through the photographer’s lens, the texture, shapes and forms went beyond clothing and instead transformed into art. By wearing the artworks upon their bodies, the wearers interacted with fashion and art simultaneously. without penn-san’s guidance, I probably could not have continued to find new themes with which to challenge myself, nor could I have arrived at new solutions. As part of the Met's Open Access policy, you can freely copy, modify and distribute this image, even for commercial purposes. Published to coincide with Miyake's A ÛN show at the Musée des Arts Décoratifs, Paris, October 5 to December 31, 1988.

To keep an unbiased view, Penn never attended an Issey Miyake fashion show, while Miyake was never present at the photo sittings by Penn.Inscribed by Issey Miyake in black marker pen on the half title to the celebrated graphic designer Milton Glaser, creator of the "I heart NY" logo.

He also developed a friendship with Apple's Steve Jobs and produced the black turtlenecks which would become a part of Jobs' signature attire. from over 250 images, kitamura chose 148 to be included in an 18 minute 39 second showing edited by pascal roulin.Through the photographer's lens, the texture, shapes, and forms went beyond cloth and instead transformed into art. From a young age, Miyake respected artist Isamu Noguchi, whose newness and sense of fun in his designs inspired Miyake. In 1986 Penn started to shoot Miyake’s seasonal collections in New York, resulting in advertising campaigns, exhibitions, and publications. He was enrolled in English classes at Columbia University and worked on Seventh Avenue for designer Geoffrey Beene.

The models all were draped in garments of bright colors and intricate patterns and pose in an almost theatrical manner. Hardback in publisher's original dust jacket, text in English, unpaginated, copiously illustrated in colour throughout. the artists first met in 1983 while penn was doing an editorial shoot for american vogue featuring miyake’s clothing.

Hardcover without dustjacket as issued, 24 pages; very good condition except moderate rubbing wear to covers; pages slightly yellowed at edges; no internal marks. And this clarity arises, according to Holborn, in how “the work of one provides a mirror for the work of the other. Y. 1988 [in a box]”; stamped and inscribed verso: “PHOTOGRAPH BY IRVING PENN / Copyright © 1988 by Irving Penn / Not to be reproduced without / written permission of / photographer. kitamura is currently the president of miyake design studio as well as the creative director of the exhibit. The garments are cut and sewn first, then sandwiched between layers of paper and fed into a heat press, where they are pleated.

Miyake's astonishing forms and textures offered Penn subjects that echo both a primitive tribal beauty and the most futuristic fashion. This led to the development of the Pleats, Please range and inspired him to use dancers to display his work. It’s an outfit that materializes Miyake’s principle that we all should continue to live by: “One always needs someone who can look over one’s shoulder and evaluate one’s work from a detached and objective point of view—someone who can act as a sounding board.

through his eyes penn-san reinterprets the clothes, gives them new breath, and presents them to me from a new vantage point — one that I may not have been aware of, but had been subconsciously trying to capture. Without Penn-san’s guidance, I probably could not have continued to find new themes with which to challenge myself, nor could I have arrived at new solutions. Original white paper covered boards with the titles in grey to the upper board and spine, in dustwrapper. As a child he also had always wanted to be a dancer so we continue to see these performance arts inspiring Miyake with further collections. signed and stamped verso: “Irving Penn / IRVING PENN [in a circle]”; inscribed verso: “Print made 1988.