# METHOD_QUOTES.md — 创作方法引文库（PHASE 5）

> 聚焦"**这个创作者怎么想**"：信念、矛盾、创作决策、被拒绝的假设——不是"发生了什么"。
> 体裁约定：
> - **英文原声**来自 V0 采访转录文本（语音转写，含少量转写噪声，以 [sic] 或方括号标正）；中文翻译为本次执行补译（标"执行译"）。
> - **中文版著作**引文以中文版为底本（山本耀司原文为日文，日文原版未收库，如实标注）。
> - 每条注明出处与源文件路径（本项目 06_SUPPORTING_ARCHIVE 内副本）。

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## 一、采访原声（英文 → 执行译）

### M01 黑的起点：不打扰别人的眼睛 【Q1_black】

> "It is my private sensibility. …In the city, when I looked at so many fashions, so many colors, so many decorations, it looked very ugly. I felt, at least myself, should not make people's eyes disturbed by using horrible color. So I stayed in monotone. …I didn't need color sentiment. I just wanted to show people cut or washed or broken."

**执行译**："这是我的私人感受力。……在街上看到那么多时装、那么多颜色、那么多装饰，我觉得很丑。至少我自己，不应该用刺眼的颜色打扰别人的眼睛。所以我停留在单色里。……我不需要颜色的情绪，我只想让人们看到剪裁、水洗、破坏。"

**出处**：BoF《时尚哲学》采访，2017 前后（视频转录文本）。源：`06_SUPPORTING_ARCHIVE\访谈转录副本\BoF采访_时尚哲学_39min_转录.txt`

### M02 炸弹在握：反叛作为方法 【Q3_anti_beauty】

> "During helping my mother, the outfit …they were all kind of dull, sexy, gorgeous, feminine-like, which I didn't like too much. …I was thinking, oh, I won't make something kind of mannish, how to fit for women. …So I was very hungry. …That moment, I was holding my dynamite in my mind."

**执行译**："在帮母亲做衣服的日子里，那些定制品都无趣、性感、华丽、女人味十足，我不喜欢。……我在想，我要做点不带女人腔的东西给女人穿。……那时我如饥似渴。那一刻，我心里握着一枚炸药。"

**出处**：BoF 采访转录。源：同上。

### M03 1981 的舆论战：电梯被挤坏 【Q3_anti_beauty】

> "Many journalists hated us. …Only Libération wrote excellent article for us, only Libération. The others, they said, no, go away, go back. But by us, they came to the office. Finally, they broke the elevator because of so many of them."

**执行译**："很多记者恨我们。……只有《解放报》为我们写了精彩的文章，只有它。其他人都说：不，走开，回去。但（后来）他们涌到我们办公室，最后电梯都被挤坏了，因为人太多。"

**出处**：BoF 采访转录。源：同上。

### M04 披头士类比：一代人的替代品 【Q7_defiance】

> "Maybe probably I'm talking about the very important moment: not only fashion, in music scene, there appeared Beatles, Rolling Stones. …The adults and the American people didn't understand, but young people, they were all excited. And they changed the music scene totally. And as a result, we did the same thing."

**执行译**："我大概在说一个非常重要的时刻：不只时装，音乐界出现了披头士、滚石。……大人和美国人看不懂，但年轻人都疯了。他们彻底改写了音乐。结果，我们做了同样的事。"

**出处**：BoF 采访转录。源：同上。

### M05 破产的转折：女儿的一句"重新开始" 【Q5_creation_vs_commerce】

> "One guy came to my company. He wanted to [run] management of my company. …He decided to make everything bigger. And the moment I felt very frankly, I did enough. So I would [do] chapter 11. I wanted to finish my career. But my daughter, she shouted, don't finish now. We start again. …I told her, leave me. Don't do that. I did enough. …[She said] No father, let me do that. So finally, I accepted chapter 11. Because I had to think about my company people's life. …As far as I made up my mind to do it again, I became double strong."

**执行译**："有个人来到我的公司，想接管经营。……他决定把一切做大。那一刻我坦白地说：我做够了。我想申请破产保护，结束我的职业生涯。但我女儿吼道：现在不许结束。我们重新开始。……我说：放过我吧，别这样，我做够了。……她说：不，父亲，交给我。最终我接受了破产再生——因为我必须顾及公司里那些人的生活。……一旦下决心重来，我就变得两倍地强。"

**出处**：BoF 采访转录。源：同上。

### M06 Y-3 的起点：离街道太远了 【Q5_creation_vs_commerce】

> "After working in Paris about 20 years, I felt I became too far from the street. …Who is wearing my creation? I can't find people who are wearing my outfit in the street. Maybe in the museum. Maybe they're simply collectors. I felt very uneasy. …Then I was surprised that from the United States, the sneaker culture started. …Businessmen in the morning go to the company wearing suit and sneaker. …I thought, it must be interesting to work with sneaker. So from my side, directly, we made a phone call to Adidas."

**执行译**："在巴黎工作了大约二十年后，我感到自己离街道太远了。……谁在穿我的作品？街上找不到穿我衣服的人，也许只有博物馆里，也许他们只是收藏者。我很不安。……然后我惊讶地发现，球鞋文化从美国兴起了。……早晨的商人们穿西装配球鞋去上班。我想，和球鞋一起工作一定很有意思。于是我们从我这边，直接给阿迪达斯打了个电话。"

**出处**：BoF 采访转录。源：同上。

### M07 侧街的舒适：不走主流 【Q5_creation_vs_commerce / Q7_defiance】

> "For me, fashion business became money business. …I felt I've been losing my competitor year by year. …Only stylists [remain], they were asked by [big] maison… to make a show for selling accessories, not for selling their own creation. …I'm not walking in the mainstream. I'm walking in the side street, side, dark street. It is quite comfortable. If I joined the mainstream, maybe I was killed."

**执行译**："对我来说，时尚生意变成了钱的生意。……我感到自己的对手一年年在消失。……剩下的只有造型师，被大牌请去……做一场为了卖配饰的秀，而不是卖他们自己的创作。……我不走主流。我走在小街上、暗街上，那里相当舒服。如果我加入主流，也许早就被杀死了。"

**出处**：BoF 采访转录。源：同上。

### M08 关掉电脑：真实的情感 【Q6_craft_time】

> "[Shut] your computer. Don't look at your desire, your future, your favorite thing in computer. If you really want to see real thing, real beauty, you have to go there by walking. And go there and touch it and smell it. …Otherwise, you cannot get real emotion. If you want to create something, you need real excitement, emotion, not a superficial vision."

**执行译**："关掉你的电脑。别在电脑里看你的欲望、你的未来、你喜欢的东⻄。如果你真想看到真实的物、真实的美，你必须走过去，亲手摸到它、闻到它。……否则你得不到真实的情感。想创造，你需要真实的兴奋与情感，而不是肤浅的图像。"

**出处**：BoF 采访转录。源：同上。

### M09 女体的沙漠，男体的既定 【Q4_gender / Q2_body】

> "Designing men's clothing is very difficult for me, because I don't like too much fashionable men. …My role about men's design is [to be] free from trend. …Designing men's is quite limited because we have only shirts and jacket and pants, that's it. …But for women, women's body is, for me, like desert and [the] wind and the mountains of sand [are] always changing. So, I can have so many imagination on women's body, because it is always changing. Compared to women's body, men's body is already promised. …But designing women's clothing is like a journey."

**执行译**："设计男装对我来说很难，因为我不喜欢太时髦的男人。……男装设计的职责是远离潮流。……男装非常受限——只有衬衫、夹克、裤子，仅此而已。……而女人的身体，对我来说像沙漠：风在吹，沙丘永远在变。我能在女体上有无穷想象，因为它一直在变。相比之下，男人的身体是'已经被许诺的'……但设计女装像一场旅行。"

**出处**：V&A《男装设计》采访，2011 前后（视频转录文本）。源：`06_SUPPORTING_ARCHIVE\访谈转录副本\VA采访_男装设计_7min_转录.txt`

### M10 手指的信仰：远离量产 【Q6_craft_time】

> "I'm strongly breathing in c[raf]tsmanship. I mean, humans' hands, for example, when there's Japanese c[raf]tsmanship, for weaving, for sewing, for cutting, maybe I'm touching a little bit a culture of human beings, human fingers, which I believe in strongly. [I]'m very far from mass production."

**执行译**："我强烈地呼吸着手工艺——人的双手。当提到日本的手工艺：织、缝、裁，我大概是在触摸一种人类的文化、人的手指，我对此深信不疑。我离批量生产很远。"

**出处**：V&A 采访转录（转写噪声已标正）。源：同上。

### M11 美在消失：老者的警告 【Q7_defiance】

> "Like a very old man, I'm saying that beautiful things [are] disappearing every day. Look at them. Keep them. Be careful. Don't go too fast. Look back."

**执行译**："像一个老人，我要说：美的东西每天都在消失。看着它们，留住它们。当心。别走太快，回头看看。"

**出处**：V&A 采访转录。源：同上。

### M12 最华丽的时刻是创造 【Q6_craft_time】

> "I don't like too much about the [property], like a big house, private jet, big castle. I'm not interested in them at all. My most gorgeous moment is creating, growing. So in that meaning, I'm very lucky and a happy man."

**执行译**："我不太喜欢那些财产——大房子、私人飞机、大城堡，我一点也不感兴趣。我最华丽的时刻是创造、是生长。在这个意义上，我是个幸运而幸福的人。"

**出处**：V&A 采访转录。源：同上。

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## 二、著作（《做衣服》中文版，日文原版未收库）

> 底本：山本耀司《做衣服：破坏时尚》（增补新版），吴迪译，湖南人民出版社。源：`06_SUPPORTING_ARCHIVE\书籍副本\山本耀司-做衣服-增补版-中文版.pdf`（PDF 文本层，OCR 噪声已手工修正如上引）。

### M13 "间"：空气在身体和衣服之间流动 【Q2_body】

> "西方的服装强调贴身合体。他们的着装理念认为，只有合乎人体曲线的合体剪裁才是完美的设计。而我对此向来抱持反对意见……我的设计一定会让空气在身体和衣服之间微妙地流动。也就是说，在我设计的服装中，有留白，有'间隔'。这个间隔的'间'，也是'字里行间'的'间'。"

**出处**：《做衣服》增补新版。源：同上。

### M14 五重塔：做衣服是造能存续几百年的建筑 【Q6_craft_time】

> "我想，无论时代发展到何种程度，只要有布、剪刀和缝纫机，再加上人的五感，就可以做衣服。我一直坚持去对抗某种东西——这种行为类似于做建筑，比如法隆寺的五重塔。工匠认准木料，能够建造出可以存续数百年之久的建筑物。我做衣服也抱持着同样的态度。"

**出处**：《做衣服》增补新版。源：同上。

### M15 1981：丧服的黑被看作违反常规 【Q1_black / Q3_anti_beauty】

> "法国的业界保守派报纸《费加罗》也刊发报道表示：'像遭遇了炸弹爆炸一般破败颓废的服装，让你似乎看到了世界末日。'也就是说，我们的设计完全背离了欧美的时尚潮流，就像能乐中离经叛道的'非风'。而大量地使用一般用于丧服的黑色，也被看作是违反常规之举。就我个人来讲，我并没有刻意地与西方审美对立。我只是拿出了自己喜欢的东西。"

**出处**：《做衣服》增补新版。源：同上。

### M16 专用剪刀与三种黑 【Q1_black / Q6_craft_time】

> "问：您有自己专用的剪刀吗？答：有。绝不让别人碰。问：对耀司先生来说，布是一种怎样的存在？答：布料对我来说就像女子。想要什么样的女人，取决于你如何对待她。问：黑色分为几种？答：简单来说分为三种。褐色系中的黑、绿色系中的黑，然后就是墨黑。"

**出处**：《做衣服》增补新版（问答体附录）。源：同上。

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## 三、如实登记的缺口

| 来源 | 状态 | 说明 |
|---|---|---|
| 《我投下一枚炸弹》（My Dear Bomb 中文版） | ❌ 无文本层 | epub 为 201 张扫描影印页、PDF 亦无文本层，202 页仅抽得 1291 字符。V2 需 OCR 或改收文字版 |
| BOMB Magazine No.24（1988，Robert Longo 对谈） | ❌ 仅 JSTOR 封面 | 库存 PDF 只含封面与条款页，pp.76-77 正文为扫描图像，无 OCR 文本 |
| 《Talking to Myself》（Steidl 2002） | ❌ 未收藏 | V0 书籍线 backlog 中的 P0 目标 |
| 鷲田清一《ばかが服、されど服》 | ❌ 未收藏 | 哲学家的山本论，方法论的学术层 |
| 日文原版《服を作る》 | ❌ 未收藏 | 以上 M13-M16 以中文版为底本，原文字句未核对 |