{"id":2033205,"date":"2026-04-21T11:32:30","date_gmt":"2026-04-21T09:32:30","guid":{"rendered":"https:\/\/www.luxsure.fr\/2026\/04\/21\/issey-miyake-ah-2026-27-the-urushi-body-or-what-two-japanese-prefectures-do-together-when-paris-looks-on\/"},"modified":"2026-04-28T10:02:25","modified_gmt":"2026-04-28T08:02:25","slug":"issey-miyake-ah-2026-27-the-urushi-body-or-what-two-japanese-prefectures-do-together-when-paris-looks-on","status":"publish","type":"post","link":"https:\/\/www.luxsure.fr\/en\/2026\/04\/21\/issey-miyake-ah-2026-27-the-urushi-body-or-what-two-japanese-prefectures-do-together-when-paris-looks-on\/","title":{"rendered":"ISSEY MIYAKE AH 2026\/27: the Urushi Body, or what two Japanese prefectures do together when Paris looks on"},"content":{"rendered":"\n

Le 6 mars, au Carrousel du Louvre, Maison Issey Miyake d\u00e9versait au sol une couche de fines lamelles d’aluminium. Le sol devenait acteur : chaque passage de mannequin y laissait une trace scintillante, irr\u00e9versible. La mati\u00e8re se transformait sous les corps, pas sous les intentions du designer. C’\u00e9tait le r\u00e9sum\u00e9 visuel d’une collection enti\u00e8re.<\/p>\n\n\n\n

Creating, Allowing<\/em> \u2014 le titre dit tout, et la collection s’attache \u00e0 d\u00e9montrer la seconde partie du programme.<\/p>\n\n\n\n

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Ce que les mains savent faire \u00e0 Echizen<\/strong><\/p>\n\n\n\n

Parmi les sept s\u00e9ries pr\u00e9sent\u00e9es, une seule engage une cha\u00eene artisanale document\u00e9e sur deux lieux distincts et deux comp\u00e9tences distinctes : l’URUSHI BODY<\/em>. La pi\u00e8ce s’inspire de l’obi<\/em> \u2014 ceinture de kimono \u2014 et du bustier occidental, mais sa fabrication n’a rien de la synth\u00e8se culturelle d\u00e9corative qu’on pourrait craindre.<\/p>\n\n\n\n

\u00c0 Echizen, dans la pr\u00e9fecture de Fukui, des artisans fabriquent \u00e0 la main de grandes feuilles de papier washi. Ces feuilles sont ensuite d\u00e9chir\u00e9es manuellement \u2014 non d\u00e9coup\u00e9es, d\u00e9chir\u00e9es \u2014 puis superpos\u00e9es sur des moules imprim\u00e9s en 3D \u00e0 l’aide d’une colle naturelle v\u00e9g\u00e9tale appel\u00e9e toromo<\/em>. La d\u00e9chirure n’est pas un raccourci : elle produit des bords irr\u00e9guliers qui, une fois superpos\u00e9s et encoll\u00e9s, cr\u00e9ent une texture de surface que la d\u00e9coupe ne pourrait pas g\u00e9n\u00e9rer. La colle toromo<\/em>, extraite d’une plante aquatique utilis\u00e9e dans la fabrication traditionnelle du washi, assure la coh\u00e9sion des couches sans rigidifier la mati\u00e8re avant la phase suivante.<\/p>\n\n\n\n

Les \u00e9l\u00e9ments ainsi form\u00e9s quittent Fukui pour Kyoto, o\u00f9 d’autres artisans appliquent plusieurs couches de laque urushi<\/em>. Ce n’est plus le m\u00eame geste, ni le m\u00eame savoir. La laque japonaise exige des conditions pr\u00e9cises de s\u00e9chage \u2014 humidit\u00e9 contr\u00f4l\u00e9e, temps long \u2014 et transforme la chaleur organique du papier en une surface solide au lustre tr\u00e8s particulier : ni plastique, ni m\u00e9tal, ni vernissage industriel. Quelque chose d’entre les trois.<\/p>\n\n\n\n

Le r\u00e9sultat est une coque port\u00e9e sur le corps. Une architecture, disent les notes de presse. Ce qui est juste, \u00e0 condition de pr\u00e9ciser que l’architecture en question est issue de fibres v\u00e9g\u00e9tales d\u00e9chir\u00e9es \u00e0 la main et d’une r\u00e9sine organique s\u00e9ch\u00e9e \u00e0 Kyoto.<\/p>\n\n\n\n

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D\u00e9tail<\/strong><\/p>\n\n\n\n

La colle toromo<\/em> (en japonais : tororo-aoi<\/em>, Abelmoschus manihot<\/em>) est un mucilage extrait d’une plante de la famille des mauves. Son usage dans la fabrication du washi remonte \u00e0 plusieurs si\u00e8cles : elle r\u00e9gule la dispersion des fibres dans la cuve de papetier. Son emploi ici comme agent de collage entre couches de papier, sur un moule imprim\u00e9 en 3D, constitue un cas rare d’articulation entre mat\u00e9riau traditionnel et outil num\u00e9rique de fabrication \u2014 sans que l’un efface l’autre.<\/p>\n\n\n\n

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Ce que le reste de la collection documente<\/strong><\/p>\n\n\n\n

Les autres s\u00e9ries de Creating, Allowing<\/em> ne sont pas moins int\u00e9ressantes techniquement, elles sont simplement moins pr\u00e9cises dans leur documentation. ALLOW<\/em> associe fil stretch et fil washi dans un tissu dont le d\u00e9s\u00e9quilibre d\u00e9lib\u00e9r\u00e9 entre cha\u00eene et trame \u2014 densit\u00e9 de trame sup\u00e9rieure \u00e0 celle de la cha\u00eene \u2014 g\u00e9n\u00e8re une texture chin\u00e9e sans intervention coloristique. HANDSOME KNIT<\/em> superpose deux fils tricot\u00e9s en couches distinctes : laine en surface, polyester recycl\u00e9 extensible en sous-couche, pour maintenir une architecture d’\u00e9paule qui contredit la nature \u00e9lastique de la maille. WRING PLEATS<\/em> combine plis machine et torsades manuelles sur polyester finition brillante \u2014 la lumi\u00e8re y r\u00e9v\u00e8le les ombres des plis comme un bas-relief.<\/p>\n\n\n\n

Dans chaque cas, la collection tient sa promesse conceptuelle par la mati\u00e8re, pas par le discours. Le “laisser advenir” dont parle le titre n’est pas une m\u00e9taphore : c’est un d\u00e9s\u00e9quilibre de trame calcul\u00e9, c’est une \u00e9toffe maintenue brute, c’est un zip comme seule intervention sur un tube de tissu qui se drapera seul au contact du corps.<\/p>\n\n\n\n

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La collaboration CAMPER \u2014 Anna<\/em><\/strong><\/p>\n\n\n\n

En marge des s\u00e9ries textiles, la maison pr\u00e9sente Anna<\/em>, troisi\u00e8me pi\u00e8ce issue de la collaboration avec CAMPER, apr\u00e8s Peu Form<\/em> (slip-on) et Karst Finch<\/em> (sneaker). La tige en maille stretch int\u00e8gre des fibres TENCEL™ \u2014 cellulose issue de bois sourc\u00e9 durablement \u2014 sur la semelle fine du mod\u00e8le Anita<\/em> de Camper. Disponible en version basse (noir, beige) et botte (noir, bleu, bleu nuit profond), c’est le premier mod\u00e8le \u00e0 talon de la collaboration. L’exercice est coh\u00e9rent : la maille y joue le m\u00eame r\u00f4le qu’ailleurs dans la collection \u2014 une mati\u00e8re qui s’adapte au corps plut\u00f4t qu’elle ne le contraint.<\/p>\n\n\n\n

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L’URUSHI BODY<\/em> restera probablement la pi\u00e8ce la plus cit\u00e9e de cette saison, non pour son esth\u00e9tique \u2014 sa forme de coque obi-bustier est sobre jusqu’\u00e0 l’abstraction \u2014 mais parce qu’elle est la seule \u00e0 documenter un trajet : Echizen, Kyoto, Paris. Deux pr\u00e9fectures, une colle v\u00e9g\u00e9tale m\u00e9di\u00e9vale, un moule num\u00e9rique, plusieurs couches de laque. C’est ce trajet qui constitue la collection, plus que n’importe quel look du d\u00e9fil\u00e9.<\/p>\n\n\n\n

La maison Issey Miyake a toujours travaill\u00e9 sur la relation entre technique et corps. Creating, Allowing<\/em> pose la question d’une \u00e9tape suppl\u00e9mentaire : la relation entre technique et absence de geste. La prochaine collection dira si c’est une direction ou une parenth\u00e8se.<\/p>\n\n\n\n

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Le 6 mars, au Carrousel du Louvre, Maison Issey Miyake d\u00e9versait au sol une couche de fines lamelles d’aluminium. Le sol devenait acteur : chaque passage de mannequin y laissait…<\/p>\n","protected":false},"author":2,"featured_media":2016578,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_lmt_disableupdate":"","_lmt_disable":"","footnotes":""},"categories":[30432,30776,52709],"tags":[69372,69369,69371,69368,69370,69367],"class_list":["post-2033205","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-fashion-week-en","category-mode-en","category-thefashion","tag-camper-issey-miyake-collaboration","tag-issey-miyake-ah-2026","tag-tencel-mode","tag-urushi-body","tag-urushi-fashion-lacquer","tag-washi-echizen"],"yoast_head":"\nISSEY MIYAKE AH 2026\/27: the Urushi Body, or what two Japanese prefectures do together when Paris looks on - Luxsure<\/title>\n<meta name=\"description\" content=\"Presented on March 6, 2026 at the Carrousel du Louvre, Issey Miyake's Creating, Allowing collection documents a rare artisanal chain: washi paper torn in Echizen, glued with toromo on 3D molds, lacquered in Kyoto. 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