Promotional book graphic design by Lina Duong

JAPANE5E DESIGNERS

â&#x20AC;&#x153; Creation takes thing forward. Without anything new there is no progress. Creation equals new.â&#x20AC;? Rei Kawakubo

JAPANE5E DESIGNERS

Edited by Linh Duong

Yohji Yamamoto runway 6

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Junya Watanabe

CONTENTS

Introduction 11 Issey Miyake

Kenzo Takada

Yohji Yamamoto

Rei Kawakubo

Junya Watanabe

Bibliography 77

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Comme des GarĂ§ons by Rei Kawakubo

5 NOTABLE JAPANESE DESIGNERS

Over the past 40 years, Japanese designers have led the way in aligning fashion with art and ideology, as well as addressing identity and social politics through dress. They have demonstrated that both creative and commercial enterprise is possible in todayâ&#x20AC;&#x2122;s international fashion industry, and have refused to compromise their ideals, remaining autonomous and independent in their design, business affairs and distribution methods. The inspirational Miyake, Kenzo, Yamamoto, Kawakubo and Watanabe have gained worldwide respect and admiration and have influenced a generation of designers and artists alike.

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Issey Miyake

Issey Miyake ‘Pleats Please’ exhibition at The National Art Centre, Tokyo, 2016

“ From beginning I thought about working the body in movement, the space between the body and clothes. I wanted clothes to move when people moved. The clothes are also for people to dance and laugh.”

Miyake’s unwavering approach to creation is the freedom to have ideas, unconstrained by any preexisting rules or framework, and to be able to make them realities through a tenacious process of research and experimentation. Miyake works in a manner that not only advances his own ideas but also cultivates skills in the people around him, constantly pushing both the tradition and the evolution of design. Miyake’s first encounter with design was in his hometown of Hiroshima in which were two bridges: to live and to die, situated near the epicenter where the Atomic Bomb hit. (Built in 1952, and later renamed: to Create and to Go.) Walking over the bridges, watching them, was his first encounter with a design’s ability to inspire powerful emotional responses; and hope. When the World Design Conference was first held in Japan in 1960, Miyake, who was a student at

Issey Miyake

Pre-Fall Collection 2016

the then Faculty of Graphic Design at Tama Art University, sent a letter to the head office, questioning why clothing design was not included in the program. His focus on clothing as design instead of fashion gained attention. Shortly thereafter, he began designing his own clothing. Art director Jo Murakoshi approached him to create clothing for the Toyo Rayon (now Toray Industries, Inc.) calendar, 1963 edition. Miyake presented his first collection, Nuno to ishi no uta (Poems of cloth and stone) after graduating from Tama Art University in 1963. In 1965, Miyake traveled to Paris. After studying haute couture, he worked as an assistant at two fashion houses. He witnessed the May 1968 Paris riots, an event that inspired a determination to create clothing for a wider range of people. The following year, 1969, he moved to New

Issey Miyake

Issey Miyake Origami fashion

York. While working in an American ready-to-wear, he was inspired by the future potential of Japan, which was gaining momentum due to the impending Osaka Expo ’70. Then he returned to Japan. Miyake also participated in 1970 TORAY KNIT EXHIBITION, presenting a group of clothing made up of parts that could be assembled and disassembled. In the same year he established the Miyake Design Studio. From the outset, Miyake’s creative process has been based upon the concept of “one piece of cloth.” His process explores the fundamental relationship between the body, the cloth that covers it, and the space and room that is created between these elements, divesting itself of the labels of “East” or “West”. Miyake’s creative process begins by studying a single thread and creating his material. In the 1970s, Miyake joined with a number of collaborators, the result of which was the development of many

Issey Miyake

Universal Fashion: Celebrating 45 years of Issey Miyake at The National Art Center, Tokyo, 2016

Issey Miyake

Homme Plisse, Spring collection

new fabrics and ways by which to make things that incorporated traditional handcrafts wedded to the newest technology. While making innovative improvements to the cutting-edge synthetic technologies of the time and incorporating them into his pieces, Miyake also visited historic production regions and excavated traditional techniques, such as dyeing and weaving, that were on the verge of extinction. He forged ahead with his work, bringing traditional methods back to life to respond to the demands of the times. Miyake established a working method of collaborating with manufacturers and artists, trying to adapt new products to the needs of a contemporary lifestyle. These collaborations and research attempts led to the development of his trademark concept, â&#x20AC;&#x153; one piece of cloth.â&#x20AC;?

Issey Miyake

Kenzo Takada

Kenzo print

Kenzo Takada was born in Kyoto, Japan. His father ran a teahouse and the designer grew up around geishas in a traditional, small village. His interest in fashion started at a young age reading through his sister’s fashion magazines. He first attended the University of Kobe to study literature, but was underwhelmed with the major. Against his parents’ wishes, he enrolled at the Bunka Fashion College as one of the first male students to be accepted. In 1960, he won the prominent Soen prize and started work for the department store Sanai creating up to 40 styles every month. Working at Sanai introduced Kenzo the concept of fast fashion and the constant renewal of trends and styles in the fashion industry. In 1964, Kenzo moved to Paris and studied at l’Ecole de la Chamber Syndicale de la Couture. He was the first Japanese designer to showcase his work there. That move changed the future of Japanese designers

Kenzo Takada

forever with compatriots Issey Miyake and Kansai Yamamoto following soon after. When he first arrived in Paris, he spoke no French, had little money or work, so he spent his time wandering the avenues observing and studying shop windows and watching people. Over the next few years, the designer worked for the Pisanti textile group and Relations Textiles. In 1970, Kenzo opened his first boutique “Jungle Jap” in an old antique clothing store he renovated himself. He held his first show at the boutique, but later moved the shop to 18 Passage Choiseul where his clothes started to attract more attention from the fashion industry. A year later, his smock tent dresses, oversized dungarees, enlarged armholes, innovative shoulder shapes, and his unique store were featured in Vogue US. With that newfound recognition, he was able to launch his first menswear line, his first women’s perfume, men’s fragrance, and skincare line. In 1999, Kenzo retired and leaves his assistants in

Kenzo Takada

Kenzo X H&M collection

charge of his fashion house. Italian designer Antonio Marras took over as creative director in 2008. The new Kenzo brand started Gokan Kobo, a brand of tableware, furniture, and other home furnishings. Marras left Kenzo in 2011 and the brand was taken over by prodigies of Opening Ceremony Humberto Leon and Carol Lim. Leon hopes to keep the history of Kenzo alive but have â&#x20AC;&#x153;injected the brand with a youthful spirit and a sense of fun and cheekiness. But we also want to respect and preserve the traditions of the Kenzo house, such as the importance of prints and the sense of worldliness and travel that has been intrinsic to every collection in the history of Kenzoâ&#x20AC;?. Kenzo was a renowned socialite that embodied the youth culture of the early 1970s. His time spent people watching in Paris gave him the ability to know what the youth wanted. He had witnessed the events

Kenzo Takada

of 1968 and the Paris Riots. This was the transition from the hedonistic 60s to the more idealistic 70s where youth culture was dominated by experimenting to find enlightenment and discovering new cultures to gain a global perspective. Kenzo’s eclectic intuition, rich appreciation of print and pattern, innate connection to historicism and understanding of dramatic volumes and layers articulated the natural beauty of the Seventies. His fashion shows attracted hysterical crowds of rock star proportions. His designs were not as well received in America as they were across the globe. The American press found his designs to be too “kicky” with his models bouncing and twirling down the catwalks. He is often given credit for putting the flower in “flower power” with his opulent textiles.

Kenzo collection

Kenzo took influence from Andres Courreges’ revolutionary new outfits that inspired a series of

Kenzo Takada

Kenzo Collection Kenzo ‘Jungle Book’

30 designs. Courreges was able to speak to the playful youth of the 60s and Kenzo was able to do the same for the altruistic, yet still spirited generation of the 70s. Like Elsa Schiaparelli, Kenzo had ingenious knits and never stopped exploring the realms of design. His love of travel and use of ethnic influences are reminiscent of Paul Poiret’s efforts in blending different cultures into one well thought-out design. Antonio Marras for Kenzo was influenced by Marc Jacobs’ relationship with the savvy, downtown girl integrating the cool edgy downtown vibe with the wearability for the uptown girl. In 1986, Kenzo dubbed his collection “Around the World in Eighty Days”. The collection included influences from travel and the merging of different cultures into an integrated style. His observation skills mastered in Paris gave Kenzo a delightful perspective on design and rendering ethnic clothing into high fashion. He had an ability to synergize styles from across the globe

Kenzo Takada

“Fashion is like eating. You should’t stick with the same menu.”

Kenzo Takada

Kenzo Collections

in a cohesive, aesthetically pleasing manner. He was never fixed on one look, but viewed fashion as a continuous, creative endeavor. He was also fascinated by the paintings of Wassily Kandinsky and David Hockney for his exuberant textiles and prints. He took their use of patterns, unorthodox color combinations and translated them onto garments. Kenzo Takada gave the fashion industry a global perspective in an era where the youth were seeking it out. His fresh ideas and spirited combinations of textures and patterns are still imitated by designers across the globe. Although his success waned in America during the 1980s, many of his innovations such as using photographic mannequins instead of regular runway models during shows are still prolific today. His outrageous fashion shows played rock music and unique store designs captured his audience in a way that had not been seen before. Kenzoâ&#x20AC;&#x2122;s lasting influence is his connection with his generation and showing them the entire world.

Kenzo Takada

Kenzo campaign

He was often eclipsed by Japanese designers who arrived in Paris later such as Miyake, Yamamoto, and Kawakubo for their more conceptual and unconventional designs, but they were merely following the path that Kenzo forged himself. Issey Miyake was influenced by journey Kenzo made to Paris. The two went to l’Ecole de la Chamber Syndicale de la Couture and although their design philosophy differs and almost contrasts completely, Miyake would not have been the success he was in Paris without Kenzo leading the way. Belgian designer Dries Van Noten was influenced by Kenzo’s fun and fanciful prints and colors of the 1970s and has adopted the same aesthetic mix of travel and cultural influences.

looks inspired by traditional dress. He was able to introduce Asian inspired looks to the fashion scene marking the growing influence of Japan on European and American designs. At the same time he was able to fuse different elements of dress from different cultures such as Mexican to North African into an assimilated, distinct look that represent the international peace the world was trying to achieve. During the mid-seventies, Kenzo was credited with introducing the unconstructed “Big Look” that consisted of voluminous garments, circular skirts, baggy tops, Peruvian knits, tent dresses and smocks, and “elephant” leg dungarees with thick-soled sandals.

The designer created many of the signature silhouettes of the 1970s such as tunics, Mao collars, layered looks, big, square-cut jumpers, loose waistcoats, kimono-style sleeves, baggy trousers, taffeta dresses, and peasant

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Yohji Yamamoto

Yohji Yamamoto by David Sims for Love Magazine Yohji Yamamoto

Yohji Yamamoto was born in Yokohama, Japan in 1943. He studied law before turning to fashion, and cut his teeth making clothing for his dressmaker mother and her friends. He launched his own company in 1974 and showed his first collection in Tokyo. In 1981 he debuted in Paris, where he has studied on a fashion scholarship in the late 60s. The only Japanese fashion designer to have been awarded the French Chevalier de Lâ&#x20AC;&#x2122;Ordre des Art et Lettres, Yamamoto is also the recipient of the American Fashion Award. He currently lives in Japan with long-time partner Rei Kawakubo, and relaxes by playing harmonica with a band called Suicide City. He expresses his philosophy and avant-garde spirit in his clothing, frequently creating designs far removed from current trends. Basically, he makes a line characterized by oversized silhouettes; it typically features drapes (loose gathers and tatters) in glossy textures

Yohji Yamamoto

Androgyny, Yohji Yamamoto for V Magazine

Yohji Yamamoto

that naturally change with the figure’s contours and movement. Often, a single color (particularly black) and a single shade are used. One could say that Youji Yamamoto tries to express himself through his clothing; customers who sympathize with those thoughts and spirit are charmed and become ardent fans. The charismatic designer’s brand, which received high praise both domestically and abroad during the 1980s, side by side with the likes of Rei Kawakubo’s Comme des Garcons and Issey Miyake’s Issei Miyake, formed the ‘DC brand boom’. (DC is short for Designers & Characters. It is now called Designers’ Brands.) He currently serves as Takeshi Kitano’s costume designer for the likes of Brother, Dolls and Zatoichi. He also has been credited as Placebo’s provider with the Adidas line, noticeably during the Soulmates Never Die (Live in Paris 2003) Tour shows.

Yohji Yamamoto

Yohji Yamamoto beauty

Yohji Yamamoto is the so-called collection line (and, indeed, the other lines form a part of it); it could be said to be the purest form of the designer’s expression. Y’s for living is a household goods brand, but it does not have any direct connection to either Yohji Yamamoto or the Yohji Yamamoto joint stock corporation. Yohji Yamamoto: Talking to Myself: “French electronic musician Jean-Michel Jarre once defined Yohji Yamamoto’s style like this: “For me, a woman in Yohji is like a nymphomaniac nun. His clothes are at once sensual and very ritualistic.” This about a man whose reputation marks him as a designer of clothes for earnest intellectuals. This about a man whose 1998 “wedding” show featured a bridal striptease which took models from inflated Victorian crinolines down to slim-line

Yohji Yamamoto

Yohji Yamamoto for Vogue

â&#x20AC;&#x2DC;I think perfection is ugly. Somewhere in the things humans make, I want to see scas, failure, disorder, distortion.â&#x20AC;&#x2122;

Yohji Yamamoto

Yohji Yamamoto by David Sims for Love magazine

dresses and pants. This about a man who is one of the most revered and idiosyncratic of 20th century designers. In Talking to Myself, Yamamoto has created an illustrated notebook that recounts the phases of his life. A work in progress punctuated with multiple images, Talking to Myself is the only book in which Yamamoto has become personally involved, making it a veritable extension of his own private world. In it, he “talks to himself ” and with philosopher and art/ fashion critic Kiyokazu Washida about himself and the objects he creates, objects that meld, blend with, and are assimilated by the person they seek to enhance. Pages marked by Yamamoto’s pen and brush with Japanese ideograms, striking sketches, and abstract compositions help decipher his desire to achieve anti-fashion through fashion itself. Yamamoto’s world is one of black and white symbols, a world in which color makes only a fleeting appearance.

Yohji Yamamoto

Rei Kawakubo

Rei Kawakubo, Interpreter of dreams

Rei Kawakubo[1] has become one of the most influential designers of the past three decades, with almost every major fashion designer citing her as an inspiration (Figure 3.1). According to fashion journalist Claudia Croft (2008: n. pag.), Marc Jacobs of Louis Vuitton argues that ‘everyone is influenced by Comme des Garçons’. Croft asserts that Kawakubo ‘stands very much apart. She is truly a designer’s designer’, and cites a comment by Cathy Horyn of The New York Times that she ‘works more in the spirit of an artist than any other designer working today’ (ibid.). Designers including Alexander McQueen, John Galliano, Helmut Lang, Martin Margiela, Ann Demeulemeester, Jil Sander, Miucca Prada and Donna Karan have all acknowledged her influence. Rei Kawakubo established her label in 1969 and formally established her Comme des Garçons company in Minami-Aoyama, Tokyo in 1973. She entered the world of international Parisian fashion in 1980 when

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she opened her boutique in Paris and showed her first collection, alongside Yohji Yamamoto, in 1981. Both designers were products of post-war Japan and grew up in a country that was responding to the economic woes of the 1930s and 40s, a time when Japan suffered the effects of economic depression. During their early childhood, Japan was one of the poorest countries in Asia and these decades were commonly referred to as kuraitani— the Valley of Darkness. The Japanese were tenuously picking up their social and cultural pieces, as well as attempting to reconstruct their homes and cities after the catastrophes of war.

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Rei Kawakubo for Comme des Garçons; Rei Kawakubo for Comme des Garçons, 18th-Century Punk, Photo by Paolo Rove

Cutting-edge Design At the infamous 1981 Paris catwalk show, ‘Kawakubo showed trousers with sweater cuffs around the ankles, tunics that transformed into shawls, oversized overcoats and shapeless boiled knitwear constructed with holes’. The Japanese ‘black’ fashions were characterized by torn, ripped and ragged fabric and uneven and unstitched hemlines—but this sense of random disorder was very carefully calculated to give the impression of spontaneity. Large, loose-fitting garments such as jackets or coats of oversized proportions were constructed in an atypical manner with a minimum of buttons or details. Street dresses had long sleeves and straight, simple lines and sometimes were tied together with knots of fabric. Significantly, due to their unprecedented influence, a new form of anti-fashion emerged as the dominant aesthetic in the early 1980s:

Rei Kawakubo

Rei Kawakubo, Interpreter of dreams

“I am looking for things that don’t exist. It is like working on a Zen koan [riddle].”

Rei Kawakubo

Rei of light, i-D

“Comme des Garcons is a gift to oneself, not something to appeal or to attract the opposite sex.”

In March 1983, Kawakubo presents a collection which included coat dresses, cut big and square with no recognizable line, form or silhouette. Many had misplaced lapels, buttons and sleeves, and mismatched fabrics. More calculated disarray was created by knotting, tearing and slashing fabrics, which were crinkled, creased and woven in unusual textures. Footwear consisted of paddy slippers or square-toed rubber shoes. Kawakubo’s history of challenging traditional fashion tropes and questioning the status quo in terms of styling, construction, manufacture, presentation, marketing and distribution will be traced in this chapter by discussing major concepts that underpin her thinking and her design philosophy. They will include her cutting-edge notions of gender neutrality and the male/female discourse; deconstruction and reconstruction; the recontextualization of style, material and ideas; her strategies for success; her drive for ‘newness for newness’s’ sake, which incorporates architectural spaces; and the rise of her perfume empire.

Rei Kawakubo

Rei Kawakubo, Comme des Garรงons: Art of the In-Between at Metropolitan Museum

JUNYA WATANABE

Junya Watanabe

Erik Madigan for Junya Watanabe,

Watanabe was born in Fukushima in 1961, he is divorced, he studied at Bunka Fashion College in Tokyo before joining Rei Kawakubo’s Comme des GarÁons in 1984 as a pattern cutter. His own line was formed in 1992 under the umbrella of Comme des GarÁons. His debut show was held at the concourse of Tokyo’s Ryogoku Station the same year, and in 1993 he presented his first women’s wear show in Paris. When asked about what influenced him to become a designer, Watanabe says, ‘’There’s nothing in particular that made me want to start fashion and create clothes. But if I were to mention something, it would be the fact that my mother used to have a little made-to-order shop. That may have been an influence.’’ Despite his insistence on privacy, his name is on the label, and it’s his singular imagination that has made that label so remarkably influential in global fashion. Watanabe has created garments that have

Junya Watanabe

shifted the way people think about clothing, not just fashion. His work is about experimentation, endlessly reworking garments into fresh constructions. In an industry where referencing -- of other cultures, of other historical styles -- runs rife, Watanabe’s pieces have the rare, almost unique attribute of seeming like stuff we’ve never seen before. It’s all the more striking because Watanabe works with what he calls ‘’dumb’’ clothes: trench coats, biker jackets, the white shirt. The ordinary becomes extraordinary. There was the 1999 Watanabe show where fabrics reversed to become waterproof, as demonstrated by an isolated rain shower mid¬runway; a 2001 show that elevated denim to couture level and prompted a barrage of high¬-fashion homages (read: copies); a 2006 collection whose endless reiterations of the trench gave new dimensions to a garment considered staid and classic. A memorable sequence of women’s

Junya Watanabe

Erik Madigan for Junya Watanabe

wear collections, from a half-decade ago, explored elements of nearly any basic wardrobe: army fatigues; puffer coats; sailor stripes. They were remarkable for gleaning such richness and breadth from simple staples. Today, they have become flash points for other designers. It’s difficult to imagine a designer sitting down to create one of those garments without looking at what Watanabe did first. ‘’Intellectual’’ is an adjective often used to describe Watanabe’s clothes, usually by journalists. What they mean is that his clothes are complex, complicated to make, sometimes complicated to wear, intriguing and experimental. He often uses one fabric for a collection, his approach almost scientific in the dissection and cataloging of the material’s various forms. His fall collection explored geometric structures rendered in polyurethane bonded with nylon tricot, a material more commonly used for industrial purposes, like car interiors. The folded, pinched and corrugated fabric spiraled around the models’ bodies, abstracting

Junya Watanabe

Erik Madigan for Junya Watanabe

them, an exercise in shape and construction that just happened to become clothing. Some of it was mad, in the sense of the highly abstract: A dull red geodesic cape peppered with holes like GruyËre cheese could only be dubbed a ‘’garment’’ because it was fabric that, in that moment, sat on a body. It bore no fastenings, no extraneous details like sleeves or a collar. The mathematical precision of its structure held the same fascination as a complex equation chalked on a board: the observation of another’s processes, all that sculpted, folded fabric, that pains-taking technique. Oddly enough, Watanabe counts Pierre Cardin as an early influence, but there’s a similarity in their uncompromising shapes and obsession with geometric forms. There’s something of Issey Miyake, too: Leafing through a magazine and coming across his work made Watanabe follow fashion in the first place. ‘’I was drawn to the fact that designers before Miyake, like Dior and big names, would create clothes that were formfitting,’’ he says. ‘’Issey totally changed the idea, completely different, and that impact was profound on me. Of making me

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Junya Watanabe

Junya Watanabe by Richard Burbridge for 10 Magazine

want to create something, the idea of clothing much different from previous designers.’’ Another epithet frequently used when referring to Watanabe’s designs is ‘’Japanese.’’ ‘’Oftentimes, interviewers or peo-ple in the fashion world like to refer to garments I make as Japanese or having a Japanese style or taste,’’ Watanabe says. ‘’I want to ask you, why is that? To categorize, or do they really, truly feel a connection?’’ Watanabe likes to ask ques-tions more than answer them. Curiosity is part of what makes him a great designer. The idea of ‘’Japanese’’ alludes, per-haps, to ‘’otherness,’’ to an enduring occidental fascination with the obliqueness of the Far East, of words that look like pictures and ancient ceremonies with complex rules. There is an otherness to Watanabe’s clothes, a removal from the norm. The designer he’s most frequently compared to is Rei Kawakubo. It’s understandable, if not necessarily correct. His company is owned by Comme des GarÁons

Junya Watanabe

Junya Watanabe by Richard Burbridge for 10 Magazine

Co. Ltd. He worked alongside her for eight years. But while Comme des GarÁons’ runway collections frequently approach clothing as a contextual conceit -- Kawakubo’s latest pieces don’t re-semble garments so much as site-specific soft sculpture -- Watanabe’s collections are more pragmatic. Kawakubo has focused on pulling fashion apart, literally. Her first Paris collection in 1981 challenged and inverted fashion’s estab-lished norms, centering on holey sweaters and knits scarred with enormous, random perforations that she anarchically described as ‘’lace.’’ Watanabe is also anarchic and challenging, but he works within fashion’s rule book. Kawakubo is the mistress of the four-sleeved jacket. Watanabe’s have two, and they both work. ‘’My idea of something being beautiful or aesthetically pleasing is completely different from what Rei Kawakubo’s vision of beauty is,’’ Watanabe allows. ‘’To this day, seeing Rei Kawakubo’s work, I feel the same. I understand certain points and I can relate to

Junya Watanabe

Junya Watanabe design

certain areas ... That doesn’t mean that I completely agree. As a person-to-person relationship, I feel that I have a different idea, and I’ll always have a different vision of what is beautiful. Another reason, perhaps, I didn’t end up working right alongside Kawakubo is perhaps she felt that I had a different vision of my own. Maybe that’s why we parted, in terms of creating something that was different.’’ Ultimately, Watanabe wants to create something different. He doesn’t reference ‘’fashion,’’ or sometimes even clothing. Recent collections have moved away from specific garments, into abstraction around the body. ‘’I don’t know how oth-ers see ‘fashion,’ ‘’ Watanabe says. (The quotations are his.) ‘’But to me fashion is creating something, creating some-thing new through clothes. That’s what really drew me, in the beginning.’’ I ask him if he’s achieved his goal. ‘’To this day, I feel that I haven’t quite been able to portray the new. That’s something constant that I’m trying to work towards.’’

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And yet, oddly, his clothes often chime with the mood of the times, a collective unconscious. Watanabe’s ‘90s ‘’techno couture’’ reflected a general thrust toward space-age futurism incited by the millennium; his fall 2015 collection, a sym-phony of accordion pleats, was the most extreme and accomplished example of the technique in a season awash with fabric folding. That Watanabe, an intentional outsider, can pinpoint exactly the axis around which the rest of the insular fashion world is turning gives his collections a prophetic quality. The word monozukuri, incidentally, is a relatively new invention, barely 20 years old. Professor Takahiro Fujimoto, of the Manufacturing Management Research Center at the University of Tokyo, categorizes monozukuri as the ‘’art, science and craft of making things.’’ Junya Watanabe’s craft is both a science and an art. It’s what makes his clothing great.

BIBLIOGRAPHY

English, Bonnie. Japanese Fashion Designers: The Work and Influence of Issey Miyake, Yohji Yamamoto and Rei Kawakubo. London: Berg, 2011. Bloomsbury Fashion Central. Web. 29 Jul. 2017. <http://0-dx.doi.org. library.scad.edu/10.2752/9781472572417> Palomo-Lovinski, Nöel. “Defining Women for a New Generation.” The World’s Most Influential Fashion Designers: Hidden Connections and Lasting Legacies of Fashion’s Iconic Creators. New York, NY: Barron’s, 2010. Print. Martin, Richard, and Lisa Groshong. “Kenzo.” Contemporary Fashion. Ed. Taryn Benbow-Pfalzgraf. 2nd ed. Detroit: St. James Press, 2002. 369-371. Gale Virtual Reference Library. Web. 30 Aug. 2014. Alford, Holly Price, and Anne Stegemeyer. Who’s Who In Fashion. Fifth ed. United States: Fairchild, 2010. Print. Kenzo Taps Humberto Leon and Carol Lim as New Creative Directors. Fashion School Daily School of Fashion Blog RSS. Academy of Art University, 13 July 2011. Web. 30 Aug. 2014. <http://www.fashionschooldaily.com/ index.php/2011/07/13/kenzo-taps-humberto-leon-and-carol-lim-as-new-creative-directors/>. Kenzo Official Website : Collections, News, Blog and Online Store | Kenzo.com.” Kenzo Official Website. Kenzo, n.d. Web. 06 Sept. 2014. <https://www.kenzo.com/en/>. Polan, Brenda, and Roger Tredre. The Great Fashion Designers. Oxford: Berg, 2009. Print. Kenzo Takada. Vogue UK. Vogue, n.d. Web. 30 Aug. 2014. <http://www.vogue.co.uk/spy/biographies/kenzo-takada>.

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