Discuss the influence that Issey Miyake’s Japanese heritage had on his designs.
1971 Miyake’s intentions where
To discover the traditional beauty of a Japan which is disappearing; to emphasise the importance of industrially produced clothes by using synthetic materials; to demonstrate the secret beauty of Japanese women. I am striving to create clothes which give paramount importance to the movement of the body. Rather than fashion that one puts on, I want to produce fashion that one takes off...for that is where the beauty of man’s primitive spirit is found. (Tokyo Vogue p44)
Even though Miyake gained traditional Western training he wanted to find his own way of making fashion explaining “Western tradition in clothing seemed to me to be too rigid. I wanted to create things that could be free, both mentally and physically” (Marie-Andre Jouve, 1997, p.11). He returned home to Japan, after training under French courtiers and the American designer Geoffrey Beene, to rediscover the aesthetic and rich craft culture of his homeland. His design practice challenged the Western system by referencing his Japanese heritage, he always maintained that he does not want to suggest Japanese culture with his clothing but to “be between cultures” (O’Brien, 1993,p.23 as cited in Kawamura, 2004, p.96).
Miyake’s earliest designs were made from sashiko (a form of decorative reinforcement stitching ) quilted fabric , in styles originally worn by peasants and sumo wrestlers. He, however , cut the fabric more generously and adapted it to modern use. His designs were very loose and built like a piece of clay sculpture, not based on the human figure. Miyake wanted the ...
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... of the colour black. To the Japanese the colour black is not drab but a sign of restraint and dignity. Black is associated with self -discipline, Samurai wore darker kimonos with expensive decorated linings which were private and subtle as opposed to the western preference for in your face glamour. This preference for subtlety is evident in Buddhism where there is an appreciation of simplicity, poverty and an acceptance of imperfection.
An everyday task, the Japanese tea ceremony, became an artistic ritual representative of the importance of simplicity.
His clothes favoured asymmetry, folds and pleats, exposed stitching, found objects and accidents.
Another trademark of Japanese fashion is its conceptual approach and its questioning of Western fashion. One of the ways Miyake did this was by using older non professional models aged between 62 and 92 years of age
In the article, “The Fashion Industry: Free to Be an Individual” by Hanna Berry, Berry discusses how for decades women have been told to use certain products and that if they used those products they would be beautiful. Women over the years have believed this idea and would purchase items that promised to make them prettier, thinner, smarter and even more loved. However, in reality it was never what they wore on their bodies that helped them be any of those things; but what it did help with was to empower women to become fearless and bold by what they chose to wear on their bodies as a form of expression.
As a conclusion, Mingei and nationalism can be perceived as fundamentally interwoven through Japanese handicrafts. Throughout the first half of the 20th century, many factors came to play a part in bringing the Japanese spirit to the forefront of craftsmen minds, whether as reason to bring attention to themselves and their own work or as a way of providing necessary utensils to the average Japanese home. The efforts of the Mingei movement and the Japanese Traditional Crafts Exhibition cannot be ignored. Yanagi can be said to have foreseen this radical decline in traditional styles and if not for his and his fellow founders collecting and preserving crafts in the Japanese Folk Art Museum, many of the regional methods and styles could be lost today. After the destruction of the war and
It is essential to understand the revolution of the female silhouette throughout history specifically looking at the corset “an undergarment traditionally made of stiffened material laced tight to the body in order to slim a woman's waist” now and then and how silhouette changed. Understanding the importance of this history and being aware of the evolution in women’s lifestyles, it will be practical to use traditional construction methods that will give us the ability and possibility to apply this knowledge to our future fashion design.
The Chronicle of Western Fashion: From Ancient times to the Present Day.
Color is used very effectively as a tool of symbolism in Heart of Darkness. Colors, especially black and white, are used to symbolize evil (black) and good (white). Other colors are also used, although less often than black and white. Throughout the story, people are thought to have white souls or black souls depending on their innate “goodness” or “badness” or the role they are fulfilling at the time. The color of a person’s soul is often contrasted to the color of their skin. A black- souled, white-skinned person is thought to be evil and dishonest. “I met a white man in such an unexpected elegance of getup…” (Conrad p.21). This demonstrates how a white man was not expected to be a good person. Elegance of dress was unexpected because the man was white. In comparison, a white-souled, black-skinned person is thought to be truthful and full of integrity. “An athletic black belonging to some coast tribe and educated by my poor predecessor….thought all the world of himself.” (Conrad p.45). People are described as black with hatred regardless of skin color. This is further evidence of black being used synonymously with evil. Black isn’t just used to describe evil people. “Often far away, I thought of these two, guarding the door of Darkness, knitting black wool as for a warm pall…” (Conrad p. 14.) The symbolism of black wool at the door of Darkness is clearly pointing to evil, and further supports black as evil. Heath 2 Colors other than black and white are used to describe moods and attitudes past the basic good and evil. Red signifies industry. “There was a vast amount of red - good to see at any time because one knows that some real work is done in there.” (Conrad p.13). Yellow is seen as a cowardly color. “I was going into the yellow. Dead in the center.” (Conrad p.13). Pale denotes Death. It is also used this way in the Bible, “the Pale horse and his rider Death”, Revelations 6:8. “She came forward, all in black, with a pale head, floating towards me in the dusk. She was in mourning. It was more than a year since his death…” (Conrad p. 72-73). The use of color is effective in the story for a variety of reasons. First, it is easy to understand.
In the 19th century play, FASHION, Anna Mowatt develops the character plot as a contrast and comparison between being “natural” and “artificial in a world becoming preoccupied with fashion, and being fashionable. In the head notes, it was stated that Daniel Havens said FASHION is “the ugly image of the American Dream gone sour.” (Watt and Richardson) Fashion has a complex definition. The word ‘fashion’ can mean anything from the type of clothes you wear, how you communicate with others, the place you live, how you present yourself, or who you associate yourself with. In FASHION, Mowatt took a comical yet sober look at the definitions of “fashion,” applied it to real life in 1845, and through her characters, provides a mirror with which an audience/reader can evaluate themselves. I do not believe updating this play would be difficult because America has continued down the fast and destructive path in an effort to keep up with the “fashions” of the day.
Though the interiors he designed were created to be useful spaces, his focus was more on aesthetic than function . Within his individual objects of art such as chairs, tables, drawers, staircases and many others he focused more on the form of the object than on its intended use. Instead, Kuramata appeared to want the presence of the piece to surpass its function, something that is only possible when there is a symbolic value . One of the best examples of a work of art fitting these stipulations was his design of the Miss Blanche armchair (fig. 3) in 1988 . The chair is made of acrylic resin and embedded with artificial roses and aluminum . Kuramata’s title of the work, choice of materials, color contrast, process of creation and simple aesthetic combine to create a piece of work that forces the viewer to question whether or not it can even be considered a chair. This work of art allows the functionality to disapp...
Jarves, J (1984) A Glimpse at the Art of Japan Charles E. Tuttle, Tokyo, Japan.
Köln: Taschen, 2006. Print. The. Mackenzie, Mairi. .isms: Understanding Fashion.
...r became more creative person in the fashion shoot, after the designer. The overall photograph would sell your garment to the best ability that the photographer could achieve. It was not just about being a beautiful model in the photograph, there had to be other ways of making the photograph appealing than the simple lacklustre way of being beautiful. Although, every woman wants to be beautiful, the photographer wanted to challenge the appearance of beauty. And also challenge the way we looked at people that were not beautiful, but had a unique quality to them. The fashion photographer had a lot of power in Fashion; they could make a normal street person become the key icon for desire and envy. The photograph had the power to sell the clothes using anyone the photographer pleased, and the designer didn’t mind as long as their clothes were being recognized, and sold.
Did you know that most of the cartoon shows that are on television come from Japan? Japanese popular culture has made a huge hit all over the world. There are many forms of popular art in Japan. Some know forms are anime, music, and manga. These are the most notable ones and are also what makes up most of their fan base for pop culture. Some other forms include cosplaying, contemporary art, and fashion. Cosplaying is short for “costume play” and it means to dress up as a character from sources like anime, manga, film, and games. There are a few places in Japan where people usually cosplay, including Akihabara, Harajuku and Shibuya. In present day, it is almost impossible to not see some form of Japanese pop culture in our country. There are even festivals and conventions held just for it which happens in many places over the world every year. Most people who attend these events will often cosplay as a character from something most people would know. Japanese pop culture is also one of the biggest exports of Japan. Japanese popular culture is the most attractive part of Japan, which has created a big impact around the world.
According to Condry (2002) Japanese hip hop fashion is superficially very similar to the American version where it has its roots. This similarity includes linked trends in clothing styles and designers (such as Nike) as well as similarity in graffiti styles (Condry, 2002). However, Japanese hip hop is also the site of considerable hybridity, or the combination of globalized influences and Japanese cultural influences to create a unique, hybrid form of fashion and culture (Condry, 2002). For example, he notes that in a post-New Year celebration in one of Tokyo’s largest all-night hip hop clubs, Kitchens, traditional New Year’s greetings were exchanged between party-goers (Condry, 2002). The appeal of hip-hop style and culture for Japanese youth is characterized as a message that “youth need to speak out for themselves (Condry, 2002, p.
Therefore, in an attempt to both show the gravitas of fashion’s impact and justify its mirroring of times and therefore society, a walkthrough of fashion throughout history and its adaptation is exceedingly appropriate. To begin with, Britain’s Industrial Revolution in the 1850s to 1900s came with the introduction of sewing machines and chemical dyes. However, this movement of clothe manufacturing rendered its availability strictly to the opulent. This is a direct relation to the economical situation of the time, showing that people’s expenses were not directed towards the most up to date fashion i.e. luxury products but rather necessities indicating a slowly developing economy. As we move from the 1900s to the mid 1920s, the inception of the First World War influenced the need for more ‘practical’ garments. To illustrate, one of the greatest designers of the century Paul Poiret, designed his garments in a style known as the Directoire. His dresses were simple straight tube sheaths defining simplicity and exemplifying both the political and economic situation of the times justifying the necessity for a free moving design in clothing. Why adopt the notion of simplicity and free moving garments? Women had to leave their traditional domestic roles and become part of the working class or work force and adopt and replace many roles that were normally given to men. Furthermore, the Great Depression in the 1930s comes to play its own role in fashion history further pushing the necessity for a fashion to be translated to accustom a busier lifestyle. This created an economic gap between the rich and the poor. Therefore, fashion in the 1940s in the substantial sense portrayed the necessity for work and socioeconomic background and furthermore encased the economic situation where, as previous times in the 1900s, high-end fashion was restricted to the rich. Following a chronological timeline comes the
Historically, multiple styles of dressing have been created during the last several decades, which played an important role in modern fashion in the UK. Everyone has a different and unique dressing style in their general life. Some styles are influenced in vintage styles which is attributing to the deep effects of old vogue, and another group of dressing styles are inclined into the fresh element. According to those different styles some of them are even evolved in the milestones in fashion history.
Early1900s was a decade filled with full of hopes and change in America. Not only men but also women had more opportunities to pursue their career because there were more employments available outside the home. America had established a culture of informal dressing that was setting a part from Europe, and this is due to rapid growth of industrialization along with growth of economy after the war. This allowed both men and women in America to set the bar for leisure and relaxation. Leisure sports such as tennis, basketball, cycling, and swimming were booming in popularity (Warner, 2006). This new change in culture demanded durable, utilitarian, and comfortable clothing. The idea of sportswear grew large and became new “American look” which was mainly taking place in New York City where the majority of fashions headquarters were located. Holding within the concepts of modernity and city life, sportswear became essential part of the style of New York City. Although people in the rural area weren’t friendly with this new cultural change in America, advertising and promoting consumerism allowed New York City to become fashion capital of America. The arrival of the post war ...