Issey Miyake
Even when I work with computers, with high technology, I always try to put in the touch of the hand.Collection: Technology
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.Collection: Famous
My design is no design.Collection: Design
Clothing has been called intimate architecture. We want to go beyond that.Collection: Architecture
I feel it is urgently necessary to train people who are capable of tackling the various problems we face today in regards to environmental turmoil and the relevancy of clothing.Collection: Environmental
Design is not for philosophy it's for life.Collection: Design
My fascination has been the space between cloth and the body, and using a two-dimensional element to clothe a three-dimensional form.Collection: Space
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.
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.
I am not sentimental about the past. I like to think about what is next.
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.
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.
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.
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.
I tried never to be defined by my past.
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.
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.
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.
I am most interested in people and the human form.
Clothing is the closest thing to all humans.
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.
I believe that all forms of creativity are related.
A few of the influences on my career so far have been Isamu Noguchi, Irving Penn, and seeing the riots of 1968 in Paris.
Design is a vital component to the enrichment of our everyday lives. Japan has a very rich history and culture of design, and I feel it is a very important dialogue to open and keep evolving.
I try to be free. The women also must be free.
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.
With imagination and personal creativity, people who sew can design the way they look to suit themselves.
Polyester is easy to work with and results in clothing that is well suited to the needs of a modern lifestyle.
The purpose - where I start - is the idea of use. It is not recycling, it's reuse.
We yearn for the beautiful, the unknown, and the mysterious.
Many people repeat the past. I'm not interested. I prefer evolution.
Designers must be increasingly sensitive to our Earth's dwindling resources. It is our responsibility.
I've never been involved in any kind of political movement.
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.
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.
I respect men and women who age and are proud and don't lose energy. I think fashion forgot those people.
I do not create a fashionable aesthetic... I create a style based on life.
I did not want to be labelled 'the designer who survived the atomic bomb,' and therefore I have always avoided questions about Hiroshima.
Think of things that can be created, not destroyed, and that bring beauty and joy.
I'd rather look to the future than to the past.
I am not really interested in clothing as a conceptual art form.