Issey Miyake

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Issey Miyake

Postby schiaparelli » Mon Aug 31, 2015 10:05 pm

From antiquity to Issey Miyake there is just one step, one repetitious, continuous movement of transforming the plane into volume, creating life in the amorphous, installing movement in the still. A momentum manifestly reserved for chosen individuals and prosperous yet turbulent periods.




What is it that defines the pleat? The monumental pleats of the earth, the painful pleats of the mind, the pleating and folding of paper and the pleats of the body itself? The deep fold of the soul or the surface wrinkle of our skin?


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An architecture of becoming that is searching for a multiplicity of variations and possibilities while maintaining continuity. A work where material and process collide, overlap and melt like strata of a new and surprising tactility. Where form and detail are only the byproduct of the folding into one another, of shapes answering other shapes, of forms echoing other forms.


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To pleat is to diminish, to reduce and to withdraw into a slim column, while to unfold is to increase, to grow, to gain momentum and volume. Pleating, unfolding, repleating in a perpetual movement, almost like breathing or relaxing, like a Pilates stretching exercise. A reversible dialogue between the dark and the light, the negative and the positive, vital energies creating tension and creativity. A flow from the outside to the inside, where neither is fixed, in a constant exchange. Outlining the body in a variety of geometric forms, designing the body like an abstract expression.


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Pleating as a means of introducing another more radical concept of space and time within the landscape of fashion: nervously stretched topographical surfaces inhabit three dimensions in an almost independent manner, creating optical illusions that are also extremely tactile. No longer the repetition of sameness but a repetition of all differences, transgressing borders and customs, east and west, age and gender. Adapting to the multiplicity of human identities that change over time, according to seasons and decades, translating flexible moments of cultural metissage.


(from "Wearing A Miyake is Like Wearing an Experience", by Li Edelkoort, published in Taschen's Pleats Please book)
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Re: "Impolite Miyake line gives upper leg room to manoeuvre"

Postby AmericanPie » Mon Aug 31, 2015 10:09 pm



Issey Miyake photographed by Irving Penn.
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Re: "Impolite Miyake line gives upper leg room to manoeuvre"

Postby vgtbls » Mon Aug 31, 2015 10:34 pm

Here
Spoiler:
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are
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probably my favorite two looks from SS16 Miyake (Menswear line)

I love how a lot of Miyake's stuff becomes photographed. Not just campaigns, but runway shots and casual pictures. There's an extreme temporality to it... a balloon of energy pulled into shape for one instant.
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Re: "Impolite Miyake line gives upper leg room to manoeuvre"

Postby schiaparelli » Tue Sep 08, 2015 2:16 pm

speaking of temporality!—some of the first Pleats Please prototypes (before it was a formal line and named anything) were worn by William Forsythe's Frankfurt Ballet Company for a beautiful performance called "The Loss of Small Detail" (video here, although you can't really see any of the garments well in it). some stills:

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I actually don't know too much about Miyake in general (which may be bc he's done so much stuff! menswear and womenswear and Pleats Please and Fête and me/Cauliflower and A-POC…am I missing anything?) but I think Pleats Please resonates most strongly with me bc it is an incredible exploration of one material and its infinitely fascinating interpretations. it's such a succinct idea—pleated things!—and I really think it's the most conceptually fun.

fwiw, all Miyake work is welcome in this thread, but I'll be posting a lot of things I'm learning from the Taschen book on Pleats Please.



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Among the many clothes that I have created over the last four decades as a clothing designer, PLEATS PLEASE is the one that I really call my own…[it] is what I consider my most valuable contribution to "design"…

Pleated dresses invoke Fortuny's glorious designs from the early 20th century, but I was not interested in the style of haute couture that required maintenance and careful handling that he had created. I wasn't interested in mastering craftsmanship, but in creating clothes based upon theories of modern technology and engineering. I wanted to delve into the potential, not of fashion, but of clothing as product.


this is really fascinating bc it suggests a kind of contemporary approach to Pleats Please—as a highly engineered, industrial product. the distinction between calling something a "piece"—an individual work of craftsmanship—vs a "product"—which comes out of a crafted process where each individual piece is a consumable mass-produced good—is quite interesting.

he goes on to describe other key points of the Pleats Please line:

  • flexibility and maintenance of form:
    The pleats we are able to create are not only functional, but also permanent…they can be washed at home, are easy to store and retain their original shape, even after you roll them up and throw them in your suitcase
  • material innovation:
    Because the synthetic fabric [polyester] can be treated for a range of results at varying temperatures, we were able to invent an original textile. Our pleats would never have been possible without experimentation: developing and advancing the materials and the pleats technology
  • for all bodies:
    …the male dancers tried on the women's costumes…they were crazy about my pleats. That's when it hit me. If dancers with such a wide range of body types and height had so much fun wearing them, ordinary people might too.
  • for all, for the everyday:
    …this reawakened the resolution I had made…to make clothing as universal as jeans and T-shirts…PLEATS PLEASE are "global clothes," which have made their way into people's daily lives, becoming almost like a second skin

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another thing that is very beautiful about Pleats Please is the straightforward humility of the brand, and how easily the pieces defer to the wearer—how the pleats flex and collapse in motion, how they ease around one's body.

At the risk of being misunderstood, I want to emphasize that PLEATS PLEASE are "just clothes". After I began to make them, I finally felt I could embrace the word "design". Neither couture nor fashion, PLEATS PLEASE are "simply clothes". By sending PLEATS PLEASE out into the world, I feel I have finally become a designer.

I always believed that clothes should be anonymous. I don't even care if people recognize them as mine. Nevertheless, even if they are products, they must bestow freedom on those who wear them. It is our job as designers to work with manufacturers to create clothes from materials in such a way that those who wear them have the freedom of expression and its resulting joy. For me, that is the legacy of PLEATS PLEASE.


(from "The Work of Pleats Please", by Issey Miyake, published in Taschen's Pleats Please book)
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Re: "Impolite Miyake line gives upper leg room to manoeuvre"

Postby germinal » Tue Sep 08, 2015 3:18 pm

Almost all the women i've met who work in fashion wear pleats please. I think it's because the clothes are very durable, easy to wear, low maintenance; they have designer kudos but are not trendy (other than baobao few miyake lines seem to receive attention from the mainstream fashion media lately); and, of course, they are dangerously cheap and plentiful second hand. Homme plissé on the other hand is scarce.
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Re: "Impolite Miyake line gives upper leg room to manoeuvre"

Postby Syeknom » Wed Sep 09, 2015 4:45 pm

From SS16

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Re: "Impolite Miyake line gives upper leg room to manoeuvre"

Postby bels » Wed Sep 09, 2015 5:54 pm

if anyone sees a black issey suit with a 32 inch waist and no more than 3 buttons on the jacket hit me up.
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Re: Issey Miyake

Postby blanket » Thu Nov 05, 2015 9:41 am

it's raining cats and dogs and possums and opossums and i like a fool left both my wallet and my raincoat at home so im stuck in the library and i am very hungry

here are some pictures of Issey Miyake x Food

issey x sushi

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Design/Productive Design: PLEATS PLEASE ISSEY MIYAKE
SUSHI created by PLEATS PLEASE ISSEY MIYAKE in Spring 1994 will be exhibited at Arts and Foods pavilion of LA TRIENNALE DI MILANO. Six varieties of sushi arranged just like authentic sushi in a box. This delectable meal includes tuna and egg "nigiri", tuna and cucumber rolls, and salmon roe and sea urchin "Gunkan-maki". Each piece of sushi unfolds into a handy and attractive item, such as an accessory pouch, mini drawstring pouch, or pleats' band.
Size: 50mm x 212mm x 73mm

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Art Direction: Taku Satoh / Design: Shingo Noma
The sushi visual series by a civil servant Taku Satoh got favorite reviews in 2008. This series is based on the idea "There are many similarities between PLEATS PLEASE and SUSHI (Compact, manageable, beautiful, colorful, very original and revolutionary food, now loved by people in the world)." These were advertised in WINGSPAN (ANA In-flight Magazine) July, August, October and November Issues in 2008 as a BRAND AD series. This series is also awarded the Silver Prize in the poster category of the 88th Supreme, Supreme, New York Art Directors Club awards, the JAGDA prize at the Japan Graphic Designers Association awards in 2009, and the Platinum Prize in the Graphis Poster annual publication in 2010.


issey x pastries

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Spoiler:
arts & foods: rituals since 1851 at la triennale di milano
pleats please bakery

art direction: taku satoh
design: shingo noma
productive design: pleats please issey miyake, 2012


The fruit cake roll also came as a tote bag and a dress


issey x burgers

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Spoiler:
Issey Miyake Pleats Please white pleated hamburger top from the 2004 Spring/Summer collection. It features a print of a hamburger with eyes and a mouth using layers of pleated fabric which have been cut and sewn. The tongue is sewn at the top allowing it to flap up and down.

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SIZE:
3
SHOULDERS:
31 cm
CHEST:
37 cm
LENGTH:
46 cm
MATERIAL:
100% Polyester
CARE INSTRUCTIONS:
Hand wash, Machine wash, Do not dry clean
YEAR OF MANUFACTURE:
AD 2003


issey x vgtbls

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Spoiler:
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(L) This stripe-pattern print expresses the powerful colors of fresh vegetables.
各 ¥49,350
(R) This series with a bold print of vegetables is available only at PLEATS PLEASE ISSEY MIYAKE/ AOYAMA, ROPPONGI, and ELTTOB TEP ISSEY MIYAKE.
dress: ¥39,900
tunic: ¥22,050


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Irving Penn's veggie faces
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edit: gif!
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Re: Issey Miyake

Postby dbcooper » Thu Nov 05, 2015 1:45 pm

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Re: Issey Miyake

Postby dbcooper » Thu Nov 05, 2015 1:50 pm

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Re: Issey Miyake

Postby dbcooper » Mon Nov 09, 2015 8:38 pm

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Re: Issey Miyake

Postby sknss » Tue Nov 10, 2015 3:11 pm

some more pics of the taschen book (i think, i got this book from the library a while ago)
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Re: Issey Miyake

Postby sknss » Wed Nov 11, 2015 11:23 am

link fixed sorry guys
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Re: Issey Miyake

Postby une_impasse » Wed Nov 11, 2015 7:29 pm

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terrible picture, but here's two issey madame tea's i managed to tie together and make look like a coherent dress. it is basically a long pleated sheet of fabric with a hole in it. the madame tea is probably my favorite piece of clothing at the moment but i don't think i could ever pull one off successfully as man.
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Re: Issey Miyake

Postby blanket » Fri Dec 04, 2015 12:48 am

Issey Miyake for Suntory Whisky

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Re: Issey Miyake

Postby Chimpskibot » Fri Dec 04, 2015 8:35 pm


Maybe offtopic but a classic issey miyake line in this rant
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Reason: fixed bad youtube embed
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