Fashion Tanaka
Sanny Olafeso
We are pursuing to establish a good reputation of our brands by planning events, such as fashion shows, and distributing their items nation-widely at boutiques, department stores and our own shops (IZA).
As one of the leading fashion companies, we dedicate ourselves to develop the Japanese fashion scene by introducing the latest mode fashion from all around the world. And I believe that the new values which our fashion business have been creating will contribute to the future growth in Japan.
Nina Ricci established her Parisian couture house in 1932. A hallmark of elegance, it would become famous for representing femininity via a sophisticated luxuriousness yet intentionally relaxed style.
By combining sumptuous materials with soft draping, tailoring and her ability to capture the essence, Nina Ricci became synonymous with contemporary fashion. Her main goal was to channel the personality of every woman; proposing a classic wardrobe that favoured naturalness over ostentation.
DESTREE is a women's ready-to-wear and accessories brand created in 2016 in Paris by Graldine Guyot and Laetitia Lumbroso. Deeply cosmopolitan, the brand draws its inspirations from the world of contemporary art that its creator Graldine - a graduate of Central Saint Martins - is fond of. DESTREE tells the story of a colorful and singular passion, of a Parisian yet different style, drawing its beauty from the visual dissonances it evokes and which it translate through a graphic and structured aesthetic.
Who are you, IZA?
IZA is an unique boutique established in 2003, distributing international first-class clothes and accessories. We value comfortable flair in which you can shop relaxingly, rather than insisting puzzling aesthetics.
IZA, Shop for a Cause.
Along with our regular service, we have been earnestly working on our charitable projects. We will contribute to our society by creating charming items with European designers.
The best thing about being a vintage girl in the modern world is having the internet and finding other kindred souls from other parts of the world. This month on the Around the World with Vintage series we visit the coastal Yokohama in the beautiful Japan.When I came across Kiyomi whose wardrobe constantly turns me green with envy I just had to learn more about her. The way she puts together her outfits is artistic and detailed and now that I know what she does for living it totally makes sense. She graces my Instagram feed regularly with her posts at Akanesasantique and we chatted about the vintage trends in Japan and how the World War II affected the fashion movement there.
How do you feel about mixing vintage with modern clothes? I have seen numerous times Japanese women wearing vintage bed jackets as summer cardigans with jeans but rarely see head-to-toe vintage pieces.
If I was to give some advices for Asian girls who want to start wearing vintage: find a good quality shop and with knowledgeable owner. For beginners, it is not easy to buy vintage online, better to getting advice from experts . I myself havelearned many things from them.
WEKOKO actually came from a brain storming session on a big piece of pink card and a bottle of rose with my business partner Lloyd Nwagboso. I really wanted to create a platform for independent unique fashion designers, as I get so inspired by finding your own unique style instead of shopping on the high street and everyone wearing the same things.
The Tanaka Design Studio, founded in 1963, completed work for companies including Mazda and fashion designer Hanae Mori as well as Issey Miyake. The designer met Miyake in the 1960s while both were living in Tokyo, and the two remained friends until Tanaka died in 2002.
"This collection embodies the joy of making things," added the label. "This is something that has been passed down from Ikko Tanaka to Issey Miyake and his team as well as all people engaged in making clothes."
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Akira Kuboshita(Kuboshita): Back then, stylists like Tsuyoshi Noguchi-san and Daisuke Iga-san were doing well, and I looked up to them. They made me want to become a stylist. But I shifted gears right after I started school.
Kuboshita: After quickly giving up my dream of becoming a stylist, I wanted to become a graphic designer. I loved graphics, but I only knew the basics when it came to the computer. I could only make posters for fashion shows at our school festivals and create some videos. I started learning to do graphic design once I joined a company.
Kuboshita: I liked that she had a strong backbone. We talked about how we need to keep the brand going. We know the brand will be around a century later, so the concept of TANAKA is: Clothing that connects the past and the next 100 years.
Tanaka is an illustrator who's getting attention on social media with pop and cute (kawaii) fashion illustrations of young boys and girls. With 105K followers on Twitter and 130K followers on Instagram, Tanaka's posts of kawaii illustrated fashion combinations using a range of cute items are creating buzz. This book showcases approximately 170 illustrations, with 40 new and remade fashion illustrations by the artist. The illustrations are arranged by 60 themes in alphabetical order: "B" for "Boyish", "Black", "Beige", "C" for "Checkered" and so on (some letters have multiple themes). This book will be inspiring not just for Japanese anime and manga fans, but also for fashionistas, fashion designers, manga artists and people working in the fashion or anime industries.
An exponent of Italian craftsmanship on the international stage from its beginnings, Alcantara held an exclusive event at the Italian Embassy in Tokyo to present the new collaboration with FACETASM and FUMIE TANAKA, cutting-edge fashion brands on the Japanese and international scene, to create two Capsule Collections revolving around the soft touch material.
For 12 items of clothing and a number of accessories, the incredible versatility of Alcantara allows it to be transformed in different styles and processes: from lasing cutting for more street-style and hybrid items by FACETASM, to embossing and a special Alcantara knotted weave for the more romantic and feminine style of FUMIE TANAKA.
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Tanaka was born in Osaka, on February 10, 1932.[3] She had four older sisters and four older brothers. She studied at the Department of Western Painting at Kyoto Municipal College of Art (now Kyoto City University of Arts) in 1950 and left to attend the Art Institute of Osaka Municipal Museum of Art from 1951.[4]
During her study at college, Tanaka befriended her upperclassman Akira Kanayama. Kanayama advised her to explore new artistic languages and later invited her to join an artists' collective, Zero Society (Zero-kai), which he co-founded with other young artists, including Kazuo Shiraga and Saburo Murakami.[5][6]
During an extended period of hospitalization in 1953, Tanaka started to create non-figurative artworks.[7] Inspired by the calendar with which she counted days, Tanaka began to make a series of works that consisted of handwritten numbers on various collaged materials, including hemp cloth, tracing paper, and newspaper.[7][6] In some of these works, Tanaka repeated and fragmented the numbers to de-naturalize the meaning of numerical signs.
As Tanaka's solo artistic career soared throughout the late 50s and early 60s, her relationship with Yoshihara Jiro became strained.[1] Due to her mental instability and the tension within the group, Tanaka decided to leave Gutai in 1965 and married Kanayama.[1] They moved into a house at the temple Myōhōji in Osaka.[1] She produced most of her works at home and in the flat on the second floor of her parents' house, ten minutes from where she had lived.[9] In 1972, Tanaka and her husband moved to Nara.
In her post-Gutai period, Tanaka mainly created large paintings, applying synthetic resin enamel paints to horizontally laid canvases.[10] She developed unique motifs of colorful circles and intertwining lines from her earlier drawings inspired by Electric Dress and Bell. Her paintings from this period continued to attract attention in Japan and from abroad.
In 1952, Akira Kanayama introduced Tanaka to his colleagues in Zero-kai (Zero Society), an experimental art group he co-founded with Shiraga Kazuo and Murakumi Saburo. Tanaka soon joined this association.[12] In the meantime, Jiro Yoshihara, an established artist and critic, was offering private lessons on Western-style oil painting. Influenced by abstract art that emerged in Tokyo, Yoshihara envisioned a new kind of art that would "create what has never been done before."[13] In 1954, Yoshihara and other young artists, mainly like-minded students of his, founded the Gutai Art Association.[3] Around June in 1955, Yoshihara sent Gutai artist Shimamoto Shozo to invite members of Zero Society, including Tanaka, to join Gutai.[8]
Tanaka, as well as other members of Zero Society, became central figures of Gutai after they joined. Their non-figurative artistic experiments contributed to further radicalizing Gutai art.[5] Tanaka's works were featured in all exhibitions held by Gutai from 1955 to 1965.[4] After she left Gutai, exhibitions in both Japan and the West continued to include her iconic works such as Bell (1955) and Electric Dress (1956) as emblematic of the experiment carried out by Gutai.[6]
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