论文代写-The influence of Japanese designers on the global fashion industry。Designers of Japan such as Yamamoto Kansai, Miyake Issey, and Takada Kenzo played an active role continuously in the international world of fashion and won significant appraisal for the work they did. Almost a cult like population had been attracted by the fashion ideas and creativity of Yamamoto Yoji, and by the idiosyncratic and colored styles of Kawakubo Rei, as a result of which significant attention was gained by an exhibition in the Collection of Paris.日本设计师山本关西、三宅一生、高田贤三等一直在国际时尚界发挥着积极的作用，他们的作品获得了很高的评价。几乎所有的信徒都被山本耀治的时尚理念和创意，以及川久保玲独特的色彩风格所吸引，因此，巴黎的一场展览吸引了大量的注意力。
人们对稻叶吉夫和菊池武夫的时尚风格和理念给予了极大的关注。在20世纪80年代后期，女性的时尚被划分为两个方向，即身体意识风格(bodikon)和涩谷休闲风格(Shibuya casual)。Bodikon强调身体的自然尺寸，shibukaji起源于大学和高中学生，经常光顾东京涩谷区(Shibuya Ward)购物街上的精品店。在这一时期，博迪孔的服饰被大量的妇女所穿着，使更多的妇女进入了活跃的世界，并经常成为人们谈论的话题。shibukaji流行风格背后的关键概念是耐用和简单。山本和川久保玲(Kawakubo)在巴黎展示的服装，最终脱离了西方传统的时装设计，进一步挑战了长期以来对美和性别的观念。
事实上，她们在剪裁上刻意避开了强调女性形体的设计，而偏爱宽松合身的分层包裹面料，在不对称和抽象形式的裙边形状上更进一步。由于以单色为主，服装以黑色为主题，面料选用粗糙的纹理。这有助于增加衣服的生命线，消除撕裂和风化。从最初的意义上说，由于对川久保玲和山本聪的创意感到震惊，时尚界的几名记者一直在给他们贴上不同的标签。其中一些包括“包女士造型”或“破旧别致”。对于习惯了身体意识和性别特定服装的西方人来说，这种激进的服装似乎是荒谬的。当西部地区在接触时尚的日本在1960年代年和1970年代年,之前设计师山本如关西,高田贤三,和森英惠似乎擅长以融合东方元素与西方时装设计师设计的开发已经生产的还相当的外观和风格。
宽大的袖子、宽松的合身、层叠的面料以及运用以自然为主题的细丝等特点，一直是日本传统服饰被早期设计师引入西方时尚世界的重要元素。在山本耀司(Yohji Yamamoto)和川久保玲(Rei Kawakubo)之前，三宅一生(Issey Miyake)也曾是他们在巴黎的同胞。三宅一生也被时尚界的鉴赏家们认定为一个前卫的设计师，他曾经是一个前卫的人，总是把目标锁定在时尚既定的范围之外。虽然他的作品根植于日本传统的设计理念，但在探索传统西方时装与日本服饰之间的关系上是成功的。三宅一生(Issey Miyake)总有一个窍门，把日本的工作服，比如宽松的外套和宽松的裤子，变成适合西方人穿的休闲、低调、实用的服装。
Significant attention had been drawn out of the fashion styles and ideas of Inaba Yoshie and Kikuchi Takeo. During the later years of 1980s, the fashions of women had been categorized as two direction, namely, body conscious style (bodikon) and Shibuya casual (shibukaji). Bodikon laid emphasis on the natural dimensions of a body, and shibukaji originated among university and high school students, frequenting the boutiques across shopping streets of Shibuya Ward in Tokyo. During this period, the clothing of bodikon was worn by a large population of women and brought out more number of women in the active world and it frequently became a topic of conversation. The key concept behind the popular style of shibukaji was durability and simplicity. The garments presented by Yamamoto and Kawakubo in Paris ended up with the departure of Western conventions out of fashion designing that further challenged the long held notions of beauty and gender.
As a matter of fact, the eschewed designs for tailoring the accentuated form of females who favoured loose fitted layered enshrouding of fabric, further ahead in the shape of hemlines in asymmetrical form and abstract form. As the monochromic styles were preferred mostly, the garments followed the theme of black, with rough texture selected in the fabric. This helped to increase the lifeline of clothes, eliminating tearing and weathering. In the initial sense, appalled by the creativity of Kawakubo and Yamamoto, several journalists from the fashion field had been assigning different labels to them. Some of these included “bag lady look” or “ragged chic”. To Westerners accustomed with body conscious and gender specific dresses, the radical garments seemed to be absurd. While the western area was in exposure of the fashion of Japan during the years of 1960s and the years of 1970s, previous designers such as Kansai Yamamoto, Kenzo Takada, and Hanae Mori, seemed to be adept in order to blend eastern elements related to designing with the ones developed already by western fashion designers for the production of exotic yet considerably tempered look and style.
Characteristics like wide sleeves, loose voluminous fit, layering and the utilization of fine silks with the motifs of nature, had been key elements for traditional dress of Japan introduced across the Western fashion world by the previous designers. Other compatriots of Yohji Yamamoto and Rei Kawakubo for preceding them in Paris had been Issey Miyake. Also identified as a progressive designer by the cognoscenti of fashion, Miyake used to be a forward thinking person who consistently targeted beyond the scope of fashion established. Though his work had strong roots with the traditional design philosophy of Japan, nonetheless, it was successful in exploring the relationship between traditional western fashion and Japanese apparel. Issey Miyake always followed a trick to turn work clothes of Japan like loose coats and baggy pants as casual, muted, useful dress for the western population.
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