三宅一生品牌已经成为超越边界的创新代名词二十多年，如今，随着其最新品牌A-POC ABLE的推出，创意对话将进一步深化。

The ISSEY MIYAKE brand A-POC has been a byword for boundary-pushing innovation for over 20 years — now the creative dialogue is set to deepen with this year’s launch of its latest brand: A-POC ABLE

| ISSEY MIYAKE A-POC ABLE 京都店 © ISSEY MIYAKE INC.


A-POC ABLE由三宅一生的前女装设计总监Yoshiyuki Miyamae和他的团队创作，以A Piece of Cloth的创意为基础，自1998年首次亮相以来就因其独特的设计而闻名，使穿戴者能够决定最终产品。

The brand — led by long-time ISSEY MIYAKE designer Yoshiyuki Miyamae and his engineering team — builds on the creative foundations of A-POC (A Piece of Cloth), celebrated since its debut in 1998 for the unique design system that empowers the wearer to determine the end product.

TYPE系列总结了A-POC ABLE的创新，这是一个实验性的新品牌，意图用多层次的创意方法来“weaving the future”。

This blouson sums up the boundary-pushing innovations of A-POC ABLE ISSEY MIYAKE, an experimental new brand intent on ‘weaving the future’ with a multilayered creative approach to making.

Yoshiyuki Miyamae 2001年加入三宅设计事务所（Miyake Design Studio），跟随三宅一生及品牌第三代创意总监藤原大（Dai Fujiwara）工作，成为了 A-POC 项目组成员之一。

在 A-POC 工作了5年后，伴随藤原大出任ISSEY MIYAKE创意总监，宫前义之开始参与到品牌的设计工作中，并于2012年在三宅一生本人的任命下，接任女装创意总监职位。
2019年，宫前义之“退居幕后，在继续研究开发工作的同时，推动内部新项目的进程”，近藤悟史（Satoshi Kondo）接替他成为新的创意总监。

如今，20多年过去了，三宅一生 A-POC ABLE 旨在深化创作者和穿戴者之间的对话，同时将其技术创新推向新的高度。

Now, more than two decades later, A-POC ABLE ISSEY MIYAKE aims to deepen the dialogue between creators and wearers while also pushing its technical innovations to new heights.

Yoshiyuki Miyamae解释说:“A-POC问世已经20多年了，但我们可以看到它仍然有很大的潜力。我们想做的更多，并认为ABLE这个词很适合代表这种创新和创造力。”

As Miyamae explains, ‘It’s been over 20 years since A-POC was created, but we could see that there was still so much more potential. We wanted to do more, so we decided that ABLE was a good word to represent this sense of potential, in terms of innovation and creativity.’

建筑被缩放，使用黑色木材，露出有机颗粒，与白墙、天窗形成对比。墙壁被悬挂栏杆的极简曲线切割，栏杆由整体成型的回收铝制作而成——与Tokujin Yoshioka设计的东京奥运会火炬技术相同，也巧妙地暗示了A-POC的材料概念。

The building has been scaled back to its original skeleton, its black timber shaved to reveal organic grains that contrast with expanses of white and a skylight. Walls are dissected by the minimalist curve of the hanging rails, crafted from integrally moulded recycled aluminium — the same technique Tokujin used to make the torch for the Tokyo Olympics, also neatly hinting at A-POC’s single material concept.

与传统纺织品相比最新系列呈现哑光黑，这也是对全球每年丢弃的1亿吨稻壳的可持续再利用。

The end result is clean-cut clothing in an unusually deep matt shade of black, which fades significantly less over time than conventional textiles. It’s also a sustainable use for the 100 million tonnes of rice husks that are discarded globally every year.

“我们花了两年时间研究这种材料。把Triporous混在一起的特别之处在于它会产生深黑色。黑色纺织品通常会随着时间褪色，但这次不一样。这是新的创造。”

‘We spent two years researching what we could do with this material,’ Miyamae says. ‘What’s so special about mixing Triporous into the thread is the deep black it creates. Black textiles normally fade over time, but this is different. It’s a new creative potential for black.’

| TYPE I 系列  © ISSEY MIYAKE INC.

| Type II系列



挂在极简主义衣架上的罩衫不是一件普通的衣服。不仅因为它刻有日本艺术家Tatsuo Miyajima的签名数字，还因为它的材质是由稻壳制成。
The blouson hanging on a minimalist hanger in this Kyoto store is no ordinary item of clothing. Not only because it’s emblazoned with the signature digital numbers of Japanese artist Tatsuo Miyajima, but also because of its deep, dense shade of black, a colour engineered from rice husks.

Tatsuo Miyajima
日本艺术家

关于时间、数字、佛性




宫岛达男是日本当代艺术最重要的艺术家之一，“后物派”的代表人物。自1980年代开始艺术生涯起，他就创作出一系列为科技驱动的装置、雕塑及行为艺术作品。他表示，自己的艺术理念始终是强调着自己提出的三个概念，“不断变化”、“连接万物”和“持续永恒”为核心理念，而艺术的形式和使用的媒介并不是最主要的，重要的是内核。



他将LED作为艺术符号，将其置入不同的地理位置、空间、事件之中，试图达到一种批判性。例如，在纪念长崎原子弹爆炸事件的展览中，宫岛制作了一件装置作品：在弹着点的地方，他把3000个发光二极管计数器放在流水中，上面的数字周而复始地闪烁着，在明灭的交替中，追忆往昔也昭示未来。

| 日本舞者 Koharu Sugawara 身着 Type II系列

最近推出的Type-II系列包括与宫岛合作设计的男女同款上衣，宫岛以数码装置闻名。第一件罩衫是用标志性的蒸汽拉伸技术制作的，创造了三维纹理，而第二件是用三孔线制作的。两者都有从1到9的白色数字散射，而数字0被隐藏在黑色中，反映出宫岛艺术作品的佛教概念“ku”，或“nothingness”。

The more recently launched Type-II project comprises the unisex blouson jackets created in collaboration with Miyajima, who is famed for his digital number installations. The first blouson was made using signature Steam Stretch technology, creating a 3-dimensional texture, while the second was crafted from Triporous thread. Both have a scattering of white digital numbers from one to nine, while the number zero is hidden in black, reflecting ku, or ‘nothingness’, the Buddhist concept underpinning Miyajima’s artworks.

服饰经过200次的精心调整，在该品牌京都新旗舰店推出。这家旗舰店有200年的历史，由日本设计师Tokujin Yoshioka打造。

The clothing — fine-tuned through more than 200 prototypes — was launched at the brand’s minimalist new Kyoto flagship store, a 200-year-old machiya renovated by Japanese designer Tokujin Yoshioka.

Yoshiyuki Miyamae：我们想在京都这个传统与创新并存的城市启动这个项目，对旧建筑进行新的改造。”与此同时，这些稻壳正被再利用生成一种新材料，这与佛教产生了联系，Tatsuo Miyajima的作品也是如此。所有元素在概念上都与品牌保持一致。”

‘We wanted to launch this project in Kyoto, a city of tradition and innovation, in a new renovation of an old building,’ says Miyamae. ‘Meanwhile, these rice husks are being reborn as a new material, which has Buddhist echoes, as does Miyajima’s work. All these elements align conceptually with the brand.’

KURA 展览“宫岛达男”。
ISSEY MIYAKE 京都 / KURA
〒604-8112 京都府京都市中京区柳馬場通三条下ル槌屋町89
电话 075-254-7540
期间：2021年9月23日（周四）～12月26日（周二）

“TYPE-II Tatsuo Miyajima Project”于 9 月 23 日在京都新开张的“A-POC ABLE ISSEY MIYAKE”专卖店展出。同时，KURA 展览“Tatsuo MIYAJIMA”在 ISSEY MIYAKE /KURA 在 9 月 23 日（国定假日）开幕。


[ KURA 展 ]

| KURA 展览 © ISSEY MIYAKE INC.