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foreign, especially French, are of the
highest quality.
In Tokyo, the models are
required to rehearse the entire day.
In Paris, rehearsals last a maximum
of one hour, plus time for hair and
makeup. In New York, models are
paid by the hour and anything over
seven-and-a-half minutes counts as
the next 15 minutes. Understandably,
at model rates of $600 U.S. per hour,
New York designers have no interest
in rehearsals.
Still, the models in Tokyo are
treated to more working space and
attention than anywhere in the
world. Backstage is about the same
size as Paris and Milan, but with
separate rooms for hair, makeup and
changing. Most cities have one
dresser per model; in Tokyo, there
are three.
Competition among Japanese
designers is fierce. Eight years ago,
the Tokyo Collections began with
ten designers. Now, there are over
40. Stakes are higher, too. Five years
ago, a designer could start in a small
one-room space and make a go of
it. Now, Tokyo ready-to-wear is a
corporate investment.
Japanese style continues to be
a mixture of original ideas, European
influence, and a fabulous textile
industry which can't help but be a
creative factor. Following are the
standouts of the spring season:
Issey
Miyake
A beautiful, well executed yet
controversial collection because
several of the elegant items were
more works of art than wearable
clothes. The clothes had a delicate
and sensual mood, but few are
wearable because of the extreme
angles at which they jutted out.
Miyake's styles run a gamut of
concepts, from stretch pants which
covered the shoes to jungle themes
which combined bright colors.
Some items are bunched at the
buttons; others fall gently at the
collar. Toned textiles and fine-striped
patterns flowed with the models'
movements.
Yohji Yamamoto
While other Japanese have
102
IN STYLE