1970s-1990s The Japanese Avant-garde
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This is the actual dress that I referred to in my earlier post .
The play in which the deaf american actress appeared in London , was ' Children of a lesser God ' , I think .
So many many thanks for coming up with this , nqth
You are welcome, Kit and Anna:-)
In the 90s, Comme started using images nonrelated to clothes. It shows kind of graphic design, mood... Ideas. Always powerful and very very "sharp":-)
AW98-99
1996
1991
Shirt 2000 with Filip Pagowski
In the 90s, Comme started using images nonrelated to clothes. It shows kind of graphic design, mood... Ideas. Always powerful and very very "sharp":-)
AW98-99
1996
1991
Shirt 2000 with Filip Pagowski
kit said:
This is the actual dress that I referred to in my earlier post .
I forgot to say that I take this dress as a sign of Rei's genius .
She has taken the traditional English country yokel's smock and totally transmuted it into a miracle of an avant-garde dress for a woman - revolutionary , but totally wearable .
The only other designer who has this genius is Yves Saint Laurent , with his ' Le Smoking ' for women .
MulletProof
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wonderful pics, ngthnqth said:1984
1981, photo by Peter Lindbergh
MulletProof
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isnt that very typical of hometown heroes?, they start to be disliked once they get overwhelming success.
there's this old saying in my country that goes 'nobody's a prophet in homeland'.
there's this old saying in my country that goes 'nobody's a prophet in homeland'.
softgrey
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kit...that ad is hilarious...!!!...i've never seen a car shake its hips before...
rather sexy for a robot...LOL..
thanks...
i'm still reading and going through all the links that have been posted...
this is a great compilation of info...
i also think that mary ping is influenced by these designers...
rather sexy for a robot...LOL..
thanks...
i'm still reading and going through all the links that have been posted...
this is a great compilation of info...
i also think that mary ping is influenced by these designers...
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glad you liked them alex
i've been reading whatever i can find on miyake..i pulled another section from an article I thought was particularily inspiring:
Miyake has long looked to architecture for inspiration, collaborating with international masters such as Isamu Noguchi and Shiro Kuramata and exhibiting his work in Jean Nouvel's Cartier Foundation. Parallels can certainly be drawn between Miyake's clothing and architecture writ large, although he himself is careful to draw distinctions between what he sees as hard and soft media. "The final form of clothing design is determined by the way the body moves," he says. "Unlike architecture and furniture, clothing design cannot be accomplished without the wearer's participation." Miyake is, however, experimenting with furniture that demands the body's cooperation. His beanbag-reminiscent Midas, for example, is not only humanoid but takes on its fullest form when sat upon or draped over the body like a cape.
Not all of Miyake's oeuvre is so warm and fuzzy, though. Often Miyake's means to beautiful ends involve distress and duress. Nancy Knox, the U.S. liaison to Miyake Design Studio, talks about how Miyake's oeuvre is all about flux and impermanence and how it is meant to shock, surprise, and delight--maybe even horrify. An account of the processes that Miyake has put fabric through over the years certainly reads like a list of torments: twisting, crushing, crumpling, pressing, shrinking, cutting under heat. The resulting clothing looks purified by these rites of passage--elegantly but eternally marked, as Miyake's pleats and twists are guaranteed to maintain their formal integrity. In one literal instance of beauty from ashes, the Chinese artist Cai Guo-Qiang set fire to a dragon-shaped arrangement of gunpowder on an assemblage of Pleats Please outfits in the opening ceremony of Miyake's 1998 Making Things exhibition at the Cartier Foundation, in Paris. Later the burn patterns were reproduced with advanced printing techniques onto pristine ensembles that were affixed to the museum's windows. Perhaps the fact that Miyake was a seven-year-old boy when the atomic bomb was dropped on his native Hiroshima has led him to understand the cycle of life better than most. When asked about whether design can serve to heal, Miyake responds with the thoughtfulness that has made him a lasting cultural presence--despite the fact that he once said that the designer's crowning achievement would be to disappear into anonymity. "Creation is always an expression of life, rebirth, and energy," he explains. "The real designer is a true optimist who confronts the future with a sense of responsibility."
http://www.metropolismag.com/html/content_0302/miy/index_b.html
i've been reading whatever i can find on miyake..i pulled another section from an article I thought was particularily inspiring:
Miyake has long looked to architecture for inspiration, collaborating with international masters such as Isamu Noguchi and Shiro Kuramata and exhibiting his work in Jean Nouvel's Cartier Foundation. Parallels can certainly be drawn between Miyake's clothing and architecture writ large, although he himself is careful to draw distinctions between what he sees as hard and soft media. "The final form of clothing design is determined by the way the body moves," he says. "Unlike architecture and furniture, clothing design cannot be accomplished without the wearer's participation." Miyake is, however, experimenting with furniture that demands the body's cooperation. His beanbag-reminiscent Midas, for example, is not only humanoid but takes on its fullest form when sat upon or draped over the body like a cape.
Not all of Miyake's oeuvre is so warm and fuzzy, though. Often Miyake's means to beautiful ends involve distress and duress. Nancy Knox, the U.S. liaison to Miyake Design Studio, talks about how Miyake's oeuvre is all about flux and impermanence and how it is meant to shock, surprise, and delight--maybe even horrify. An account of the processes that Miyake has put fabric through over the years certainly reads like a list of torments: twisting, crushing, crumpling, pressing, shrinking, cutting under heat. The resulting clothing looks purified by these rites of passage--elegantly but eternally marked, as Miyake's pleats and twists are guaranteed to maintain their formal integrity. In one literal instance of beauty from ashes, the Chinese artist Cai Guo-Qiang set fire to a dragon-shaped arrangement of gunpowder on an assemblage of Pleats Please outfits in the opening ceremony of Miyake's 1998 Making Things exhibition at the Cartier Foundation, in Paris. Later the burn patterns were reproduced with advanced printing techniques onto pristine ensembles that were affixed to the museum's windows. Perhaps the fact that Miyake was a seven-year-old boy when the atomic bomb was dropped on his native Hiroshima has led him to understand the cycle of life better than most. When asked about whether design can serve to heal, Miyake responds with the thoughtfulness that has made him a lasting cultural presence--despite the fact that he once said that the designer's crowning achievement would be to disappear into anonymity. "Creation is always an expression of life, rebirth, and energy," he explains. "The real designer is a true optimist who confronts the future with a sense of responsibility."
http://www.metropolismag.com/html/content_0302/miy/index_b.html
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