With overtones of Picasso’s Cubist-inspired costumes for the 1917 ballet Parade and undertones of Rebecca Horn’s self-playing musical instruments, some twenty-five of Issey Miyake’s designer fashions leaped about in a mechanized ballet called Jumping, which served to welcome the public to “Issey Miyake Making Things,” the exhibition he conceived for the Fondation Cartier. For those who may not have grasped the English-language title, the dresses, coats, and other outfits bouncing down from the ceiling and up from the floor doubtless conveyed the iconoclastic spirit of the undertaking (especially