Words matter. These are the best Issey Miyake Quotes, and they’re great for sharing with your friends.
Indian clothes are usually tight.
I suppose there are many, but I cannot imagine ever having a more perfect collaboration than that which Penn-san and I shared. It was based upon mutual trust, respect, and a desire to have our own work pushed to new places. And it always resulted in delight.
One of my assistants found this old German machine. It was originally used to make underwear. Like Chanel, who started with underwear fabric – jerseys – we used the machine that made underwear to make something else.
In the Eighties, Japanese fashion designers brought a new type of creativity; they brought something Europe didn’t have. There was a bit of a shock effect, but it probably helped the Europeans wake up to a new value.
Designers must be increasingly sensitive to our Earth’s dwindling resources. It is our responsibility.
Most of us feel some kind of uncertainty, with the population increasing and resources decreasing. We have to face these issues.
I became a fashion designer to make clothes for the people, not to be a top couturier in the French tradition.
All of my work stems from the simplest of ideas that go back to the earliest civilizations: making clothing from one piece of cloth. It is my touchstone.
In the past, art was admired and revered from afar. Today, there is more of an interactive relationship between the art and the person who admires it.
Of course there are many ways we can reuse something. We can dye it. We can cut it. We can change the buttons. Those are other ways to make it alive. But this is a new step to use anything – hats, socks, shirts. It’s the first step in the process.
Paris is an old and traditional place; it needs new blood.
The purpose – where I start – is the idea of use. It is not recycling, it’s reuse.
I am most interested in people and the human form.
I am always looking to the future of making things.
Everything is an experiment.
I do not create a fashionable aesthetic… I create a style based on life.
My generation in Japan lived in limbo. We dreamed between two worlds.
A-POC respects that there is a fine balance between the value of the human touch, which can be called artisanal, and the abilities of technology. I like to think of it as poesy and technology.
The future of fashion is light, durable clothes.
The core spirit of Pleats Please is joy, and what better emotion to wear on your skin every day?
Retire? Never! We are far too busy!
There are no boundaries for what can be fabric.
A few of the influences on my career so far have been Isamu Noguchi, Irving Penn, and seeing the riots of 1968 in Paris.
Many people repeat the past. I’m not interested. I prefer evolution.
By the way, Marilyn Monroe was a size 14.
To be honest, I think we should find first the possibility to make it. Research is first – if you’re not interested, you never can find something. Many things happen from forgotten machines – ones that are no longer used.
The joining of the Japanese with the French should make a new movement. I think it should be good for Paris.
A-POC unleashes the freedom of imagination. It’s for people who are curious, who have inner energy – the energy of life and living.
Design is not for philosophy it’s for life.
We can also cut by heat – heat punch. And we also can cut by cold – extreme cold. When you cut with heat, it makes a mark. With cold, no mark. It depends on the fabric.
I realised I wanted to make clothing which was as universal as jeans and T-shirts.
Indian paper is famous, Egyptian papyrus, Chinese paper… every country has used this natural material. But the problem is it’s going to run out because it’s very difficult work.
I tried never to be defined by my past.
I respect men and women who age and are proud and don’t lose energy. I think fashion forgot those people.
When I close my eyes, I still see things no one should ever experience: a bright red light, the black cloud soon after, people running in every direction trying desperately to escape – I remember it all.
If you look back throughout history from the ancient Egyptians onwards, most cultures started making clothing from a very basic premise: a single piece of cloth.
Clothes should fit comfortably – not too tightly – so that you have space to move in and think freely.
When I first began working in Japan, I had to confront the Japanese people’s excessive worship for foreign goods and the fixed idea of what clothes ought to be. I wanted to change the rigid formula of clothing that the Japanese followed.
Clothes have become more personal, more a matter of very individual taste.
I gravitated towards the field of clothing design, partly because it is a creative format that is modern and optimistic.
I love to be free to explore, research, and evolve.
Even when I work with computers, with high technology, I always try to put in the touch of the hand.
I believe that all forms of creativity are related.
With imagination and personal creativity, people who sew can design the way they look to suit themselves.
I make clothing, and I don’t care about trendy things.
