ヨーロッパのオートクチュールにおける日本インスパイア(<特集>日本のファッションデザイン:世界の視座、日本の視座)

(1)

Japanese Society for the Science of Design

NII-Electronic Library Service

Japanese _Sooiety _{for 　the 　Soienoe} of _Design

Japan

−

lnspired

Style

in

European

Haute

Couture

_：

ヨ

ー

ロッパの

オ

ー

トクチ

ュ

ー

ル

に

お

け

る

日本

インスパイア

Maria　NESTEROVA

State

University

　of　

Cinema

　and

Television

，

Saint

−Petersburg

，

　Russia

Ksenia

SPITSYNA

Independent　

Researcher

，

Japanolog

［st

，

Moscow

，

　Russia

マリヤ

・

ネステロバ映画

・

テレビ国立大学

、

History

　and 　

Modernity

．

サンクトペテルブルグ市

、

ロジァ

クセニヤ

・

スピッイナ

日本研究家

、

モスクワ市

、

ロシア

　　Tc）day　fashion　is　a　model 　that　represents 　an　interactive　dia

−

logue

　Qf　

different

　cultures

．

　For　inspiration　designers　refer　to

traditions　and　cultural　experiences 　of　other 　countries

．

　Japan

−

lnspired　Style　in　

European

Haute

Couture

　is　an　amazing

sampie 　of　cross

−

cultural　diaiogue

．

　　For　many　centuries　the　Japanese　aura 　of　mysteriousness

draws　an　

imaginatiOn

　and　a　creative　fantasy　of　Europeans

．

This　

passion

　for　Japan　is　crystaHized 　also 　in　fashion

．

　There

were　several　periods　when 　the　

European

　fashion　was 　strongly

influenced　

by

Japan．

　These　periods　were 　synchronlzed 　with

waves 　of　

interest

in

Japanese

　traditions

，

　culture 　and 　art

．

Late

XIX − Early

XX

　century

　　For　many 　centuries 　Japan　was 　cbsed 　to　the　world

．

　Only

in　the　second 　half　of　the　XIX　century 　Japan　reconsidered 　the

positbn　about　opening 　to　the　world

，

　　Japan　made 　acquaintance 　with 　Europe　on　international

exhibitions　that　were 　held　in　the　XIX　century 　in　London

，

　Parls and 　other 　cities

．

　Japan　appeared 　before　Europeans　in　an areola 　of　exotic 　and 　charm

．

　A　flow　of　Japanese　crafts

，

　engrav

−

ings，　fans，　porcelain　and　household　items　attracted　attention

of　collectors 　and 　impressed　architects

，

designers

　and　artists

，

　　Japanese　culture 　and　art　were　admired 　and　appreciated

not　only 　for　novelty 　but　also　

for

　their　accord　to　the　spirit　of

the　time　in　Europe

．

　At　the　end　of　the　XIX　century 　in　Europe　a

romantic 　and　unreal　image　of く

・

picturesquθ

冲

Japan　was 　culti

−

vated

，

　Japanese　art　

became

　a　sub _ゆct　matter

_，

　an　example 　to

follow　and　a　re舌ined　hobby　

for

　intellectual　society

．

　　Anumber 　of　wel トknown　

European

　artists　of　the　time

　

　ド

inc』ded ［≡douard　Manet

，

Claude

　Monet

，

　Henri　Tbulouse

−

Lautrec

，

　Vincent　van　

Gogh，

Aubrey

Beardsley

，

James

　Whistler

were　inspired　by之he　Japanese　art

．

　European　artists　amazed

the　

Japanese

　sense　of　

beauty，

　stud_沿

d

Japanese

　pri冂ciples

of　decorative　composition

，

　vicissitude 　of　Iights　and 　shadows

，

combinations 　of　space 　and　blots　of　colors

．

　For　their　pictures

they　used　Japanese　text“es

，

　handicrafts　and　motives

，

　　（＞fcourse　this　lnterest　to　

Japan

　was 　also　reflected　in　Europe

in　fashion　and　

garments．

Kimono

　became 　a　popular　home

clothing

，

　Japanese　textiles　were　used　

for

European

　fashion

−

able 　

garments．

1Claude　Monet

．

　La　Japonaise

　　　（Gamille　Monet　inJapanese　Gostume）

．

　　1876

．

Museum 　of　Fine　Arts

，

　Boston

，

　USA

．

http二〃www

．

mfa

．

org ／collections ！objecVla

−japonaise

−

cam ］lle

−

monet

−

ln

−

jaPanese

−

costume

−

33556

10

デザイン学研究特集号

SpeciaL　L＄sueot 　Japanese　Societyfor　the　Science　ot　Design

Vol

．

19

−

4

　

No

、

762012

(2)

JapaneseSociety for the Science of Design

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2 Eveningensembie, HanaeMori.Latel960s.

TheMetropolitanMuseum ofArt,USA,

http:!lwww,metmuseum.org!Collectlonsfsearch-the-collection$f80096742?rpp=20&pg=2&ft='

&who=Hanae+Mori&pos=24

3 Fall2006 Ready-to-Wear,Comme des

Gargons

http/Xtwww,style,comlfashionshowslcompletel

slideshowtF2006RTW-CMMEGRNSI#stide=4

4 Fall2010 Ready-to-Wear.MaisonMartin

Margiela

http:11www.style.comlfashionshowslcompletef

slideshowlF2010RTW-MMARGIEU#slide;24

lnthelateXlX-earlyXX century Europeanfashiondesigners

addressed toJapaneseclothingas source

for

inspiration.Paul

Poiret,theworld-known Frenchdesigner

(1879-1944),

was

thefirstwho introducedan

interpretation

ofkimonointo

Euro-pean clothing, The "Poiret _kimono"became _a

populartrend

and itwas used fornoble _parties,_pictures,stage and

advertis-ing,

Kimono designwas an absolutely new approach in

Euro-pean fashionbecause

it

promoted new relations between

human body and

_garments.

Thisideawould bedevelopedin

next decades oftheXXcentury,

1960-1980s.

After1950s

Japan's

economy recovered from thewar

damage and began toboom with the fastest_growthrates

in

theworld. The _periodof overall real economic

_growth

from

the1960s tothe 1980s hasbeencalled the"Japanese

eco-nomic miracle",

ln

theshort historical

_period

Japan became one ofthemajor industrialnations,

Thisleadingpositionof Japan intheworld ledto a new

round ofinteresttothe country and Japaneseculture.

In

1960s-1980s

Japanese

fashiondesigners

Hanae

Mori

and lakada Kenzo made a hitwith unexpectable innovative

co"ections on theParisiancatwalk, ltwas a startof``Japanese

revolution':intheEuropeanHauteCouturefashion,Anew high

artistic orbit of theJapanese designcontributed tothis

great

success inEurope.

The collections

by

Hanae

MoriimpressedEuropean

public

with magnificent colorfuldresses.They were associated with

traditional

Japanese

kimonos.The_garments were made with

Japanesetextileand ornamented with cherry treeflowers,

but-terfliesand calligraphyprints.

Inher garments Hanae Moricreatively

pieced

togethera

fragilebeautyof Japanese art and European clothing

tradi-tions.She used straight linesoftraditionalJapanese kimono

and western curved cut. European design

dresses

were emblazed with Japanese kimono motives, coior technology,

Japanese textilesand ornamentation.

Inthefirstcollections bylakadaKenzostraight-cut dresses

and simple _geometriclinesand silhouettes_paraded,Designer

made a show of thatwere

fashionable

in

tradition

Japanese

ciothing, By virtue of lakada Kenzo desjgnthe Ethnicalstyle

came intofashionand stimulated

European

designersfor

referring tootherculturesforinspiration.

Unlikedelicatecollections and refined images created by

Hanae Moriand lakada Kenzo,the representatives of next

generationofJapanesefamous

designers

ReiKawakubo, foji

Ytimamoto,lsseiMyake,JunyaWatanabe manifested a new

7if{)#-Fsckfi･Z-SpeciallssueofJapaneseSocietytortheScienceofDesign Vol.19-4No.76 2012

NII-Electronic Mbrar

(3)

5 GeyshaCouture"(SpringlSummer20Q7)

John Gall[anofortheHouse ChristianDior

http:f/www,$tyle.comffashionshowslrevtewl S2007CTR-CDIOR

'k

"1

re.

t?-s;::..Jsssi}L;/i"s

.es--e

6 GiorgieArmanL,"Hommage _au _Japan"

ArmaniPriveFal[2011Couture,

http'flwww.style,comlfashionshowslcompletef

sFideshowlF2011CTR-APRIVev#slide=12

7 Sprlng20H Couture,Glvenchy

http:tlwww.style.com/fashionshows/reviewl

S2011CTR-G[VENCHY

concept ofclothing intheircollections and broughtan inno-vative beautyconcept into theEuropean fashionThey were

inspiredby across-cultura[ dLalogue,combination of different

traditions,epoch and stylesaswellas bytheJapanese beauty

aesthetics thatwas differfromtheEuropeanone.

According

to

the

Japanese

culture ahuman body isconsidered tobe

beau-ttfulanyway. Theconcept of an t'alternative _beauty"

promoted

bytheJapanese fashionvanguard was based on an

asym-metrical shapes and medical _pathology,ltwas toprovethata

body couid bebeautifulwith allits

faults,

With their

garments

theythrewdown a

gage

towestern

idealsand

fashion

modes with elements of vanguard and

deconstruction.Japanese designershad ahearttochange the

western sense ofcostume as an instrument to realize a fluid

and chameleon[c ideaof

beauty,

lbtheirmind fashiondesign

was something more than

just

an emphasis ofbody shapes

oreroticzones, They didn'tdiscipleshapes with dressesbut

wrapped a body smoothly with _garments according tothe

Japanese

tradittons,Thisiswhy itwas _possibletocreate a

lot

of new ways of dressing.Garments should takethe liberty

a _person

just

to

be

oneself. `[Japanese

revolution" inParis

rocked a

fashion

world. Japanese designersbreatheda new

life

into

European

fashion

and suggested a spanking new

trend,They broughtnew eccentrtc ideasthatGhanged

Euro-peanfashiondesignoftheXX century.

lnthe

latel980s-early

1990s

many European

couturi-ersactivelyborrowed and transformed brilliantinitiatTves and

innovative

ideas

of

Japanese

designers.

ThattimetheAntwerpsix,

(a

_groupof _graduatesofAntwerp

Royal

Academy

o"ine arts thatincluded DirkBikkembergs,

WalterVanBeirendonck,Dnesvan Noten,DirkVanSaene,Ann

Demeulemeester,MarinaYee) and MartinMargielawere keen

forJapanese aesthetics of deconstructionand

incomplete-ness.

They rebelied against luxuryand

_glamour

infashiondesign

and _proposed an ethnicai chic and dirty-neckwork clothing,

ascetic and intellectmind of androgynous images.

With

asym-metry, deconstructlonelements borrowedfromtheJapanese

design,margin chic and ironyreduced toan art,

Antwerp

designers_peakedEuropeanfashiondesignfroman immediate

appeal trendup toa conceptual art.

Late

XX

-

_Early

_XX[

century

Attheturnof theMillenniuma special sector of _popular

culturetncluding manga, anime, electron[c games and street

fashionformed inJapan and spread overseas. So an

inter-est teJapanese trad+tionsand artthatwas a refined hobby

forintellectualsisreplaced bypassiontothe

Japanese

mass

market

products

,

Meanwhile European couturiers

John

Galliano,

Jean-Paul

12T'tfi)7bldenkscg

SpeciallssueotJapaneseSocietyfortheSc/enceofDesign

1

Vol19-4No76 2012

(4)

Gaultierand others are stillinspiredbyclassicJapanese

fab-rics,coiors and ornamentation, simplicity and beautyof

tradi-tionalJapaneseclothing, lntheircollectionscouturiersstylized

Japane$ecloth and combined itwith European

garments.

The charming and elegant "Geisha _Couture" _co"ection

(SpringlSummer

2007) byJohn

Galliano

for

Christian

Dior

made a splash and sensation intheEuropean Haute

Couture

withexoticsilhouettes and dressydecoration.

The

collection was _presented inan ancient mansion in

the heartof Parissecluded from_public_gaze.A _podium was

flourished

with cherry treeflowersand tinybutterflies.

All

that

made an exotic atmosphere of an impressivesynthesis of

Eastand West.A refined Versaillesairand magical charming

of medieval

Japan

paraded infroufrouofcheesecake skirts,

gallant

games oftrembling fans,Lookswere inspiredby

Japa-nese classicpoetryand paintjngs.

Gallianoused traditionalJapanese clothing as weU as

ori-gami art

in

combination with western corsets todesignthe

collection,Complementary harmony of subtle colors and fine

drawing of dainteth

flower

and

flying

birdsagainst a neutral

backgroundcompleted images.

GiorgioArmanipresentedhispersonalsense of Japan by

hiscollection "Hommage _au Japan"

(Fall

201 1

, Couture

ArmaniPrive

),

combined a

French

chic and a chastjty of

Jap-anesestyle,

Straightand clear shoulder linespoisedwhole costume

composition.

Garments

decoration

reminded classic

Japa-nese engravings, Darkgarmentsware ornamented withcherry

tree

flowers,

White

dresses

ware adorned with blackfansthat

made them laconic,elegant and refined.

Butthe European Haute Couture also

paid

a tributeto

modern

Japanese

pop cultural trends.Forexample, ltajian

designerRiccardoTisci_presentedacute and dissonance

col-lection

inspired

by

Sci-fi

anime and manga characters

(Spring

201

1 Couture,

Givenchy)at theParisFashionWeek.

Dresses

were made with transparenttulleand ornamented

with laces,_pearls,feathersand the paletteof dried

flow-erscailed up romance, melancho:y.

Accessories,

huge

hats

with hornand bootswere designed under the aesthetics of

mechanical toysand robots.

Ibsummarize allmentioned above itis_possibletoconclude

thatthe Japanese culture enriched the

European

designers

withnew

ideas,

and looks.

InXIX-XXI centurles therewere several _periodswhen

Japaneseculture affected theEuropean

fashion,

In

thelateXIX

-

earlyof XX century Europe

just

become

acquainted with cultural and art heritageof Japan.Inthat epoch aJapanese traditionalcostume was a base of artistic

interpretationsand stylizatlon intheEuropeanfashion.

"Japanese

revolution" inthe

European

fashion

of

the

1960s-l980s _gavea_groundingforvanguard trends.

Inthe turn of XX-XXI eenturies Japan

draws

attention of

Europeancouturiers again. Butnowadays thisisan interestto

theJapanese _popularculture thatisalso affeeted

fashionable

trends

in

HauteCouture,

Reference:

English,B.

(201

1)Japanese FashionDesigners:

The

Work

and

lnfluence

of lsseyMiyake,YohiiYamamoto and Rei

Kawakubo. A&C BIack.

Fukai,A.

C2006)

Fashion:AHistoryfromthe1

8th

tothe

20th

Century

(Collection

from theKyoto Costume [nstitute).

laschen

1

Barnes&Nobie.

Fukai,A.,Vinken,B.,FrankelS.,Kurino,H,,Nie,R.

(2011)

Future

Beauty:

30 }lears

of

Japanese

Fashion.Berg

Publish-ers,Kawamura

Y

(2004)

The Japanese revolution inParis

fash-ion.

N.Y:

Oxford

lnternational

PubHshes Ltd.

Koda,H.

(2003)

Extremebeauty:Thebodytransformed.N.Y:

The MetropolitanMuseum of art.

Mitchell.,

L(Editor)

(2006)

The CuttingEdge:Fashionfrom

Japan.Museum of AppliedArts&Sciences,

Mori,H.

(2001)

Hanae MoriStyle:Highlights

from

a

Lifetime

in

Fashion,

Kodansha

lnternational

Slade,

11

(2009)

Japanese Fashion:ACulturalHistory,A&

C

BIack.Steeie,

V.,Kawamura, Y,Narumi,H,,Mears,P.

_(201O)

Japan

FashionNow. London,xaleUniversityPress.

7ffrfyff,mskscg

SpeciallssueoWapaneseSocietytortheScienceofDesign Vol.19-4 Na.76 2012

NII-Electronic Mbrar