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Issey Miyake L'Eau Pour Homme Summer EDT Spray, 125 ml 3423474887552

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Pleats took on swirling formations, looking like tide pools or traditional Japanese gardens, adding circular dimension to angular dresses in jade or fuchsia. Above all, he had unusual respect for materials derived from fossil fuels, seeing plastic, nylon and all the polys not as cheap disposable substitutes for natural substances, but as themselves having unique properties – polyfibres he developed with adventurous manufacturers were machine-washable, uncrushable, stretchy and kind to skin. Hi-tech production processes reduced yarn as well as fabric waste; his garments were visually timeless and made to last physically. Miyake never thought of hydrocarbons as infinite resources to burn. Their complex chemistry and potential uses were precious – the heat of long-gone suns made clothes and ingredients for his water-themed perfumes, starting with L’Eau d’Issey in 1992. In the 21st century, his Tokyo Reality Lab recycled plastic bottle tops into durable, wearable cloth. This really reminds me of Versace Man Eau Fraiche and indeed has saved me from purchasing a new bottle of that as it gives me the exact same vibe - Eau Fraiche might have a bit more depth to it but at this price I ain't gonna argue.

Indulge your senses with our range of classic, minimalistic scents for both men and women inspired by the iconic fashion house. From the fresh and invigorating L’Eau d’Issey for her, to the bestselling L’Eau d’Issey Pour Homme*, there is a fragrance to suit every personality and occasion. For Issey Miyake, the quietly transgressive Japanese designer who passed away in August, everything began and ended with fabric. Through technical innovation and novel technique, his early work established him as a pioneer in the realm of material development. Alongside his textile director Makiko Minagawa, who helped bring Miyake's ideas to life in the ‘80s and ’90s, the designer proposed radical new ways to understand the clothing-making process, incorporating unorthodox materials like pineapple, bamboo, and jute, often treated with then-unusual plant-based dyes. OCCASIONS: Outdoor gatherings, gym, office, casual, holidays, vacations. This is an office-friendly fragrance. Mikyake saw technology as a solution to the problem of overproduction, with one such solution the late 90’s “One Piece of Cloth” idea (later known as A-POC) which pioneered the idea of making clothes out of a single tube of fabric, cutting down and waste and showing exactly what could be done with a knitting machine, a computer and the right knowhow. DISLIKE RATING: 4/10. The fragrance is very bitter, the cypress and vetiver are strong and give the fragrance a classy vibe.Step into a world where timeless elegance meets modern innovation with Issey Miyake Fragrances. Discover an olfactory journey like no other, where each scent is a testament to the brand’s iconic style and unwavering commitment to sustainability. Models display creations from Issey Miyake’s spring/summer 2023 men’s collection during Paris fashion week in June. Photograph: Mohammed Badra/EPA

All in all, the best part is the mouth-watering scent. I think it's disctintive and different from the mainstream fresh citrus offerings in the market. Reminds me a lot of Dior Homme Cologne. Both are very good, but I pretty much prefer this one, it's more complex to my nose. It wears light, but has a bracing and uplifting punch to it which is exactly what you need in a summer scent. There's a touch more fruitiness than other Issey flankers and the airy vetiver drydown keeps giving subtle wafts for longer than you'd think with a scent of this type. For a light and pleasant warm weather option, I'm happy to keep it around.

More scalloping adorned the lapels of coats, bringing the arms out and forward of the garment for something that combined a vest with a coat, and was frankly moving as the pianist began to build suspense. All in all, Issey Miyake SS23 wasn’t just a tribute, it was an empowering and emotional depiction of Miyake’s spirit, one that drove hundreds to see this show-stopping occasion.

It's a pity this is not a powerhouse, which generally is a 'must' for me, but I bought it anyway and I don't regret it. Projection is heavy for the first 2h, moderate for 2 to 3h more, and now it's soft. I don't know how long will it last. I'll make another review in the near future. In a rare 2009 op-ed for the New York Times, Miyake recounted just how much that day, and his mother’s subsequent death, informed his creativity. “I have tried, albeit unsuccessfully, to put them behind me, preferring to think of things that can be created, not destroyed, and that bring beauty and joy. I gravitated toward the field of clothing design, partly because it is a creative format that is modern and optimistic. There was nowhere to study couture, so, once Japan permitted travel abroad on a tiny budget, he went to Paris in 1965 for a course at the Chambre Syndicale de la Haute Couture, and interned for Guy Laroche and Hubert de Givenchy. The important Parisian education, though, was the student protests of 1968, revolting against the haute-bourgeoisie, usual customers for couture. Miyake sided with the students, wanting to make clothes, both wilder and more useful, for ordinary people, unconstrained by age, size, gender or fit. Loth to give interviews, Miyake had a pronounced limp – a result of surviving the 1945 atomic bomb dropped on his home town of Hiroshima when he was seven. Three years later, his mother died of radiation exposure.

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Miyake went on to New York in 1969 as an assistant for Geoffrey Beene, to learn about mass production. But in 1970, another bout of radiation-related disease returned him to Tokyo for treatment, where friends loaned him the money to start Miyake Design Studio. In his remarkable first show in Tokyo, a model stripped off many layers until nude, a scandal that alarmed his sponsors and made clear his originality. It smells exactly how the artwork portrays it: bright, fresh, green, and with a touch of blue. It's a great mix of green and blue notes, but I'd say it's 70% green / 30% blue. The green notes are attributed to the cypress and vetiver, which are very prominent. Personally I'd say these are the dominant notes to my nose, especially the cypress, but they are very well balanced by the grapefruit and kiwi. The scent is also pretty unique for a summer fragrance, considering most summer fragrances share a somewhat similar DNA. The scent is soooo good. The mid accord of pineapple-nutmeg is surprising. Very fresh citrusy fruit well balanced balanced with spices, cypress and vetiver. With a delicate blend of nature and technology, each fragrance captures the essence of pure beauty, transporting you to a realm of sophistication and tranquility. Miyake never expected to reach old age. He was born in Hiroshima, the son of an army officer and a teacher, and evacuated to a nearby small town during the second world war. At 8.15am on 6 August 1945, he was at primary school when he saw the flash of the atomic bomb that destroyed Hiroshima. Seven-year-old Miyake set out alone for the family house, 2.3km from the blast centre, searching among the heaped dead and dying for his mother.

A star-like creation for Issey Miyake during the 1999-2000 autumn-winter ready-to-wear collections. Photograph: Pierre Verdy/EPA Growing up just outside Hiroshima, Issey Miyake witnessed the atomic bomb explosion in 1945 in his city, aged 7. His mother died three years later, after being badly burned, and he suffered from radiation-related diseases. Photograph: Kim Kyung Hoon/Reuters Now, hems and hips were nipped, rippled, pinched and folded, creating athletic and sea creature-like shapes all over the body thanks to the use of ribbed knits. Very fresh, delicious fragrance. Best for summer days and nights (whoever has voted best for winter must be joking or a troll...).Born in Hiroshima in 1938, Miyake studied graphic design at the Tama Art University in Tokyo. But piqued by the crossover between disciplines, he pivoted to fashion and moved to Paris to become an apprentice to Guy Laroche and eventually work for Hubert de Givenchy around the time Audrey Hepburn was wearing his dresses. The show, titled “A Form That Breathes,” promised a collection that moved with life. It wants to envelop the body not to constrain, but to become a part of oneself, not confining you physically or mentally. It’s an apparent thread throughout the Issey Miyake universe, a world of clothing that’s continually shape-shifting and playing with life around it, its forms often springing into action when being worn. A-PoC Le Feu, by Issey Miyake and Dai Fujiwara, 1999, an example of Miyake’s A-PoC (A Piece of Cloth) concept – extruded tubular fabric that wearers could cut out into seamless garments. Photograph: Yasuaki Yoshinaga/A-PoC Le Feu, Issey Miyake

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