Indian clothes are usually tight.

A great thing happening now in art is that artists are using the figure, the body, clothing, life.

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.

With imagination and personal creativity, people who sew can design the way they look to suit themselves.

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.

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.

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.

I love to be free to explore, research, and evolve.

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.

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

Clothes should fit comfortably - not too tightly - so that you have space to move in and think freely.

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.

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.

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.

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

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!'

Everything is an experiment.

Architects always have a feel for time - the generation they live in - as we do, and they are always striving toward boundless adventure.

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.

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.

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

Clothing has been called intimate architecture. We want to go beyond that.

Think of things that can be created, not destroyed, and that bring beauty and joy.

Many people repeat the past. I'm not interested. I prefer evolution.

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.

In fashion, you need to present something new every six months, but it takes time to study things. Development is very important.

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.

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

Retire? Never! We are far too busy!

I very much like dance and dancers.

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.

We have to keep a very tight check on quality.

I have worked with several dance companies.

A-POC unleashes the freedom of imagination. It's for people who are curious, who have inner energy - the energy of life and living.

Function alone does not make clothing appealing.

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.

Design is not for philosophy it's for life.

My design is no design.

Clothes have become more personal, more a matter of very individual taste.

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.

A few of the influences on my career so far have been Isamu Noguchi, Irving Penn, and seeing the riots of 1968 in Paris.

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

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

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 do not create a fashionable aesthetic... I create a style based on life.

I try to be free. The women also must be free.

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.

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.