Issey Miyake

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

I am always looking to the future of making things.

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

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.

The future of fashion is light, durable clothes.

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

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

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

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.

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

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

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

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

We have to keep a very tight check on quality.

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

I have worked with several dance companies.

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

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 very much like dance and dancers.