1. Eiko’s print ads, for example, showed naked models which were rarely seen in Japanese advertising then. “That was extremely shocking,” says Maggie Kinser Saiki, author of the book 12 Japanese Masters. “And yet she did it in a way that made you drawn to the beauty of it, and then you realize you’re looking at nipples.”
2. “When I told Coppola that I considered myself more a production designer, he joked, ‘I want Eiko, who is NOT a costume designer to design the costumes for my film.’ she heard from various sources that her designs had heavily influenced the European fashion collections of that same year.”
3. Eiko would relate that during her 20s and 30s she was interested in the fashions of the times, but when she came into her own as a professional she just lost interest and stopped incorporating them into her work. She even stopped buying fashion and design magazines and books about what was cool at the moment.
4. true Eiko style, none of the store’s merchandise was featured in the advertising materials. Posters featured faceless Moroccan Berber women completely shrouded in their indigenous handwoven fabrics and jewelry, with the headline
5. “For me, fashion was really about human life, so I wanted the campaign to reflect a larger sense of the role it played in human society. In reality I had no interest in the trends that the fashion world was abuzz over. I leaned much more toward architecture and industrial design in my sensibilities. I had zero interest in the kinds of subject matter that would make a Vogue editor or other fashion journalist go aflutter.”
6. she once left a party in a huff because the hosts were such “slaves to design” that they had forgotten how to be hospitable to their guests!
Kristina Armenovna Osipova has not chosen a license for this content.