Intro industry. I shall also be analysing the

Intro

 

 

     In this essay I will be discussing
Japanese fashion designer Issey Miyake and investigating his style and how he
would be willing to push the cut-off points of the world of fashion. Miyake is
ambitious with his work and is best recognised for combining both the eastern
and western  components into his work. I will
be examining the influence Miyake’s work has had and is currently having on the
design industry. I shall also be analysing the composition and techniques that
Miyake operated with and a diverse spectrum of his collections which will
connote why his work was and is still significant the design industry. This will
delve into aspects of his work such as his minimalism and combination of eastern
and western cultures, the fabrics used in his collections and the degree to
which he has and will take fashion design to the utmost extremes on the catwalk
and the models.

 

 

Background

 

Miyakes first experience with fashion was in Hiroshima
where he was brought up. Here, there were two bridges named; to live and die
which were located close to the epicentre of the Atomic Bomb hit. Walking over
these bridges, observing them, lead to his first encounter with designs ability
to stimulate the powerful emotions responses and hope.

 

Miyake
started his career off at Tama Art University in Tokyo studying graphic design,
eventually graduating in 1965. Without hesitation, Miyake travelled to Europe
right after completing his studies where he would train at the Chambre
Syndicate de la Haute Couture. Miyake founded the Miyake Design Studio in 1970,
which he successfully achieved after taking on apprenticeships with Givenchy
and Guy Laroche, his design studio was seen as a trail research facility for
Japanese fashion.

 

From the
start, Miyake’s imaginative procedure has been founded on the idea of “one
piece fabric.” His procedure investigates the essential connection between
the body, the material that spreads it, and the space and room that is made
between these components, stripping itself of the “East” or
“West” labels.

 

In the late
1980s, Miyake started to try different methods with new strategies of pleating that
would permit both adaptability of development for the wearer and also
simplicity of care and creation. Miyake advanced his investigation of the
body’s movements and form by eagerly taking on the brave decision of designing
garments with materials other than cloth such as plastic, paper, and wire. He named
these creations from this time “body works”. Miyake also used computers to incorporate a
variety of jacquard patterns and textures into his work. This period in
Miyake’s life was only the beginning of his successful career, giving him time
to both expand and improve on his techniques and style to solidify his
significance in the fashion industry.

 

Miyake connected with a number of collaborators, the spring
of which was the unravelling of many new fabrics and ways by which to make
stuff that incorporated old-fashioned handcrafts wedded to the newest
technology. While doing innovative improvements to the cutting-beard synthetic
technologies of the time and blend them into his pieces, Miyake also visited
historic performance provinces and excavated traditional techniques, such as
dyeing and weave, that were on the verge of extinction. He forged ahead with
his employment, adduce traditional methods back to life to reply to the summon
of the times.

 

Miyake’s cutting-edge ide that there is beauty in the incomplete and the neglected has had a mayor influence on todays accommodate. Miyake says, “I do not create a current aesthetic … I create a style supported on life” (Mendes and de la Haye 1999, p.
233). He is antipathetic to the language “haute couture,” “gradation,” and “fit,” because
they imply a quest for newness; he stretched the boundaries of sort, refashion the radiation of clothes, let wrapped garments suit to the consistencies arrange and movement, and destroyed all preceding definition of raiment and fashion. His concepts were undoubtedly
original, especially when compared to the law of fashion put by orthodox, legitimate Western designers such
as Coco Chanel, Christian Dior, and Yves Saint Laurent. It was Miyake who set
the stage for the Japanese examine in the fashion confirmation.

 

 

The
Miyake Style

 

Tradition is
essential to Miyake. It is the combination of the most basic of fabrics and
materials and ancient traditions with new and inventive methods that has kept
his image at the front line of design for as long as four and a half decades.

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