好英语网三宅一生去世，曾将日本时尚带向世界
Issey Miyake, one of the first Japanese designers to show in Paris, whose pleated style of clothing allowed for freedom of movement and whose name became a global byword for cutting-edge fashion in the 1980s, died on Friday in Tokyo. He was 84.
三宅一生于周五在东京去世，享年84岁。他是第一批在巴黎举办时装秀的日本设计师之一。三宅一生的褶皱风格服装让穿着者可以自由行动，他的名字在1980年代成为全球前沿时尚的代名词。
His death, in a hospital, was announced on Tuesday by the Miyake Design Studio, which said the cause was liver cancer.
周二，三宅设计工作室宣布了他在医院去世的消息，称死因是肝癌。
三宅一生于1991年在巴黎展示了他的作品。“我不搞时尚。我做衣服，”他曾经说。
Mr. Miyake’s designs appeared everywhere, from morning to night, from factory floors — he designed a uniform for workers at the Japanese electronics giant Sony — to black tie dances.
三宅的设计随处可见，从早到晚，从工厂车间——他曾为日本电子巨头索尼的工人设计了一套制服——到黑领结舞会。
His insistence that clothing was a form of design was considered avant-garde in the early years of his career, and he had notable collaborations with photographers and architects. His designs found their way onto the 1982 cover of Artforum — unheard-of for a fashion designer at the time — and into the permanent collection of the Museum of Modern Art in New York.
他坚称服装是一种设计形式，这在他职业生涯的早期被视为前卫观念，他与摄影师和建筑师有过重大合作。他的设计于1982年登上《艺术论坛》(Artforum)的封面——这在当时对于时装设计师来说是闻所未闻的——并被纽约MoMA永久收藏。
Mr. Miyake was feted in Japan for creating a global brand that contributed to the country’s efforts to build itself into an international destination for fashion and pop culture. In 2010, he received the Order of Culture, the country’s highest honor for the arts.
在日本，三宅一生因为创立了一个全球品牌，为将日本打造成时尚和流行文化的国际重地做出贡献而广受赞誉。2010年，他获得了该国艺术领域的最高荣誉文化勋章。
And as one of the first Japanese designers to show in Paris, he was part of a revolutionary wave of designers that brought Japanese fashion to the rest of the world, eventually opening the door for contemporaries like Yohji Yamamoto and Rei Kawakubo.
作为最早在巴黎举办时装秀的日本设计师之一，他是将日本时装推向世界的一批革命性设计师的一员，最终为山本耀司和川久保玲等同时代的人打开了大门。
Mr. Miyake is perhaps best known for his micro pleating, which he first began experimenting with around 1988 but which has lately enjoyed a surge in popularity among new and younger consumers. It was driven by his philosophy of fashion: As he said in his book “Pleats Please” (2012, edited by his associate Midori Kitamura), clothes “must bestow freedom on those who wear them.”
三宅一生最出名的可能是他的微褶皱，他在1988年左右开始尝试这种设计，但最近在年轻的新一代消费者中人气飙升。这是由他的时尚哲学推动的：正如他在2012年出版的《Pleats Please》（2012年出版，由他的助手北村绿编辑）一书中所说，衣服“必须赋予穿衣者自由”。
Released in 1993, his Pleats Please line of clothing, made from a near weightless polyester, featured waterfalls of razor-sharp, accordionlike pleats offering the ease of loungewear. They became his most recognizable look. To wear a Pleats Please piece was to discover a lack of bodily constraint and, with that, Mr. Miyake hoped, a lack of emotional and creative inhibition.
他的Pleats Please系列服装于1993年发布，由一种近乎没有重量的聚酯纤维制成，其特色是锋利的、如手风琴般的竖直褶皱，穿在身上如同便服般轻松。它们成了他最具辨识度的造型。Pleats Please的衣服会为身体带来无拘无束的感觉，三宅一生希望这也能为情感和创作带来不受约束的感觉。
Most Pleats Please clothes had no buttons, zippers or snaps. There were no tight armholes, or delineated waistlines. They slipped onto the body and were opaque enough to require only minimal underpinnings — say, a bra and panties. Necklines weren’t so deep as to be revealing. Often Mr. Miyake used solid colors — blues, greens, crimson — or fabrics printed with flowers or tattoos.
大多数Pleats Please的服装没有纽扣、拉链或搭扣。没有紧绷的袖口，也没有清晰勾勒的腰线。它们滑落在身体上，不会很透，只需要极简的内搭——比如胸罩和内裤。领口不会太深、太暴露。三宅经常使用纯色——蓝色、绿色、深红色——或者印有花朵或刺青的面料。
And under his proprietary heat treating system, these clothes never lost their shape: Even when rolled up into balls or knots they would never be wrinkled or crushed, and they could be machine washed.
通过他的专利热处理系统，这些衣服永远不会变形：即使把它们卷成球或拧成结，也不会起皱或被压坏，而且可以机洗。
Their prototype was conceived in 1991, when Mr. Miyake collaborated with the choreographer William Forsythe to design pleated costumes for a Frankfurt Ballet production of Mr. Forsythe’s “The Loss of Small Detail.” The male dancers wore the pants, then switched to dresses, the women vice versa. Whatever they wore, they were free to leap, pirouette and soar.
它们的原型是在1991年构思的，当时三宅一生与编舞家威廉·福赛斯合作，为法兰克福芭蕾舞团排演福赛斯的《小细节的缺失》(The Loss of Small Detail)设计了褶皱服装。男舞者穿裤子，然后换成裙子，女舞者反之。无论穿什么，舞者们都可以自由地跳跃、旋转和腾空。
But Mr. Miyake was about more than pleats. His Bao Bao bag, made from mesh fabric layered with small colorful triangles of polyvinyl, has long been an accessory of choice for creative industries. He also produced the black turtleneck that became part of the signature look of Steve Jobs, the Apple co-founder.
但三宅一生的作品不仅仅是褶皱。他的Bao Bao包使用网状织物和小型彩色三角形聚乙烯制成，长期以来一直是创意产业青睐的配饰。他还设计了成为苹果联合创始人史蒂夫·乔布斯标志性造型一部分的黑色高领恤。
In 1992, he introduced L’eau d’Issey, a floral fragrance for women that ended in a woody scent of springtime. The perfume was created by Jaques Cavallier, and the bottle was designed by Mr. Miyake (with Fabien Baron and Alain de Mourges) — a slender, minimalist, inverted glass cone with a matte silver top accented with an orb. It was inspired by Mr. Miyake’s glimpsing the moon rising over the Eiffel Tower one night in Paris.
1992年，他推出了“一生之水”(L'eau d'Issey)，这是一款专为女性设计的花香香水，以春天的木香作为尾调。香水由雅克·卡瓦里耶设计，瓶子由三宅一生与法比恩·巴伦和阿兰·德·莫热斯设计——一个简约的细长倒置玻璃圆锥体，银色哑光瓶盖上有一个圆球。它的灵感来自于三宅一生在巴黎的一个夜晚瞥见从埃菲尔铁塔升起的月亮。
Kazunaru Miyake was born on April 22, 1938. (The character for Kazunaru in Japanese writing also reads as Issey, which means one life.) He walked with a “pronounced limp,” Sheryl Garratt wrote in the British newspaper The Telegraph in 2010, a result of his surviving the atomic bomb dropped on Hiroshima, his hometown, on Aug. 6, 1945. When he was 10, he developed a bone-marrow disease, Ms. Garratt wrote, and his mother died of radiation poisoning.
三宅一生生于1938年4月22日。谢丽尔·加拉特2010年在英国《电讯报》上写道，他走路“明显一跛一拐”，这是1945年8月6日他的家乡广岛遭原子弹轰炸的结果。加拉特写道，他10岁时患上了一种骨髓疾病，他的母亲死于辐射中毒。
“I was there, and only 7 years old,” Mr. Miyake wrote in an opinion essay in The New York Times in 2009. “When I close my eyes, I still see things no one should ever experience: a bright red light, the black cloud soon after, people running in every direction trying desperately to escape. I remember it all.”
“我当时就在那里，而且只有七岁，”三宅一生在2009年发表于时报的一篇观点文章中写道。“闭上眼睛，我仍然会看到一些任何人都不应该经历的东西：一束明亮的红光，紧接着就是乌云，人们跑来跑去，绝望地寻找生路。我记得这一切。”
Mr. Miyake rarely discussed that day — or other aspects of his personal history — “preferring to think of things that can be created, not destroyed, and that bring beauty and joy,” he wrote in the essay.
三宅一生很少讨论那一天——或者他个人经历中的其他方面——“我更喜欢思考那些可以被创造而不是被摧毁的东西，那些能带来美丽和快乐的东西，”他在文中写道。
He graduated in 1963 from Tama Art University in Tokyo, where he majored in design because fashion was not offered there as a course of study.
他于1963年毕业于东京多摩美术大学，专业是设计，因为该校没有开设时装专业。
In 1965 he moved to Paris, where he worked as an assistant to Guy La Roche and Givenchy. While there he witnessed the May 1968 student protests, which inspired him to make clothes for everyone, not just the elite.
1965年，他搬到巴黎，担任盖伊·拉·罗什和纪梵希的助理。在那里，他目睹了1968年5月的学生抗议活动，这激发了他为所有人而不仅仅是精英制作服装的观念。
“I seem to be present at occasions of great social change,” he was quoted as saying in the 2017 book “Where Did Issey Come From?” by Kazuko Koike. “Paris in May ’68, Beijing at Tiananmen, New York on 9/11. Like a witness to history.”
“我似乎总是身处重大社会变革的时刻，”作者小池一子在2017年出版的《一生从何而来？》一书中引用他的话说。“68年5月的巴黎，北京天安门，9·11的纽约。就像历史的见证人。”
He had a stint in New York, then founded the Miyake Design Studio in Tokyo in 1970.
他曾在纽约工作过一段时间，然后于1970年在东京创立了三宅设计工作室。
He often stressed that he did not consider himself “a fashion designer.”
他经常强调，他不认为自己是“时装设计师”。
“Anything that’s ‘in fashion’ goes out of style too quickly,” he told the magazine Parisvoice in 1998. “I don’t make fashion. I make clothes.”
“任何‘流行’的东西都会很快过时，”1998年，他在接受《巴黎之声》(Parisvoice)杂志采访时表示。“我不搞时尚。我做衣服。”
Interviewed by the Japanese daily The Yomiuri Shimbun in 2015, he said: “What I wanted to make wasn’t clothes that were only for people with money. It was things like jeans and T-shirts, things that were familiar to lots of people, easy to wash and easy to use.”
2015年接受日本《读卖新闻》采访时，他说：“我想做的不是只给有钱人穿的衣服。我做的是牛仔裤和T恤之类的东西，很多人都很熟悉，易于清洗，易于使用。”
Still, he was perhaps best known as a designer whose styles combined the discipline of fashion with technology and art. In 2000, he introduced another collection designed to simplify the making of clothes, to eliminate the need for cutting and sewing the fabric. With his concept “A Piece of Cloth,” or “A-POC,” a single thread could be fed into an industrial knitting or weaving machine programmed by a computer. In a single process, the machine formed the components of a fully finished outfit, extruded as a single tube of fabric. The clothes could be cut with scissors along lines of demarcation. One tube of fabric could produce a dress, a hat and a blouse. Snip the fabric, and a piece of clothing emerged.
不过，作为一名设计师，他最著名的可能是将时尚与技术和艺术相结合的风格。2000年，他推出了另一个系列，旨在简化服装制作，消除裁剪和缝制面料的需要。在他推出的概念“一块布”(A-POC)，可以将一根线送入由计算机编程的工业针织机或编织机。机器一次性制成一个完整的成品服装的组件，然后挤压成一管面料。衣服可以用剪刀沿着分界线进行剪裁。一管面料可以制成一件连衣裙、一顶帽子和一件衬衫。把面料剪断，一件衣服就出现了。
Working with the architect and product designer Ron Arad, Mr. Miyake created A-POC Trampoline, which was a knit jacket, pants and stole that could double as a cover for Mr. Arad’s looping, figure-eight Ripple chair, displayed in 2006 at the annual Salone del Mobile design show in Milan.
三宅与建筑师兼产品设计师罗恩·阿拉德合作设计了A-POC Trampoline，这是一款针织夹克、裤子和披肩，后者可以兼作阿拉德设计的8字环型椅背Ripple椅的罩子，2006年，这把椅子在一年一度的米兰移动沙龙设计展上展出。
A famously private person — information on his survivors was not immediately available — Mr. Miyake was nevertheless known for his close relationships with his longtime co-workers and collaborators, whom he credited with being essential to his success. Ms. Kitamura, for instance, started as a fit model in his studio, continued working with him for nearly 50 years and now serves as president of his design studio. His collaboration with the fashion photographer Irving Penn resulted in two books.
三宅一生以注重隐私闻名——本文暂时无法了解到有关他身后人的信息——但他与长期同事和合作者的亲密关系也很著名，他认为这些人对他的成功至关重要。比如，北村绿一开始是在他的工作室做试穿模特，后来和他一起工作了近50年，现在是他设计工作室的总裁。他与时尚摄影师欧文·佩恩的合作产生了两本书。
Throughout his life, “he never once stepped back from his love, the process of making things,” Mr. Miyake’s office said in a statement.
一生之中，“面对爱与创造的过程，他从不曾退缩，”三宅一生的办公室在一份声明中说。
“I am most interested in people and the human form,” Mr. Miyake told The Times in 2014. “Clothing is the closest thing to all humans.”
“我最感兴趣的是人，以及人的形态，”三宅一生在2014年告诉时报。“服装是最贴近所有人的东西。”