Artistry, in­ge­nu­ity & Vir­tu­os­ity

Harper's Bazaar Art (Indonesia) - - Art Scene -

The ex­hi­bi­tion was held at The na­tional

ART Cen­ter, Tokyo, from March 16th to June 13th 2016, to cel­e­brate 45 years of the fash­ion la­bel. Harper’s Bazaar In­done­sia got to wit­ness first­hand the col­lec­tions by the iconic de­signer. The ex­hi­bi­tion ti­tled Miyake Issey Ex­hi­bi­tion: The Work of Miyake Issey, cu­rated col­lec­tions of the la­bel since its early days in 1970 un­til to­day.

En­ter­ing the ex­hi­bi­tion area felt like walk­ing amongst wild na­ture, spell­bind­ing the eyes and heart into a lim­it­less imag­i­na­tion. Cu­ra­tor Yayoi Mo­to­hashi, and ar­chi­tect Tadao Ando, led our steps into an avant-garde fu­tur­is­tic con­cept. The col­lec­tions were dis­played us­ing fiber­glass man­nequins, spot­lights, gi­ant in­stal­la­tions, and rolls of never-end­ing fab­ric pre­sent­ing col­or­ful emo­tions. Pre­sen­ta­tion of the cloth­ing also in­vited vis­i­tors to look care­fully into Issey Miyake’s ‘pro­duc­tion se­crets’, start­ing from ma­chiner­ies pro­duc­ing the iconic pleats to the ex­pe­ri­ence in ar­rang­ing his many 3-D con­cept de­signs. Fan­tas­tic!

The Issey Miyake ex­hi­bi­tion ex­presses fash­ion with an artis­tic im­agery. By Adi Suran­tha

Creations by Issey Miyake line a wall at the ex­hibiti­tion

The creative artist born in Hiroshima on April 22nd, 1938 was shaped through art stud­ies in Tokyo and then moved to Paris in 1965 to sharpen his in­ter­est in fash­ion. Just imag­ine the fu­sion of these two as­pects! At the time, haute cou­ture was shin­ing, but Monozukuri was his state­ment, mean­ing to cre­ate some­thing dif­fer­ent that rep­re­sented him­self and his cul­ture. Issey wanted to cre­ate artis­tic yet wear­able cloth­ing, and that was just what he por­trayed through his first ever col­lec­tion at Paris Fash­ion Week 1973. At the ex­hi­bi­tion, this col­lec­tion was dis­played in a room full of en­chant­ing spot­lights. It seemed like he wanted to gen­er­ate fash­ion that owned an in­ti­mate re­la­tion­ship with the body. The col­lec­tion con­sisted of tat­too-fea­ture body suits and jump­suits as if it was sec­ond skin, in­spired by Jimi Hen­drix and Ja­nis Jo­plin - rock n roll stars adored by the youth at the time. A dress orig­i­nat­ing from the idea of a hand­ker­chief with a bias-cut tech­nique, co­coon coat vol­ume wrap­ping the body, to a jump­suit that was cut di­rectly out of a piece of fab­ric-these creations made all eyes in Paris turn to him. In the next room, the love of the de­signer who once worked as the as­sis­tant of Hu­bert de Givenchy – for body fig­ures reached its peak. His ideas tus­sled in a he­do­nic life­style pop­u­lar in the ‘80s. Issey mixed imag­i­na­tion and tech­nol­ogy with imag­i­na­tion of his home­town. He de­signed bustiers, body suits, and tight-fit tops us­ing in­no­va­tive ma­te­rial. He named the de­signs Grid Body for the body-wrap col­lec­tion, Plas­tic Body for the bustier made out of red, gold, blue, and grey fiber­glass, and rat­tan

Body for the tops made from rat­tan bam­boo craft. Wire Body was the name for a corset made from ca­ble coils, and Wa­ter­fall Body for a drap­ing-tech­nique top made from jersey fab­ric that was soaked in sil­i­con cre­at­ing a wa­ter­fall ef­fect. The col­lec­tion seemed to unite the aes­thet­ics of East and West, mak­ing it a hot topic for all fash­ion­istas in Paris at the time.

Showcasing mag­nif­i­cently in the last room were the top se­ries of Issey Miyake’s vi­sion, Pleats, which has made his name well-known un­til to­day. He has eval­u­ated fash­ion in his own way, be­gin­ning by ex­per­i­ment­ing on fab­ric and tex­ture to cre­ate a sil­hou­ette or an in­no­va­tive form of cloth­ing. Fab­ric has been his pulse, start­ing by work­ing Ja­panese washi pa­per, horse hair and raf­fia, to polyester and nat­u­ral fibers. There­fore, Issey has ap­plied the pleat tech­nique on all of those ma­te­ri­als that have made his busi­ness full of ex­pan­sion. This col­lec­tion was pre­sented in a col­lec­tion se­ries named Ci­cada, Mu­tant, Bor­der, Stair­case, Moon­light, Sea­weed, Flower, Mon­key, Starfish Pleats and many more, bring­ing as­ton­ish­ment to the eyes. re­spond­ing to this, Issey cre­ated a special la­bel named Pleats Please Issey Miyake in 1993, which hon­ored the de­signer The French Lé­gion d’hon­neur from the French gov­ern­ment.

Not stop­ping there, in 1998 Issey Miyake, to­gether with his then creative di­rec­tor Dai Fu­ji­wara, cre­ated a line col­lec­tion se­ries named A-POC (A Piece of Cloth), fo­cus­ing on cre­at­ing cloth­ing us­ing one thread in a sin­gle process with the help of com­puter tech­nol­ogy. A va­ri­ety of knit and em­broi­dery de­signs were pre­sented us­ing gi­ant rolls of hang­ing fab­ric. Un­til his last project line 132 5, Issey Miyake and sci­en­tist Jun Mi­tani, by The re­al­ity Lab, cre­ated a 3-D ef­fect col­lec­tion ap­ply­ing origami tech­nique on cloth­ing. In this area and era, Issey Miyake was sin­cerely praised, not only in Paris and his home coun­try Ja­pan, but also around the world. As he said, “I cre­ate in phrases: Mak­ing Think, Mak­ing Things, and Mak­ing re­al­ity.” In­deed, he has re­al­ized a def­i­ni­tion of aes­thet­ics in an artis­tic sculp­ture.

Pleats are an­other one of Miyake's sig­na­tures

Issey Miyake, an in­no­va­tor in tex­tile tech­nol­ogy

Issey Miyake's earlist col­lec­tions show how fun­da­men­tal the APOC "one piece of cloth" premise is to his de­signs.

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