Japanese designer Takahiro Miyashita, one of the vital proficient and buzzworthy designers to come back out of Tokyo in recent times, is leaving the label he based in 2010, generally known as The Soloist.
His fall 2025 assortment titled “Black-and-White Realism,” which dropped quietly final February on social media, might be his final for the label. The Soloist will proceed with out its founder.
“We, the corporate and I, have determined to pursue totally different instructions, every grateful for the opposite. Whereas the choice could also be marked by a way of unhappiness and melancholy (it wouldn’t be The Soloist if it wasn’t), artistic new beginnings for everybody in right now’s occasions is uncommon and particular,” he mentioned in an announcement.
Born in Tokyo in 1973, Miyashita launched his first model, the avant-garde and punk-inspired Quantity (N)ine, at age 23, which participated in Paris Trend Week in 2004.
He closed that line in 2009 to launch The Soloist the next yr with the intention of constructing an impartial model that mirrored his avant-garde perspective with a extra useful spirit and a give attention to craftsmanship.
“With a imaginative and prescient of merely crafting well-made garments, each single piece was a musical be aware,” he mentioned. “Fifteen years on, the time has come for what has grow to be a symphony, to shut.”
He referred to as the autumn 2025 assortment his “coda,” and will probably be delivered to retailers as deliberate.
In a publish shared on Instragram, Miyashita hinted at a subsequent act. “Rock and Roll by no means dies… The music retains on taking part in, louder and louder. Simply on a distinct, stage,” he wrote. “A brand new band, a brand new noise, catch me there.”
With The Soloist, he held a collection of hanging runway exhibits at Tokyo Trend Week, Pitti Uomo in Milan and Paris Trend Week over time. The Soloist collections relied heavy on musical notes, with nods to rock-n-roll legends akin to Kurt Cobain and David Bowie.
His seems had been city, typically monochrome and generally apocalyptic, with a play on proportion and superposition of parts.
With a aptitude for the theatrical, WWD referred to as Miyashita’s most up-to-date runway present in Tokyo “achingly lovely.”
