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Additional info for Japanese Fashion Designers: The Work and Influence of Issey Miyake, Yohji Yamamoto and Rei Kawakubo
It is important people participate in making their own clothing. (Graham 2007) Conceived as a unique, futuristic interactive fashion system, A-POC tube designs, made from high-tech fibres and woven by a computer-instructed machine with the clothing pattern etched on, allow the buyers to become their own pattern-cutters and designers. According to Miyake, this process provides a framework for ‘design and fit’ and subsequently could be seen as clothing that becomes universal (Plate 2). The fact that the A-POC garments could be produced without machine-sewn seams is revolutionary in itself and stimulates interesting possibilities that could totally revolutionize the ready-to-wear fashion industry.
THE JAPANESE TAKE PARIS BY STORM Yamamoto and Kawakubo brought the beauty of poverty to the most glamorous stage of the world—the catwalks of Paris. In their 1981 joint collection, they paraded garments which symbolized neediness, destitution and hardship—clothing that appeared to have been picked up from rag-bags. They were entirely black in colour and irregular in shape, with oddly positioned pockets and fastenings. Their size appeared voluminous, as if the space between the external garment and the body had been exaggerated, emphasized by layering and wrapping.
He began experimenting with pleating using a variety of different materials including linen crêpe, woven cotton, polyester and tricot jersey. For him, pleating represented the ultimate functionality, coupled with a superb surface texture. 4). He also used a fabric called tabi-ura, formerly reserved for the bottoms of the fitted Japanese sock. Miyake references his cultural heritage via textiles in many different ways. Aburi-gami, an oiled handmade paper often used for making parasols and lanterns,7 is often woven in traditional ikat designs and printed with woodblocks.