Quotes of All Topics . Occasions . Authors
Most of us feel some kind of uncertainty, with the population increasing and resources decreasing. We have to face these issues.
Frank Gehry not only understood my sense of fun and adventure but also reciprocated it and translated that feeling into his work.
In fashion, you need to present something new every six months, but it takes time to study things. Development is very important.
A-POC unleashes the freedom of imagination. It's for people who are curious, who have inner energy - the energy of life and living.
My fascination has been the space between cloth and the body, and using a two-dimensional element to clothe a three-dimensional form.
I did not want to be labelled the designer who survived the atomic bomb, and therefore I have always avoided questions about Hiroshima.
Architects always have a feel for time - the generation they live in - as we do, and they are always striving toward boundless adventure.
I did not want to be labelled 'the designer who survived the atomic bomb,' and therefore I have always avoided questions about Hiroshima.
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.
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.
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.
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.
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
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.
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 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 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 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.
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.
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.
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.
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.
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.
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 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.
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.
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.
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
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.
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
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.
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.
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.
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.
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.
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
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.
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 best fragrance is the scent of water, the fragrance of dew and rain falling on plants. Water is the essential element, a source of life and energy. A perfume that, like a garment, moves to suit the woman, her skin. A perfume that embraces a woman.
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.
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 have always been interested in conducting research that yielded new methods by which to make cloth, and in developing new materials that combine craftsmanship and new technology. But the most important thing for me is to show that, ultimately, technology is not the most important tool; it is our brains, our thoughts, our hands, our bodies, which express the most essential things.