A deep dive into the artistic potential of paper reveals new horizons for form and expression. This innovative endeavor by Issey Miyake, in partnership with the Madrid-based architectural firm Ensamble Studio, showcases the remarkable adaptability of paper, transforming it into chiseled furniture, tree-inspired seating, and delicate lighting. This exploration is a highlight at Milan Design Week, demonstrating how a common material can achieve sophisticated and unexpected forms, embodying both fragility and strength in its diverse applications.
The exhibition, titled 'The Paper Log: Shell and Core,' at Issey Miyake's Milan flagship store, delves into an ongoing material investigation. It examines the varied textures, hues, and structural capabilities of paper, specifically leveraging the substantial quantities generated as a by-product of the studio's distinctive pleating technique. Satoshi Kondo, creative director at Miyake Design Studio, observed the dense, tree-like paper rolls at a manufacturing site, sparking the initial concept. These logs, measuring 80cm in height and 40cm in diameter, are composed of countless thin sheets, showcasing circular marbling in soft tones of pink, blue, gray, and yellow. Kondo noted that these logs encapsulate the passage of time and memories, serving as a tangible record of the pleating process, with their diverse colors reflecting the garments that passed through the machines. His initial experiments involved cross-cutting these logs to create stools, which were first seen at the Issey Miyake S/S 2025 show in Paris, paving the way for more profound material explorations.
The Milan exhibition features a broad array of shapes, textures, and forms, reflecting a comprehensive exploration of paper's properties. For the 'Core' installations by Miyake Design Studio and Issey Miyake, a key technique involved saturating compressed paper rolls in wax to imbue them with solidity, resulting in sculptural textures that evoke chiseled stone or aged marble, along with a more intense color palette. These pieces include stools with gently curved backrests, treated with adhesive; wax-infused benches crafted from a vertical cross-section of a 'log,' revealing its intrinsic beauty; and side tables meticulously carved from individual compressed rolls. Kondo describes these creations as possessing an 'unplanned and surprising' beauty, at times resembling wood, rock, or marble. In contrast, the 'Shell' component of the exhibition, a result of Ensamble Studio's free experimentation, involved peeling apart the paper logs like tree bark. This process transformed the material into ephemeral, shell-like structures, and the fine paper sheets were draped over furniture, such as a Le Corbusier chaise longue, then treated with hardening agents like resin and latex to 'freeze' every detail, creating translucent, light forms that suggest a 'second skin' of familiar objects. This unfolding dialogue between 'Shell' and 'Core'—raw, primitive, and perpetually evolving—highlights not only the boundless potential of paper but also the fundamental creative principles that define Issey Miyake's philosophy. Kondo emphasizes that this project is merely the beginning, underscoring a commitment to treating all materials with equal respect and an innovative perspective, encouraging viewers to appreciate the inherent beauty of paper and the unique pleating process.