Intro industry. I shall also be analysing the

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Last updated: September 13, 2019

Intro       In this essay I will be discussingJapanese fashion designer Issey Miyake and investigating his style and how hewould be willing to push the cut-off points of the world of fashion. Miyake isambitious with his work and is best recognised for combining both the easternand western  components into his work. I willbe examining the influence Miyake’s work has had and is currently having on thedesign industry. I shall also be analysing the composition and techniques thatMiyake operated with and a diverse spectrum of his collections which willconnote why his work was and is still significant the design industry. This willdelve into aspects of his work such as his minimalism and combination of easternand western cultures, the fabrics used in his collections and the degree towhich he has and will take fashion design to the utmost extremes on the catwalkand the models.  Background Miyakes first experience with fashion was in Hiroshimawhere he was brought up.

Here, there were two bridges named; to live and diewhich were located close to the epicentre of the Atomic Bomb hit. Walking overthese bridges, observing them, lead to his first encounter with designs abilityto stimulate the powerful emotions responses and hope. Miyakestarted his career off at Tama Art University in Tokyo studying graphic design,eventually graduating in 1965. Without hesitation, Miyake travelled to Europeright after completing his studies where he would train at the ChambreSyndicate de la Haute Couture. Miyake founded the Miyake Design Studio in 1970,which he successfully achieved after taking on apprenticeships with Givenchyand Guy Laroche, his design studio was seen as a trail research facility forJapanese fashion.  From thestart, Miyake’s imaginative procedure has been founded on the idea of “onepiece fabric.

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” His procedure investigates the essential connection betweenthe body, the material that spreads it, and the space and room that is madebetween these components, stripping itself of the “East” or”West” labels.  In the late1980s, Miyake started to try different methods with new strategies of pleating thatwould permit both adaptability of development for the wearer and alsosimplicity of care and creation. Miyake advanced his investigation of thebody’s movements and form by eagerly taking on the brave decision of designinggarments with materials other than cloth such as plastic, paper, and wire. He namedthese creations from this time “body works”. Miyake also used computers to incorporate avariety of jacquard patterns and textures into his work. This period inMiyake’s life was only the beginning of his successful career, giving him timeto both expand and improve on his techniques and style to solidify hissignificance in the fashion industry. Miyake connected with a number of collaborators, the springof which was the unravelling of many new fabrics and ways by which to makestuff that incorporated old-fashioned handcrafts wedded to the newesttechnology.

While doing innovative improvements to the cutting-beard synthetictechnologies of the time and blend them into his pieces, Miyake also visitedhistoric performance provinces and excavated traditional techniques, such asdyeing and weave, that were on the verge of extinction. He forged ahead withhis employment, adduce traditional methods back to life to reply to the summonof 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,” becausethey 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 undoubtedlyoriginal, especially when compared to the law of fashion put by orthodox, legitimate Western designers suchas Coco Chanel, Christian Dior, and Yves Saint Laurent. It was Miyake who setthe stage for the Japanese examine in the fashion confirmation.  TheMiyake Style Tradition isessential to Miyake. It is the combination of the most basic of fabrics andmaterials and ancient traditions with new and inventive methods that has kepthis image at the front line of design for as long as four and a half decades.

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