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tokujin yoshioka

吉冈德仁
吉岡徳仁

transparent mannequins

tokujin yoshioka transparent mannequins

source: antenna7
本日から国立新美術館で開催されている、「MIYAKE ISSEY展:三宅一生の仕事」にて、吉岡徳仁による、透明な人体のインスタレーションが公開された。これは、三宅一生が生み出した、人体がまとうことで原型を想像できないほどの美しい造形へと変化する「一枚の布」という考え方に対する、吉岡徳仁の返答であり、二つの空間でそれらを見ることができる。

 1970年代の三宅一生のものづくりのはじまりを表現する空間では、その人体を紙で表現。また1980年代に生み出された、人体との関係性をテーマとしたボディワークスの空間では、その未来感を象徴するような透明な樹脂による人体として表現されている。

 それらは素材こそ異なるが、三宅一生の衣服の「一枚の布」のように、一枚の板からレーザーでカットされ生み出された、365枚のパーツとグリット構造によって構成されており、未来的な人体を象徴しているかのようだ。その美しい作品を写真でお届けしたい。
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source: designboom
tokujin yoshioka has worked with issey miyake on numerous projects over the past 28 years, developing exhibition displays and store interiors for the famed fashion designer across the globe — from paris to new york. their collaboration continues to grow for the ‘miyake issey exhibition: the work of miyake issey’ at the national art center, tokyo. the show sheds light on miyake’s ideas about making things, and his approach to design — spanning from his earliest works to his latest projects — and to showcase his creations, yoshioka has envisioned two mannequin typologies to display miyake’s clothing which stem from the idea of ‘a piece of cloth’ being transformed into a beautiful shape that is worn on the human body.

considered ‘grid bodies’, or the ‘transparent body installation’ yoshioka has specially conceived these figures to highlight issey miyake’s garments. in room A, one finds the 1970s collections of miyake dressing figures composed out of 365 laser cut cardboard parts, arranged as a grid structure to create a futuristic human body. they are adorned by pieces that investigate miyake’s constant innovation in fabric-making, and his deep respect for tradition. some of the clothing found in this space include a jumpsuit with a tattoo motif that literally looks like a wearable second skin, a multi-size handkerchief dress made out of just three squares of fabric joined on the bias, a cocoon coat swept diagonally around the body, and a linen jumpsuit cut from an entire width of fabric. these free-form shapes take on different meanings on different bodies, thus making the wearer more important than the actual clothes.
Tom B, the human body, intended as a presence to enhance, streamline and redesign, is central in the work of issey miyake, particularly in the eighties as miyake was reacting with his personal tools and views, to the zeitgeist of a lively contradictory and eminently hedonistic decade. it was then that he actually anticipated a whole movement, proposing his first body-centered creations. all of these concepts are found in room B, creating a counterpoint and a suspension to the rest of miyake’s ouevre. so to compliment these garments, yoshioka designed mannequins which symbolize the future. made from transparent acrylic resin, they speak of this phase of miyake’s work which carried on the most technological and formal research from which his design practice has been established. the stress on the body is in fact made possible by the application of new technologies that allow the use of materials that had previously never been applied to clothes-making. modeled on a real torso, these items were not intended as a work of art, but as industrially produced multiples. here the silicon zippered body follows the same principle, while the rattan pieces, halfway between clothing and undergarment, stand at the crossing of east and west. the waterfall body pieces, made of pewlon and modeled on the torso with the aid of a silicon infusion seamlessly mix classic draping, sculpture and science, using a piece of cloth.

just like in previous exhibition collaborations, tokujin yoshioka hopes that the transparent body installation brings forth a new perspective to the work of issey miyake, and while acting as sculptural works within the gallery space, let the clothes do all of the talking.
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source: stylepark

Born in Japan in 1967 and the winner of a large number of awards, with pieces on display at the MoMA and the Cooper Hewitt in New York, the Victoria & Albert in London and the Vitra Design Museum. Tokujin Yoshioka trained along with Shiro Kuramata and Issey Miyake, opened his own studio in 2000, and has worked with Japanese and international companies such as Hermès, Toyota, BMW and Swarovski, designing showrooms and installations. As a result of the success of the Honey-pop paper chair in 2001, he began establishing increasingly close links with the world of interior design, developing projects for Driade, Moroso and Kartell, amongst others. The signature feature of his creations is their poetic, light, dreamlike quality; his products, interiors and installations are the result of painstaking, complex research carried out on simple materials, combined with experimental technology. The awards he has received include Design Miami, Designer of the Year 2007, the Wallpaper Design Awards 2008 and Elle Decoration International Design Award, Designer of the Year 2009.
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source: tokujin
1967年生まれ。2000年吉岡徳仁デザイン事務所設立。

アート、デザイン、建築など幅広い領域において自由な着想と実験的なクリエイションから生まれる作品は、国内外で高く評価されている。

代表作には、紙の椅子「Honey-pop」、繊維構造の椅子「PANE chair」、結晶の椅子「VENUS – Natural crystal chair」の他、Swarovski Crystal Palace 「STARDUST」「Stellar」、YAMAGIWAの照明「TōFU」「Tear Drop」、au design project「MEDIA SKIN」「X-RAY」などがある。2002年から手がけている光学ガラスのプロジェクトを代表するベンチ「Water Block」はパリ、オルセー美術館に常設展示されている。
また、ISSEY MIYAKEのショップデザインやインスタレーションを20年近くに渡り手がける他、Hermès、BMW、MOROSO、TOYOTA、LEXUSといった世界有数の企業とコラボレート、SWAROVSKIの世界中のフラッグシップストアのコンセプトデザインも手がけている。

2008年には21_21 DESIGN SIGHTでの「セカンド・ネイチャー」展の総合監修、2009年、2011年には世界を代表するジュエラーCartierの特別展にて総合監修、アートディレクションを務めている。

数々の作品が、ニューヨーク近代美術館(MoMA)、ポンピドゥー センター、ビクトリア アンド アルバート ミュージアム、クーパー ヒューイット国立デザイン博物館、ヴィトラ デザイン ミュージアムなどの世界の主要美術館で永久所蔵されている。

主な受賞としては、2001年度毎日デザイン賞、平成18年度(第57回)芸術選奨文部科学大臣新人賞(芸術振興部門)、Design Miami / Designer of the Year 2007、Wallpaper Design Awards / Best furniture designer 2008、Elle Deco International Design Awards (EDIDA) / Designer of the Year 2009、TOKYO Design & Art ENVIRONMENTAL AWARDS / Artist of the Year 2010、A&W Architektur & Wohnen/Designer of the Year 2011、Maison & Objet/ Creator of the Year 2012 など多数。

著書には、ギャップ出版「TOKUJIN DESIGN」、Phaidon Press(イギリス)「Tokujin Yoshioka Design」、アクセス・パブリッシング「みえないかたち」、Rizzoli International Publications(アメリカ)「TOKUJIN YOSHIOKA」がある。また、TBS系ドキュメンタリー番組「情熱大陸」への出演や、アメリカNewsweek誌日本版による「世界が尊敬する日本人100人」、アメリカ経済誌『Fast Company』の「The 100 Most Creative People in Business 2010」にも選出されている。