Top 99 Quotes & Sayings by Issey Miyake
Explore popular quotes and sayings by a Japanese designer Issey Miyake.
Last updated on December 21, 2024.
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.
We yearn for the beautiful, the unknown, and the mysterious.
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.
Think of things that can be created, not destroyed, and that bring beauty and joy.
Most of us feel some kind of uncertainty, with the population increasing and resources decreasing. We have to face these issues.
My fascination has been the space between cloth and the body, and using a two-dimensional element to clothe a three-dimensional form.
I was always interested in making clothing that is worn by people in the real world.
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.
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.
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.
Paris is an old and traditional place; it needs new blood.
I am not sentimental about the past. I like to think about what is next.
I realised I wanted to make clothing which was as universal as jeans and T-shirts.
I make clothing, and I don't care about trendy things.
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.
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.
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.
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.
I am not really interested in clothing as a conceptual art form.
My design is no design.
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.
Frank Gehry not only understood my sense of fun and adventure but also reciprocated it and translated that feeling into his work.
The future of fashion is light, durable clothes.
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 do not create a fashionable aesthetic... I create a style based on life.
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.
Men have been buying my women's coats for years.
I always wanted to create clothing that was universal - easy to wear, to care for, and that was also beautiful. As such, I became interested in polyester, and its potential, from the beginning of my career.
Polyester is easy to work with and results in clothing that is well suited to the needs of a modern lifestyle.
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.
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!'
The purpose - where I start - is the idea of use. It is not recycling, it's reuse.
Well, what I'm doing is really clothing. I'm not doing sculpture.
I did not want to be labelled 'the designer who survived the atomic bomb,' and therefore I have always avoided questions about Hiroshima.
I've never been involved in any kind of political movement.
I'd rather look to the future than to the past.
Even when I work with computers, with high technology, I always try to put in the touch of the hand.
I like women who have their own idea of life: the woman who is assured, comfortable with herself, strong inside, proud of herself - not in an arrogant way, not showing off.
I sent 200, 300 of the clothes that I had made, and the dancers chose what they liked.
Clothing is the closest thing to all humans.
I respect men and women who age and are proud and don't lose energy. I think fashion forgot those people.
My generation in Japan lived in limbo. We dreamed between two worlds.
The joining of the Japanese with the French should make a new movement. I think it should be good for Paris.
There are no boundaries for what can be fabric.
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.
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.
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 have worked with several dance companies.
The core spirit of Pleats Please is joy, and what better emotion to wear on your skin every day?
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.
I gravitated towards the field of clothing design, partly because it is a creative format that is modern and optimistic.
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.
Indian clothes are usually tight.
Design is not for philosophy it's for life.
Clothing has been called intimate architecture. We want to go beyond that.
We have to keep a very tight check on quality.
The combination of human skills with technology will always be at the root of any solution to the future of making clothes.
I very much like dance and dancers.
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