I never thought fashion was the job for me, because I'm Japanese. Clothes! That was a European, society thing.
Issey MiyakeRead
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I never thought fashion was the job for me, because I'm Japanese. Clothes! That was a European, society thing.
I don't really know what feeling Japanese or Haitian or American is supposed to feel like. I just feel like me.
The focus of our public discourse has been on how American companies are competing with Japanese, German, and other foreign companies. What this allows us to ignore is how each of those American companies is really in competition with the families of the workers. That's the real competition.
In the early stages of Internet in Japan, many said that Japanese and Americans are different. There are 10 reasons why Japanese Internet is not taking off. I said none of them are right; it's just a time lag. And, of course, Japanese Internet took off.
Koreans are worried about the Japanese right-wing people, who tend to be against foreigners. But the Koreans in Japan aren't even foreigners. They are essentially culturally Japanese. If a family has lived in Japan for three generations, it's absurd to see them as foreigners.
The American society around me looked at me and saw Japanese. Then, when I was 19, I went to Japan for the first time. And suddenly - what a shock - I realized I wasn't Japanese; they saw me as American. It was an enormous relief. Now I just appreciate being exactly in the middle.
As I got older, I realised that people saw me as other things - sometimes Korean, sometimes Japanese, sometimes just Asian. When my family moved to a more affluent white neighbourhood, I started to see myself as 'other', this amorphous category. I didn't even know what 'not other' was, but I knew I wasn't it; I wasn't what was normal.
My father was a Japanese prisoner of war, a survivor of the Thai-Burma Death Railway, built by a quarter of a million slave labourers in 1943. Between 100,000 and 200,000 died.
As an American man of the 1990s writing about a Japanese woman of the 1930s, I needed to cross three cultural divides - man to woman, American to Japanese, and present to past.
You go to a Japanese restaurant and have a wonderful dish, and the thing to do is take a picture with your phone, put it on Facebook, and see how many likes you get. If you don't share your experiences, they don't become part of the data processing system, and they have no meaning.
Fundamentally, footballers don't look around a dressing room and think, 'He's a black player... he's Japanese.' They don't think like that. They think, 'He's a good player; he can help. He's not very good.' I'm not trying to defend anyone's actions, but there are going to be isolated incidents because it's an emotive, passionate sport.
Self-deception ultimately explains Japan's plight. The Japanese have never accepted that change is in their interest - and not merely a response to U.S. criticism.
I don't choose to make low-budget films. But that is the reality of surviving in the Japanese film industry. However, the trade off is, since we're working on small budgets, we have freedom. You can't buy this freedom with money. With this freedom, I think there are an infinite number of possibilities.
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