Exclusive Interview With Paris Men'S Wear Week Designer YOHJI YAMAMOTO

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< p style= "text-align: center" > designer YOHJI YAMAMOTO < /p >

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< p > YOHJI YAMAMOTO, director of Wim Wenders said that when he bought the first piece of your clothes, he began to be fascinated because he felt that both new and old existed at the same time and felt protected.

Do you think this precise description of your clothing? < /p >

< p > YOUJI YAMAMOTO: my starting point is to protect the human body, which is a starting point, in fact, is to protect the female body.

This is about sex, about protection.

In the early days of my career, I was not sure that I would become a so-called fashion designer.

The title of "fashion designer" is too eye-catching.

< /p >

< p > what is the connection between you and the term "fashion designer"? < /p >

< p > when I think of the image of fashion designer, I think of fashion.

I have to think about what the new trend is, what the next season is and what kind of feeling the consumer wants.

This is too busy for me, so from the beginning, I wanted to segregate my clothes from fashion, and protect the body of women at the same time.

I hope people can wear my clothes for more than 10 years, so I have a very high demand for fabric manufacturers.

< /p >

< p > you said in an interview that you hate fashion, but you seem to like it too.

Have you ever thought about giving up? Quit the fashion industry? < /p >

About P, about five or six years ago, I felt strongly that my role had been set.

But now, especially in Tokyo, New York and Losangeles, everything is covered by fast fashion.

Faster and cheaper.

People began to waste fashion.

All of a sudden, I had some space to do.

Maybe some young people are having doubts about this trend. They may be waiting for something new to return.

So I said to myself, "Yohji, you can continue your work.

Don't change.

You can go on. "

< /p >

< p > is that why you decided to launch your personal autobiography My Dear Bomb? < /p >

< p > I was invited by Ludion, a Belgian publisher. Yes, the time is up.

After my company went through all these things, I want to say, "I am still here and feel 10 times of energy!" < /p >

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< p > you always seem to be doing your own business, but you still do two brands a year like other brands.

Do you prefer to show it as you wish? < /p >

< p > 2002, I decided to show my ready-made clothes series.

I designed the three season, and only a few people came to watch it, so people could better listen to the voice of the fabric itself.

< /p >

< p > Zac Posen tells me that he was affected in an interview with you before deciding to move his design series from New York to Paris.

You say that's the only place worth showing. Why? < /p >

< p > Paris is a place to internationalize your brand.

< /p >

< p > How did your design combine with Japanese tradition? < /p >

< p > there is an exotic sentiment when thinking of the combination with Japan.

It is interesting that Japanese, or Asians, like European aesthetics, while Europeans love Asian aesthetics.

So as a feeling of exchange, this is no problem, I agree with one hundred percent.

But when some media coverage of me, the beginning will be written "Japanese designers..."

I think they should change a new vocabulary.

I understand why Europeans think my design is very Japanese.

Maybe it is because if you regard design as a whole, one hundred percent, I always stop before reaching one hundred percent.

This empty five percent or seven or ten, in Japan, we call it blank or unfinished.

< /p >

< p > but you will still be producing in Japan, which gives you a brand mark on your clothes, because Japanese treatment of fabrics is unique.

< /p >

< p > maybe I will be the last designer who cares so much about "made in Japan".

If I stop, maybe young designers can't afford to do it in this way.

It costs a lot, and Japanese handicraft has become the most precious in the world.

So this is my duty - not duty - my desire to protect this tiny traditional Japanese technology.

I almost used all the family factories.

The most important thing is to continue to do it, otherwise it will disappear.

< /p >

< p > do you still live in Japan? When you show your design series, do you spend a lot of time in Paris? < /p >

< p > I live in Tokyo. Only fashion week goes to Paris.

< /p >

What does travel mean to you in Tokyo and Paris? < p > frequent trips to and from Paris.

< p > it has nothing to do with holidays. It is a duty.

< /p >

< p > you say: beauty comes from blemishes, mistakes, imperfections and accidents.

Why? < /p >

If P is too perfect, everything looks like a statue, not a fashion.

Or let me be childish: I never liked models because they looked like machines instead of fresh people.

I only see mistakes, flaws and imperfections that attract me.

< /p >

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