Analyzing the powerful motif of movement in the Issey Miyake Spring/Summer 2023 Paris Fashion Week show.
Issey Miyake’s runway shows have always been a hub for innovation and creativity, pushing the boundaries of traditional fashion with each collection. Following Miyake’s death in 2022, the brand repositioned itself in the industry with a new creative director, Satoshi Kondo. The runway show that took place at Paris Fashion Week celebrated life through the lens of movement and fluidity. Although the brand and industry had just lost the beloved founder and designer, it once again captured its audience through a unique exploration of movement and function with garments. This collection, characterized by its fluidity and dynamism, offered insight into the intersection of fashion and motion.
From the moment the models stepped onto the runway, it was clear that the show was far from traditional. At the center of the room were two dynamic structures that appeared to be made of a cloth-like material; similar to one that the garments were made of. This juxtaposition of fluidity and movement was represented by the delicate cloth that composed the sound structure; representing how movement appears through stability.
As for the runway show itself, everything operated around the two dynamic structures that were placed at opposing corners of the room; down to the route the models walked and the placement of the audience. Each model walked around them with an intentional proximity, so that the light that came from inside the structures would project onto each piece in a completely unique way because of the intricate pleating of each garment.
Instead of the traditional and more static approach that runway shows normally take, the finale of the show operated in more of an instantaneous and convulsive fashion. At the end of the show, dancers wearing various pieces from the collection gradually emerged onto the runway. The dancers improvised in response to how they viewed the various sides of the structures and the movements of other models. The final dance at the end of the show was captivating. It manages to highlight the importance of individuality through perspective, showing the beauty that comes from how each dancer reacts to or views the structures, all while displaying how each garment sways along with the wearers’ every step.
It would not be an Issey Miyake show without the incorporation of pleats. Early in the industry, Issey Miyake took an innovative approach to pleats and garment waste. After Miyake’s passing, the New York Times published an article paying homage to Miyake by touching on history as a designer. The article dives into the pleating style Miyake innovated, which created pleats out of a heat press from a garment pattern that was two-to-three times larger than its intended size. The pleats are incredibly small, and because of the original size of the fabric, they create room for movement and functionality. Additionally, the pleating style made it so the garments never wrinkled and could effortlessly lay flat. Miyake’s masterful use of movement to emphasize the function of the garments was honored in this show; incorporating pleats into each of the pieces. As the models moved down the runway, the pleats expanded and contracted, creating a sense of motion and kinetic energy. Tying back to the original intentions Miyake had when fashioning his infamous and recognizable pleating style, this not only added visual interest to the garments but also served a practical purpose. Whether it was a maxi dress or a blazer, every garment was designed with the wearer’s mobility in mind. From lightweight, breathable textiles to intricately engineered designs, each piece was crafted to facilitate movement.
In addition to showcasing the physical movement of the garments, creative director Satoshi Kondo explored the concept of movement on a deeper level, by exploring the relationship between color, texture, and silhouette.
Something that I respect most about this show is the way it used movement to express the unpredictable through events that are convulsive and natural, such as the uncontrollable projections of light onto each piece coming from each structure, or the way each piece would ebb and flow in response to the wearers’ movements. The juxtaposition of the controlled and the uncontrollable serves as a meaningful reflection on life; something filled with uncontrollable moments that are undermined by controlled actions. As we continue to explore the possibilities of fashion in the modern era, the Issey Miyake spring/summer 2023 show directed by Satoshi Kondo reminds us that movement can be metaphysical, and serves as a powerful expression of identity, creativity, and freedom.
Jade Anaya 
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