Art Lies, Volume 3, October-November 1994 Page: 13
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in his clothes.
He willingly slept in the carefully pressed shirt he
would wear the following day so that it would be at-
tractively rumpled. Today, isn't it the new, the hard-
bound, the stiff, the shoulder-padded that seem the
most obsolete? Issey Miyake is one of the rare few
who was able to see the future clearly, while staying
faithful to elegance of line, by submitting his fabrics
to previously forbidden treatments - twisting, pleating
and ringing. We should recognize this master. It is
with the force of his technique that he has been able
to achieve such great ease, such real-false wrinkled-
ness, whereas others only simulate the non-finished,
the shredded, to justify their own shortcomings, re-
sulting in a very approximate and picturesque vision
In this fragile domain where amnesia leads to impos-
ture, where the anything and everything are subjects
for discussion, the debate is open: does the aging of
forms and materials mark the end of the industrial
age or, on the contrary, does it offer new possibilities
to industry, to simulate time thanks to increasingly
In 1969, William Burroughs announced his vision of
clothing to come in The Wild Boys: The chic thing
is to dress in expensive tailor-made rags, citing
clochard suits of the finest linen. In these stained
suits he remarked intricate embroideries of fine gold
thread. An amazingly apt prediction.
Here’s what’s next.
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Huerta, Benito; Ballou, Chris & Loftus, Kelley. Art Lies, Volume 3, October-November 1994, periodical, October 1994; Houston, Texas. (texashistory.unt.edu/ark:/67531/metapth228036/m1/13/?rotate=90: accessed April 30, 2017), University of North Texas Libraries, The Portal to Texas History, texashistory.unt.edu; .