One of pop music's most original auteurs, Jones built her indelible image through the late Japanese designer's work.
, model, activist, and Miyake collaborator Bethann Hardison remembers the designer enlisting her to helm casting for “a big show in Japan… that included Grace Jones and other beauties of that time.” This would be a 1976 fashion performance billed as “Issey Miyake and Twelve Black Girls” during which Grace, Bethann, and other models traveled from Tokyo to Osaka to strut for sold-out crowds in Miyake clothing.
Up until then, Jones was a working model striving to claw her way into life as a theater performer. This event cleared the path to Jones’s future as"not a singer, not a model, not a dancer, not an actress, not a performance artist: all of that together, and therefore something else." It was Miyake’s prescient combination of art, fashion, and celebrity that elevated Jones to the echelon she deserved. Throughout both of their lives, the relationship was symbiotic.
If Miyake’s clothing requires a body to be fully appreciated, Jones is the living embodiment of his principles. As she moves, however slowly, she snatches the rest of us into tomorrow at lightspeed in a spaceship made from gossamer pleated polyester and single threads that can be seamlessly spun into infinitely wearable creations.
Miyake said of his designs, “I get angry if they don’t move.” As a counterpoint, Jones has centered joyous forward momentum as a generative balancing act in lockstep with Miyake, himself a survivor of the destructive force of the Hiroshima bombing. Jones has continually inspired movement on dancefloors, in manners of dress, and in our understanding of gender. She yanked the experimental into pop culture at large. At the beginning of her career, she credits Miyake with helping her realize that “I was the countdown to an explosion that was always about to happen.”This content is created and maintained by a third party, and imported onto this page to help users provide their email addresses.
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