Issey Miyake Quotes

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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.

Technology allows us to do many things, but it is always important to combine it with traditional handcrafts and, in fact, use technology to replicate dying arts so that they are not lost.

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.

Designers must be increasingly sensitive to our Earth's dwindling resources. It is our responsibility.

I am not sentimental about the past. I like to think about what is next.

I am always looking to the future of making things.

Our goals must be to find new, environmentally-friendly ways by which to continue the art of creation, to utilize our valuable human skills, and to make things that will bring joy.

The combination of human skills with technology will always be at the root of any solution to the future of making clothes.

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.

I am neither a writer nor a theorist. For a person who creates things to utter too many words means to regulate himself - a frightening prospect.

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.

I do not create a fashionable aesthetic... I create a style based on life.

Everything is an experiment.

In fashion, you need to present something new every six months, but it takes time to study things. Development is very important.

Paul Poiret did wonderful things because he was so influenced by motifs, but Vionnet really understood the kimono and took the geometric idea to construct her clothes - and that brought such freedom into European clothes in the 1920s.

Boys have been wearing skirts for some time now. My three assistants wear mini skirts. They come to work on their motorcycles wearing mini skirts. The French saw the idea on the streets and have done it in better fabrics, and now everyone says, 'Ah!'

Men have been buying my women's coats for years.

I love to be free to explore, research, and evolve.

The core spirit of Pleats Please is joy, and what better emotion to wear on your skin every day?

I tried never to be defined by my past.

Many people repeat the past. I'm not interested. I prefer evolution.

I gravitated towards the field of clothing design, partly because it is a creative format that is modern and optimistic.

I never thought fashion was the job for me, because I'm Japanese. Clothes! That was a European, society thing.

Clothing has been called intimate architecture. We want to go beyond that.

My touchstone started out being - and is still - exploring the ways by which to make clothing from a single piece of cloth.

I am very interested in the culture of paper.

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.

In Paris, we call the people who make clothing 'couturiers' - they develop new clothing items - but actually, the work of designing is to make something that works in real life.

The important thing is to make something. In reality, it's not important that a designer be known by name - you can remain anonymous. Even the status of a designer will undergo changes, I believe.

The purpose - where I start - is the idea of use. It is not recycling, it's reuse.

You see it in the many bouncing clothes that are not just pleats. To make them, two or three people twist them - twist, twist, twist the pleats, sometimes three or four persons twist together and put it all in the machine to cook it.

Well, what I'm doing is really clothing. I'm not doing sculpture.

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.

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.

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.

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.

Many people will say, well, clothes should be worn; but I think people can look at them in public, like seeing a film. I think museum exhibitions are very important.

I very much like dance and dancers.

I started to work with cotton fabrics. I used cotton because it's easy to work with, to wash, to take care of, to wear if it's warm or cold. It's great. That was the start.

I sent 200, 300 of the clothes that I had made, and the dancers chose what they liked.

I have worked with several dance companies.

From the beginning I thought about working with the body in movement, the space between the body and clothes. I wanted the clothes to move when people moved. The clothes are also for people to dance or laugh.

Even when I work with computers, with high technology, I always try to put in the touch of the hand.

By the way, Marilyn Monroe was a size 14.

A great thing happening now in art is that artists are using the figure, the body, clothing, life.

Design is not for philosophy it's for life.

Most of us feel some kind of uncertainty, with the population increasing and resources decreasing. We have to face these issues.

I've never been involved in any kind of political movement.

I was always interested in making clothing that is worn by people in the real world.

I did not want to be labelled 'the designer who survived the atomic bomb,' and therefore I have always avoided questions about Hiroshima.

Indian clothes are usually tight.

We have to keep a very tight check on quality.

I make clothing, and I don't care about trendy things.

I respect men and women who age and are proud and don't lose energy. I think fashion forgot those people.

Paris is an old and traditional place; it needs new blood.

The joining of the Japanese with the French should make a new movement. I think it should be good for Paris.

My design is no design.

I'd rather look to the future than to the past.

I am not really interested in clothing as a conceptual art form.

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.

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.

There are no boundaries for what can be fabric.

My generation in Japan lived in limbo. We dreamed between two worlds.

I realised I wanted to make clothing which was as universal as jeans and T-shirts.

Frank Gehry not only understood my sense of fun and adventure but also reciprocated it and translated that feeling into his work.

Architects always have a feel for time - the generation they live in - as we do, and they are always striving toward boundless adventure.

I became a fashion designer to make clothes for the people, not to be a top couturier in the French tradition.

The future of fashion is light, durable clothes.

A-POC unleashes the freedom of imagination. It's for people who are curious, who have inner energy - the energy of life and living.

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