(27 Sep 2024)
ASSOCIATED PRESS
Paris – 27 September 2024
1. Various of show
2. Various finale
3. Wide of Satoshi Kondo doing a run on stage
4. Wide of Satoshi Kondo listening to reporter backstage
5. SOUNDBITE (Japanese) Satoshi Kondo, creative director:
"The collection is about conveying the beauty or the poetry of paper as a material. The starting point of the collection comes from my stay at a hotel called Log in Hiroshima Prefecture and the time I spent there in a room really inspired the whole collection. "
6. Medium of Satoshi Kondo listening to reporter backstage
7. SOUNDBITE (Japanese) Satoshi Kondo, creative director:
"Using this as an example, I think this is an act or an intention to repurpose something that would originally be recycled. But we are giving it another purpose, of course, as a piece of furniture. And that does not just apply to making stools. I hope to apply that idea to making clothes."
8. Medium of Satoshi Kondo listening to reporter backstage
STORYLINE:
Issey Miyake’s latest collection unfolded like a poetic exploration into the art of simplicity and craft. Much like the house’s previous offerings, this collection combined innovative techniques with tradition — a hallmark that has continued under the vision of Satoshi Kondo and the design atelier.
This time, the team explored paper as a medium and inspiration, delving into its textures, lightness, and nostalgic feel. If previous shows dabbled in geometry and fluidity, Friday’s collection was about the fragility and strength of paper through airy, pleated garments and origami-inspired folds.
The collection began with kamiko pieces — garments made of traditional washi paper — that paid homage to Japan’s centuries-old crafts. This nod to the past didn’t come at the expense of wearability.
The Fold-to-Form pieces were nothing short of architectural brilliance, with angular, origami-inspired folds. It felt like a natural extension of the Miyake legacy: one part innovation, one part reflection on the past.
The house’s fixation on textiles sometimes tipped into over-conceptualization. The EAU series, with its water-like transparency and fluidity, had all the ethereal beauty one could expect, but the weight of its metaphor — garments flowing like water — felt familiar.
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