Hiroshi Tanida
Tanida is a fashion designer with a grandmother and mother who were teaching at Japanese dressmaking schools. In his second year of middle school, he decided to become a fashion designer instead of a manga artist. After graduating from Nagoya Mode Gakuen, he worked as a store merchandiser in Osaka. In 2001, he moved to Tokyo and participated in the launch of “DIET BUTCHER SLIM SKIN”. He established his own brand, “STOF” in 2004.
Instagram：@byestof
X：@BYESTOF

Looking back on the brand’s 20-year history

–First of all, congratulations on the 20th anniversary of your brand. What do you think is the reason why you have been able to carry on it this long?　

Hiroshi Tanida (hereafter, Tanida): Thank you very much. I believe the styles proposed by STOF have a potential affinity with TOKION’s readership. However, to be honest, I imagine that not a few readers are just now learning about STOF for the first time. I think the reason why STOF has been able to bloom quietly for 20 years, even in such a shady environment, is because I have the support of my business partners, related parties, stores, customers, and other people who understand me well, and also because I simply have talent (laugh).

— What did you think at this important milestone?

Tanida: STOF hasn’t changed much, but I feel that the world has changed a lot.

–What do you mean by that?

Tanida: I kind of feel that everyone has become more serious. For example, the guidelines for parody, homage, and rip-off are no longer based on the common sense of the experts. Now, if the validity of something is in doubt, it is too easily insulted and criticized.

One of the most significant events that changed the situation was the rise of social media. Social media has its merits and demerits, and it is difficult to argue against the point that it is not harmful if used properly. Seemingly, it has a high affinity with fashion, but I think it is the least compatible with it. To be more specific, fashion snapshots seemed to be on the verge of prosperity through social media, but it actually stagnated because people could not shake off the discomfort of seeing the number of likes. Many unique brands disappeared or shifted to more authentic styles.

Global values and diversity are often lumped together, but they are actually the exact opposite. Personally, I have very little desire of showing off. So, I am acutely aware of my lack of affinity with social media. …… Sorry, I’m getting off topic.

–The brand name “STOF” means “cloth” in Dutch and the theme of the Spring/Summer 2024 collection, which will celebrate its 20th anniversary, is “Voorplet! (= Dutch word meaning the excitement before something fun is about to happen).” Do you have some kind of attachment to Netherlands?

Tanida: I have been to Europe quite a bit, but I have never been to the Netherlands. When I first started the brand, I felt sympathy for the creative attitude of the Dutch design group droog, and I wanted to make the brand name as meaningless as possible, so I chose “STOF,” which is simple in sound and appearance.

I am interested in common things and sensibilities shared non-linguistically by people worldwide, which are difficult to translate into many languages but can be understood when explained. As you just mentioned, “Voorplet” means the excitement before something fun is about to happen. I chose this word as the theme for the collection because I saw it as a synonym for “festivals,” where many people connect and rejoice in their land, religion, culture, and traditions. I would like to visit the Netherlands someday, but it is a coincidence that both words come from the Dutch.

On the S/S 2024 collection “Voorplet!” presented through the video

–Why did you decide to present the collection as a video work rather than on the runway?

Tanida: If we were going to express the festive mood in the form of a runway, we wanted to create a performance that would make all the guests dance, but we thought it would not be easy to realize it without asking them to dance because of the nature of Japanese people. Also, we had decided to do something out of the ordinary, so we were torn between holding a music festival like the one we held in 2017 or making a video work. We wanted to record it and express our gratitude, so we decided to make it a work of art in the form of a video.

–Although STOF is a fashion brand, it seems to have a deep connection with culture, such as art and music. What kind of things do you draw inspiration from?

Tanida: I draw inspiration from various cultures, such as travel, music, manga, movies, and art. I am not what you would call a fashion person. I think of myself as taking what I have input in my life and outputting it predominantly in the form of fashion.

— The brand has an established reputation for its graphical designs, abstract silhouettes, and distinctive elaborated designs. What are the characteristics of your graphic and design work for the 2024 Spring/Summer collection? What points did you pay particular attention to?

Tanida: Graphically, festivals, and exuberance were the two main keywords, so I researched festivals around the world, such as Samba in Rio, Kukeri in Bulgaria, Holi in India, and Burning Man in Nevada, and fused them together to create a collage of graphics from festivals taking place nowhere in the world. In addition, we commissioned artist Kenichiro Mizuno to draw pictures of the Japanese-style evil spirits of the mountains and rivers and developed them into embroideries. Items with these embroideries are the main items of this season. As for the silhouette, we were particular about keeping it as simple as possible and focused on creating outdoor styles that people can wear in music festivals and redesigning traditional Japanese festival costumes.

— So far, you have done business with many countries. Which countries have you found to have particular momentum?

Tanida: China is the one that I felt had the most powerful momentum in terms of fashion. Let alone Shanghai, but the cityscape of Chengdu was overwhelming. Even the cities of Wenzhou and Hangzhou, which you only hear a little about when you are in Japan, have a population of millions, and there are some good, decent stores. The overall level of creativity is still not incredibly high. Still, perhaps because there is a desire for freedom in the face of oppression, the works of local designers are full of a primitive joy of creation. Against the background as a country of production that can be described as the world’s factory, what has been lost from the current Japanese fashion is still alive here.

–You visited a lot of countries in the West. What kind of impression did you get from these countries?

Tanida: From what I experienced when joining several times in Fashion Weeks in Paris and New York, people in Paris were a bit authoritarian and not very interested in unfamiliar brands. However, the fact that brands and buyers gather from all over the world, including Europe, the Middle East, and Asia, is a significant attraction. Also, based on my modest first-hand experience, I would still recommend Paris as a place to visit as a buyer. Conversely, I often received vivid reactions in New York when people saw the products themselves. I was also struck by the fact that many people were seeking sexiness in the realm of fashion. I was often told that my products weren’t sexy, which is fair enough because my items were not intended to be sexy.

As for personal travel experiences, I drove around Iceland in Europe and the Golden Circle in the US, which were fantastic. But perhaps the most exciting places in the world right now are the countryside of Japan.

–While many people are turning their eyes overseas, there are many people who see the potential in Japan’s countryside and are engaged in interesting activities.

Tanita: This may not be the only case in Japan, but securing a spacious, pleasant, and beautiful space in metropolitan areas is challenging, partly due to land prices. In addition, both information and goods are saturated, and there is often competition for them. Even if there is a manager with outstanding sensibility, it isn’t easy to have everything at a satisfactory level, including space and product lineup. In this respect, it is easy to clear those issues in a rural area, so it is possible to create ambitious stores without fear of risk. The same applies to the lodging and restaurant industries, leading to more attractive stores and towns in rural areas. Recently, with the spread of social media, the regional disparity in information has been eliminated, so this trend will further accelerate.

–In addition to STOF, you are involved in quite a number of fashion brands such as “bedsidedrama,” outdoor brand “NEYVOR,” kids’ brand “K/A/A,” “Too Much Life Wear,” and “PANTARHEY,” which you work on with Takao Suzuki of UNISON SQUARE GARDEN. That is quite unusual for a designer. How did you come to this situation?

Tanida: Since I have always had multifaceted interests, producing output only under one brand is difficult for me. I also like to do new things. I don’t think I have the temperament of an artist, and I am simply fast at designing.

–I see, so speed is also necessary to start a brand. Do you have any other advice for young people who want to become fashion designers?

Tanida: Frankly speaking, I would say that aiming to become an independent designer now is too hard, so don’t do it (laughs). If you still want to do it, you should put effort into raising your status before launching a brand. It could be something as simple as creating a nice store in a local area or becoming famous as a comedian or YouTuber, for example. I think it is better to have something other that will make you believe that, “even if this doesn’t work out, I can still make a living with that,” before you start making things so that you can make good things.

Remember to have room, love, and humor, and show us something that makes us say god-damnit!

–Do you have any dreams that you would like to do or achieve in the future?

Tanida: I want to do all kinds of things, as I have wanted for a long time. I have many interests, such as travel, writing, graphics, food, and drink. I want to make 20 years a milestone and keep doing new things without being particular about fashion or Tokyo as a place, so I am looking forward to hearing from anyone with a heart. As for what I have already decided to do, I plan to hold a spooky story event called “ATARAYO ” next spring, so please come and check it.

The post What STOF designer Hiroshi Tanida Conveys Through a Video for the Brand’s 20th Anniversary appeared first on TOKION - Cutting edge culture and fashion information.

Fashion model Angela Reynolds currently acts as Director for contemporary art gallery PERROTIN Tokyo. She started her fashion modeling career at the age of 14 and later relocated to London, England at the age of 20. She has appeared in numerous magazines including Vogue Italia, British Vogue, Jalouse, Dazed & Confused, Numero Tokyo, Harpers Bazaar Japan, and Ryuko Tsushin, as well as runway shows and advertisements for Shiseido, Nike, and Uniqlo, and others.

Following her successful career as a model, Angela ventured into freelance journalism. It was during this period that her encounters with the world of contemporary art left a profound impression, propelling her to challenge herself in yet a new world, despite lacking prior experience in the art industry. We spoke with her about her motivations in pursuing a career in the art world, especially after transitioning from a different industry.

–What made you step into the world of art from modeling?

Angela Reynolds (Angela): It all began when I started feeling uneasy about receiving compliments at every photo shoot, as a model. At the age of thirty, I felt a sense of crisis and felt that my inner self would stagnate unless I had more challenge and discovery in my life. If I was going to continue on my path as a model I knew I needed to explore new avenues of self-expression. I became involved in various Not-for-Profit Organizations, began writing articles, and collaborated with brands in jewelry and fashion design. I particularly loved writing, and decided to venture into freelance journalism. I preferred to write for foreign magazines where I was not recognized for my identity as a model.

As I interviewed creators in various fields such as architects and designers, I often found them discussing fine art. Despite my extensive research prior to conducting these interviews, time and again I felt my knowledge of art and artists was insufficient to dig deeper during the precious time I had with my subjects. I immersed myself in study so I could better understand the individuals I was interested in. The more I frequented galleries and museums, the more captivated I became. Even if I initially didn’t feel a strong connection to a particular artist or style, I often discovered a profound connection once I saw the artworks in person and gained some knowledge about the artist. Within this process of discovery, I felt the tremendous potential and energy of art, leading me to yearn to be involved in this industry.

–How did you learn about art?

Angela: I actually had no prior background in art. However, my English ability gave me the opportunity to speak to visiting artists and art professionals at gallery openings, especially at  SCAI THE BATHHOUSE gallery which I regularly visited. I attended many of their openings and sometimes did some translating for them. One day at the gallery, I was struck by a work by Apichatpong Weerasethakul, and, completely captivated by its magic, I found myself asking the gallerist for an opportunity to be more involved in the gallery. After some persistence on my part, Mr. Shiraishi, the gallery owner, kindly agreed to give me a trial period. Without any formal training nor prior experience working for any company, I started out by taking on miscellaneous tasks. Gradually, learning on the job, I built up my skills through lots of trial and error. I failed again and again, but I knew I had to pull through. Those were days of intense training.

Challenging a new world in her 30s

–As you get older, don’t you feel uneasy about taking on new challenges?

Angela: On the contrary, I aim to remain active well into my seventies, so I don’t have any hesitation about pursuing new ventures. In fact, I am the type of person who thrives on taking on new challenges. Before I entered the art industry, I visited UNHCR refugee camps, traveled to Rwanda as an ambassador for Table for Two – an initiative that provides school lunches to children in developing countries — and journeyed to Bangladesh for a project with the fair-trade clothing brand People Tree. I’ve learned that if you don’t challenge yourself, you cannot fail; if you don’t fail, you don’t experience the deep joy and learning that comes from growth. Learning fosters gratitude, humility, and an understanding of the struggles faced by others. What I find through constant self-reflection and challenge is to me more meaningful than the stability of a familiar environment. This is what propelled me to dive into the art industry.

–Along with being Director, you act as an artist liaison at PERROTIN. Could you tell us about this work?

Angela: An artist liaison’s role is similar to that of an artist manager. We take a long-term approach to view and manage artists’ careers, creating presentation materials to introduce them to museums, clients, and institutions, determine prices on artworks, facilitate connections with various individuals, assist with production research, attend exhibition openings, and so on. We try to provide comprehensive support in any way necessary to each individual artist. At the moment, I am responsible for three artists at Perrotin —  Eddie Martinez, Barry McGee, and Mark Ryden.

–What criteria is applied when selecting the artists you work with?

Angela: The selection process involves extensive discussions among PERROTIN’s global directors. We approach the decision-making process with a long-term commitment in mind, as the relationship with an artist is intimate and formative for both sides. Therefore, we invest significant time and consideration in assessing various factors before finalizing our selection.　

–What is important to you in building a relationship with an artist?

Angela: One primary aspect I prioiritise is understanding the boundaries of an artist’s creative territory. It’s crucial to determine early on which areas I am allowed to navigate and which areas I should avoid. Drawing from my experience in modeling and having support from a manager, I’ve learned how to be attentive to the sensitivities and preferences of individuals. Artists often possess a heightened sensitivity and a rich and unique worldview, and it is important to respect their natural way of being and honor their personal space in order to foster a strong trust relationship.

–It shows how sincere you are working with artists.

Angela: Thank you for your kind words. When it comes to working with an artist, I truly believe in treating them with utmost love and respect. Every artist I’ve had the privilege of working with pours their heart and soul into their work, and it’s only fair that I reciprocate that dedication. This mindset extends into my daily life, especially in interactions with people and situations that seem unfamiliar or complex to me. This is something I strongly felt during my battle with terminal cancer in the past. While I was recuperating in London, the effects of anticancer drugs caused my hair and nails to fall out. However, with the help of a wig, I could conceal my illness from others. This experience reminded me that even the person assisting us at the supermarket or our neighbor may be silently struggling with their own health issues. It’s a powerful reminder that many people around us are enduring immense hardships, even if we are unaware of their battles. Since I realized this, I make a conscious effort to approach others with empathy, remembering that everyone carries their own pain, experiences, and something they deeply cherish in their life. We are all fighting and striving to survive.

–In your personal life, you are a wife and mother; how do you maintain a work-life balance?

Angela: Navigating life’s transitions and deciding how to move on to the next chapter is a deeply personal journey. When one starts family life, one’s relationship with work significantly changes. While I hold immense value and passion for my work, I’ve learned the importance of setting clear boundaries that allow for dedicated time for myself and my family. At first, I grappled with finding this balance, but eventually I discovered that equivalent (sometimes better) results can be achieved even under restricted conditions. Until then, I had believed that relentlessly dedicating my waking hours to working and studying was the only way I could fulfill my responsibilities – especially given that I had been granted the opportunity to work in a remarkable gallery with exceptional colleagues despite my lack of experience.

–I got the impression that you are a person of such a strict self-discipline.

Angela: Oh, really (laughs)? I actually think I have quite a laid-back personality, but perhaps I’ve developed a knack for pushing through adversity. In life, we all experience moments of feeling inferior, thinking we’re not good enough or comparing oneself to others. But that self-image is merely a selfish illusion, based not on actual results but judgements derived from unchangeable past experiences. It’s important to drop that critical image and simply act constructively towards the next step. Creating a favorable environment can completely reshape our experience and the value of our contributions.

— Finally, what do you think is the power of art in times of turmoil, when we have pandemics, wars, and earthquakes?

Angela: Art plays a vital role during uncertain times. Even in times of peace, people feel pain and emptiness, search for meaning, and experience conflict. Art in its various forms can rescue us from such suffering, either for a brief moment’s solace, or sometimes definitively shifting one’s perspective. For instance, sitting in front of your favorite painting, the tears flowing down your face can save you. The same can be said about music, movies, theater, and other artistic expressions. Connecting with the oasis of the heart through artwork revitalises our energy, offering respite from the challenges we face and giving us the courage to go back and confront them.

Photography Anna Miyoshi（TRON）
Hair & Make-up Mikako Kikuchi（TRON）

Jacket ¥29,000, Pants ¥19,000 / supplied by styling/ (styling/ Lumine Shinjuku 1/ 03-6302-0213), other items worn by Angela are her own

The post From Modeling to Art World; Why PERROTIN director Angela Reynolds made a significant career shift appeared first on TOKION - Cutting edge culture and fashion information.

We ask Nick Wooster about his past, 21st century men’s fashion, and the possibilities of Japanese brands as well as its challenges. At the end of the interview, we are joined by KUON designer Shinichiro Ishibashi to hear about their collaborative approach. Let’s listen to the thought-provoking words of Nick Wooster.

Nick Wooster
Born July 2nd, 1960. Wooster worked as a buyer at Barneys New York and Bergdorf Goodman, a retail merchandising director at Calvin Klein, and as a design director at Polo Ralph Lauren. He currently works as a fashion consultant and an advisor for multiple brands. He has over a million followers on Instagram and has gained international attention for being a men’s fashion icon. He also serves as a TOKYO FASHION AWARD judge.

A passion for fashion awakened in his youth

–– What event awakened your interest in fashion?

Nick Wooster: The short answer is  that I don’t know. I remember being particular about clothes at a pretty young age. Since kindergarten into my elementary school years, I remember choosing my clothes myself.

–– You’ve been dressing yourself since you were that young?

Wooster: Even my mother couldn’t dress me. I had to choose my clothes myself because I would reject the outfits my mother put together for me. It was obvious that I was interested in clothes at a young age. When discussing fashion, I was adamant that I was interested in clothes, not fashion. When it came time to choose a job, I decided to get into jobs that revolved around fashion and clothes simply because it seemed the most interesting. So I don’t think there was a specific event or reason why I’m in this industry.

–– Which fashion designers or fashion influencers do you consider your icons?

Wooster: Similar to my previous answer, I never had an icon whose style I admired. For me, the most interesting places to see clothes are not necessarily at fashion week or at fashion shows. I’m more interested in looking at people at airports and restaurants rather than designers’ clothes on a runway.

–– Fashion you see in the city is more important to you.

Wooster: There are designers like Ralph Lauren in his early days and Rei Kawakubo with her forty-year career that are important designers to me. And of course there are legendary designers that have contributed to fashion history like Karl Lagerfeld, Coco Chanel, and Georgio Armani. But I draw more inspiration from looking at different things than from one specific designer. There are some great contemporary designers, though. And for me, most of them are Japanese. I find many things about Japan to be interesting.

–– I’d like to ask you about your career. You started in the retail business at places like Barneys New York, and then went on to work for brands like Calvin Klein and Ralph Lauren. What made you choose this career?

Wooster: That’s exactly right. I initially worked as a buyer for Barneys New York, and then at Bergdorf Goodman. Around that time, I realized being involved in products and in its creation and development would be more of interest to me. Fortunately, I was able to build my experience by working first for Calvin Klein, then Ralph Lauren, and other smaller designers’ brands. What’s funny is that I worked for Neeman Marcus and Bergdoft Goodman in 2010 – I came full circle and ended up back in the retail market. I like both the retail business and being involved in the products themselves. But the main reason why I decided to switch careers was ambition.

On the work of great designers and Japan

–– Hedi Slimane’s skinny style and Thom Browne’s suits made a huge impact that affected change in 21st century men’s fashion. What do you think is the most impactful event in 21st century men’s fashion?

Wooster: It’s interesting you mention Hedi Slimane and Thom Browne. I also believe these two are the most important figures for men’s fashion of the early 21st century. But what’s intriguing is that Hedi Slimane himself is moving away from the super skinny silhouette and is instead utilizing a more oversized look. I think Rick Owens is also a key player when it comes to silhouettes, as well as Balenciaga creative director and Vetements co-founder Demna Gvasalia, who was essential in changing the idea of oversized clothing. What’s most compelling about all the designers is that the public has grown interested in these new styles.

–– What is something that fashion designers should keep in mind?

Wooster: It’s important for designers to keep producing appealing products. They must create desire, and continue to create it. Hedi and Thom Browne were able to realize a new desire at the beginning of the century. Rick Ownens and Demna have done the same thing. There are also people like Rei Kawakubo, who have continued this work for forty years. Designers are constantly creating objects of desire, even if they’re really weird and esoteric. You may not even want to wear these clothes, but the impact that the designers’ have may continue on. That is the job of a great designer.

–– In Japan, we use the word “ametora”, which is an abbreviation of the term “American traditional”. Many traditional American items and styles have been imported into Japan, which have now all culminated into a new style of fashion. How do you feel about Japanese men’s fashion?

Wooster: I’m not sure if this answers your question, but as far as I can tell from the 33 years I’ve been coming to Japan, I think Japan always embraces tradition.

–– What does “embracing tradition” look like to you?

Wooster: Having a respect for tradition and for the classics – there is always respect. I always say this, but even Rei Kawakubo, in my opinion, is quite classical. Although her designs are avant garde, she constantly uses British tailoring techniques, colors like navy blue and blue, and incorporates white shirts, all things that are rooted in traditional menswear. Of course her interpretation of these traditional styles is very different. Junya Watanabe, a student of Rei Kawakubo, also pays respect to and has an understanding of tradition. You can always find fabulous vintage pieces at great places like The Real McCoy’s. The fashion you see in places like that are always rooted in something American, but with a uniquely Japanese interpretation.

What do Japanese brands have to do in order to compete on the world stage?

–– What do you feel are the strengths and distinct qualities of brands in Japan, Europe, and the US? I’m curious specifically about your thoughts on Japanese fashion.

Wooster: Each country – Italy, the US, France, and other places in Europe – have their own individual strengths. The US, for instance, is known for their casual style. For better or for worse, casual style ideas like sweatshirts and sneakers we have in America have been attracting worldwide attention.

–– How about other countries?

Wooster: Europe, specifically Italian fashion, emphasizes tailoring, sartorial style, and high-quality clothing. Japan incorporates the strengths of each country and filters them to make it their own, new idea.

–– You also serve as a judge for the TOKYO FASHION AWARD.

Wooster: Brands that participate in Tokyo Fashion Week and TOKYO FASHION AWARD are precisely what I mean by “new things”. Long-standing Japanese brands have been presenting their work in Europe for years now, but Paris is now their home.

–– What does Paris signify in the fashion world?

Wooster: Paris is a melting pot of different ethnic groups, including Americans, Italians, British, and Japanese, and in some ways is the most international of all fashion capitals. At Tokyo Fashion Week and TOKYO FASHION AWARD, on the other hand, one has the opportunity to encounter new brands that will one day stand on the same stage as many brands in Paris. It’s great that there’s a system that allows people to discover new brands, and I believe Japan is at the forefront of this field. New brands aren’t considered as important in London or New York Fashion Week as they were in the past.

–– Up-and-coming brands from Japan are our strength, but are there any weaknesses in Japanese brands or Japanese fashion strategy?

Wooster: I’ve spoken about this countless times, but I’ll say it again. I believe that a problem that is unique to Japan is its approach to sales. In countries around the world, it’s crucial that a selling campaign can be showcased to customers around the world within a month to six-month period, on average. Japanese brands, however, conduct shows across Japan for a set period of time, each brand having two to three days to showcase their work. For instance, Brand A showcases their collection on March 1st and 2nd, and a different brand does their showcase on March 30th and 31st. Let’s say you’re coming to Japan from Paris, Milan, or New York and you’re only here for a week. What would you do if that week only one brand, either A or B, was showcasing?

–– Meaning that even if you want to see both brands, you have to give one up.

Wooster: This is a phenomenon specific to Japan, and it’s not great for building relationships with the rest of the world. It’s not like people around the world are able to come to Japan at any given time. This problem must be addressed if Japan seeks to attract people to see up-and-coming Japanese brands each season.

–– That’s a very difficult problem for smaller, emerging brands to tackle.

Wooster: Of course, newer Japanese brands can’t do what mega brands like Gucci and Prada can do on an international scale. People may come to see a season and order a collection, but that’s reliant on luck.

–– But I believe the Japanese market is a bit different from the European or American markets. In terms of design, Japanese brands must design their collections after considering the Western market. Would you agree? In order for Japanese brands to find success globally, should they focus on a product-first or market-first model?

Wooster: It’s like asking which came first, the chicken or the egg? Meaning that they’re both just as important. I personally believe the egg comes first – or the product must be right. And nine times out of ten, or 90% of the time, I can say with certainty that Japanese products are the best. The problem, or perhaps the area that needs to be reconsidered, is adjustment.

–– What specifically would that entail?

Wooster: There are problems with size and market schedule, and pricing has been a problem in the past. The weak yen has been an advantage recently, but these issues always arose when Japanese brands did business abroad. If these brands can overcome market conditions such as size, time, and pricing, they would be able to do business anywhere in the world. And there’s currently an increase in Japanese brands that hold that potential, which should be encouraging. It’s very exciting.

An unwavering style expressed even though collaboration

–– The collaboration item between KUON and Nick Wooster is set to be presented this June. When did you first meet Nick?

Shinichiro Ishibashi: We first met during the judging of the 2018 TOKYO FASHION AWARD. KUON was one of the awarded brands, and Nick was one of the judges. He came and visited KUON’s tiny office, which was located in Nakameguro at the time. I was worried about the space being too small to visit (laughs).

–– What did Nick say about KUON at the time?

Ishibashi: He said it was “super nice” (laughs). As we talked, he taught me strategies for taking my brand overseas and about pricing, among other things. I had seen him in fashion magazines before the age of social media and Instagram, and assumed he would be a serious person. But upon meeting him, he was very open and answered all the questions we wanted to ask. Perhaps calling him a “nice older man” is rude, but he seemed to be a very dependable person, an impression that has not changed.

Wooster: One thing that I think is special after my collaboration is KUON is that each of their pieces are made so thoughtfully.

–– I imagine striking a balance between KUON’s distinctive designs and Nick’s unique style was difficult. What was important to you in this collaboration, Mr. Ishibashi?

Ishibashi: When deciding how much we wanted to play within the limitations of a dress, using a 150-year-old kimono to do a patchwork piece is hard to do. We were able to accomplish this because of KUON. Nick and I often talked about how to propose this as a style. We thought about how elegant we could make a simply-made jacket without shoulder pads.

–– I feel that your everyday style is reflected in your collaboration with KUON. How do you choose what to wear everyday? Do you choose your bottoms first? Do you have a routine or rules?

Wooster: I don’t really have any specific routines or rules, but I usually have “something” that becomes the basis of my outfit. That “something” could be a jacket or a suit, perhaps a pair of shoes, or maybe even an item like a T-shirt. But it’s not that clear most of the time. Usually, my ideas are ambiguous. I ask myself questions like, “Should I wear a suit today?” “Maybe shorts?” “Should I go with navy or pink?” But there’s one thing I believe is very important. It’s to consider the weather first. This is how I choose my clothes: “It’s raining, so I shouldn’t wear white”, “It’s hot, so I won’t wear anything heavy”.

–– It seems like your collaborative collection has a wide range of clothes, offering not only dressy items such as jackets, but also casual clothes.

Ishibashi: T-shirts and sweatshirts have become indispensable everyday items. It may not be right to say that the collection ranges from everyday wear to business wear, but Nick and I have discussed this, which is why we were able to create a collection with a wide range of styles.

–– I sense a hint of workwear inspiration in KUON’s style. What influenced your view of menswear, Mr. Ishibashi?

Ishibashi: I read a lot of fashion magazines in my elementary school and middle school days. Out of everything, I was most impacted by Christopher Nemeth pants. I think I liked constructed punk and street clothes. That’s what got me into it.

–– What have your influences been since you started your professional career in making clothes?

Ishibashi: When I became a pattern-maker and started to create things, I found myself finding interest in the history of western clothing. I came to understand the meaning behind the details of clothes, like the work and tailoring, by learning its history. The experience became more and more enjoyable because I was able to gain knowledge about the history of clothing.

–– Lastly, I want to ask Nick about tips on how to coordinate the KUON collaborative items.

Wooster: My personal styling tip is to “start from scratch”, meaning there’s no need to coordinate your whole outfit. If you coordinate your whole outfit from head to toe, that will end up being very expensive. That’s why I think focusing on making one item shine is what makes an outfit interesting.

–– What is the key to styling one selected item to make it shine? Wooster: Let’s say you decide that you like the shorts or the pants in the collaborative collection. You can choose a jacket, as well. You need an outfit that is natural to your personal style. There is no need to do a full coordination. Instead, the key is to make that one item special. Each collaborative item with KUON is specially made. Frankly, what I just told you is detrimental to selling our whole collection, but I believe that making every piece special is most crucial.

Sincerely loving clothes and fashion

During Tokyo Fashion Week 2023AW, I visited several brands to cover their runway shows and saw Nick Wooster many times. The look in his eyes as he gazed at the looks showed a tenderness that felt like he was watching over the young designers. I found myself wanting to hear what he had to say about how he felt about the clothes.

As we talked about at the end of the interview, he willingly collaborated on this project, and emphasizes his love for clothes even if that means it’s detrimental to sales. He puts importance on the need to be sincere towards fashion. In whatever scene, in whatever place, Nick Wooster’s style is unwavering.

Translation Mimiko Goldstein

The post Nick Wooster’s Path and the Possibilities of Japanese Mode Fashion appeared first on TOKION - Cutting edge culture and fashion information.

Ryunosuke Okazaki
Ryunosuke Okazaki is a designer of his own label RYUNOSUKE OKAZAKI born in Hiroshima in 1995. Okazaki finished the Graduate School of Design, Tokyo University of the Arts, in 2021 and held his first runway show, “000,” in September 2021. He was selected as a finalist for “LVMH Prize 2022” in 2022. He is currently based in Tokyo.
https://ryunosukeokazaki.com
Instagram：@ryunosuke.okazaki

Okazaki’s debut show, “000” which showcased the organic beauty of formative art created out of everyday materials, made a significant impact, and his second runway show, “001” marking the label’s second season, vividly made its unique dress style widely known. Immediately after that, he was selected as a finalist for the “LVMH Prize 2022,” which led the designer of “RYUNOSUKEOKAZAKI” to accomplish the remarkable feat of getting an opportunity to present his work in Paris less than a year after his debut. The latest presentation, “002”, his first in about a year, was delivered not in the form of a runway show but a solo exhibition held at the creative space “THE FACE DAIKANYAMA” in Daikanyama. We sat down with him and asked about his thoughts on his new collection in this art gallery-like space with its walls lined with wood sculptures.

–The exhibition’s atmosphere is very different from a fashion show and is more like an art exhibition. Is this the first time for you to exhibit your works on the wall?

Ryunosuke Okazaki (hereafter, Okazaki): Yes, it is. Up until now, I have presented three-dimensional works worn by models, so this is the first time I have exhibited my work in a static form like this. You can hang the pieces with red cloth hanging from the ceiling on the wall. I would be happy if the fans of “Ryunosuke Okazaki” could see a new aspect of my work. Also, this is the first time I used wood.

–I was surprised to see how even a wall-hanging work becomes three-dimensional when you create it.

OKAZAKI: If I had to choose between three-dimensional and two-dimensional, I would go for three-dimensional like this. I layer the parts from various angles and attach them side by side. Then, I make them while imagining symmetrical forms.

–How do you express the idea of symmetry?

OKAZAKI: My oldest source of inspiration for symmetrical forms is the torii gates for the Shinto shrine. I grew up in Miyajimaguchi, Hiroshima, where Itsukushima Shrine was located close. As an elementary school child, I fished and played every day, and I could always see the Torii gate just across the shore. Also, one of my most influential experiences was making a bright red Torii gate out of piles of cardboard when I was in kindergarten. I found torii gate really cool, and even as a child, I had a vague but special feeling about it.

–Historically speaking, some in the architectural world have considered asymmetry to be humanistic.

OKAZAKI: Certainly, if you look at architectural styles in both Japan and the West, there are a lot of asymmetrical structures. On the other hand, there is a sense of order and will in symmetric things, and I sense life in them. This sensation is instinctive. Technically, all living creatures, including humans and insects, are asymmetrical, but if you look at their overall forms, they tend to be symmetrical.

Working on artwork with wood

–The name of your new series of works using wood is “PIMT.” What does it mean? 

OKAZAKI: I coined this word by combining the first letters of “Perception,” “Intention,” “Material,” and “Time.” The “time” of “perceiving” the material, sensing the “intention” behind the form, and creating with the “material” is connected to the act of “prayer” that I cherish within myself. So I call it “PIMTO,” and I also like its sound.

–The sound of the word “JOMONJOMON” (a series of dresses inspired by Jomon earthenware) is also impressive.

OKAZAKI: Thank you. Yeah, I put importance on sound because artworks are something to be loved.

–It’s interesting that even when the textile is replaced by wood, your work is easily recognizable as “RYUNOSUKE OKAZAKI.” Is the production process the same?

OKAZAKI: It’s precisely the same. I’m working on various materials as if breathing life into my works. Each piece has its own personality, and I feel as if it is alive.

–I heard that you don’t make drawings. Is it right?

OKAZAKI: I create forms fortuitously by moving my hands. It’s probably the same as how I paint. A painting never ends, does it? My dresses never end as well. How the creation process ends changes according to the level of experience. Experiences introduced to my hands affect how they move, which is reflected in my work. Interestingly, my work is completed when people wear it.

–What made you decide to work with wood in the first place?

Okazaki: It all started when I visited Nikko Toshogu Shrine last April. The wooden structure I saw there struck me immensely. Kigumi is a traditional Japanese construction method used by temple carpenters to build shrines and temples. In my case, I did not use the original form of kigumi, but I was inspired by the process of assembling the wood, how the structure looked when they were put together, and how colorful they were.

–As you mentioned, you’ve got a lot of colorful pieces. The moment I saw them, I thought they looked like Gundam.

OKAZAKI: I get that response a lot. Actually, I have never seen any Gundam anime, but I suppose there’s some connection. I think Japanese culture is good at designing and inventing imaginary creatures, which I think has something to do with our long history of finding the existence of gods in nature. I personally feel that robot animation is also connected to the Japanese culture of prayer, so perhaps it is inevitable that my works look like Gundam.

–And you have created a lot.

OKAZAKI: Actually, there are many more works behind this exhibition venue that I haven’t exhibited yet. I have been working on them since the end of the LVMH Prize exhibition I participated in last year.

–So you’ve been working with wood for almost a year?

Okazaki: Along with the wooden pieces, I also created dress works. The time I spent working with the fabric and the time I spent working with the wood were well-balanced, and the dresses became more sculptural and delicate. This time, since no models would wear them, I could create works that are even taller than I am, with more freedom. Creating a space that allows viewers to face the pieces is an important mode of expression for me.

–Are you working in your studio? 

OKAZAKI: Yes. Ensuring adequate space is such a challenge because many of the works are huge. Among all, I am probably the one who is most pleased to be able to stand in front of my own artworks and face them in this way. I hope many people will see them.

I will keep following my path without distinguishing between fashion and art.

–Your works have been all unique pieces, right? And will they always be?

OKAZAKI: Yes. I’m sure they will continue to be so because I want to communicate with my works, and I also want to connect with the people who see them. So I will keep on creating my pieces, focusing on demonstrating what I feel at the time.

–You have been fascinated with the fashion world since you were a middle school student. So what kind of fashion style were you, a person born in 1995, looking at?

OKAZAKI: I don’t remember a specific fashion label, but I watched many collection videos and fashion magazines and liked to wear the clothes myself. I was attracted to the appearance of fashion style rather than the context of mode. What I was struck by, within collection footage, was something like people didn’t look like people at all, people who seem to be liberated and become wilder, and people in artificial forms.

–You were interested in the act of dressing itself? 

OKAZAKI: Yeah, I was. The art-piece-like outfits you see in fashion shows, in particular, express the essential part of dressing, which links to the question of what kind of things human beings living on the earth wear. People are part of nature, and the Japanese, in particular, are creatures who have been conscious of this. My interest in fashion, especially as a student, was based on my childhood experience, such as catching insects, fishing, and drawing pictures in nature. The fact that I was born in Hiroshima and that my theme is “prayer” is also all connected.

–You have become known worldwide since the debut with “000”. What kind of people have approached you? 

Okazaki: Those of the fashion industry. And their interest opened up my possibility. The experience of being selected as a finalist for the LVMH Prize and presenting my work in Paris meant a lot to me. I want to show my work in Paris again, and I would also like to present my art pieces in New York. The fashion and art markets are different, so a line is drawn between them, but I wouldn’t make any distinction between them. Creators should be freer and should pursue what they like. I have many goals, so I want to focus on intensifying the power of my work, creating and communicating in various places.

–Is there anything you are planning for this year?

OKAZAKI: I will continue to create as always. The works I will present in this process will surely connect me with the world.

–So will this sequential-numbered series go like 003, 004, and so on?

OKAZAKI: Yeah. I want to work on this at least until 100 throughout my life. At the time when I started with “000,” which became a turning point for me, I was already determined to do it up to three digits. Precisely because these simple sequential numbers are given to my works as titles, they express even more vividly the fact that I will be creating history through my life and continuous artistic practice.

Translation Shinichiro Sato
Photography Tameki Oshiro

The post Interview with Fashion Designer Ryunosuke Okazaki: On Vital Instincts Expressed through Symmetrical Forms and Solo Sculpture Exhibition “002” in Resonance with Prayer  appeared first on TOKION - Cutting edge culture and fashion information.

Meryll Rogge successfully debuted in 2019 right before the pandemic. The appeal of the brand is its multifaceted style that combines feminine embellishments and menswear-like tailoring, vintage textures, and contemporary elements into rare, real clothes. Immediately after her debut, Rogge’s artistically reimagined classics became highly acclaimed by buyers around the world, which led to her being selected as a semi-finalist for the LVMH Prize 2022.

In Japan, the brand is carried by BEAMS, EDITION, and the up-and-coming select store Visit For in Osaka, and has continued to grow steadily in Japan and abroad.

Meryll Rogge was born in the outskirts of Ghent, Belgium. After earning a bachelor’s degree in law, she moved to New York while attending the Royal Academy of Fine Arts Antwerp, where she began her career at Marc Jacobs. She then moved back to Antwerp to work as chief designer for Dries Van Notten’s women’s collection for four years before returning to her hometown outside Ghent with the launch of her self-named brand.

Rogge welcomed us into her home with her 7-month-old son in her arms. She had plans to move to a new atelier in the center of Ghent the following week, and mentioned that this was going to be the last time she would be photographed for an interview at this location. We asked her about what inspired her to become a designer, her clever creations, and the background behind the production of her collections, in the place where she’d been creating for years.

– I think fashion designers with law degrees are rare. How do you make use of the experience of learning law now?

Meryll Rogge: I wanted to study art history at the time, but my parents were against it since they thought there would be few job prospects for the major upon graduating. After much deliberation, I chose to study law, but studying something I’m not interested in was very tough. I even had to read through a 1000-page history book on Roman law… What I learned from that experience is a basic attitude toward work. No matter what kind of work you want to do, you need to be patient and focused in order to do what you want to do. Currently, the creative part of the process that I like doing is only 5% of everything I do. Most of my job consists of tasks in production, delivery, and shooting arrangements. If I expand my team in the future, I think I can take more time on what I want to do. Of course I enjoy those tasks, and it’s not a big deal for me because I like problem solving. Perhaps the reason I feel this way is because I learned to be patient in law school.

– You went to the Royal Academy of Fine Arts Antwerp after completing your law degree. Does that mean you’ve always been interested in art and fashion?

Rogge: I wanted to become an illustrator when I was a child. I specifically dreamed of working for Disney, but I started to question whether that was realistic in my teens. It was in high school that the option of being a fashion designer came up. I was sketching a clothed woman because I was bored in my Greek class, when the teacher saw it and said, “You might be suited to be a fashion designer”. This was an impressionable time, and I think my teacher’s words stimulated me. That was the first time I became aware of a possible future as a fashion designer.

– As you accumulated experience in the fashion world, was your goal to have your own brand?

Rogge: Working for a brand and working for other people are important experiences, but I constantly had the desire to express my own worldview. I built the foundation of my career as a designer from ages 23 to 30  when I was in New York working for the Marc Jacobs design team. I learned a lot about collections, how to make fabrics, fittings, and working with suppliers and pattern makers, and then went on to further hone my skills at Dries Van Notten. I think I absorbed a lot from Doris, not only about making clothes, but also learned pointers on how to be a leader of a company.

– Are there any other designers that inspired you?

Rogge: Cristobal Balenciaga, Elsa Shiaparelli, and Christian Dior – designers who have left their mark on fashion history. I also admire the creations of Japanese designers like Rei Kawakubo, Junya Watanabe, and Kei Ninomiya, who attended the Royal Academy of Fine Arts Antwerp at the same time as me. Of course I was inspired by the Antwerp Six, but also by the current Balenciaga couture and by Martine Rose.

– When looking at past seasons, there seems to be a mixture of different elements rather than there being a specific source of inspiration. Where do you start when creating a collection?

Rogge: I follow my intuition. I start with research, come across different things, and evolve them. My team consists of full-time members and many freelance designers and pattern makers. The process of coming up with ideas and giving them a singular shape is one of the most enjoyable moments. Even if our individual ideas are different, we fine tune it little by little. We choose the fabrics, patterns, and colors in the beginning stages and experiment with shapes and design details while we research at the same time. I like the 60s to 80s retro style, so my basic design approach is a mix and match of conflicting masculine and feminine elements. And depending on that season and how we feel, we add colors, patterns, and embroidery designs.

– Does that mean the creative process happens organically?

Rogge: It does. In most cases, we finally start to see the outline of the collection only a month before its launch. We’re able to grasp the full picture after continuously revising samples and creating stylings. It’s oftentimes at that point when we realize we’re not at all satisfied and start course correcting. That moment of realization is a nightmare. I’m experienced enough that I don’t panic, but I do get anxious (laughs). The last month feels like everyone’s in a bubble. Everyone is thinking the same thing, aiming in the same direction, and are doing what each of us must accomplish in order to complete the task in time. I think this part is a special and essential process because the collection is created as a result of the chemical reaction that occurs during that time in that bubble.

– Why did you name your brand new 2023-24 fall/winter season collection “Holiday Album”?

Rogge: I love the classic holiday mood of Christmas and New Years. The conventional holiday season mood where you decorate your tree, watch the movie Home Alone, and spend time with your family and close friends was the starting point for this collection. My teenage years were the Y2K boom years, and I remember during the holiday season going into the year 2000, everyone was talking about the end of the world related to the Great Prophecy of Nostradamus. The 2023-24 fall/winter collection was created by looking back on nostalgic holiday memories and adding luxury elements to cliche things.

– I personally feel that lifestyle changes like marriage and childbirth in women designers’ lives are unconsciously reflected in their creations. As a mother of two children, ages two and seven months, do you believe there have been any changes within yourself?

Rogge: That’s an interesting perspective. Since becoming a mother, I’ve incorporated more active, comfortable clothes like the Nike sweats I have on, and style myself with small, playful accessories. However, I keep in mind that my collections aren’t for myself, but are for dressing other people. I think COVID has had a bigger impact in terms of change. Comfort has always been an important concept, but now it’s become more present. We’re constantly thinking about combining comfort and design.

– Is there anything you’d like to express to the world through your collections?

Rogge: Meryll Rogge is a brand open to all, regardless of age or gender, offering clothing that express the many faces inherent in human beings. We want it to be a brand that brings out different aspects of someone and adds color to their daily life to fit their everyday moods. We blend boyish elements with a relaxed mood in our clothes; staples like cotton shirts and tailored pieces are given a twist, and feminine dresses are never overly sexy. Clients tend to be people involved in fashion and the arts, but those who aren’t also tend to have artistic sensibilities. In particular, I see Instagram photos posted by Japanese people wearing our clothes very stylishly. I want people to incorporate their own sensibilities and express their individual perspectives.

– I’m under the impression that you’re expanding more in Japan than in the rest of Asia. What are your thoughts on expanding your market into Japan?

Rogge: The Japanese market has been cooperative since I started the brand. I visited Japan three times in the past, and it left a lasting impression on me. I believe what’s more important than expanding our market is maintaining a good relationship with our buyers and customers. If possible, I’d like to create opportunities where we can interact with end users through events. Our Japanese distributors are like family – we’re close, and they do such a great job. The next step is to continue this relationship while deepening our communication with our customers. I’d like to keep seeing how the people of Japan style our clothes through Instagram!

Photos Dominique Brion
Edit Nana Takeuchi

The post How Rising Belgian Star Meryll Rogge Illustrates Her Unrestrained Ideas: “I Want Individual Perspectives Expressed” appeared first on TOKION - Cutting edge culture and fashion information.

What is the message contained in the products created by these two men, who are deeply immersed in the culture they have discovered and continue to give shape to their ideas through fashion and art, after hitting it off with each other? This would be the most powerful collaboration that will make the scene even more fascinating in the future.

JUN INAGAWA
JUN INAGAWA was born in 1999 in Tokyo, Japan. In 2012, he moved to San Diego, U.S.A. His drawings gradually gained recognition from the players of street culture, such as skateboarding and hip-hop scenes, in LA, leading to an offer for collaboration from A$AP ROCKY. After returning to Japan in 2018, he has been active as an up-and-coming artist with his unique style that connects anime and street culture. He has collaborated with apparel brands, provided artwork to music artists, and is also active as a DJ. Currently, he hosts a monthly party called “MAD MAGIC ORCHESTRA.” On April 7, Magical Destroyers (TBS and its affiliated TV stations), the TV anime series based on INAGAWA’s original story, for which he is also in charge of illustrating, was started. He also started a 3-piece electro band, Flog3.
Instagram：@madmagicorchestra

Shinsuke Takizawa
Creative director of NEIGHBORHOOD Shinsuke Takizawa was born in 1967. After working at FILE RECORDS inc. as a record label manager for MAJOR FORCE, he started NEIGHBORHOOD, a brand inspired by motorcycle culture and military style, in 1994. It has become a globally recognized brand representing Japan from Harajuku, with stores throughout Japan and Asia and distributors in Europe, Asia, the U.S., Australia, and other countries, demonstrating its enduring popularity. In March 2023, the brand opened a new store in Taiwan.
https://www.neighborhood.jp
Instagram：@neighborhood_official
Instagram：@sin_takizawa

His story and mindset were just interesting and surprising.

–First of all, JUN, please tell us how you came to know about NEIGBORHOOD.

JUN INAGAWA (JUN): A very good friend of mine, who is like an uncle to me, has always loved NEIGBORHOOD. Although he is not related to me by blood, he has been like a mentor who taught me about the culture.

Shinsuke Takizawa (Takizawa): Wait! You are not related to him by blood！？I thought he was your real uncle (laughs).

JUN: We are so close that I keep calling him “uncle.” He’s called “NORI,” and he’s been closer to me than my parents since I was little, and he’s the one who taught me about culture other than anime. I saw him wearing NEIGHBORHOOD’s T-shirts and accessories, and I had been interested in what it was about since I was a little kid. So I bought some incense the first time I went to the Harajuku store. I loved the smell of the incense when I entered the store. I used to go to the store before it was renovated, but I didn’t even know the word “Ura-Hara (the common name given to the network of smaller Harajuku backstreets)” back then. That was when I was about 18 years old, right after returning from America.

Takizawa: You came to our collection with that “uncle” guy. We met for the first time, and that was four or five years ago, I think. That’s when I heard about you and learned you were an artist.

–I first learned about the close relationship between JUN and NEIGHBORHOOD through “HUMUNGUS,” an event held during the COVID pandemic. Takizawa-san, were you interested in the youth culture that JUN was involved in?

Takizawa: I’m not particularly fond of anime, but I found his story and mindset interesting and very surprising. If he were just one of those young artists, I would not have connected with him, but we could get together probably because he knew the culture of, say Ura-Harajuku. My daughter is 20 years old this year, so JUN is like a son to me (laughs).

JUN: He told me that his daughter likes anime. I didn’t have much of a preconceived idea about Takizawa-san. It could have been different if I had been a big fan of him for like ten years, but I was happy to have conversations with him casually even though I was supposed to treat him with greater respect because he was much older than me.

Takizawa: What is interesting about him is that he not only draws animation but also creates his own pieces of work, and he hung out with A$AP ROCKY when he was in the US. And yet, he also has a deep knowledge of Ura-Hara culture. It’s all a mystery. I’m like, “What the hell is this boy?”

JUN: I have answered this question in every interview, but people don’t seem to understand it. I don’t know how to tell them either. To put it simply, I was just one of those anime geeks, but I got hooked on skate videos that my uncle taught me. My anime-style drawings of skateboarders who belonged to the community around Supreme and Fucking Awesome went viral on Social Networking Sites, leading to getting to know A$AP Bari and then to a collaboration with VLONE. But at the time, I knew nothing about A$AP ROCKY, Bari, or hip-hop. The only music I knew was anime songs and Mr. Children. But then I started working with them.

Takizawa: So you were not particularly interested in hip-hop?

JUN: Well, I was interested in people who were doing hip-hop. I wondered why they were interested in hip-hop, drinking outside, skating, and having fun. When I talked to them, I learned that some were from disadvantaged families and had various reasons for getting together. All these things led me to meet Takizawa-san after coming back to Tokyo. That was when I was 18 years old.

Takizawa: When we were 18, we had a lot of input from the people around us. Back then, I met Hiroshi (Fujiwara) in Tokyo and learned about various club music, so I guess people reach the stage of input at the age of 18.

New cultural trends are born out of rebellious spirit.

JUN: When I returned to Tokyo and met all the people I’m working with now, I was in a state where I could accept anything. I took inspiration from various things and digested them in my mind. Until I turned 20, I took in everything, digested it all, and tried to make my works out of the chaos. So in the early stages of my career, I would paint on the walls, and it was a mess. When I was around 18 or 19, I was rebelling against something; I don’t know why though.

Takizawa: That’s one of those things you want to do when you get to that age. You want to be passionate about something and do what you want to do, even if it means making imaginary enemies.

JUN: That’s when I started making the kind of animations that are on TV now. So my way of thinking was changing quickly. I was 19 years old when I made the animation being broadcast currently, so this work is from a very long time ago. And I did my first collaboration with NEIGHBORHOOD in 2020, right?

–-Takizawa-san, was it you who asked for a collaboration?

Takizawa: I’m not sure. It was like, “Let’s do something!” but I don’t remember in detail. We just came up with the idea when having a normal conversation.

JUN: I also like the “Let’s do something” attitude as an extension of something else. What often happens to me is that even if someone says, “Let’s do something!,” nothing happens. I have decided to remove myself from such people. They are not interested in me. Conversely, those who support me and think I am an interesting person will definitely make something happen, making me believe that I’ve found a missing piece of the puzzle.

Takizawa: On top of that, he was kind enough to create a helmet with a story and gave it to me as a gift, and although he is as young as my child, we have a relatively collegial relationship.

–In terms of what can be associated with helmets, Takizawa-san’s and JUN’s ideas may have something in common.

Takizawa: As far as I’m concerned, helmets reminds me of the band The Timers.

JUN: Come to think of it, Takizawa-san mentioned The Timers. I was also very interested in what the club scene was like when he was younger. So he told me many stories about when he was my age. Then, when I was 18, I saw The Timers’ PV and thought, “This is it!”.

Takizawa: One wouldn’t usually think so even if one sees The Timers’ music video at the age of 18 (laughs).

JUN: I guess I saw a video of them singing a song that included words banned on TV. That looked absolutely cool. Punk is an attitude, not a fashion. And I thought, “They are doing punk properly.” There are a lot of people in punk fashion now. But I’m like, “That’s not punk!”. More specifically, their attitude is not punk. I didn’t expect much, but The Timers were a very proper and extreme punk band. That’s how I fell in love with Japanese punk and started digging Malcolm McLaren and other foreign bands.

Magical Girl and UZI, inspired by ATARI TEENAGE RIOT

–Please tell us about the figures you created together for this project.

Takizawa: I really wanted to make an incense burner, but this time I decided to make a figure. At first, I was going to make one with a UZI (Israeli machine pistol) attached to its head, from which incense smoke would come out, but this was impossible due to structural problems. However, the finished product was very satisfactory, more delicate, and heavier than the one made of ceramics. This is the second time I have collaborated with Jun, but the first time we have made a three-dimensional piece from a two-dimensional work. So it was a big step forward. We also made T-shirts and incense. I like the fact that UZI is on the figure’s head.

JUN: I have never drawn a magical girl with UZI on her head before. I put it on her head because I found an Atari Teenage Riot T-shirt with a UZI printed on the back, and I drew it as it was. Then I watched ATARI’s videos and learned that they had previously worked with NEIGHBORHOOD.

–I remember that when NEIGHBORHOOD held a show as part of Fashion Week in the past, the show was a live performance of Atari Teenage Riot instead of a runway show. That way of launching the collection was just so surprising.

Takizawa: That was not a fashion show! (Laughs.) Instead of having a runway, the members of the band were wearing our clothes during the show. The people who came to see the show must have expected a runway, so when it started, they were like, “What the hell is this?” 

JUN: That’s sick! But I kind of understand why Takizawa-san wanted to have a live show instead of a runway when doing a fashion show. When I do a project, I also feel like I want to destroy it. Of course, I still stick to my common sense, though.

Takizawa: I tried to destroy the idea of a runway show by showing “DESTROY FASHION” on the LCD monitor. So it’s also lovely to hear that JUN sampled this UZI from ATARI.

JUN: It would also be nice if the flags bounced out of the UZIs! (laughs).

Takizawa: (laughs).

JUN: Aside from inspirations from Atari, this twin-tail hair was derived initially from an anime I created. I drew this girl when I collaborated with NEIGHBORHOOD for the first time. She had purple hair and UZI. This time, the brand made this girl into a three-dimensional figure.

As for making a piece of art, I am not familiar with contemporary art, and I have lived my life without being exposed to the world of art. Visual art requires experience, money, and space. And I have a problem with capitalism. In other words, I’m not too fond of the idea that art is only about what can make money. That’s why I like communicating with people through my feelings and emotion, like when I made the helmet and gave it to Takizawa-san. I like to draw pictures, so when I meet people, I always draw their portraits, but I sometimes get told that this lowers the value of my work of art. But I like how it can get through speedily to people, just like when one draws graffiti vigorously on a wall.

Takizawa: That is very artistic in a true sense.

JUN: (Looking at the works displayed in the press room) Whose work is this?

Takizawa: Kostas (Seremetis).

JUN: I have always thought this piece was cool and wondered who it was by. We are going to do a pop-up to mark the launch of the collaboration, and I’m thinking of painting my first Kostas-inspired canvas work at that time. I have never painted on canvas, but I decided to try painting something of this size. Takizawa-san was also the one who allowed me to do that.

Takizawa: Yeah, you should try painting that.

JUN: I thought drawing something just by following my impulse would be okay. I would like to rent an ample space in the NEIGHBORHOOD and try it out. I am still exploring and challenging various things, so I don’t have anything that can introduce myself, like, “This is JUN INAGAWA!”

Takizawa: But, as can be seen from your music and DJing, you have been absorbing plenty of things and changing drastically over the past few years.

Passing on culture through crossovers transcending generations and genres

—In terms of JUN’s DJ, I saw your DJ set the other day, and that was insanely cool. It was like an improvisational live show, using all the equipment available.

JUN: If I had four CDJs in front of me, I would use them all. And if a mixer has this many functions, let’s use them all. Then, instead of using them randomly, I would think about how I could make the best use of them. I learned this from watching the Chemical Brothers live. What is interesting about our generation is that the Chemical Brothers’ songs are anthems for Takizawa-san’s generation. Older DJs are too embarrassed to play their songs, but we found them through digging in our case so we can play them without hesitation. We play them because we think they are really cool. This kind of music needs to be passed on more and more to us, the younger generation.

Takizawa: I think this is one of the charms of JUN; he can be a good hub between the older and younger generations. His communication skills are very high, and it is necessary for him to play such a role.

JUN: Perhaps, my initially vague ideas have gradually crystallized. As I continue to create, I slowly understand what I like. That goes for the same with DJ; if you are an artist who paints while DJing or a model who also DJs, you are often looked down upon. Often, they can only DJ in front of their own people, but they are not allowed to DJ with what we call “real” DJs.

But I wanted to perform with people like Shinichi Osawa and Takkyu Ishino. I don’t want to call myself a DJ until I reach that level. Now, I devote much time to practicing DJ instead of drawing pictures, and I will work on it more seriously. I’m sure that DJing and making art will finally be interconnected. For example, in anime, you create a story comprising an introduction, development, turn, and conclusion. You also create this kind of structure and development when you perform in front of an audience.

Takizawa: As for DJs, do you carefully prepare your set before playing? 

JUN: I create a story in advance; I think of the one-night event as one story, I make a story, and then I book DJs accordingly. For example, the protagonist wakes up in the woods, and the story begins there. In that case, we book a DJ who can produce a forest-like sound. The story then goes as follows: the protagonist finds a UFO placed outside the forest, the UFO abducts and takes him to another planet, where he dances in a club, and so on. After creating such a story, I come up with and book another DJ. It’s a lot of fun to do that all night long.

Takizawa: Oh, so you create a concrete story for each event. It would be great if you could connect your generation with the older generation in that way. The younger generations have their own great things, and it is interesting to cross them together.

–Takizawa-san, in another interview published the other day, you talked about passing the culture onto the next generation. Is collaboration with the new generation of artists one of them?

Takizawa: Yeah. Each generation and genre has its own culture already established there, and it is acceptable to develop it in a completely different context. However, I think going back and forth between eras and cross them is even more important. It shouldn’t be that difficult if we have a collegial relationship where we can respect each other at the root.

JUN: My interactions with Takizawa-san were simple, which was great. I just enjoyed it. He gladly accepted my request when I asked him to make costumes for the band (Flog3).

Takizawa: It was just a spontaneous decision to say, “Let’s make costumes” (laughs). It would be great if I made the costumes and they wore them and performed on stage.

–Takizawa-san, how about starting a music label with NEIGHBORHOOD?

Takizawa: Yeah, that sounds nice. I want to do something related to music since the name of the incense (“Pacific”) that JUN has been buying for himself for a long time is also named after the British band 808 State.

JUN: Oh I didn’t know that! That’s what I like about NEIGHBORHOOD. That’s what makes me fall in love with it so much.

Takizawa: Nowadays, the younger generation is digging the Harajuku fashion of the 1990s, right? We were also digging up what the older generation had done, which is very interesting.

JUN: It must be a loop. I always talk about this in my interviews, but when we talk about anime, motorcycles, fashion, music, or anything else, everyone’s eyes sparkle when they talk about what they like. It’s just that the genres are different, but everyone has a passion, and everyone is a serious otaku. We all share the same energy for the things we love. That is why I always use the word “otaku.

Photography Takaki Iwata
Edit Shuichi Aizawa
Translation Shinichiro Sato

The post A Brand New World of Otaku Created by “NEIGHBORHOOD” and JUN INAGAWA appeared first on TOKION - Cutting edge culture and fashion information.

 Tu es mon Tresor is a denim brand by Aimi Sahara. The brand, which creates designs that speak to women’s bodies and sensibilities, has collaborated with many women artists through the fashion magazine SSAW, a magazine from Paris/Helsinki. One of the women Tu es mon Tresor has worked with is New York-based photographer Jenna Westra. After working on an editorial for the fall/winter issue of the magazine, they had an exhibition for 1977- Summer Residency and Shop, which was held at a house in Atami designed by architect Junzo Yoshimura. As such, the pair continue to deepen their friendship. We spoke to Sahara and Westra—who share many ideas and attitudes regarding expression—about how their collaborations came about and their thoughts on women’s bodies and sensibilities.

—How did your collaborations come about?

Jenna Westra: Aimi discovered my work after seeing my editorial in SSAW. Chris (Vidal Tenomaa), the editor-in-chief of SSAW, is our mutual friend, and he asked if I’d like to do a project with her. So, after creating an editorial with Tu es mon Tresor for the magazine’s fall/winter 2022 issue, we continued collaborating for 1977-. Also, she kindly told me she wanted to sell my photo books on her brand’s website and events in Japan. We’ve built a close relationship. I relate so much to her way of being as a woman artist and how she wants her voice to be heard. 

Aimi Sahara: I’ve worked on projects with SSAW for over three years. I’ve collaborated with many women photographers for the editorials I’ve worked on until then, but Chris suggested I work with Jenna for the next shoot. He also loves her work, and this project came out of my wish to create a story with a woman my age with a similar sensibility. 

Looking at one’s own body and sensibility through photography and clothes

—As artists, I’m sure you contemplate your bodies and sensibilities as women. What made you pursue your respective creative endeavors as a designer and photographer?

Westra: I studied painting at university. I tried to reproduce a specific subject—my body—in a performative way. I traced my silhouette and used my body to paint the blank spaces. I feel like the act of reproducing has something in common with photography. Much like how a photo appears once an image and light come into contact with printing paper, I made paintings by putting my body and paint on the canvas. I became interested in photography after I graduated from university, and at first, I was drawn to cameras themselves more than taking photos. I was curious about the mechanism of cameras and printing technology, so I would fix cameras I found at flea markets and secondhand stores and use them. At first, I took photos of myself as the subject to test them out. After that, I really started seeing photography as a means of expression. Once the purpose and direction of my shoots became clear, I stopped using myself as the subject and began inviting friends to my studio so I could take photos of them. In retrospect, the act of reproducing my body might’ve been one means of self-discovery. 

Sahara: In my case, I may have tried to overcome the damage done to me as a woman through fashion. I believe many women have experienced being hurt because they’re women. I felt spiritually liberated when I added pearls and gems to jeans, which were initially made as men’s workwear, thus recreating them through a woman’s perspective. This was in 2010 when I started my brand. Because society and I have matured since then, I began wanting to work with women’s bodies instead of symbolic femininity and masculinity. Until recently, my designs would look like adding original embroidery to vintage-looking jeans, but today, I try to design jeans by reinterpreting them from scratch so women can wear them easily and comfortably. The fabric is softer, and the patterns have become curvier than before. Also, the buckle belt became necessary to adjust the jeans to a woman’s body, which changes each month. How I express myself has changed, but my interest in women’s bodies and sensibilities has always been the driving force.

Collaborating with each other for the second time: 1977- Summer Residency Shop

—What was your initial vision for the photo exhibition?

Westra: The first thing that came to mind was the benefactor and former owner of the house, a businesswoman. I imagined what she would think of my work being exhibited. It was the perfect place to show my work: a house made for a woman (benefactor). The color and texture of the space became essential elements to consider. The exhibition was made of a combination of photos I took for the brand and others I had taken since 2010. When I look at my old negatives, I can tell my tendencies as a photographer: I took the photos but didn’t print them out. By understanding such tendencies, I feel like I was naturally able to decide what to take photos of next—for instance, sequences and overlaps of images. Until now, those [motifs] appeared as mirrors, water, and shadows. In Kayla with Found Slide Projections 1-3, which I took for the exhibition, I depicted the overlapping of images in a new way by projecting a photo of plants taken in the 70s onto the model with a projector.

—When you saw the photos, did you think the world of Tu es mon Tresor had something in common with Jenna-san’s work?

Sahara: The photos Jenna sent me were amazing and suited any space, which was exciting. It’s tough to communicate my thoughts to the other person with words, but I could relate to how Jenna, who’s of the same generation as me, understands the concept of time and expresses herself. She tries to live positively through expression and human connections made with emotions and aesthetics. When Jenna was staying in Japan, we had the opportunity to talk about literature, and strange enough, we had similar tastes in authors and poets (Kate Zambreno, Joan Didion, Sylvia Plath). I feel like I understood what made me feel close to her in our collaborations. Art, literature, and fashion make people bond strongly, more than verbal communication.

—What did you think after your 1977 collaboration?

Westra: With my past SSAW projects, I would communicate with others through emails and phone calls, so after this project, I realized the importance of spending time and sharing space with everyone. I stayed at the house; it was just like living in a world of my works because I spent time being surrounded by them.

—What does a safe place for women, which is the brand’s concept, mean to you, Sahara-san?

Sahara: A safe place is somewhere you can escape from reality. I’m sure everyone has a way to be free from the real world and worries and concerns or, in other words, have emotional support, such as immersing themselves in music, reading a book, and traveling. My safe place is immersing myself in the world of fashion. I want to create an emotional haven through fashion for others.

— Your photos also had the peaceful vibe that I would associate with the word “safe place.”

Westra: I sometimes see a sense of consumption or desire to dominate the woman subject in photos taken by male photographers. On the contrary, when it comes to shoots where both parties are women, there’s deep empathy and recognition between one another. Whenever I shoot, I always try to create an environment where women can be protected from the various disturbances out in the world. For instance, the women wear clothes they wear daily and feel comfortable in. I constantly talk to them during the shoot to check in with them. Photoshoots are always done with the consent between the subject and me, so I never force them to take their clothes off. In the past, I’ve had instances where the subjects themselves proposed taking their clothes off. Maybe women can be bolder in environments they feel safe in. We need more spaces in society where women can express their bodies and sensibilities in a freeing way.

Aimi Sahara 
Aimi Sahara is the designer of Tu es mon Tresor. She founded the brand in 2010. Based on the desire to create a safe place for women and design jeans for women’s bodies and sensibilities, she relaunched the brand as a creative denim brand in 2020.
https://tu-es-mon-tresor.com/

Jenna Westra 
Jenna Westra is a photographer and filmmaker based in New York. Aside from showcasing her work in New York, Los Angeles, Boston, Madrid, Pescara, Warsaw, Copenhagen, Berlin, Tokyo, and Atami, she has published two photo books, Atlas (2018) and Afternoons (2020). She is represented by Lubov (New York) and Schwarz Contemporary (Berlin).
https://www.jennawestra.com/

All images courtesy of Lubov, New York and Schwarz Contemporary, Berlin 

Text Nana Takeuchi

The post Tu es mon Tresor Designer Aimi Sahara and Photographer Jenna Westra: Sharing the Sensibility of Women’s Artistic Expression appeared first on TOKION - Cutting edge culture and fashion information.

For the 2022A/W season, inspired by German film director Werner Herzog’s 1979 film Woyzeck, he found Czech wool materials from a textile mill in the Silesia region. That led him to get heavy cotton fabric Moleskin or vintage blankets used in the Austrian Army or correctional facilities in Germany.

For years, Frank has been one of the leading designers with detailed attention to handcrafted manufacturing processes and his extraordinary obsession with vintage blankets and antique buttons. TOKION sat down with Frank Leder at his Berlin Atelier/shop in Charlottenburg to ask what drives him until today.

Frank Leder
Born in Berlin in 1974. After studying fashion at Central Saint Martins in London, he presented his first collection in London in 1999. In 2002, he moved back to Berlin and relocated his base.
http://www.frank-leder.com/

Longing for the historical background behind buttons and materials

――How did you come to use Werner Herzog’s Woyzeck as a motif for this AW collection?

​​Frank Leder (Frank): In fact, rather than a film, it was originally inspired by a play by 19^th-century playwright Georg Büchner. And the film “Woyzeck” made the story well-known across the world. Memories of when I saw it in high school suddenly came back to me, which triggered my motivation to use this work as inspiration to create a collection under the theme of “German history,” a theme I’ve been working on throughout my life.

The story of Woyzeck is based on an actual event. It’s about how a former soldier, played by Klaus Kinski, becomes mentally ill and commits murder. It successfully depicts the bizarre process that occurred while the former soldier subordinated himself to a nasty doctor. The film describes the former soldier’s neurotic tendency repeatedly.

Apparently, Klaus Kinski was utterly exhausted by the previous film he had worked on before Woyzeck, and the film director Werner Herzog thought he was in a perfect state to play the role. That was an untold story about the reason Herzog cast him.

――Although German culture and history are often seen as a negative legacy, you get a lot of inspiration and ideas from there and incorporatey them into your collections. Why are these dark and heavy themes appealing to you?

Leder: Because I studied German literature when I was a student. My collections always deliver stories through photographs of clothes and their collection.

――What’s the process like to put these ideas into collections？

Leder: Looking into cultural backgrounds is the first thing to do. However, I also go on a journey to trace them if necessary. For example, this collection needed military blankets to embody the image of Woyzeck. So I went to Justizvollzugsanstalt, a correctional facility in Germany, to get military blankets used in the actual military. And I found them while I was still figuring out ideas for this collection, so I felt some fate. 

――It does sound like it’s meant to be. How did you find the blanket?

Leder: I saw a blanket covering a canvas when visiting my artist friend’s atelier. My friend also told me that it came to him through someone working a government-related job, and it turned out to be a military blanket. I convinced him, the blanket’s owner, to give it to me because I really wanted it. So I was lucky enough to get the blanket for my collection.

This story tells you enough, but looking for materials and selecting them is always filled with adventures and discoveries. I always feel an urge to make a jacket immediately whenever I find quality vintage materials because I know we rarely have this kind of a small lucky break. 

――Could you tell us about the collection for this AW season?

Leder: Not particularly for this collection, but when I create a collection, I start by being thoroughly particular about “fabric” and “button selection.” The origins of buttons or the background of how they were made are what I care about. Instead of using cheap and cost-effective buttons that we have no attachment to, I want people to know details such as buttons are what matters! 

――Could you tell us why？

Leder: Because buttons are something you touch when putting on and taking off your clothes every day. A commitment to these details defines fashion. For this collection, I used vintage Czech and German buttons from the 1960s. The jackets with separate buttons are also part of this collection, which I always care about. So the point is each item has a historical story and is precious and irreplaceable.

――What’s your favorite item in this collection？

Leder: My favorite material is this burnt moleskin. The machines that long-standing German wool manufacturers use steam and iron wool fabric, so they shrink and press them afterward. I found this moleskin fabric used between the materials during that process.

――One of the products that built your name, German Leather, is also included in this collection. 

Leder: Yes. But unfortunately, this collection may be the last time to showcase new ones because the company making the German leather went bankrupt, and their workshop closed down, too. So all the significantly essential machines that weave these garments have been dismantled. But there’s nothing we can do if that’s the way it is. 

――You already had been building your brand with that mindset even before” upcycling” became a real word.

Leder: Exactly. Every collection is a sequence of encounters and choices. If there is a workshop that produces quality products but doesn’t have a chance to approach the world, I can be the one to give them an opportunity. I already came up with the idea for this collection before the Russian invasion of Ukraine. Still, weirdly it matched the flow of the current era. If you’re a creator, it sometimes feels like you resonate with the spirit of the age.

――Where do you get inspiration for your creativity?

Leder: Things that inspire me are encounters with all types of people and reading about the environment. I always believe it’s crucial to stay open to friends or things that happen, even if they are distinct from me. Of course, fashion is the foundation of my interest. However, on top of that, engaging with various genres of people brings me a lot of inspiration.

――Any messages for your Japanese fans?

Leder: First of all, what I want to say is thank you very much for all the support you have given us over the years. Twenty years since the establishment of the brand was such a long period. It is rare for a brand like ours to be able to continue, especially in this era where work style and lifestyle are changing rapidly. I’m very thankful for customers supporting us every season. Being able to express my thoughts through fashion every season is a gift to all of you who support me.

Direction Kana Miyazawa
Photography Emi Iguchi
Tranlation Takahiro Kanazawa
Special thanks to: MACH55 Ltd.

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Daisuke Tanaka, the designer of tanakadaisuke, can turn a dainty bejeweled embroidery or lace into a dynamically beautiful jacket and skirt. He invites us into a bittersweet world that seems familiar but doesn’t exist. 

While Tanaka designs collections for his own brand as a fashion designer, he also creates costumes for artists as an embroidery artist. Rather than pouring his energy into building a wholesale brand, he mainly designs made-to-order clothes through e-commerce. His work and business ethos are unique; this is made possible thanks to each item from his brand having the immense power of allure. How are his clothes, which capture the hearts of fans and artists alike, born? This interview, which traces his source of creativity, starts with a vital piece of inspiration: anime.

Daisuke Tanaka
Daisuke Tanaka was born in Osaka in 1992. After graduating from the Knitwear Course in the Fashion Creator Department at the Osaka Institute of Fashion in 2015, he worked at a high fashion brand. After leaving the company, Tanaka formally started his brand, tanakadaisuke, in 2021. Aside from designing for his brand’s collections, he also creates costumes for artists as an embroidery artist. Many of Tanaka’s products incorporate intricate embroidery, have picturesque elegance, and provide a magical experience.
https://tanakadaisuke.jp
Instagram：@daisuketanaka18 / @tanakadaisuke_official

Anime, embroidery, and costume-making

——I heard that you watched a lot of anime growing up. Which anime do you still remember watching?

Daisuke Tanaka(Tanaka): I used to watch Sailor Moon, Magica Doremi, and Full Moon wo Sagashite. I was born in 1992 and watched anime “for girls” with my older sister. 

——What was it about those series that you liked?

Tanaka: It was imprinted in my mind that girls save the world; I believed they were strong. I also loved Cardcaptor Sakura. It’s about Sakura-chan (the protagonist, Sakura Kinomoto) saving the world. She has a friend, Tomoyo-chan (Tomoyo Daidouji), who makes outfits for Sakura-chan; the story progresses with the two’s collaboration.  I wanted to be Tomoyo-chan.

——So, Cardcaptor Sakura is also about girls saving the world. Did you take an interest in the character’s clothes?

Tanaka: In Cardcaptor Sakura, the clothes were different in each episode, which was exciting. She also had her ultimate form, where she would wear an outfit that was a step up from her usual. I couldn’t help but pay attention to that.

——Is there an anime series you like at the moment?

Tanaka: There’s an anime called Land of the Lustrous, which is about anthropomorphized jewels, and the story and illustration are beautiful.

——That anime features anthropomorphized diamonds and sapphires; I feel like your collections have a similar vibe. Does anime serve as a significant source of inspiration for you?

Tanaka: I think so.

——Before you fully launched your brand, your masks with embroidered cherries, which you posted online, were very popular. What was the catalyst for you to make them? 

Cherry-embroidered masks that Tanaka made (from Daisuke Tanaka’s Instagram)

Tanaka: I had already designed the cherry embroidery before I made the masks, so I had a lot of leftover cherry-embroidered gauze fabric. Covid hit right around then, and it was the norm to wear masks made out of gauze, so I tried making some and—

——they gained a lot of attention. Where did you learn how to do embroidery? Did you teach yourself?

Tanaka: At fashion school, everyone wanted to master different things, so I had to do embroidery myself. I could get advice, but I used to look at books featuring close-up embroidery details and tried to imitate what I saw using my hands. I’d think, “What would that look like if I did it?” I’d have realizations like, “I can do this much!” or “I can’t embroider at this level on my own.” I gradually embroidered things to my taste.

——Aside from designing your own collections, you also make costumes for artists. Is there a difference in your approach to the two?

Tanaka: When I work for an artist, although I go back and forth with the artist at times, I often communicate with their stylist. I make sure to consider the stylist’s preference. What the artist likes is important, of course, but I come up with embroidery and designs by being conscious of the point of view the stylist wants to convey.

——Let’s say you suggested a costume idea for an artist, and it doesn’t get used. What would you do with that design?

Tanaka: If I suggested five designs to the stylist, only one would be used. The other four would become futile. But I’d have a design I like out of the four, so I’d use that as a reference and put more of a personal twist on it for a tanakadaisuke collection.

Clothes that allow each person to tell their story

——What is the theme of your Spring/Summer 2023 collection?

 “Sharp Bright Darkness,” tanakadaisuke’s Spring/Summer 2023 collection

Tanaka: When I was a student, I had waist-long hair. I kept my long hair once I started fashion school, but my teacher told me, “You won’t be able to work for a brand in Tokyo if you don’t change. What are you going to do?” During that time, I had a crisis about whether I wanted to present myself in a masculine or feminine way. 

For this collection, I tried to express what I needed then; “If something like this existed, I might’ve pursued that,” “If I kept my hair long, I might’ve had another calling in life.”

——Do you mean you wanted to create a world for another version of you that might’ve existed?

Tanaka: I hope this creation could be the catalyst for that. Say, if someone had styled their uniform like my Spring/Summer 2023 collection, I think I would’ve felt like this life was a bit bigger than myself.

——The shade enamel bijou skirt has a vintage, romantic feel reminiscent of dancers in old European paintings. What’s the story behind this skirt?

 “Sharp Bright Darkness,” tanakadaisuke’s Spring/Summer 2023 collection

Tanaka: I first got the idea to make a skirt shaped like a lampshade. Also, I used to read a magazine called KERA quite often as a student because of my older sister. So, I liked lolita fashion. I wanted the skirt to hint at that, so I chose this shape. But I didn’t want it to feel too saccharine, so I topped it off with leather gloves and black socks. Plus, I wanted to challenge myself on something.

——What was the challenge?

Tanaka: Today, it’s hard to present men and women in clothes with a lot of skin showing. I wanted to see what people were willing to accept with my brand. If a brand like Alexander McQueen did it, people would accept it as art, but some people would get angry if a Japanese brand did it. I wanted to see how far I’d be allowed to go, so I tried doing that.

——Another image that stood out: a model has one hand in a lace glove and the other in a lace glove and a robotic hand. It was rare to see something mechanical in your brand. What’s the intention behind this image?

 “Sharp Bright Darkness,” tanakadaisuke’s Spring/Summer 2023 collection

Tanaka: I like girly vibes and the mood of machines and wires. At the time, those elements were interwoven in my mind, so I combined them in an easy-to-understand way.

——The look with knitted sleeves doesn’t have any embroidery, which is your brand’s signature, and it makes me think of words like armor, strong, and cool. It has a newness that’s different from your brand’s image in the past.

 “Sharp Bright Darkness,” tanakadaisuke’s Spring/Summer 2023 collection

Tanaka: I tried to give it a sweet yet strong feel. It’s like you’re customizing yourself; you can feel good about yourself by combining the items. The short leather pants and knitted legwarmers are supposed to be a set, so it’d make me happy to see people wearing the full look.

——Do you come up with a story when you design collections?

Tanaka: I can tell you the story behind each item, but it’s hard for me to tell you the overall story. There was something I wanted to do for this collection which I hope to do for the next one.  

——What would that be?

Tanaka: One day, I want to ask Sayaka Murata-san to write a story for my brand. I can come up with dots, but I can’t connect those dots to make a line, so I want to ask someone else to do that. 

——-I feel like you’d be able to make a line, so to speak, but why do you think you can’t? 

Tanaka: I probably can, but the story would be too much of my own. That’d be like forcing my story onto the customer, and they’d have to be conscious of that. That doesn’t feel too right. It’s better to ask a third person to write a story of their interpretation. As it stands now, I talk too much about things related to men and women, which is important, but I don’t think that should be the priority.

——What is your priority, then?

Tanaka: This zeitgeist demands true-to-life realness, but I want to portray fantasy. Rather than explain things in words, I want the items I create to speak for themselves.

In search of a place where originality sleeps 

——How do you want your brand to be like in the near future?

Tanaka: Ai Hashimoto-san wore my design on the Tokyo International Film Festival red carpet, and in an interview, she said, “I wanted to highlight a Japanese brand because it’s the Tokyo International Film Festival.” I’m sure many people wear brands from other countries in such situations, but when she said that, I discovered one reason she approached me out of the many brands out there. I want my brand to stand tall in spaces like that. I want to be able to make clothes for such events. 

——Which moments bring you joy in terms of your brand?

Tanaka: It makes me happy when I can work with people I like or admire, like Ai Hashimoto-san and filmmaker Show Yanagisawa-san, and that experience leads to another opportunity.

——Is there anyone you’d like to work with?

Tanaka: Yoko Maki-san recently wore my design at an event overseas. I want to work on something with her.

——I’m excited to see what kind of clothes you come up with. What do you keep in mind when designing clothes? 

Tanaka: I love Asakusabashi and Nihonbashi. I go there frequently. Honestly, it’s not like the stores change what they sell every time I visit. The products don’t change, but the things I see do according to my mood, so I always walk around the same route. 

——What’s the process behind designing collections like?

Tanaka: I do decide on the theme, but I can’t help but make something I want to make with my own hands first. I make whatever I want to make at that moment, like bead embroidery and lace items, and I create a theme simultaneously. I then search for where to apply that theme. 

——In most cases, do you develop a concept as you make the clothes with your hands?

Tanaka: That happens a lot. I’d be lost unless I used my hands. Because there’s a limit to the thickness and size of beads and threads, I need to look for a shape that’d look the most beautiful when combined with fabrics. There’s no use if you only draw; using your hands is crucial.  

——So, you make what you want to make at any given moment?

Tanaka: I always think about how far I can push myself. I don’t necessarily have to make easy-to-wear knitwear and things like that. 

——Are you trying to challenge yourself differently?

Tanaka: If my brand were big, I’d be able to sell comfortable, high-quality clothes for cheap, but other brands do that already. With where I’m at right now, I want to polish my skills to make more decorative clothing.

——What you said right now could be helpful for us to discover our originality too.

Tanaka: It’d be an exaggeration to say my rival is Gucci, but I know there are some things I can do that Gucci can’t. As a small brand, there has to be something more hardcore I can work on that a big brand wouldn’t be able to. I want to work toward that. 

While there’s a demand for brands to have originality like no other, there’s also a demand for brands to make clothes that appeal to the people. Perhaps it’s the designer or brand’s duty to design such a contradiction. 

Isn’t what Tanaka said at the end of this interview one tip on what we require to discover an original point of view? Submerge within yourself; it might look narrow and small at first glance, but that’s where the source of creativity that could echo throughout the world lies. Daisuke Tanaka still has more clothes he wants to make. His inquisitive spirit will never come to an end.

Photography Shinpo Kimura
Translation Lena Grace Suda

The post The Urge to Create is Everything: An Interview with Designer Daisuke Tanaka appeared first on TOKION - Cutting edge culture and fashion information.

The following is an extended interview with Sayori Tanaka and Akira Kuboshita, divided into two parts, so nothing gets left out. Here, we traced the pair’s past and discussed the future. 

Part.1 Here

Right→Left
Sayori Tanaka
Sayori Tanaka started her own brand, TANAKA, in New York in 2017. Since founding TANAKA NY TYO LLC, TANAKA has been designing globally, spanning New York, Europe, and Asia. She was born and raised surrounded by nature in Niigata with her father, an oil painter and kimono textile designer, and grandfather, a landscape gardener who made Japanese gardens. After graduating from Mode Gakuen, she joined Yohji Yamamoto and cut her teeth planning and designing cut-and-sew knitwear. Tanaka then joined Fast Retailing and was the womenswear director of the global design team at the Tokyo, Shanghai, and New York Uniqlo offices.

Akira Kuboshita
Akira Kuboshita became the official creative partner of TANAKA in Tokyo in 2020. He’s been involved in projects in and out of the country, with Human Made as his focus. Kuboshita’s forte is in creative direction and spatial design. After graduating from the department of styling at Bunka Fashion College, he joined Fast Retailing. Kuboshita was the menswear director of the global design team at the Tokyo, Shanghai, and New York Uniqlo offices, working with activewear and knitwear.
https://ja.tanakanytyo.com
Instagram：@tanakanytyo

New paths lead to new goals 

——You both went to fashion school. Tanaka-san, you went to Mode Gakuen and Kuboshita-san, you went to Bunka Fashion College. How did you choose your respective schools?

Sayori Tanaka(Tanaka): It was natural for me to choose the fashion route, partially because of how I grew up. I was born in Niigata, and when I was in high school, the Tokyo Mode Gakuen commercials were always on TV. This information was a big deal for someone like me in Niigata who didn’t know much. I’ve wanted to go abroad since I was small; I wanted to go to Paris. Tokyo Mode Gakuen had a course where you could study there, which was a huge factor. 

——Did you study in Paris once you started school?

Tanaka: I got into the Paris course, but moving from Niigata to Tokyo in and of itself was a major change for me, and I got overwhelmed. I could’ve gone to Paris a year after I started school, but I gave up because I was an intimidated 19-year-old.  

——But you’re now based in New York, and you work abroad. 

Tanaka: It took time, but this has been my goal since childhood. That motivates me to be empowered to work abroad. 

——Kuboshita-san, you enrolled in the department of styling at Bunka Fashion College.

Akira Kuboshita(Kuboshita): Back then, stylists like Tsuyoshi Noguchi-san and Daisuke Iga-san were doing well, and I looked up to them. They made me want to become a stylist. But I shifted gears right after I started school.

——How come?

Kuboshita: I felt like I couldn’t make a living off being a stylist assistant and that only people who live at home could do it. Both of my parents worked as civil servants, and they believed it was only natural for me to leave home. A part of me felt like I had to learn a trade. 

——What did you strive for after you stopped wanting to become a stylist? 

Kuboshita: After quickly giving up my dream of becoming a stylist, I wanted to become a graphic designer. I loved graphics, but I only knew the basics when it came to the computer. I could only make posters for fashion shows at our school festivals and create some videos. I started learning to do graphic design once I joined a company. 

——The company you’re speaking of is Uniqlo, yes? How did you go from going to the department of styling at Bunka Fashion College to working as a graphic designer at Uniqlo?

Kuboshita: I wanted to work as a graphic designer, but graphic design recruiters didn’t visit my department, so I applied to become a sales staff or corporate stylist for around ten companies. But I failed every interview because I would be honest and say, “I want to become a graphic designer.”  

Tanaka: Gosh, hearing that is… He said, “I’m thinking of changing jobs after three years.” He was too honest (laughs).

——(Laughs)!

Kuboshita: But Uniqlo was the only company recruiting for someone to work in the graphic T-shirt division, so I applied. That division was the precursor of UT. The head of it was Yutaka Tada-san, the president of Issey Miyake, and he founded an R&D office called the Uniqlo Design Laboratory. Tada-san said, “I like interesting people,” and hired me.

——Your career in graphic design started with UT after you joined Uniqlo.

Kuboshita: Yes. From there, I gradually transitioned to the main knitwear team. I worked there for a long time—17 years—so I worked at the Shanghai and New York offices and returned to the Tokyo office. Ultimately, I became the UT and activewear design team director. 

——Tanaka-san, you joined Yohji Yamamoto after you graduated.

Tanaka: When I was job hunting, people called it the “Employment Ice Age,” but thankfully, I got a couple of job offers. I applied to companies I didn’t care to work for because of the instability of the times. But I decided to apply to a company I thought was amazing since I studied for four years in school. It was like an entrance exam. And that company was Yohji Yamamoto.

——There’s a disparity between your current style and Yohji Yamamoto. It’s pretty interesting. 

Tanaka: I’ve always liked mixing vintage clothes, “DC” brands, streetwear, and Urahara styles. I didn’t have a single Yohji Yamamoto piece. It may sound misleading, but I didn’t have a brand I strongly looked up to; there wasn’t a brand that made me go, “This is the one for me!” But I thought Yohji Yamamoto was a cool brand regardless, so I took the entrance exam. I went to the interview in jeans because that felt authentic to who I was.

——In jeans? When I think of Yohji Yamamoto, I think of black clothes. 

Tanaka: Everyone else had black clothes on. I was the only one wearing jeans. But that was my everyday style, so I thought there was no point in dressing up for the interview. I told the interviewee that I wore my favorite vintage clothes and jeans. Maybe they liked how I didn’t put on a show. 

——You gained experience planning and designing sew-and-cut knitwear at Yohji Yamamoto. You then moved to Uniqlo. I imagine the environment in both companies was different. Why Uniqlo? 

Tanaka: I joined the company when Uniqlo started collaborating with designers. An older colleague told me about it, partially because of the timing. 

——I see. So, you two met for the first time at Uniqlo, right?

Kuboshita: Right. 

Tanaka: Kuboshita-san worked at Uniqlo before me. At first, I thought he was older than me, but I was surprised to learn he wasn’t (laughs). 

What Japanese people require in order to succeed internationally

——You’re currently based in New York, Tanaka-san. Are there any good things you realized about Japan while living abroad? What about things that could be improved about the country?

Tanaka: I lived in Shanghai for roughly two years before New York. I haven’t lived in Japan for over a decade, and my experiences have led to my current opinion about the good thing about Japanese people. I would say Japanese people are thorough. 

——Which moments make you feel that way?

Tanaka: It shows up in the craftsmanship. I visited Kaihara-san the other day and saw that the factory was clean. The environment alone made me believe their fabrics were of high quality, without a doubt. That’s how well-managed the place was. The diligence and sincerity of Japanese people are remarkable compared to other countries.

——Is that good characteristic of Japan rooted in you too?

Tanaka: Even if I compete against Americans at what they’re good at, I can’t win. The good thing about me is how I persevere and commit to detailed things. I carry those Japanese characteristics within me.

——What about you, Kuboshita-san?

Kuboshita: I agree that Japanese people are very serious and do their jobs well, but they’re not used to competition. When a Japanese person goes to America…

Tanaka: Don’t you think Japanese people could improve their presentation skills?

Kuboshita: People from other countries sometimes overdo their presentations (laughs). 

——I see (laughs).

Kuboshita: Japanese people tend to speak only after the other person is done since that’s regarded as polite. If you do that abroad, your turn might never come. People are competitive, and they’re assertive. You won’t be able to survive in that world unless you acclimate to the environment. Foreigners present themselves like, “Look at me!” but Japanese people aren’t good at that.

——Was there a time when you weren’t good at doing that either?

Kuboshita: I underestimated how hard it was going to be. I lost three kilograms in three months from the pressure of moving to a new place. But I got used to it little by little since I had to learn about the characteristic [of being assertive]. The staff at the New York office excelled at giving presentations; I would’ve bought what they were selling if they were doing an infomercial. I learned so much about how a product can change depending on how you sell it. In a sense, it’s like the world of show business. 

Looking at the next 100 years 

——Tanaka-san, you quit Uniqlo in 2016 and founded TANAKA in 2017. Kuboshita-san joined the brand in 2020 as the creative director. How did that come about?

Kuboshita: When I first heard she was going to quit working at Uniqlo back when I was still at the company, I asked her, “What are you going to do?” I was thinking about her career and told her she couldn’t fail. I asked her what kind of brand she wanted to build, and she said, “I want to make a company like Levi’s or Hanes.”

——So she didn’t name a high fashion brand. 

Kuboshita: Rather than a fashion brand, she mentioned brands that invent products: Hanes made shirts as a medium for graphics when they were considered underwear. Same with Levi’s with denim. Instead of building a company that acts arrogantly because it built values and can exist for a long time, she wanted to make a company that’s equally kind to everyone. That’s what I thought. 

Tanaka: Levi’s turned workwear denim people into a fashionable clothing item people wear every day. The brand has existed for over a century and is loved by everyone. I wanted TANAKA to become a brand like that. 

Kuboshita: I liked that she had a strong backbone. We talked about how we need to keep the brand going. We know the brand will be around a century later, so the concept of TANAKA is: Clothing that connects the past and the next 100 years.

——I didn’t know that was the backstory.

Kuboshita: That was the first time we agreed on something.

——(Laughs).

Tanaka: (Laughs).

——Out of the years you’ve spent at TANAKA, which moments give you joy or happiness?

Kuboshita: When our products sell. We take clothes-making seriously, so we think, “Let’s make something good” and “This should be good” when we make clothes. But when we hear that something’s sold out in a day, that makes us so surprised and happy because it’s faster than we expected. 

Tanaka: That’s when the stores that carry our products, customers’ feelings, and we come together. When I can see that with my own eyes, it makes me happy; it’s an important thing. 

——Do you ever experience something similar when making clothes?

Tanaka: A sample of the selvage jeans we spoke about (in part.1) arrived at my home in New York from the denim factory, and I saw it for the first time. I went, “Yes, this is it!” I’m confident we created a great design. When I saw Kaihara-san’s reliable fabric quality and Nishie Denim-san’s manufacturing and sewing come together, I did a little dance because I was happy (laughs). 

——Since covid hit, there’s been so much bad news in the world, and it’s hard to be optimistic today. You two stay sensitive to the times and convey a positive message through your collections. Do you want to look at the times and make collections in the future too?

Kuboshita: If the state of the world is at rock bottom, the only way to go is up. 

Tanaka: We’re in the position of making clothes for people to see and wear, so we want to channel our feelings into the collections. We’re considering introducing fashion presentations and runway shows, so I hope we can level up that way. 

——I’d love to see your clothes on the runway. 

Kuboshita: I hope you can.

Tanaka: I believe clothes are for people to wear and move around in and that they exist with people’s actions and everyday lives. People can feel that through runway shows, and I hope we can express the world of TANAKA in a more precise way. If the visuals of our current collection were in motion, we could’ve conveyed our world and message better. Shows are essential. 

I want to finish this interview with words that impressed me. Kuboshita bought and is renovating a historical Japanese-style house. The reason he’s doing this is: 

“Old houses use good materials. The house I’m renovating can’t be built today even if someone wanted to because of the materials. I felt like the only option was for me to renovate it.” 

The philosophy behind TANAKA came to the forefront with these words. The philosophy—Clothing that connects the past and the next 100 years. Clothing that is loved forever beyond time and gender—dwells in Tanaka and Kuboshita’s minds when working on collections and in various situations and moments. No matter how much the world changes, TANAKA will create clothes that stick by people’s side in any era. Their beautiful blue hue goes beyond time and borders. 

Photography Erina Takahashi
Translation Lena Grace Suda

The post The Designer and Creative Director of TANAKA, Sayori Tanaka and Akira Kuboshita Part 2: The Present Will Lead to the Next Century appeared first on TOKION - Cutting edge culture and fashion information.