Japanese designer and founding father of modern fashion's avant garde movement Yohji Yamamoto has given an interview to Interview (well, duh) in which he says that people have turned away from his label as wearable fashion.

Speaking to film director Wim Wenders, he said 'At a certain point, I stopped seeing my clothing worn by people on the streets... It seemed like they were being treated as museum items.'

Yamamoto, who was the subject of a V&A retrospective exhibition in 2011, arrived on the fashion scene with then-partner Rei Kawakubo of Comme des Garçons in 1981, when their so-called (by others, it's worth mentioning) 'Hiroshima chic' smashed the bourgeois status quo of the Paris shows. Their models were dishevelled, make-up free (in some instances, even made up with bruises) and swathed in bulky, voluminous layers of black and only black. They wore flat shoes inspired by those of rural Japanese peasants. The look divided fashion critics and consumers straight down the middle, angering some and inspiring others.

And in Japan, where the labels had already become cult, the women who wore them were nicknamed 'the crows'.

Elsewhere in the interview, Yamamoto speaks about his Y-3 line for Adidas, which this year celebrates a decade in business, and which came about when the designer requested trainers from the brand for a show.

But most excitingly, he reveals that he is working on an archive show, to be held in Berlin. Yamamoto currently shows on the Paris schedule, but the chance to see some of his original pieces is something entirely different. The wraps, the two-dimensional cuts, the proportion and volume: second-hand sellers report they are selling out of vintage Yohji pieces as customers are starting to hunt them down, while current designers cite his early work as inspirations.

'I think the direction will change to Japanese designers such as Comme des Garçons and Yohji Yamamoto,' says Claire Stansfield, one of the co-founders of vintage store Rellick, 'who have a strong sense of hand-crafted and couture elements.'

Whether Yamamoto knows it or not, he is very much still part of modern fashion parlance, not just the museum scene.