Inventor of a very quickly identifiable style, with a taste for bright colors and pleated fabrics, the Japanese creator marked the history of fashion from the second part of the 20th century. He died at the age of 84.
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The life of the Japanese designer Issey Miyake, who died in Tokyo, on August 5, of liver cancer, at the age of 84, will remain as one of the most singular destinies in history of the fashion of the second part of the 20th e century. A course that has seen him create, invent, travel, dream, use, all possible, artistic or technological resources, serving his clothes. He, whose ambition was to draw clothes for all, to imagine new outfits that would have the practicality and simplicity of jeans or a T-shirt, will have constantly sought to exceed the limits of his profession . And he will have invented a signature, a very quickly identifiable style, which distinguishes itself from that of his contemporaries, with a taste for bright colors and pleated tissues.
In 1986, in the pages of the world, Colette Godard, feather of the world of theater, described in these terms the effect produced by his outfits: “At Issey Miyake, the eye amazed, get lost in the Search for a sign of recognition. But everything is trompe-l’oeil. Drapes, starting from ones where, end anywhere, wrap, slide, slip into the folds that fly into scarves, In stoles, and are placed at an angle, crush the busts before taking off and swell around the hips before flowing into drag which lift, revealing tights that imitate the spun meshes, the tears. “
With three cultures
If everything was illusions, it may be because it had been, from early childhood, faced with the hardest reality. He is 6 years old when his hometown, Hiroshima, is bombed. He was then 3 kilometers from the epicenter of the atomic explosion, perched on hills from where he attends the nuclear disaster. His mother will die from his burns, and himself suffer from a bone disease that will mark him for life. He grew up in post-war traumatized Japan, where American influence affects all universes, including ready-to-wear. From there will undoubtedly come his obsession with inventing archetypes, as American popular culture does, and the essential question of her future career, as summarized by journalist Caroline Rousseau, in 2016, in Le Monde: “If the Americans have can impose this daily locker room, what can a Japanese answer them? “
After a start of studies in Tokyo, he left for France, in the mid -1960s, and enrolled at the school of the Parisian Couture Syndicale. Quickly, he works for Guy Laroche and for Hubert de Givenchy. The hexagonal seam is still very calm, and he leaves for New York, where he frequents the art world, then in full reinvention. With three cultures, he launched, in Tokyo, his own brand, at the very beginning of the 1970s. Diana Vreeland, editor -in -chief of the American publishing of Vogue, very influential in the world, the dubbed.
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