothing designed by Europe and the United States, Issey Miyake and his contemporaries broke Paris' monopoly on the international fashion industry, creating a popular style that was "neither Western nor Japanese." contemporary clothing, and a truly postmodern, intercultural identity.

"Japanese Fashion Designers" (excerpt)

Text | Translated by Bonnie English | Li Sida

Japan is one of the leading countries in fashion consumer spending in the world. By 2000, an estimated 70% of clothing designed by Japanese designers was purchased in Japan, and 50% of selected high-end European fashion-leading collections were purchased by Japanese consumers. As Godoy said, by 2010, the younger generation of Japanese consumers seemed to be more inclined to European-designed clothing because they wanted to look like celebrities.

Kondo Dorina ( University of Southern California Professor of Anthropology and American Studies, editor's note) discussed how "country" and "culture" are problematic when the fashion industry participates in the global fashion industry. She Think:

When creative talents and capital show real transnational flows, when the clothes of "Japanese" designers are not only consumed in Japan, but even marketed for consumption around the world, how can we talk about the so-called "Japanese" design? In fact, Western clothing arrived in Japan as early as the 1860s, and what is Japanese clothing when today's designers grew up more in blue jeans than kimonos?

Perhaps the fact that more and more Japanese designers and companies are breaking Paris' monopoly on the international fashion industry can provide a valid defense for the idea that postmodernity in fashion is essentially cross-cultural. This hegemony of Paris was slowly giving way to the international identity of fashion capital. In this context, the Madame Gray fashion house was acquired by the Japanese textile and clothing company Yagi Tsusho in 1988, and the Cachar fashion house The chief designer also became Junro Tayama, and Japan's Onward Kashiyama Group provided funding for Jean-Paul Gaultier. What is mainstream fashion? A host of cultural contradictions and contentious concepts permeate the issue, made possible by transnational investment, licensing and the central role played by conglomerates like LVMH in deciding and rotating the head designers of many major fashion brands. More clouds and fog.

Would this East/West paradigm be broken if Japanese philosophy were adopted? Fashion, as they say, should transcend national borders, and this is reflected in Issey Miyake's words:

Living and working in Paris, far away from my home country, I looked at myself very seriously and asked: 'As a Japanese fashion designer, what can I do? ’ Then I realized that my disadvantage, my lack of Western tradition, was also my advantage.I have no Western traditions and customs. I thought: ‘I can try anything new. The absence of Western tradition was exactly what I needed to create a natural and cosmopolitan fashion. But as a Japanese, coming from an environment rich in traditional heritage...I realized these two wonderful advantages that I had, and I started trying to create a new genre of clothing that was neither Western nor Japanese, but transcend nationality. I wanted to create a universal garment that would challenge our time.

According to contemporary Kyoto dyers and weavers, the influence of popular culture such as the United States on Japanese society has grown increasingly after World War II. It seems that the Japanese no longer pay selective attention to their cultural heritage and are more hungry for novel consumer goods than cherishing traditional things. By the 1960s, this sentiment had reversed, and the conversion to the "new life" of local culture was seen as a backlash against the previous glorification of "foreign" popular culture. From a detailed visual analysis, Issey Miyake's series of works from the early 1970s appear to be particularly indebted to his cultural heritage. It is generally believed that Japan's three top fashion designers - Issey Miyake, Yohji Yamamoto and Rei Kawakubo - have a common feature, that is, their designs are based on the concept of kimono and traditional Japanese packaging methods, and these Japanese packaging will Fold, wrap and shape everything in some way. Bénaim calls this cultural phenomenon “a look back toward the 21st century and provides countermeasures and suggestions for the future.”

Kimono

For Issey Miyake, the draping, pleating and layering techniques used in traditional kimonos can be seen throughout his design career. This idea of ​​wrapping the body is related to the Japanese genius for inventing enclosed spaces. Japanese clothing is seen as a way to wrap the body. Issey Miyake said: "I like to immerse myself in the soul of kimono. Between the body and the fabric, there is only a faint contact." This core concept of space between the body and the fabric is called " space,” which creates a natural freedom and overall flexibility in the garment.

Issey Miyake explained: "Clothes must be seen from the outside and felt from the inside." He regards clothes as tools in life, which should be relaxing, convenient and useful.

Kimonos have always played an important role in Japanese culture. Some of Japan's most famous artists, such as the 19th-century ukiyo-e artist Kitagawa Utamaro , were involved in kimono design, a testament to the immense (cultural) value of kimonos and their fabrics. Kimonos have been passed down from generation to generation and define Japan's aesthetic tradition. Dating back to the Heian period (8th to 12th century), kimonos are mainly the clothing of the aristocratic leisure class. The way their colors are layered, changed and coordinated with the seasons has considerable aesthetic significance. The choice of kimono colour, design and materials were all regulated precisely by social suitability. The kimonos worn by wealthy families were made of fine silk, while those worn by peasants were made of cotton.

html Cotton was first cultivated in the 1150s, and before that, various natural fibers were used to make clothing - most commonly hemp, a hemp-like fabric often used to make summer clothing. "Chu" fiber comes from mulberry bark and has long been used to make exquisite handmade paper. It is also the main material for the clothes worn by ordinary people. Especially in northern Japan, paper is also used as a thermal lining, and Issey Miyake was inspired by this to create a series of paper dresses. When paper first arrived from China, it was considered valuable. There is a proverb that goes: "Painted on silk, it will last for five hundred years; painted on paper, it will last for a thousand years."

Issey Miyake's work makes its own comment on the recontextualization of the kimono, creating a different aesthetic context. Abandoning the traditional forms of Paris collections, through his inventive use of fabrics and continuous layering, he developed a concept of fashion based on the use of fabric - or, rather, on the "essence" of clothing: wrapping the body in fabric. He creates anti-structural, organic clothing.The garments had a sculptural quality that suggested a natural freedom, which he expressed through its clean cuts, richness of new fabrics, the space between garment and body, and overall flexibility.

Interestingly, basic kimono treatments, such as relying on uncut lengths of fabric, gussets, and loosely cut long sleeves, were imitated by European designers at the turn of the century for tea party dresses and opera jackets. , Oriental design had a great influence on Art Nouveau design at that time.

Cultural Appropriation: Techniques and Materials

Issey Miyake incorporates traditional dyeing, draping, pleating, wrapping, layering and other techniques into his works. This reincorporates ancient art forms such as tie-dye and origami into modern clothing. Origami has religious connotations in Japan and is often tied to straw ropes and hung around divine realms. The concept of folded or pleated materials is central to Issey Miyake's practice. He has experimented with a variety of different materials to achieve pleats, including linen crinkles, woven cotton, polyester and warp-knitted jersey. For him, pleats represent the ultimate in functionality combined with an excellent surface texture.

Early in his career, Issey Miyake made garments using techniques similar to plaid and sashiko (a Japanese cotton quilting technique) traditionally used for coats worn by small yeoman farmers in Japan. Denim. He also used a fabric called "footbagri," which was previously only used to make the soles of Japanese footbag socks. Issey Miyake embodies his cultural heritage in textiles in various ways. Oil paper, the oil-coated handmade paper commonly used to make parasols and lanterns, is often woven into traditional kaori patterns and printed with ukiyo-e prints. The "Cicada Pleats" garments released by Issey Miyake in 1989 seem to have the same properties as this kind of translucent paper - light is diffused and softened in it. Issey Miyake has been continuously researching the concept of clothing as a "second skin". The original meaning of cicada pleats refers to a similar phenomenon in the insect world, which contains the meaning of transformation. It is a metaphor for insects shedding their outer shells as thin as wings, and his interest in transparent textiles The use of , strengthens this magical effect:

The model shines through this golden paper, like an insect embedded in amber. One of Miyake's most creative images is found on the bark of a tree. The body can move within the fabric, just like in a caterpillar's skin. Issey Miyake asked: Did you know that there is a tree in Africa whose bark will completely fall off? It's round, like a knitted sweater. What I wanted to do was weave something that looked like African bark.

In Miyake's works, his minimalist approach dictates that he uses more entire fabric than is needed to cover the body. Miyake's sculptural creations symbolize a pure approach to design, just as his clothes appear to be art forms in their own right. Japan's closeness to nature inspired Issey Miyake in his clothing styles, which recall shells, stones and seaweed, and he often used natural materials such as paper, silk, linen, cotton, Leather, fur and bamboo . For example, the famous shell coat appeared at a time when Issey Miyake's designs were becoming more and more biomorphic. The texture of this coat enhances the simplicity of the design while simulating the appearance of Seashell .

Many of Issey Miyake’s works clearly bear reference to ancient Japanese history. In addition, together with his fascination with surface textures and his exploration of innovative forms, these together inspired his use of primary-color glossy silicone. experimental application, and it was from this material that he created the molded corset. The costume became a metaphor for the warrior's armor. In Japanese history, samurai were fierce and highly skilled warriors. They have a high social status and will treasure their katana like family heirlooms from generation to generation. Their armor covers their upper limbs, and the black color symbolizes their strength and courage."Red Plastic Corset" is such a molded corset that explores the relationship between the body and clothing. It also turns the body into clothing in a contradictory attitude, emphasizing the appearance of the underwear-outerwear paradigm.

Issey Miyake’s design and architecture also have strong similarities. The rattan corset he released in 1982 was woven by bamboo and rattan craftsman Kosuge Kotakedo. Likewise, the bamboo cage-like shape mimics the ancient samurai's battle robes, but also evolves into a house of physical strength. This structure is a typical example of the idea that the body can move in space within the outside. It would be difficult to find a designer more experimental in his use of materials than Issey Miyake. The possibilities are endless with iron, paper, rattan, bamboo and stone, and Issey Miyake is at his disposal.

This book excerpt is excerpted from "Japanese Fashion Designers". It is abridged from the original text and is published with the authorization of the publisher.

I have no Western traditions and customs. I thought: ‘I can try anything new. The absence of Western tradition was exactly what I needed to create a natural and cosmopolitan fashion. But as a Japanese, coming from an environment rich in traditional heritage...I realized these two wonderful advantages that I had, and I started trying to create a new genre of clothing that was neither Western nor Japanese, but transcend nationality. I wanted to create a universal garment that would challenge our time.

According to contemporary Kyoto dyers and weavers, the influence of popular culture such as the United States on Japanese society has grown increasingly after World War II. It seems that the Japanese no longer pay selective attention to their cultural heritage and are more hungry for novel consumer goods than cherishing traditional things. By the 1960s, this sentiment had reversed, and the conversion to the "new life" of local culture was seen as a backlash against the previous glorification of "foreign" popular culture. From a detailed visual analysis, Issey Miyake's series of works from the early 1970s appear to be particularly indebted to his cultural heritage. It is generally believed that Japan's three top fashion designers - Issey Miyake, Yohji Yamamoto and Rei Kawakubo - have a common feature, that is, their designs are based on the concept of kimono and traditional Japanese packaging methods, and these Japanese packaging will Fold, wrap and shape everything in some way. Bénaim calls this cultural phenomenon “a look back toward the 21st century and provides countermeasures and suggestions for the future.”

Kimono

For Issey Miyake, the draping, pleating and layering techniques used in traditional kimonos can be seen throughout his design career. This idea of ​​wrapping the body is related to the Japanese genius for inventing enclosed spaces. Japanese clothing is seen as a way to wrap the body. Issey Miyake said: "I like to immerse myself in the soul of kimono. Between the body and the fabric, there is only a faint contact." This core concept of space between the body and the fabric is called " space,” which creates a natural freedom and overall flexibility in the garment.

Issey Miyake explained: "Clothes must be seen from the outside and felt from the inside." He regards clothes as tools in life, which should be relaxing, convenient and useful.

Kimonos have always played an important role in Japanese culture. Some of Japan's most famous artists, such as the 19th-century ukiyo-e artist Kitagawa Utamaro , were involved in kimono design, a testament to the immense (cultural) value of kimonos and their fabrics. Kimonos have been passed down from generation to generation and define Japan's aesthetic tradition. Dating back to the Heian period (8th to 12th century), kimonos are mainly the clothing of the aristocratic leisure class. The way their colors are layered, changed and coordinated with the seasons has considerable aesthetic significance. The choice of kimono colour, design and materials were all regulated precisely by social suitability. The kimonos worn by wealthy families were made of fine silk, while those worn by peasants were made of cotton.

html Cotton was first cultivated in the 1150s, and before that, various natural fibers were used to make clothing - most commonly hemp, a hemp-like fabric often used to make summer clothing. "Chu" fiber comes from mulberry bark and has long been used to make exquisite handmade paper. It is also the main material for the clothes worn by ordinary people. Especially in northern Japan, paper is also used as a thermal lining, and Issey Miyake was inspired by this to create a series of paper dresses. When paper first arrived from China, it was considered valuable. There is a proverb that goes: "Painted on silk, it will last for five hundred years; painted on paper, it will last for a thousand years."

Issey Miyake's work makes its own comment on the recontextualization of the kimono, creating a different aesthetic context. Abandoning the traditional forms of Paris collections, through his inventive use of fabrics and continuous layering, he developed a concept of fashion based on the use of fabric - or, rather, on the "essence" of clothing: wrapping the body in fabric. He creates anti-structural, organic clothing.The garments had a sculptural quality that suggested a natural freedom, which he expressed through its clean cuts, richness of new fabrics, the space between garment and body, and overall flexibility.

Interestingly, basic kimono treatments, such as relying on uncut lengths of fabric, gussets, and loosely cut long sleeves, were imitated by European designers at the turn of the century for tea party dresses and opera jackets. , Oriental design had a great influence on Art Nouveau design at that time.

Cultural Appropriation: Techniques and Materials

Issey Miyake incorporates traditional dyeing, draping, pleating, wrapping, layering and other techniques into his works. This reincorporates ancient art forms such as tie-dye and origami into modern clothing. Origami has religious connotations in Japan and is often tied to straw ropes and hung around divine realms. The concept of folded or pleated materials is central to Issey Miyake's practice. He has experimented with a variety of different materials to achieve pleats, including linen crinkles, woven cotton, polyester and warp-knitted jersey. For him, pleats represent the ultimate in functionality combined with an excellent surface texture.

Early in his career, Issey Miyake made garments using techniques similar to plaid and sashiko (a Japanese cotton quilting technique) traditionally used for coats worn by small yeoman farmers in Japan. Denim. He also used a fabric called "footbagri," which was previously only used to make the soles of Japanese footbag socks. Issey Miyake embodies his cultural heritage in textiles in various ways. Oil paper, the oil-coated handmade paper commonly used to make parasols and lanterns, is often woven into traditional kaori patterns and printed with ukiyo-e prints. The "Cicada Pleats" garments released by Issey Miyake in 1989 seem to have the same properties as this kind of translucent paper - light is diffused and softened in it. Issey Miyake has been continuously researching the concept of clothing as a "second skin". The original meaning of cicada pleats refers to a similar phenomenon in the insect world, which contains the meaning of transformation. It is a metaphor for insects shedding their outer shells as thin as wings, and his interest in transparent textiles The use of , strengthens this magical effect:

The model shines through this golden paper, like an insect embedded in amber. One of Miyake's most creative images is found on the bark of a tree. The body can move within the fabric, just like in a caterpillar's skin. Issey Miyake asked: Did you know that there is a tree in Africa whose bark will completely fall off? It's round, like a knitted sweater. What I wanted to do was weave something that looked like African bark.

In Miyake's works, his minimalist approach dictates that he uses more entire fabric than is needed to cover the body. Miyake's sculptural creations symbolize a pure approach to design, just as his clothes appear to be art forms in their own right. Japan's closeness to nature inspired Issey Miyake in his clothing styles, which recall shells, stones and seaweed, and he often used natural materials such as paper, silk, linen, cotton, Leather, fur and bamboo . For example, the famous shell coat appeared at a time when Issey Miyake's designs were becoming more and more biomorphic. The texture of this coat enhances the simplicity of the design while simulating the appearance of Seashell .

Many of Issey Miyake’s works clearly bear reference to ancient Japanese history. In addition, together with his fascination with surface textures and his exploration of innovative forms, these together inspired his use of primary-color glossy silicone. experimental application, and it was from this material that he created the molded corset. The costume became a metaphor for the warrior's armor. In Japanese history, samurai were fierce and highly skilled warriors. They have a high social status and will treasure their katana like family heirlooms from generation to generation. Their armor covers their upper limbs, and the black color symbolizes their strength and courage."Red Plastic Corset" is such a molded corset that explores the relationship between the body and clothing. It also turns the body into clothing in a contradictory attitude, emphasizing the appearance of the underwear-outerwear paradigm.

Issey Miyake’s design and architecture also have strong similarities. The rattan corset he released in 1982 was woven by bamboo and rattan craftsman Kosuge Kotakedo. Likewise, the bamboo cage-like shape mimics the ancient samurai's battle robes, but also evolves into a house of physical strength. This structure is a typical example of the idea that the body can move in space within the outside. It would be difficult to find a designer more experimental in his use of materials than Issey Miyake. The possibilities are endless with iron, paper, rattan, bamboo and stone, and Issey Miyake is at his disposal.

This book excerpt is excerpted from "Japanese Fashion Designers". It is abridged from the original text and is published with the authorization of the publisher.