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. Issey Miyake
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. Issey Miyake
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. Issey Miyake
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. Issey Miyake
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. Issey Miyake
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. Issey Miyake
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. Issey Miyake
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. Issey Miyake
