Zitat des Tages von Issey Miyake:
I tried never to be defined by my past.
I very much like dance and dancers.
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.
Think of things that can be created, not destroyed, and that bring beauty and joy.
I respect men and women who age and are proud and don't lose energy. I think fashion forgot those people.
Retire? Never! We are far too busy!
Well, what I'm doing is really clothing. I'm not doing sculpture.
A great thing happening now in art is that artists are using the figure, the body, clothing, life.
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.
My touchstone started out being - and is still - exploring the ways by which to make clothing from a single piece of cloth.
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.
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.
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.
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.
I have worked with several dance companies.
Design is not for philosophy it's for life.
My design is no design.
My fascination has been the space between cloth and the body, and using a two-dimensional element to clothe a three-dimensional form.
A-POC unleashes the freedom of imagination. It's for people who are curious, who have inner energy - the energy of life and living.
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.
The purpose - where I start - is the idea of use. It is not recycling, it's reuse.
In fashion, you need to present something new every six months, but it takes time to study things. Development is very important.
If Mr. Obama could walk across the Peace Bridge in Hiroshima - whose balustrades were designed by the Japanese-American sculptor Isamu Noguchi as a reminder both of his ties to East and West and of what humans do to one another out of hatred - it would be both a real and a symbolic step toward creating a world that knows no fear of nuclear threat.
I sent 200, 300 of the clothes that I had made, and the dancers chose what they liked.
Designers must be increasingly sensitive to our Earth's dwindling resources. It is our responsibility.
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.
By the way, Marilyn Monroe was a size 14.
I do not create a fashionable aesthetic... I create a style based on life.
The combination of human skills with technology will always be at the root of any solution to the future of making clothes.
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.
I've never been involved in any kind of political movement.
Indian clothes are usually tight.
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.
The future of fashion is light, durable clothes.
My generation in Japan lived in limbo. We dreamed between two worlds.