I never thought fashion was the job for me, because I'm Japanese. Clothes! That was a European, society thing.
Issey MiyakeRead
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.
Interpretation
The essence of designing clothing lies in creating functional and practical pieces for everyday life.
Issey Miyake highlights the important distinction between being a couturier and a true designer. While couturiers craft fashionable clothing, the core of design is to ensure that these creations serve a purpose and function effectively in the real world. This reflects the broader principle that functionality should always accompany creativity in any form of art.
In practice
In a fashion seminar discussing the role of functionality in design.
I never thought fashion was the job for me, because I'm Japanese. Clothes! That was a European, society thing.
The combination of human skills with technology will always be at the root of any solution to the future of making clothes.
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.
My touchstone started out being - and is still - exploring the ways by which to make clothing from a single piece of cloth.
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 was drawing a mandolin, and I made the sound hole very small, which made the mandolin look gigantic. I saw that making the details small made the form monumental. So in my figures, the eyes, the mouth are all small, and the exterior form is huge.
Let me explain something about guitar playing. Everyone's got their own character, and that's the thing that's amazed me about guitar playing since the day I first picked it up. Everyone's approach to what can come out of six strings is different from another person, but it's all valid.
In the theatre, every form once born is mortal; every form must be reconceived, and its new conception will bear the marks of all the influences that surround it.
Sometimes you have to go places with characters and emotions within yourself you don't want to do, but you have a duty to the story and as a storyteller to do it.
One writes such a story [The Lord of the Rings] not out of the leaves of trees still to be observed, nor by means of botany and soil-science; but it grows like a seed in the dark out of the leaf-mold of the mind: out of all that has been seen or thought or read, that has long ago been forgotten, descending into the deeps. No doubt there is much personal selection, as with a gardener: what one throws on one's personal compost-heap; and my mold is evidently made largely of linguistic matter.
Weirdly enough, if I'm having trouble with a guitar part - not the playing of it but the writing - I'll mess around with echo and other effects, just turn everything up and make it as crazy as can be, and it winds up taking me somewhere. I've found so many guitar parts from echo. It's limitless.
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