Issey Miyake
Autumn/Winter 2004-2005
ISSEY MIYAKE, Autumn/Winter 2004-2005 Invitation Card
June 2004
High Fashion No.297
Fashion Anthology
March 3, 2004
Alamy
Abaca Press
2004-2005 autumn/winter WORLD COLLECTIONS: PARIS
June 2004
High Fashion No.297
Photography by Shin Shin and Masatoshi Uenaka
Report & text by Misako Tamagawa (B.P.B. Paris) and Ikuko Fujii
宇宙開発が社会的関心事でもある現在、滝沢直己が招待する「月への旅」。アーティスト、タカノ綾が描く〝月から見た地球〞と〝地球から見た月〞の二つのイメージで展開されたクライマックスは、未来への夢の再来をたたえるファンタジー。得意のフォーメーションを変える服やロマンティシズムあふれるスポーツウェア、サークル（＝月）で作る作品も登場した。
At a time when space development is a social concern, Naoki Takizawa invites you to "Journey to the Moon". Artist Aya Takano depicts "the earth as seen from the moon" and "the moon as seen from the earth," and the climax is a fantasy that celebrates the return of dreams for the future. Clothes that change in formation, a specialty of the artist, romantic sportswear, and pieces made of circles (= moon) also made an appearance.
Artist meets Fashion: Issey Miyake meets Aya Takano
June 2004
High Fashion No.297
Photography by Josui (B.P.B.) and Tomoaki Shimizu
子ども文化の新しいステージ。
かつて村上隆とコラボレートしたイッセイ ミヤケの滝沢直己。今シーズンは、村上プロデュースの若手作家タカノ綾を起用した。ショーの最後を飾ったタカノ綾とのコラボ作品は実に多彩だ。「絵だけをリスペクトしすぎると、コラボレーションの意味がない。どれだけ絵を崩し、新しいものにできるかが、デザイナーの仕事」と滝沢。月がテーマの今シーズン、地球から見た月と、月から見た地球の２枚の絵をタカノ綾が作成。それが、Ｔシャツになり、ドレスになり、コートになり、キャリーバッグやブーツになる。初めてファッションとのコラボレートを体験したタカノは、「未来的な発想が私と似ていると思いました。でき上がったものを見ると、私の絵であって、私の絵ではなくなっている。その広がりに、ファッションのすごさを感じました。嶺川貴子さんの音楽が流れたところもすごく好きでした」
A new stage in children's culture.
Naoki Takizawa of ISSEY MIYAKE once collaborated with Takashi Murakami. This season, the brand has appointed Aya Takano, a young artist produced by Murakami. The collaboration with Aya Takano that graced the last part of the show was truly diverse. "If you respect the illustrations too much, there is no point in collaborating. The designer's job is to break down the illustrations and create something new," said Takizawa. For this season's moon theme, Aya Takano produced two illustrations, one of the moon as seen from the earth, and the other of the earth as seen from the moon. These become T-shirts, dresses, coats, carrying bags, and boots. For the first time, Takano experienced a collaboration with fashion: "I thought his futuristic ideas were similar to mine. When I saw the finished products, they were my drawings, but they were no longer my drawings. I felt the greatness of fashion in its breadth. I also really liked the part where Takako Minekawa's music played."
滝沢は円や半円を意識的に使った。上は広げると円になるドレス。「今、アニメやゲームによって〝日本的〞のイメージは変わってきている。この日本的なポップを、大人のファッションとして着地させたいのです」
Takizawa consciously used circles and semicircles. The dress above becomes a circle when unfolded. "Nowadays, anime and video games are changing the image of what is "Japanese". I want this Japanese pop to become a fashion for adults."
上は、東京のイッセイミヤケ本社で行なわれた展示会でのタカノ綾。右は原画。左が地球から見た月、右は月から見た地球。女の子を入れてカラフルに、という注文だけだった。
Above, Aya Takano at the exhibition held at ISSEY MIYAKE's headquarters in Tokyo. On the right are the original illustrations. The left is the moon as seen from the earth, and the right is the earth as seen from the moon. The only instruction was to include a girl and make it colorful.
© 2004 Aya Takano/Kaikai Kiki Co.,Ltd. All Rights Reserved.
The questionnaire to the designers of the world: What is classic now?
June 2004
High Fashion No.297
イッセイ ミヤケ／滝沢直己
今まで誰もやっていなかった方法論、形式、様式等が、唯一クラシックという言葉で言い表わされる資格を持っているのだと思っています。
スタイルやディテールのことだけをクラシックと考えるのは間違いだと思います。それは単に音楽の世界では一つの確立した手法としてある、サンプリングということではないのかなとも感じます。
私はそのスタイルが生まれた背景、社会からどのようにスタイルが生まれたのかということからクラシックという言葉を考えるほうがよりおもしろいと思います。
クラシックとはそこが今あるものの出発点であったという意味で、学ぶべきものであり、反抗してみたくなるものだと考えています。
クラシックという言葉は、私にとってその時代を象徴する意味合い以上に、それを作り上げた人に対しその偉大さに敬意を感じさせます。
物を作るうえでクラシックを無視することは不可能だと思っています。
ただ、いわゆるサンプリングという手法の一環としてクラシックをとらえるのか、あるいは、そこからまた新たに未来においてクラシックと呼ばれるものをあえて作ってみようということでは、結果が大きく違ってきます。
私たちは最近常に近未来を想定して物を作ろうとしています。
それはクラシックなものから学んだことを今の時代に落とし込むということよりも、それが近い将来にどのようになるかを考えて物を作るほうが私たちにとって、楽しいからです。それに、いつか自分たちも未来のクラシックと呼ばれる何かを作ってみたいですから。
ISSEY MIYAKE / Naoki Takizawa
I believe that only methodologies, forms, styles, etc. that no one has done before are qualified to be described by the word classic.
I think it is a mistake to think of classical only in terms of style and detail. I also feel that it is not simply about sampling, which is one established method in the music world.
I think it is more interesting to think of the term classical in terms of the context in which the style was born, how the style emerged from society.
I think of classical music in the sense that it was the starting point of what we have today, something to be learned from and something to want to rebel against.
The word "classic" is more than a symbol of an era to me, it also makes me respect the greatness of the people who created it.
I think it is impossible to ignore the classics when creating something.
However, there is a big difference in the result between taking a classic as part of a so-called sampling technique and daring to create something new that will be called a classic in the future.
We are always trying to make things for the near future these days.
This is because it is more fun for us to think about how things will be in the near future, rather than trying to take what we have learned from the classics and apply it to the present. Besides, we want to make something that will be called a classic of the future someday.
COOL JAPAN
2010
Future Beauty: 30 Years of Japanese Fashion
Published by Merrell
Written by Akiko Fukai, Barbara Vinken, Susannah Frankel, and Hirofumi Kurino
Naoki Takizawa for Issey Miyake
[Autumn/Winter 2004-2005]
Silk charmeuse circle-cut dress printed with the work of artist Aya Takano; nylon T-shirt and leggings
Naoki Takizawa was design director for Issey Miyake from Spring/Summer 2000 until Spring/Summer 2007. Since 1999 Takizawa has collaborated with Japanese artist Takashi Murakami and his artists' collective, KaiKai Kiki, founded in 2001, a group famous for being the first to incorporate manga elements into its work.
This outfit is from the 'Journey to the Moon' collection, produced in collaboration with Japanese artist Aya Takano, another member of KaiKai Kiki. Famous for her super-flat drawing style and large-eyed heroines, Takano is influenced by Japanese mythology, manga and science fiction. She created two images for the collection, and this print, The Moon from Earth,
features sweet and child-like beings drawn in the artist’s typically innocent style, faintly reminiscent of American sci-fi 'B movies'. In the moon itself, a rabbit is seen pounding mochi (steamed rice) into rice cakes, a motif that refers to Japanese oral traditions.
