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18-03-2005
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Quote:
Originally Posted by softgrey
no...it's appropriate for here...the intention is to discuss the designers' works and their influence thoughout the worl of fashion...issey's successor is obviously a big part of that ...

personally i love issey's work in the 80's and early 90's the best...
he lost interest in design mostly after that and focused more on fabric innovations and textiles...but his APOC (a piece of cloth) is a brilliant thing...
anyone have any info on APOC?...
We have a thread on Miyake related to him visiting Ohio state where Mutterlein goes, there were quite a few posts about APOC there, I think (including the article travolta posted, only w/out pictures).

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18-03-2005
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oh we should merge you think?

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18-03-2005
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Ooops, I take that back. There is only the article, not much else.

http://www.thefashionspot.com/forums...ghlight=miyake

I remember Runner posting photos of the APOC store in Japan where clothes is sold in the vending machines rolled in tubes, just don't remember in which thread.

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18-03-2005
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thanks for the link faust...

sometimes i think it is better to just posts links to other related thread rather than merge them into one big jumble...

i will try to find some issey pics...there is one by penn of the gold foil suit which is burned on my brain...anyone else know which one i mean?...

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18-03-2005
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Even Miyake has said that he saw his own clothing in a whole new way when Irving Penn took these photos. A great lesson in the way clothing becomes animated only after it is put on.
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File Type: jpg issey.jpg (21.3 KB, 2537 views)

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18-03-2005
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yes, thank you faust. i like this quote by miyake:

In the future if you wear something from A-poc you won't know it . A-poc is not a clothing line, it is a manufactoring technique that I hope many clothing makers can use" and --A-poc technique is going to be used not just for clothes but any material that can be threaded (resin, plastic, metals)

he is truly awesome...is this the end of fashion designers as we know it??

oh, and softie i do know what you are talking about...was it the cover of one of his books?? i forgot the name..

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18-03-2005
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'Plastic Body' 1980 by Issei Miyake (japanese spelling?)
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18-03-2005
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issey miyake 1988
Photo by Irving Penn
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Last edited by softgrey; 18-03-2005 at 01:48 PM.
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18-03-2005
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issey miyake...1992
Photo by Susan Lamer
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Last edited by softgrey; 18-03-2005 at 01:49 PM.
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18-03-2005
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Rei is and always will be my favorite designer, the first time I saw her clothes my mouth went open! I really feel so so so connected to her work and it really touches me and inspires me.

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18-03-2005
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article about rei...

http://dept.kent.edu/museum/exhibit/...okawakubo.html

i always found her to be more of a reactor...i don't think that motivates the others so much...she seems to have her thumb in many pies-is that the expression? from her clothing, to her pamphlets to her gureilla stores...she seems to be a very good business person--very good instincts.

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ISSEY MIYAKE/PHOTOGRAPHS BY IRVING PENN
Various authors • Published 1988 • $50 • US co-publisher: New York Graphic Society Books/Little, Brown
• Co-editions: France, Germany, Japan • 10 1/2 x 12 1/4 inches • 96 pages • 46 full-color plates

This book unites the formidable talents of Japanese fashion designer Issey Miyake and legendary American photographer Irving Penn. The first book released in the United States about Miyake’s work, it was also the first time that Penn created a book-length suite of photographs on the work of a single fellow artist. A softcover edition of the book served as the catalogue for a retrospective exhibition of Miyake’s work at Musée des Arts Décoratifs in Paris.

1988 GEORGE WITTENBORN AWARD FOR BEST ART BOOK
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18-03-2005
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Quote:
Originally Posted by MulletProof
off topic: i really believe we need a superflat thread.

anna karina?
hey, i was a superflat girl for halloween! i cut out flourescent coloraid and made bows and eyeglasses etc..but no one knew who i was unfortunately

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Last edited by travolta; 18-03-2005 at 01:58 PM.
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superflat?...

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18-03-2005
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The term is Takashi Murakami's own, his manifesto on the way various forms of graphic design, pop culture and fine arts are compressed -- flattened -- in Japan. The term also refers to the two-dimensionality of Japanese graphic art and animation, as well as to the shallow emptiness of its consumer culture.


Murakami first arrived at the concept of superflat as it pertained to his own art. "I'd been thinking about the reality of Japanese drawing and painting and how it is different from Western art. What is important in Japanese art is the feeling of flatness. Our culture doesn't have 3-D," he says. "Even Nintendo, when it uses 3-D, the Japanese version looks different from the U.S. version. Mortal Combat in the U.S comes out as Virtual Fighter in Japan and it's different."

He had even noticed it back in his art history classes - searching for connections between nihon-ga and animator Kanada. The link, it turned out, was flatness. He decided that Kanada's animated sci-fi explosions were simply consecutive design motifs. (A still from Kanada's 1979 Galaxy Express 999 is included in the Superflat show.)

One notion of flatness led to another -- the compression of genres in the pop-inflected work of younger artists. "The new generation doesn't think about what is art or what is illustration," Murakami explains. "Their work is 'no genre.'"

Murakami points out that his transformation partly the result of Japan's long recession. The bubble burst in the early '90s, creating a generation that faced a level of economic uncertainty unknown since the '50s. Murakami feels that Japan's long celebration of consumerism has turned to critique.

"The Japanese people get fed TV and media for 24 hours a day," he says. "Now, we have a chance to think, 'what is my life?'" Consumer culture looks only one direction, not evolved. In the '80s, Japanese people didn't think about the meaning of life because of the strong consumer culture. Now, people are realizing there is an end. They have to think about it more than in the past. Young people are looking outside of consumer culture and asking, 'What is life?'" Superflat artists, Murakami says, create their own version of popular culture to draw attention to the dominance of the media, entertainment and consumption. Significantly, many in the exhibition work in the industries they critique. In addition to fine artists, there are commercial photographers, fashion designers, animators, graphic designers and illustrators. Sexual innuendo and black humor are popular topics throughout the show.

http://www.artnet.com/Magazine/featu...ilp1-18-01.asp


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