"I have worked with several dance companies"
About this Quote
Name-dropping “several dance companies” sounds modest, almost throwaway, but coming from Issey Miyake it’s a quiet flex with a very specific purpose: to position design as something tested in motion, not just admired on a hanger. Fashion loves to talk about “movement” as metaphor; Miyake points to bodies that actually have to move for a living, under hot lights, under pressure, repeating the same phrase night after night. If your clothes survive that, they’re not mere style objects. They’re tools.
The subtext is collaboration as credibility. Miyake isn’t claiming authorship over dance; he’s borrowing its rigor. Working with dancers means submitting fabric and silhouette to the most unforgiving editor imaginable: physics. Every seam becomes a decision about breath and range. Every textile innovation has to prove itself against sweat, friction, and extreme articulation. That’s why the line reads like a designer’s version of “I’ve been in the trenches.”
Context matters because Miyake’s legacy is built on material research and democratic wearability - pleating, portability, garments that respond to the body rather than overpower it. Dance sits at the crossroads of craft and experiment, a living lab where avant-garde ideas get stress-tested in real time. So the sentence functions like a thesis statement delivered in casual clothes: the highest compliment to a garment is that it disappears into performance, then reappears as pure expression.
The subtext is collaboration as credibility. Miyake isn’t claiming authorship over dance; he’s borrowing its rigor. Working with dancers means submitting fabric and silhouette to the most unforgiving editor imaginable: physics. Every seam becomes a decision about breath and range. Every textile innovation has to prove itself against sweat, friction, and extreme articulation. That’s why the line reads like a designer’s version of “I’ve been in the trenches.”
Context matters because Miyake’s legacy is built on material research and democratic wearability - pleating, portability, garments that respond to the body rather than overpower it. Dance sits at the crossroads of craft and experiment, a living lab where avant-garde ideas get stress-tested in real time. So the sentence functions like a thesis statement delivered in casual clothes: the highest compliment to a garment is that it disappears into performance, then reappears as pure expression.
Quote Details
| Topic | Art |
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