From October 24-26 in Paris, A-POC ABLE ISSEY MIYAKE presents a special exhibition, “TYPE-XIV Eugene Studio project,” in collaboration with the contemporary artist Eugene Kangawa of EUGENE STUDIO. Inspired by his signature “Light and shadow inside me” series, Kangawa created a collection of black-and-white works by folding a single sheet of photographic paper into a three-dimensional form in a darkroom. It was then exposed to light from a single source, creating a photogram that became the project’s starting point.
Whitewall spoke with the artist and the brand’s designer Yoshiyuki Miyamae, who spearheaded the project, about the maison’s first activation timed to Art Basel Paris.
Yoshiyuki Miyamae, courtesy of Issey Miyake.
Issey Miyake’s First Paris Art Week Presentation
WHITEWALL: When you first encountered Kangawa’s “Light and shadow inside me” series, what did you resonate with?
YOSHIYUKI MIYAMAE: What struck me most was the idea that “light itself becomes a material, generating new aesthetic values through the passage of time.” Sunlight or exposure in a darkroom leaves traces on paper, where chance and inevitability intertwine with the dual nature of light and shadow inherent in all things.
Our TYPE-XIV Eugene Studio project was an attempt to translate this philosophy into textiles. A-POC ABLE ISSEY MIYAKE, rooted in Issey Miyake’s concept of “a piece of cloth,” has long sought to generate diverse expressions and extend that vision further. Inspired by Kangawa’s work, we were compelled to return to the fundamental question of what fabric truly is. Combining threads may appear simple, yet under light their density reveals infinite variations. When just two colors of thread—black and white—are interwoven, gradations, shadows, and even invisible spaces emerge. Like silver halide particles responding to light, textiles too take on tranquil gradations through the mediation of light.
By connecting Kangawa’s philosophy—where light and shadow coexist—with the essential medium of woven fabric, we hope to suggest new possibilities for what clothing and textiles can be.
Courtesy of Issey Miyake.
WW: This is Issey Miyake’s first presentation at Art Basel Paris. How does it feel to present this work in Paris right now?
YM: I believe Art Basel Paris is a place where ideas and expressions from around the world converge, intersecting art’s past, present, and future. To present for the first time as A-POC ABLE ISSEY MIYAKE on such a stage carries profound meaning. While fashion and art belong to different realms, both share a fundamental inquiry: how we perceive materials and time, the body and space.
Presenting this work in Paris at this moment feels inevitable. Our exploration of “creation from a piece of cloth” resonates with Kangawa’s works of light and shadow and crystallizes into a spatial experience through the installation by architect Tsuyoshi Tane. Within the international context of Art Basel Paris, we hold strong anticipation and excitement in presenting new possibilities for what cloth can be.
When cloth receives light, embraces shadow, and traverses space, it ceases to be a mere material. It exists beyond the boundaries of art and design, quietly posing questions. At that threshold lies the very core of our exploration.
Courtesy of Issey Miyake.
Courtesy of Issey Miyake.
Behind the Scenes with Eugene Kangawa
WW: Tell us a bit about making these works—and how a photogram was the starting point.
EUGENE KANGAWA: The first works I presented were green pieces created through the same process, using sunlight to produce fading. These took anywhere from several weeks to several months to complete.
The photogram emerged as a kind of sketch for these works. As you know, photographic paper is exposed within seconds of light, whereas fading by sunlight can take hundreds of hours. Because the principle is essentially the same, the act of folding photographic paper in the darkroom became a natural continuation of the overall process.
Courtesy of Issey Miyake.
WW: You mentioned, “The very existence of things is defined by the coexistence of light and shadow.” Where did this philosophy begin for you?
EK: “Everything that exists already carries light and shadow within itself, even before forming any relationship with others.” This reflects my view that light and shadow, front and back, are not separate concepts but inherently one. This philosophy has arisen from many experiences in my life—both social and personal. From the state of the world, to the death of my mother, to the yearning for peace, and to encounters with nature—these have all shaped the way I have come to understand it.
Courtesy of Issey Miyake.
The Importance of Light in Art
WW: How does light impact or influence the work? Of what importance is shadow?
EK: Light and shadow are always one. At times, shadow can be beautiful, while light can hold a power that is almost terrifying. What matters to me is not to overlook the gradations in between, but to face them with attention—that gaze itself is essential.
WW: What was it like collaborating with A-POC ABLE ISSEY MIYAKE to turn this installation into textile?
EK: I felt they were deeply attentive to this series of two-dimensional works during our collaboration—not in terms of simply printing, but by thinking from the structural level, in a truly fundamental way. They hold an extraordinary philosophy of clothing. The time they guided and accompanied us was remarkable, and I have a clear sense that it is only the beginning.
Courtesy of Issey Miyake.
