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< p > the concept of retirement does not exist for Yamamoto Teruji who opposes everything and likes change.

He had long thought of his ideal state of being dead, "when I was making a target=" _blank "href=" //m.pmae.cn/ "> clothes < /a >, I fell suddenly.

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< p > compared with "a target=" _blank "href=" //m.pmae.cn/ "designer" /a ", Yamamoto Teruji prefers to describe herself as a" dress maker ". Today, when the computer design is becoming more and more popular, he hopes that the a target=" _blank "href=" target= "> clothing industry can insist on using craftsmanship, and his company still uses full manual edition, because he thinks that the hand can give clothes the temperature and vitality, and some beautiful lines can only be finished by hand.

The designer, who has been labeled "rebel" by the outside world, has an adherence to and obsession with traditional values. This contradiction shows a gorgeous and charming effect on him, just like his scissors, which cuts off countless avant-garde works.

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The reason why Yamamoto Teruji and his Japanese partners got the peak position at that time was that they destroyed the traditional fashion language system in Europe and America, and formed an alternative "anti fashion" style. P

A reporter once asked in an interview, "if you don't become a fashion designer, what kind of person will you choose to be?"

Yamamoto Teruji said, "I will probably become a prisoner in prison.

Because of my inborn rebellion and anger, I have the spirit of inmates.

I am anti social and anti human.

Fashion design provides double opportunities for releasing the pressure and self expression for the marginal youth who love extremes and dislikes the golden mean. And he also unwittingly becomes the representative of "Japanese style" - a force born and growing up in the culture of destruction and reconstruction after the war.

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< p > > "design is not additive but subtraction philosophy", "I want women to wear men's clothes", "I am only interested in the pient women's backs". These "anti fashion" pioneering ideas are probably the core of Yamamoto Teruji's adherence. This view comes from the memory of childhood, and his mother is a tailor. At that time, Japan's status was low, and the employer's home could not even go to the front door.

This led to his love for and hatred of "making clothes" and his understanding of women, and became the source of his rebellious thoughts that insisted on challenging the inherent cognition of society. He also hoped that his clothes would enable women to escape the definition of "feminization" determined by men, and to express their feelings to women in work, especially mothers, "the backs of women who are leaving will not only make me sad but also make me feel incomparable beauty.

There seems to be a wound that is hard to heal in my heart, like shouting, "ah, don't go!"

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< p > in fact, it is very difficult to define Yamamoto Teruji and his design style. Although it has passed through the past few years, he is still a group of impenetrable fog, with ever-changing forms. If we have to use one word to describe it, it is "change". He is always seeking and pursuing change. The only constant change in his decades of design career is his change.

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＜p＞　　外間在總結(jié)山本耀司設(shè)計風(fēng)格的時候喜歡用三個關(guān)鍵詞：黑色、Oversize和不對稱剪裁，盡管這些概念確實是山本耀司引發(fā)的流行，但是他也不遺余力地在余下的日子用掌控更多更豐富的顏色和流線型的剪裁來推翻自己建立的概念；他在歐美取得成功之后被打上了“日本設(shè)計師”的烙印，因此直到1994年之前，他都拒絕使用和服等傳統(tǒng)的日本＜a target="_blank" href="http://m.pmae.cn/"＞服飾＜/a＞元素，他希望他能更深層地表現(xiàn)出血液中的日本情愫，而不是用外在的概念和風(fēng)格；因為曾經(jīng)被冠以“剪裁之王”的稱號，在2012-2013年的秋冬時裝發(fā)布會上，他決定干脆不要剪裁，只用一塊布包裹做主題，脫掉衣服扔到地板上，仍然是一塊完整的布……

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< p > he bluntly: "I have given myself a difficult problem."

But he enjoys such difficulties and challenges, and gives the world and himself problems. It is the secret of his strong creative power and the joy he finds from life.

In his book "making clothes", he never disguised his childish voice and repeated loudly: "I object to everything.

Oppose, oppose and oppose.

He objects to everything that is fixed and molded, including those who oppose himself in the past, because in the past, they represent the concept of being solidified, and he always focuses on the future, the future with the possibility of unlimited change.

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