Word: issey
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Dates: during 1980-1989
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When Perse and Dubois-Dumée spend a day buying the cerebral, sensual extravagances of Issey Miyake, the same general rules apply as when Kaplan cases Armani or when Judy Krull checks out Lagerfeld's surprisingly direct and swellegant new line, the first under his own name. In the showroom, armed with order forms, style books, color charts, the buyers, with occasional encouragement and sweet talk from the designers, start to act just like serious shoppers. They pull clothes off racks, hold them up, try them on. Armani's definitive long coats and shorter sexy skirts...
...prestige Isozaki and his colleagues have in Japan mirrors (and was certainly increased by) the rise of American architects such as Richard Meier and Michael Graves as stars. On the other hand, no American clothes designer has-or deserves-the kind of cultural importance in the U.S. that Issey Miyake, 45, has achieved in Japan. Miyake possesses a remarkable gift for condensing a long craft tradition relating to textiles, ceremony and theater into fresh but amenable images of the body, without the condescension and puppeteering that so often accompanies high fashion in the West...
Yohji Yamamoto. Rei Kawakubo. Issey Miyake...
This may seem like heavy freight for mere fashion to bear, but Japanese designers do not usually make the fussy Western distinction between craft and art. Issey Miyake talks about the "energy" of fabric and works with a bolt of cloth like a sculptor with clay, not molding it into a presketched design but draping the whole length over a body, drawing the shape of the final garment from the fabric itself as it works in easy collaboration with the body. Rei Kawakubo, the most austere and cerebral of these new designers, speaks intensely about "getting down to the essence...