Eie Mori's Design Career

Mori Yinghui's career success, the scale is expanding, as a world-recognized first person in the Japanese fashion industry, since the mid-1960s, her company has been gradually expanding to the United States, Britain, Germany, Switzerland, France and China and many other countries and regions, Mori Yinghui's fashion design not only won the favor of women from all walks of life in Japan and other countries around the world, but also got the recognition of the world's top people in the fashion industry and experts. In 1960, she was awarded the NEC Grand Prize by the Japan Fashion Editors' Club, and in 1967, 1970, and 1976, she received three consecutive "Empire Awards", the highest award in the American fashion industry. 1978, she was awarded the First Class Quality Award in Europe, and the "Human Symbol Award" in the United States in the same year. "In 1977, she was admitted as a member of the Guild of Haute Couture in France, the world's most authoritative organization in the fashion industry, and became the first Asian qualified to enter the organization. What makes Mori Young-hui feel even more honored is that her name topped the list of the world's top fashion designers in the 1996 ranking of the world's top fashion designers organized by the French Fashion Guild.

A Japanese couturier who combines Eastern and Western luxury with the elegance of Fuso. As an Asian designer, Mori is the first and only master of the French Couture Guild. Mori Yinghui the first to cross the iron wall of the East and West culture to become the world's history of great female designers the world fell in love with Miyake and Takada Kenzo before she has long been famous in Europe, it can be said that the entire Asian clothing industry is the first to be recognized in the world's masters, a lot of Japan and even Asia's famous designers are extremely high HANAE MORI. in Dalian and Qingdao, China, the International Fashion Festival! HANAE MORI is always the most honorable first show. Using western models to display oriental clothing has always been one of the characteristics of Mori Young-hui's fashion show, and perhaps this combination can decorate Mori Young-hui's concept of East-meets-West cultural fusion better interpreted. Velvet luxury with tulle openwork evening dresses, interlaced between let you carefully interpret the mystery of the woman, velvet cui beads, complex patterns, in today's seemingly only talk about simplicity in the era, she can still let the clothing exudes a different flavor. The world's most successful designers to men, and women's clothing is more of a woman's flavor, Mori Yinghui's clothes at all times reflect the charm of women, from the neckline to the edge of the skirt; from top to bottom, are embodied in the woman's delicate or gentle, or leisurely and free, or graceful, will be the woman's body curves and deep eyes, the perfect blend of the floating steps, there are women in the world has become more beautiful.

Mori Yinghui's clothing has always pursued gorgeous colors, fiery red, bright yellow, aquamarine, bright colors, with different pleats, drawstring waist, large skirt. The fusion of eastern colors and western court dresses with variations of eastern and western cultures is more interpreted here, and all of these costumes are inspired by charming women. Black is the favorite color of all designers, and the black in Mori Young-hui's clothing is more three-dimensional, and therefore more expressive, so that the woman's curves in the mysterious black hidden, black also has a new vitality, it is no longer old-fashioned, no longer indifferent and become alive and interesting la in the flowers, you can clearly see the traces of the traditional Japanese kimono, large flowers, cui flowers, white cranes, scattered in the In the flower colors, you can clearly see the traces of traditional Japanese kimono, big flowers, green flowers, white cranes, scattered in the tail of the skirt, the mouth of the skirt, rooted in the local characteristics of Mori Young-ei, Japanese culture to the world. Stage costumes have always been the pride of Mori's designs. In 1986, he designed costumes for the Paris opera Cinderella, directed by the famous director Rudolf Nureva, and for the Japanese classical opera, which was a great success after it was exhibited in Paris.

Butterflies are the symbol of Mori's costumes. In her hometown, butterflies are a symbol of hope for the coming of spring, and Mori skillfully applies butterflies of various shapes and colors to her costumes to give them an extra touch of classical beauty, with the tail of the skirt undulating with the wind, the butterflies fluttering up and down, and the woman following the butterflies even dancing. Mori Young-hui said: "Sometimes I feel that fashion is like a butterfly, short but brilliant, full of expectations for the future is a joy, on the other hand, I would also like to make their own tireless work results in the future has a long life. Butterfly because of the pursuit of beauty experienced the pain of the chrysalis, and Mori Young-hui for the pursuit of perfection in clothing, every day she is tireless efforts, the beauty of women may be just fleeting, and Mori Young-hui in her design, is to make women's beauty more brilliant beautiful bow into the East and West of the cultural ties, so that the Oriental dress to the world's broad stage.

Interview with the famous Japanese fashion designer Mori Young-hui

A Japanese fashion industry has used a sentence to describe the Japanese fashion designer Ms. Mori Young-hui: Mori Young-hui is the only Asian in the 22 international masters of fashion design in the Paris Haute Couture Guild.

September 12, Beijing Hotel ballroom hanging outside the "commemorating the 25th anniversary of the normalization of diplomatic relations between China and Japan Mori Eikai fashion show" banner, the ballroom set up a T-shaped stage, which is the Mori Eikai works held in China for the first time will be displayed. This reporter is an amateur in fashion, but wanted to know more about her experience and her thoughts on fashion design, in the hope that the report would provide some ideas and thoughts for young people who aspire to become fashion designers. Mori Young-hui was interviewed by a reporter at the VIP House Hotel where she was staying. Mori Ei-hye said she stepped into the clothing industry purely by chance. "I was born in 1926 in a small town in Shimane Prefecture. I loved drawing as a child, but my father objected to my studying art and made me study medicine, and I got married soon after graduating from Tokyo Women's University in 1949. I was bored with staying at home as a housewife, so I took up tailoring. After graduating from a suit tailoring school for two years, I opened a clothing store with some friends near Shinjuku Station, and when the store was doing well and my income was increasing, my husband quit his job at the company to help me run the store." Those who can cut don't always become fashion designers. Mori Yinghui told reporters that the most basic quality of a clothing designer is to have the desire and urge to talk to the world with clothes. "In the mid-1950s, not many people in Japan knew about 'FASHION SHOW'. I wanted more people to see my work, so I held my first fashion show in a teahouse next to a clothing store." Models walk down the aisles between the tea tables to pop music, and the clothes look very different on the energetic women than they do hanging on hangers. The show is held twice a day, and each time 30 pieces are displayed, prices are announced, and orders are taken at the end of the show. Although the show was small in scale, it caused such a great response that every time it was held, it was so crowded that the police had to be mobilized to maintain order. Because of the fame of the fashion show, a movie company costume department of people came to me, asked me if I was interested in movie costumes. I wanted to try something new, so I agreed to do it. Since then, I have been designing and producing costumes for hundreds of movies. The movie industry was a rare school that trained me to be a fashion designer, where I honed my ability to observe and represent a wide variety of women."

Costume as a culture is easily recognized by people of the same cultural background. In other words, it is not easy for fashion designers to go global. Hie Mori says, "When I won the Japan Fashion Editors' Club Award in 1960, I was so tired that I wanted to call it a day. A friend persuaded me to go to Paris for a vacation, and I was able to recharge my batteries for 40 days or so, and I benefited greatly from the Parisian fashion experience. When I returned to Japan, I was in a different frame of mind, and I was determined to spend my life as a fashion designer, and to someday work with the masters of fashion design in Europe and the United States. I went to Paris in early 1961 and then to New York in August. Paris fashion history is long and strong, but relatively conservative and closed; New York fashion history is short, but receptive, relatively more open, I chose New York. Another motivation for choosing New York was my determination to change the American view of Japanese clothing. At that time, cheap prices and poor quality were the general opinion of Americans about Japanese clothing. In January 1965, my first overseas fashion show in New York was a success. Afterward, orders came in, and I stayed in New York for nearly eight years.

I heard that there was a fashion store of Hie Mori on the Champs Elysees in Paris, and wondered how she moved from New York to Paris. "In New York quickly opened up more than I expected, but after seven or eight years, there was an inexplicable sense of anxiety, a sense of worry about being trapped in a business atmosphere. After the confusion, she realized that it was time to go to Europe, and in 1975, Princess Grace of Monaco invited me to hold a fashion show for charity. On my way back, I held a fashion show at the Hotel de la Maurice in Paris, the first time I had shown my work there, and it was a success, with movie star Sophia Loren, conductor Seiji Ozawa, and other celebrities in the audience. My friends persuaded me to come to Paris, and I was convinced. After about a year of preparation, I became famous in the Parisian haute couture world in January 1977, and became a full member of the Guild of Parisian Haute Couture in the same year, exactly 20 years ago this year. Establishing a studio in Paris is subject to many regulations, such as the need to publish more than 75 new pieces in a season, the need to have more than two or three full-time models, and the need to employ more than 20 French staff members, all of which is a higher level and more comprehensive hone for fashion designers." Compared with the luxurious and exquisite works of her European and American counterparts, Mori Young-hui's works are simple and subtle, and oriental cultural traditions can be seen everywhere in her works.

That was the final scene of Mori's Beijing show: seven models in different shades of long dresses appeared on the stage at the same time, and the dresses were covered with colorful butterflies, which made the stage seem to be filled with countless colorful butterflies dancing and chasing, which made people feel relaxed and happy. Butterflies are the symbol of Mori's work, and it is said that they come from the beautiful memories of her hometown when she was a teenager: blue skies, white clouds, lotus flowers in full bloom, and colorful butterflies flying. Butterflies are inseparable from her, and she established a Sino-Japanese joint venture fashion store in Beijing, named "Hua Butterfly"; she published a book called "Fashion Butterflies Flying Across Borders". Butterflies have the same thing as her: they bring beauty to the world. The difference is that she flies higher and farther, bringing beauty into the eyes of more people.