Lssey Miyake Brand Group

Masakatsu Nagatani entered Lssey Miyake group in April 1987.

Supplement:

As a materialized medium of human emotion, the life of clothing lies in the history, folklore and culture of different ethnic groups behind it.

With the "form" of "God", Lssey Miyake creates a perfect model for the integration of national aesthetic culture and fashion.

Lssey Miyake's creative language

ISSEY MIYAKE, this vessel is full of Oriental sentiment.

It can be said that the core of Lssey Miyake clothing art is its grasp of the interior and exterior dimensions of Oriental clothing.

The Western three-dimensional cutting uses dart, eliminating the inner space generated by natural drape in some parts, so that the clothing can fit the human body structure as much as possible.

At the same time, the use of corsets, buttocks and paddies has formed a concave and convex body curve, exaggerating the shape of the human body, which fully reflects the western society's admiration for the beauty of human body and the esteem for individuality.

Unlike traditional western X clothing, Lssey Miyake's clothing is mostly H, and the interior space of clothing is preserved, which is conducive to the penetration and wandering of Qiyun.

"Releasing the human body instead of sculpting the human body" is the essence of the two-dimensional cutting.

But in dealing with the outer space of clothing, the natural soft lines of human body disappeared in his design.

The purpose of its creation is obviously not to highlight the beauty of the natural form of human body. Although this way of hiding human body curves is in line with the oriental traditional dress ethics to a certain extent, its degree is too much.

A covert, slightly protective and defensive awareness of the outer space of clothing is revealed in his works.

With this view, we can see that the Z appearance of wrinkles also has the meaning of protection and expansion.

Not only is the clothing and fabric, but from the modeling and body language of his early works, we can interpret alertness, uneasiness, obscurity and accumulation.

Compared with the sense of leisure brought by the circulation of clothing space, Lssey Miyake pays more attention to the concealment function of clothing outer space to human body, and conveys information about defense and protection.

Is there any relationship between his creation and oriental traditional costumes or even Chinese traditional costumes? Is his design concept as the common belief that it represents the same origin of traditional Oriental clothing culture, including Chinese clothing?

Mapping of Ideology: "shame culture" and "law opening truth"

As a kind of aesthetic culture, the design tendency and aesthetic consciousness of costume beauty are not created by themselves.

The clothing characteristics of different countries, in a sense, originate from the differences of aesthetic culture among different nationalities.

To study the cultural connotation of costume aesthetics, we can analyze it from two aspects: the shallow cultural structure includes clothing structure, color, pattern, material, technology, etc., that is, dominant culture, with visible symbolic function.

The hidden cultural and cultural tendencies, values and aesthetic concepts belong to the deep cultural structure, also known as recessive culture.

Only by analyzing the internal law and soul of the latter is it better for us to interpret the differences in the external manifestations of clothing.

The influence of "shame culture" on Japanese costume aesthetic culture

American anthropologist Ruth Benedict once summed up Japanese culture as "shame culture". In his view, "the input of Chinese culture has led to the integration of Japanese culture, but the abstract mental quality of Chinese culture has not really digested Japanese culture, which has led to psychological and social self opposition."

Although Japan also pays attention to the idea of "Zhong Zheng" and "harmony", that is to reconcile the golden mean, and its comprehensive intake culture is compatible with foreign cultures, but this strong cultural and emotional difference is not mainly manifested in the social and political structure of Japan, but is widely manifested in the strong psychological feelings and internal conflicts behind Japanese society and Japanese behavior.

The antagonism of this kind of behavior is characterized by "being polite and martial, peaceful and fierce, tame and stubborn, loyal and rebellious, innovative and stubborn, and so on."

The contradictory characteristics of Japanese "shame" mentality are manifested in a subtle way under the cloak of "Zhong Zheng". Therefore, the expression of implicit and ambiguous expressions is evident in the art of clothing: the Japanese flying birds and the gowns of Wu Yue in ancient China have spread to Japan and become formal dress of upper class society in Nara.

In the following historical changes, kimono blended Japanese aesthetic features, with smaller sleeves changed from underwear to outfit, sleeves shortened and longer, waist belts widened, lines more concise and straight, and they were separated from Chinese clothing.

Its conservative face is like that, but its sexy face is reflected in the wide collar shape, and the slightly loose folding design reveals the beautiful neck curve perfectly.

Kimono is conservative and sexy. It is a combination of elegance and elegance. It fully embodies the Japanese unique aesthetic culture of mediocre and ambiguous.

It can be said that kimono itself is the product of contradiction and neutralization.

The simple spirit of Zen in Japan has a great influence on the simple and weak aesthetic culture of the Japanese. No matter it is painting, literature, music or even the odd number preference, it contains this profound spiritual thing.

Japanese traditional costumes are characterized by soft and simple features. They rarely pursue complex structures and colorful colors, kimono styles, and from the collar to the hem part are basically straight lines, covering the curves of the body strictly, and the lines are very simple.

Color is elegant, white, gold and silver.

The design focuses on the simplicity of the lines and the indifference of colors. It is rigorous and orderly, full of decorative beauty, and is composed of gentle and beautiful taste, which is rich in tranquil charm.

"Frank and frank" and Chinese traditional costume Aesthetics

Taking a look at the vicissitudes of Chinese clothing art in five thousand years, the Song Dynasty can basically be divided into two periods.

Before the Song Dynasty, the politics, economy, culture and art reached the peak in the Wei, Jin, southern and Northern Dynasties and Sui and Tang Dynasties, forming a period of open and prosperous history.

Clothing is influenced by religion, culture and economy, showing a magnificent and fresh look.

During this period, Taoism, as the only local religion in China, together with Confucianism, occupies a very high position in social ideology.

Taoism advocates that man should be "frank and frank" and that he does not need to use external principles and beliefs to restrain himself.

Respect individuality and uphold nature.

Taoism also attaches great importance to the human body, and there is not much constraint on dressing. It really realizes the philosophy of "harmony between man and nature" advocated by both Taoists and Confucianism.

Clothing reflects the aesthetic harmony between human beings and objects and the externalization of natural forms.

In the Wei and Jin Dynasties, the aesthetic style of clothing pursued the elegance and elegance of "the immortals and bones".

Under the influence of this trend of thought, literati and ink men advocated nothingness, emphasizing the spirit and leaving the skeleton. In clothing, they tended to be courtesy, regardless of form, like loose clothes, often breast and clothing.

It can be said that in the Wei and Jin Dynasties, "clothing and clothing" is a kind of concern conveyed through clothing, and the release of the inner spirit of the body through the release of the body is a personality standard.

Clothing reflects the aesthetic harmony between human beings and objects and the externalization of natural forms.

This release of human nature is most vividly expressed through clothing. This was especially evident in the heyday of the ancient Chinese economy.

The clothing of the Sui and Tang Dynasties is known for its release to the United States and its brave pursuit of beauty.

During this period, the costumes were confident, open, elegant and competitive.

Tang Ru skirt has high waist and chest, and style is glued to the buttocks, the hem is pleat and elegant, and silk is draped in silk with the wind.

In the works of Wu Daozi, the figures and drifting of the figures are drifting, and the lines are vigorous. They have the effect of flying the sky and full of walls, and are known as "Wu takes advantage of the wind".

This open style of costume has been very popular for a while, and the poem is the best portrayal.

The dress is light and always keeps a subtle distance from the body. The body curves are hidden in motion, and the human body is outlined in an implicit way.

It can be said that such a costume is in a certain social moral scale, and fully shows the beauty of human body and human nature.

The influence of geographical environment: "small and quiet" and "macro and large"

The different geographical environment of China and Japan also has a profound influence on the aesthetic culture of different nationalities.

Many rivers and rivers in China are represented by the majestic Yangtze River the Yellow River, and the Chinese people are very fond of mountains and enjoy great mountains.

Japan's natural scenery is small and beautiful, mostly shallow and clear xiaogawa River and trickle streams, flowers and trees are also exquisite and thin, and the mountains are also small and secluded.

"Small and secluded" -- sensitive and delicate beauty of pathos.

As an island country, Japan does not have many choices in the basic environment of existence, and its nationality and language are relatively single. This shortage of resources makes people have strong sense of survival and crisis. Therefore, the Japanese attach importance to the natural environment and have the fear and compassion for nature.

"The ultimate beauty is sorrow". It is the sad voice of the Japanese Aestheticism master, who has stood in the Buddhist perspective of metaphysics and impermanence of life and death after decades of being a man.

The Japanese have extreme love for the natural belief of pathos, suffering, fragmentary and death. This sorrowful aesthetic trend becomes the pillar of Japanese art beauty structure and becomes the main body of Japanese aesthetic culture.

This kind of deep spiritual aesthetic consciousness has also penetrated into the clothing level. Japanese costumes are not only exquisite and exquisite, such as landscapes, flowers and birds, but also have a preference for cold colors. Especially in the design of patterns, Sakura blossoms are often used as themes to celebrate the beauty of life.

This unique aesthetic taste of "sorrow of sorrow" has been fully reflected in the creation of contemporary Japanese fashion designers such as Lssey Miyake. Although most of its works are dynamic beauty, it is more passive and full of mysterious atmosphere.

"Macro and big" -- elegant and graceful bearing

The vast territory and strong national power have given the ancient Chinese traditional aesthetic culture the bearing and breadth of mind.

During the Wei, Jin, southern and Northern Dynasties, clothing inherited the customs of the Qin and Han Dynasties and absorbed the characteristics of the costumes of ethnic minorities. The styles were mostly frugal and abundant, with a tight fitting body part, a cuff hypertrophy, and a loose hem, so as to achieve a handsome and handsome effect.

The "Leniency" of clothing in the Tang Dynasty not only released the human body, but also released human nature. More importantly, it showed a graceful and elegant atmosphere.

In terms of color, Chinese traditional costumes are characterized by "distinct" features, single color and prominent colors, bright colors and bold atmosphere.

The colors are joyful and auspicious. They prefer warm colors such as red, yellow and gold. They are positive, healthy and optimistic.

The flower and bird patterns in clothing are full, vigorous, green, and deep.

This vision is hard to find in traditional Japanese costumes.

In contrast, this optimistic attitude towards life and the pursuit of vigorous vitality are quite different from the traditional aesthetic culture of "Japanese sorrow".

Chinese and Japanese clothing, homologous heterogeneity

There are obvious differences between Chinese and Japanese ethnic costumes in many aspects.

Although they inherit the eastern two-dimensional cutting method, but under the influence of different cultural mindset, religious concept and geographical environment, the different aesthetic tastes are accumulated in the costumes and become different aesthetic culture of clothing.

The success of Lssey Miyake came from his interpretation and inheritance of Japanese national costume.

Jump out of imitation of specific clothing elements, and inherit the spirit of aesthetic culture: simple, subtle, ambiguous, sensitive and delicate beauty of pathos.

In his design, the colors and patterns are simplified, and the design points are mainly focused on the material itself and the interpretation of the material for space.

The design of the structure is often away from the human body curve. As a main body of clothing, people are passively accepted. The posture is completely concealed in the garment modeling.

Rather than using clothing to highlight the beauty of human nature, it is better to use clothing to change the human body curve, so that the wearer gets a hidden sense of security.

This kind of guarantee from "hidden" is revealed in their brand positioning.

Its clothing is not demanding for age, stature, occupation, dressing occasions and so on. Purchasers can get a safe promise from clothing: this safety comes from concealing the body shape, improving the temperament, crossing the age, subversion of fashion, adaptation to occasions, and so on.

At the same time, the designer's preference for obscurity such as black and grey makes the extremely hidden mysterious and strange breath perfectly combined with the Oriental style of interpretation of the clothing space, forming a modern Japanese fashion art with unique Japanese style.

Therefore, although their design is based on the eastern way of cutting, but it is only a means to convey the design concept of "medium", and its true design concept is standing in the height of the times, the Japanese traditional clothing aesthetic culture of the new interpretation.

Even in today's era of global integration, international cultural exchanges and increasingly close ties between countries, some countries still maintain and develop their own national culture. We can see from the clothing culture.

Japanese traditional costume has been reborn, and has been re interpreted in the hands of Japanese fashion designers to ascend the world fashion stage.

When it comes to Chinese folk clothes, it is inevitable that people will feel melancholy.

Although it is a long time, the reputation of the "Kingdom of clothes" can only be relied on in museums.

The past is like smoke. Where can we find the elegance and freedom of "Six Rivers in the river"? It is clear that the essence of "making the past serve the present" is not imitation. It pcends the traditional local patterns and symbols in one trick, and interprets the traditional aesthetic culture behind the costume, which will open up a broader world for inheritance.