Issey Miyake was only seven years old when an atomic bomb was detonated over Hiroshima. A native of Hiroshima, Miyake lost his mother in the disaster and was exposed to high amounts of radiation in the aftermath. This devastating experience drove Miyake to pursue a career in fashion and dedicate his life to “things that can be created, not destroyed, and that bring beauty and joy” (Miyake, 2009). I believe Miyake’s creative vision and fashion designs represent three principles of Japanese culture that best demonstrate the legacy of the country. This essay examines these three notions— the concept of “mottainai,” the importance of innovation, and a desire to embrace and understand other world cultures—and explains why I am convinced Miyake’s fashion collection would be the most accurate reflection of Japan’s cultural legacy in a time capsule containing all the world’s heritage.
“Mottainai” is not just a word, but also a way of life in Japan. A simple English translation is “waste not, want not,” but even this does not truly convey its meaning. In the past, Japanese people handled their clothing with the greatest care, stitching their threadbare garments to repair them rather than simply throwing them away. Even now, the Japanese are mindful of “mottainai” for clothing, as it is common to use old towels as dust cloths, and unneeded garments as wrapping paper for gifts. Miyake’s first fashion collection, which debuted in New York in 1971 and Paris in 1973, was entitled A Piece of Cloth. All the dresses in this collection were made from square pieces of cloth and sewn by hand in order to convey “mottainai” to the rest of the fashion world.
In addition to demonstrating the concept of “mottainai,” Miyake’s work also reflects the Japanese spirit of innovation. As a country with few natural resources, the Japanese economy relies heavily on technological innovation for