"I very much like dance and dancers"
About this Quote
On the surface, it reads like a throwaway compliment: a famous designer politely tipping his hat to another art form. But coming from Issey Miyake, "I very much like dance and dancers" is closer to a mission statement disguised as modesty. Miyake built a career around clothing that moves - not just on runways, but in real space, on real bodies, under real forces like gravity, sweat, and breath. Dance is the ideal stress test for that philosophy.
The phrasing matters. He doesn't say he likes choreography or performances; he likes dance and dancers. The focus shifts from spectacle to the people doing the work, the trained bodies that reveal whether a garment is a cage or a collaborator. Dancers demand clothing that keeps up: fabric that flexes, seams that don't punish, silhouettes that can expand and rebound. Miyake's innovations - pleating as engineering, the pursuit of lightness, the embrace of practical beauty - make more sense when you imagine them in motion rather than on a static mannequin.
There's also an implied cultural argument here. Fashion often sells stillness: the posed image, the aspirational freeze-frame. Miyake aligns himself with the opposite value system, one where elegance is kinetic and identity is something you do, not just something you wear. It's a quiet rebuke to fashion as mere ornament, and a reminder that the body is not a hanger; it's a moving instrument.
The phrasing matters. He doesn't say he likes choreography or performances; he likes dance and dancers. The focus shifts from spectacle to the people doing the work, the trained bodies that reveal whether a garment is a cage or a collaborator. Dancers demand clothing that keeps up: fabric that flexes, seams that don't punish, silhouettes that can expand and rebound. Miyake's innovations - pleating as engineering, the pursuit of lightness, the embrace of practical beauty - make more sense when you imagine them in motion rather than on a static mannequin.
There's also an implied cultural argument here. Fashion often sells stillness: the posed image, the aspirational freeze-frame. Miyake aligns himself with the opposite value system, one where elegance is kinetic and identity is something you do, not just something you wear. It's a quiet rebuke to fashion as mere ornament, and a reminder that the body is not a hanger; it's a moving instrument.
Quote Details
| Topic | Art |
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