The Collaborative Genius of Kenta Umemoto and A-POC ABLE ISSEY MIYAKE

Before we dive into the heart of its latest project, let's take a moment to trace the lineage of A-POC ABLE ISSEY MIYAKE, understanding its roots to fully appreciate the groundbreaking path it continues to forge in the realm of fashion, art, and technology, as it represents over two decades of innovation.

Issey Miyake first introduced A-POC (A Piece Of Cloth) in Paris in 1998: a garment cut from a tube of fabric pre-knitted through computer programming, and so in 2000 the A-POC brand was launched. By 2021, the word "ABLE" was added, giving rise to A-POC ABLE and its boundary-pushing new projects. This experimental brand, under the direction of Yoshiyuki Miyamae, continues the legacy of Issey Miyake by fostering a deeper connection between the creator and wearer of each garment and emphasizing the brand's commitment to combining the latest technological advancements with traditional craftsmanship and artistic creativity.

Yoshiyuki Miyamae, born in 1976 and a pivotal member of Miyake Design Studio since 2001, has been at the forefront of these innovative pursuits. His tenure as head designer for ISSEY MIYAKE women's collection from 2011 to 2019 was marked by groundbreaking explorations in design and technology. Now, with A-POC ABLE ISSEY MIYAKE, Miyamae leads a team dedicated to research and development, exploring new horizons for the A-POC system. In October 2023, A-POC ABLE ISSEY MIYAKE unveiled "So the Journey Continues" within an art gallery located in Paris's 3rd arrondissement, showcasing the brand's latest projects and extraordinary creations.

In this article we have the privilege to feature "A-POC ABLE ISSEY MIYAKE: So the Journey Continues TYPE-VIII Kenta Umemoto project," which is the most recent event held on March 3, 2024, at the Hôtel du Grand Veneur in the Marais. The installation introduced at the gallery showcased three collaborative projects, each highlighting A-POC ABLE ISSEY MIYAKE's dedication to innovation: TYPE-VIII Kenta Umemoto project, a partnership with the talented photographer Kenta Umemoto, that presented a visual dialogue between clothing and art. Umemoto's "FLŌRA," created specifically for this collaboration, showcases a daring interpretation of nature's ephemeral beauty. TYPE-IX Synflux project, a video installation that documents the brand's collaboration with Synflux, a design lab that brings cutting-edge digital technology to fashion design, aiming for sustainability and minimal waste. And finally TYPE-X Inkjet 4D Print project that highlighted prototypes developed through partnerships with startups and academics, introducing workshop participants to innovative textile technologies.

A-POC ABLE ISSEY MIYAKE’s various techniques and innovations were displayed, inviting visitors to delve into a world where traditional craftsmanship meets futuristic vision.

Kenta Umemoto, Paris-based Japanese photographer, brings a unique blend of digital and manual processes to his work, exploring new expressive avenues through photography. His FLŌRA series captures the transient beauty of flowers, merging painting and photography to awaken viewers' imaginations towards nature's casual beauty. Umemoto’s creative synergy with A–POC ABLE ISSEY MIYAKE resulted in a project where flowers symbolize universal beauty, with designs inspired by his FLŌRA series brought to life through the brand's Steam Stretch technique.

This creative fusion, alongside collaborations with Synflux and the exploration of Inkjet 4D Print technology, exemplifies A-POC ABLE ISSEY MIYAKE’s journey towards creating clothing that resonates with the digital age while staying true to the essence of beauty and functionality.

In our exclusive interview with Kenta Umemoto, we dive into the intricate details of this collaborative process, offering readers a glimpse into the innovative minds that are shaping the future of fashion.

Kenta, your collaboration with A-POC ABLE ISSEY MIYAKE introduced a novel way of blending photography with fashion. Can you describe that experience?

It was surreal. They create these magnificent garments, but what fascinated me was the process—how we merged the background, clothes, and the photography itself. The technique of transferring photographs onto fabric using heat was something I had never encountered before. Peeling the fabric after the transfer felt intense, almost alive. It transformed from a 2D image into a 3D garment right before my eyes, surpassing anything I could have imagined.

Your work often incorporates a sense of transformation. How does this concept play into your creative process?

Transformation is central to my work. I combine digital and manual techniques, but everything starts with photography. My aim is to elevate photography into a pictorial expression, blending various methods to achieve something transcendent, akin to the innovation of Issey Miyake.

And how does this transformation reflect your vision of the future, particularly concerning nature?

I'm not fond of overly futuristic concepts. I prefer blending futuristic ideas with human warmth, using manual techniques and technologies. It's about finding a balance that resonates on a human level, even in a futuristic setting.

Working on this collection, did you discover new aspects of yourself or your artistry?

The entire process was full of surprises. From the tactile sensations—the sound, the smell, the heat—to the emotional reward of seeing my photographs transform into wearable art. Producing more than 40 floral designs for the project, only to narrow them down to five, was incredibly challenging. It demanded a tremendous amount of energy and editing within a short time frame. Yet, witnessing the culmination of my work in such a sensational exhibition made every challenge worthwhile.

Your collaboration with A-POC ABLE ISSEY MIYAKE seems like a significant milestone in your career. How do you see this experience influencing your future projects?

This project marked the beginning of a new journey into three-dimensional art. I've always been intrigued by sculpture, and this collaboration has opened my eyes to new possibilities. The idea that discarded materials from the process could become artworks in their own right is fascinating to me. It represents a beautiful synthesis of art, technology, and fashion—a testament to the endless potential for creativity when disciplines intersect.

Interview by Gloria Maria Cappelletti

Special Thanks to Giorgiana Ravizza

RED•EYE WORLD