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  2. Issey Miyake - Wikipedia

    en.wikipedia.org/wiki/Issey_Miyake

    Issey Miyake maintained a freestanding store, named ELTTOB TEP Issey Miyake (reverse of 'Pet Bottle') in Osaka, where the full array of lines is available. [ 29 ] 21 21 Design Sight (a play on 20/20 vision ) is a museum-style research center for design, constructed by Tadao Ando , that was opened in Roppongi , Tokyo in March 2007.

  3. Satoshi Kondo - Wikipedia

    en.wikipedia.org/wiki/Satoshi_Kondo

    Kondo has been with Issey Miyake for many years. Prior to becoming the artistic director of the fashion house he had previously served in other roles at the company, namely in the Pleats Please and Homme Plisse divisions. [5] Kondo replaced Yoshiyuki Miyamae as design director in 2019.

  4. Japanese clothing - Wikipedia

    en.wikipedia.org/wiki/Japanese_clothing

    His use of pleats and polyester jersey reflected a modern form of fashion due to their practical comfort and elasticity. Over 10 years of Miyake's work was featured in Paris in 1998 at the "Issey Miyake: Making Things" exhibition. His two most popular series were titled, "Pleats, Please" and "A-POC (A piece of Cloth)".

  5. Pleats Please Is the Ultimate 'IYKYK' Label - AOL

    www.aol.com/pleats-please-ultimate-iykyk-label...

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  6. Babette Pinsky - Wikipedia

    en.wikipedia.org/wiki/Babette_Pinsky

    San Francisco Chronicle fashion editor Sylvia Rubin credits Pinsky together with Issey Miyake with "reinventing" the Fortuny pleat in the 1980s. [3] Rubin describes Pinsky as using "Fortuny pleats, knife pleats, cube pleats, flower pleats, chevron pleats, box pleats - or a combination of any or more of the above," in her designs. [3]

  7. File:Yasumasa Morimura for Issey Miyake, printed polyester ...

    en.wikipedia.org/wiki/File:Yasumasa_Morimura_for...

    English: Yasumasa Morimura for Issey Miyake, printed and perma-pleated polyester, 1997. From the Guest Artist series, first collaboration. The collage by Morimura commissioned by Miyake reproduces a nude woman from Ingres’s Neoclassical painting La Source (1856) juxtaposed with a self-portrait of the artist draped in red tulle.

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