The cover of the latest issue of The New York Times was devoted to the life and work of Issey Miyake, the influential designer who recently passed away. A contemporary artist, Sho Shibui, shared images on social media showing how the tribute appeared on the cover, highlighting Miyake’s signature pleated pattern in a bold black motif.
Inside the magazine, a feature article explored Miyake’s creative path and his lasting impact on fashion. The writer notes Miyake’s daily discipline and the breadth of his work, from hands-on production on factory floors to designing uniforms for workers at a major Japanese electronics company. The article also mentions that Miyake’s designs are held in the permanent collection of the Museum of Modern Art in New York, underscoring his global recognition.
Miyake was born in Hiroshima in 1938 and pursued formal training in design at Tama Art University in Tokyo, graduating from the Graphic Design Faculty in 1964. After gaining experience in both Paris and New York, he returned to Tokyo in 1970 and established Miyake Design Studio (MDS).
The designer presented his first collection in New York a year after founding his studio, with a Paris presentation following in 1973. By 1974, Miyake opened his first flagship store in Tokyo, marking a pivotal moment in his career and signaling the international reach of his aesthetic.
Industry observers remark on Miyake’s influence on the fashion landscape. A noted historian of fashion comments on the practical and stylistic choices that defined Miyake’s approach, including his ability to dress a range of figures with a sense of simplicity and technical innovation. This emphasis on everyday usability, allied with a refined sense of silhouette, helped pave the way for new material studies and a rethinking of garment construction. The broader impact of Miyake’s work continues to be discussed by collectors, curators, and historians in contemporary fashion discourse. The conversation around his legacy often centers on how his designs merged form and function, while maintaining a poetic, experimental edge. For researchers and students, Miyake’s career provides a clear example of how design thinking can cross borders and disciplines, influencing both clothing and studio practice. (Attribution: MoMA collection; various fashion history sources.)