A pleating machine is installed at Homme Plissé Issey Miyake, the brand’s new boutique in Tokyo’s Minami-Aoyama district, designed by regular collaborator Yoshioka Tokujin

The silver machine hums quietly as it sets to work: two large rolls of white paper slowly rotate as an orange top is inserted between them, its alignment guided by green lights, before emerging on the other side just minutes later – perfectly pleated. This is a spectacle that will now unfold regularly at the first flagship store for Homme Plissé Issey Miyake, which has just opened its doors in Tokyo’s Minami-Aoyama district.

这台银色机器在开始工作时安静地嗡嗡作响：两大卷白纸慢慢旋转，在它们之间插入一个橙色的顶部，在绿色灯的指引下对齐，几分钟后，它就出现在另一边-完美的褶皱。这是一个奇观，现在将定期在第一家旗舰店为荷马普利斯岛宫亚克，该公司刚刚开门，在东京的Minami-青山地区。

In a first for the Japanese brand, the pleating machine – used to create Issey Miyake’s signature pleated fabric – will be on full display to customers, behind walls of glass at the rear of the store. Issey Miyake has long been famed for its pleating technology, which tends to be shrouded in industry secrecy (a pleating machine has only been on public display once before, during a major 2016 exhibition celebrating Issey Miyake’s work at the National Art Center in Tokyo).

第一个用于日本品牌的打褶机-用于创建IsseyMiyake的标志性打褶面料-将在商店后面的玻璃墙后充分展示给顾客。IsseyMiyake长期以来一直以其打褶技术闻名，这种技术倾向于被行业保密（一个打褶机器在2016年一个主要的展览中，在日本东京的国家艺术中心举行的ISSeyMiyake的作品）。

The flagship interiors were created by Tokyo-based designer Yoshioka Tokujin, a decades-long Miyake collaborator (this is, impressively, his 17th store). Fusing the high-tech with the handcrafted, the store concept was inspired by the concept of monozukuri no gemba – ‘making things’. Spanning 225sq m in a 1970s building, the store covers an area where, until recently, three clothing shops were located, with Tokujin knocking down interior walls to create an open, airy space.

这家旗舰店是由东京设计师吉冈·托库金（Yoshiokatokujin）创建的，他是数十年长的Miyake合作者（这是他的第17家商店）。把高科技与手工制作成一体，商店的概念受到了单zukurinogemba的概念的启发-“做事情”。20世纪70年代在225平方米的建筑中，商店覆盖了一个区域，直到最近，有三个服装店位于那里，Tokujin敲了内墙，创造了一个开放的、通风的空间。

A sense of lightness is bolstered by raw concrete walls whose exposed markings create an almost impressionistic feel, with paint-like daubs and industrial etchings in natural shades of white, grey, cream and peach – a perfect foil for the jewel-like pops of colour from the minimally-curated Homme Plissé collections on display. Added to the mix are mirror panels; soft grey wool cubed seating; and matte black steel clothing rails – clean-lined, graphic and angular – that appear to float weightlessly in the air, alongside seamlessly swiveling hangers.

一种轻盈感得到了生坯混凝土墙的支持，其裸露的标记创造了一种近乎印象派的感觉，用白色、灰色、奶油和桃色的自然色调的粉刷和工业蚀刻-这是展示最简约的荷马·普利斯(Homme Plissé)系列珍宝颜色的完美衬托。此外还有镜子面板，柔软的灰色羊毛立方体座椅，以及光滑的黑钢服装栏杆-干净的内衬、图形的和角度的-它们似乎在空气中漂浮着，与无缝地旋转的衣架一起漂浮在空中。

‘I tried to keep the original texture of the building,’ Tokujin tells Wallpaper* ahead of the opening. ‘I wanted to express the feeling that time has passed. I think that designing a space is changing today because now you can buy everything online. I wanted to give value to customers coming into the shop. So I created a special space for the pleating machine, so that visitors can watch and experience the excitement of making things in front of them.’

“我试图保持建筑的原始纹理，”托库金告诉墙纸*在洞口前面。“我想表达当时的感觉。我想现在设计一个空间正在改变，因为现在你可以在线购买所有的东西。我想给进入商店的顾客提供价值，所以我创造了一个特别的空间用于打褶机，因此，游客可以观看和体验在他们面前做事情的兴奋。”

Exclusive to the store is the limited edition COLOR collection of long-sleeved T-shirts in ten shades, with a new black ‘Aoyama’ logo designed by art director Katsumi Asaba on the back – all pleated on-site, behind a wall of glass. Each garment is cut and sewn to 1.5 times its final size, before being fed into the 1997 silver-painted Kyoto-made pleating. Labels are sewn in before they are wrapped in packaging made from used white pleating paper. The pleating is carried out by two Issey Miyake engineers (they normally work at Issey Miyake’s Pleats Kobo – a Tokyo design laboratory devoted to fabric pleating) clad stylishly, of course, in top-to-toe pleats, from caps to jumpsuits.

唯一的商店是限量版的颜色收藏长袖T恤十个色调，与一个新的黑色‘青山’标志设计，由艺术总监Katsumi Asaba在背面-所有褶皱现场，墙后面的玻璃。每件衣服都被裁剪，缝制成最终尺寸的1.5倍，然后被注入到1997年的“京都议定书”银漆褶皱中。标签在用白色折皱纸包装之前先缝好。褶皱是由两名宫崎骏的工程师(他们通常在宫宅的褶皱-东京专门从事织物褶皱的设计实验室工作)进行的，当然，从帽子到连体西装，都是从头到脚的褶皱。

The new flagship cements Minami-Aoyama’s status as a mecca for all things Issey Miyake. The street is already home to over half a dozen of their stores – from Issey Miyake, Pleats Please and HaaT to Reality Lab Issey Miyake (located on the site of Miyake’s first 1976 shop). §

新的旗舰水泥青山作为万事万物的圣地。这条街已经有了超过六家商店-从三宅岛、“恳求”、“哈特”到“真实的实验室”-Miyake的第一家商店(位于Miyake 1976年的第一家商店)。§