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I have always been interested in conducting research that yielded new methods by which to make cloth, and in developing new materials that combine craftsmanship and new technology. but the most important thing for me is to show that, ultimately, technology is not the most important tool; it is our brains, our thoughts, our hands, our bodies, which express the most essential things.
-Issey Miyake
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I Have Always Been Interested In Conducting

Issey Miyake
I have always been interested in conducting research that yielded new methods by which to make cloth, and in developing new materials that combine craftsmanship and new technology. but the most important thing for me is to show that, ultimately, technology is not the most important tool; it is our brains, our thoughts, our hands, our bodies, which express the most essential things.
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What's important is the way we say it. art is all about craftsmanship. others can interpret craftsmanship as style if they wish. style is what unites memory or recollection, ideology, sentiment, nostalgia, presentiment, to the way we express all that. it's not what we say but how we say it that matters.
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In a sense, every tool is a machine--the hammer, the ax, and the chisel. and every machine is a tool. the real distinction is between one man using a tool with his hands and producing an object that shows at every stage the direction of his will and the impression of his personality; and a machine which is producing, without the intervention of a particular man, objects of a uniformity and precision that show no individual variation and have no personal charm. the problem is to decide whether the objects of machine production can possess the essential qualities of art.
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The ideas of primary qualities of bodies, are resemblances of them, and their patterns do really exist in the bodies themselves; but the ideas, produced in us by these secondary qualities, have no resemblance of them at all. there is nothing like our ideas, existing in the bodies themselves. they are in bodies, we denominate from them, only a power to produce those sensations in us: and what is sweet, blue or warm in idea, is but the certain bulk, figure, and motion of the insensible parts in the bodies themselves, which we call so.
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You've probably heard about the theory of steam-engine time - that even after the steam engine had been invented, it had to wait until people were ready to make use of it. the same thing happens in literary circles. the truth is, i'm not terribly interested in victorian times; i'm interested in victorian writers. i'm interested in most eras of history, but not the victorian era especially. i was interested in the john franklin expedition. i was interested in these last five weird years of dickens' life. and i just have to take the age that comes with all that when i write about it.
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In physical science a first essential step in the direction of learning any subject is to find principles of numerical reckoning and practicable methods for measuring some quality connected with it. i often say that when you can measure what you are speaking about, and express it in numbers, you know something about it; but when you cannot measure it, when you cannot express it in numbers, your knowledge is of a meagre and unsatisfactory kind; it may be the beginning of knowledge, but you have scarcely in your thoughts advanced to the stage of science, whatever the matter may be.
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One of the best things i ever did was to train in a practical skill. i love computers and they've become such a part of life, especially to the world of design. but it's important to understand that they are a tool, as much as a hammer or a saw is a tool. computers don't help you design. there needs to be more emphasis on training young designers in how to build things. a good writer needs a good vocabulary. a good designer needs to understand his materials and processes. you can't, as a successful designer, pretend to get any respect if you don't know how things are made.
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