With cardboard, Gima has re-envisioned sneakers newly released by Gucci, a fashion label actively contributing to the development of sustainability in the fashion industry. The sneakers, made of the sustainable material Demetra, are part of the “Gucci Basket” collection.

Through this collaborative work, we aim to take a closer look at the intersection of the worlds of Tomomatsu Gima, an artist working with the themes of “distribution” and “consumption,” and Gucci, a brand which believes in the merit of sustainability.

Different people experience the same sneakers and records differently

——What led you to to become an artist who creates artwork out of cardboard?

Tomotatsu Gima (Gima): I had been going to art school since I was a high school student, and I chose an art college as my university, so I had always been in an environment where art surrounded me. So I was naturally thinking that it would be nice if I could make a living by creating something as an artist. I’m doing collage now, but there were various courses in art school, like painting and sculpture. Since I was in the painting course, I had confidence in my painting skills and initially wanted to become a painter.

But I eventually came to feel that I had done everything I could do with painting, and was no longer able to create new work. I felt like I was at rock bottom. At that time, I found a lot of discarded cardboard scraps near where I lived, so I started making stationery and notepads out of them. [Gima  currently continues to work with the project rubodan, creating employment opportunities producing stationery out of cardboard.]

One day, I tried making a collage using cardboard as if I was painting. When I applied pieces of cardboard paper to a picture I had painted with leftover paint, I thought, “This is it!” Then I immediately set about making a picture of Campbell’s Soup, which was the prototype of my current work. The moment I finished it, I felt that something new had been born.

——You started with a picture of a Campbell’s Soup can, and now you’ve created many pictures of sneakers and record jackets. Are these motifs an important part of your style?

Gima：I think that it’s consequently become a strong point of my work, but basically most of my art is based on things found in my home. So they tend to come from my hobbies. Among those, I just love sneakers so much, and now I’m glad that I love them so.

What I felt when I started making my works was that although both sneakers and records are mass-produced, different people experience the same sneakers and records differently. This song, for example. could be something somebody listened to in junior high school, or these sneakers might be the first thing someone bought with their own money. Even with the same products, each person has a totally different emotional attachment to them. So even though I’m only exhibiting works created from my personal memories, each viewer looks at them and talks about their own memories too. That makes me feel so delighted. Also, even though I only use things I have at home as subject matter, I think it’s interesting that my tastes and preferences become visible through my body of work.

Original works made by Gima

I hope my work will inspire viewers to think about how things at home were brought in cardboard boxes from somewhere else

——I think the notion of “distribution” and “consumption,” key themes under which you’re developing your artistic practice, have a close link to this collaboration with Gucci. In terms of your creation, do you focus on sustainability?

Gima：When I started working as an artist in my current style, I didn’t often hear about things like SDGs and sustainability. So, if I were asked whether I’ve been working as an artist with sustainability as my objective, I would say no. I  feel that my way of expression became relevant and happened to fit with the times.

The themes of “distribution” and “consumption” came from my imagining how the items in my house were brought in from somewhere in cardboard boxes. At the same time, I have also seen a lot of those [cardboard boxes] become garbage. But I’m not trying to say that we should be looking at things more factually. What I value most is the coolness of the work as a piece of art.

It would make me happy, though, if people who see the work start a conversation with the question, “What is this made of?” and get inspired to look around home and wonder where this and that came from.

——So you hope your work will make people think about sustainability, rather than advocating it squarely, is that right?

Gima: Yeah, that’s right. My style stems largely from the fact that I live near a market in Naha, where cardboard boxes are readily available. I’ve been collecting cardboard for almost 10 years, so I’m able to express my works with all sorts of colors, but I think it would be difficult for someone else to start collaging with cardboard tomorrow.

——In reimagining the new Gucci sneakers as a work of art, was there anything different from your previous sneaker work?

Gima: The sneakers themselves had a taste of basketball shoes from the 1980s and 1990s, which I like, so I felt that Alessandro Michele must be a big sneaker fan. That’s probably why the design is loved by sneakerheads. I also like making sneakers from those eras, because they’re neither too difficult nor too simple. I also like that sustainable materials are utilized in many parts of the shoe. It was fun to recreate the sneakers because of those details.

I attach a different number of pieces of cardboard on each part of the piece to create different thicknesses and make the whole thing three-dimensional. It takes time to cut out the cardboard for each part, but I get it done well, the work turns out wonderful.

What I did differently this time from my usual work was to put similarly-colored pieces of cardboard on the areas of the shoe that have same color. What I usually do is to apply letters or small fragments of contrasting colors to add an accent. But this time, I dared to use similar colors to unify the tones of respective parts. I was intentionally creating a calm but gorgeous look. I also created shaded parts of the heels in a way that lets you see the cardboard as a material, which is slightly different from my previous works.

——Nowadays, sustainability has become a keyword in the fashion world as well. What are your thoughts on the trend?

Gima: I have a limited knowledge of sneakers from the 1970s to the present, and I know the designs, production methods, and materials have changed with the times. So I think it’s natural that the keyword “sustainable” is coming up as a change. It’s important, of course, to be environmentally conscious and to reduce wasted materials and energy consumption. However, it’s also important to consider how people can work more efficiently, or how we can reduce  working hours from, say, 10 hours to 6 hours. I believe that improving efficiency is also linked to sustainability.

I think it’s significant not only for the fashion world but for the entire planet to have a leading brand like Gucci communicate that it uses sustainable materials in the creation of its products. I hope the brand will continue to lead this trend with such a movement. Its impact will surely reach the general public as well.

“Among all sneakers, I particularly like basketball shoes, and I often recreate them in my work. The plastic parts commonly used in the 1980s and 1990s were reborn through the sustainable material Demetra, and it was fun to think about how to replicate this with cardboard as a material. This time, I focused on ming gradation with similar colors to express the color of the shoes.” (Gima)

Tomotatsu Gima
Tomotatsu Gima is an artist who creates collages from cardboard boxes under themes of “distribution” and “consumption.” He has primarily been presenting his artworks at exhibitions, but has also been involved in the creation of magazine co-vers and advertisements both in Japan and abroad.

The Gucci Basket sneakers are made of an innovative and sustainable new material to reduces the burden on the environment

Gima’s cardboard sneakers are based on the new “Gucci Basket” models, designed by Gucci Creative Director Alessandro Michele and inspired by basketball shoes. The three models, with different color hues and fabrics, make use of the original material “Demetra,” primarily composed of bio-based materials that are non-animal derived and renewable. An ID tag is attached to each respective item.
Gucci has been carbon neutral throughout its supply chain since 2018, and continues to make efforts to create positive change in the natural environment by protecting and restoring forests and mangroves, and investing in regenerative agriculture. In July of this year, the company announced that it has become a strategic partner of the Ellen MacArthur Foundation to accelerate its efforts in the circular economy.

Gucci sneakers  ¥134,200

Gucci Japan Client Service
0120-88-1921

Photography Shinpo Kimura[STILL]
Edit Wataru Matsumoto (PineBooks inc.)
Motion & Sound Shigeru Suzuki (THE ME)
Translation Shinichiro Sato(TOKION)
Produced by TOKION for GUCCI

The post Cardboard Artist Tomotatsu Gima Reimagines Gucci Sneakers with Sustainable Materials appeared first on TOKION - Cutting edge culture and fashion information.

Coinciding with the launch, Gucci collaborated with the photographer So Mitsuya on a special project. This interview explores how Mitsuya, a photographer who creates a unique sense of “discomfort” by combining fiction and reality in his photographic images, perceives and expresses himself through “Gucci Off the Grid”.

Collage is interesting because I can create any image I want— it’s like painting with photographs

——What made you start working as a photographer?

So Mitsuya (Mitsuya): I started out as a musician. My girlfriend at the time was working at a museum of photography, and when she saw the photos I took, she told me that I should do photography. Then I came to know the culture of photobooks and photo exhibitions within the world of photography, and  decided to give it a try. When I told her, she said, “Sell the music equipment you have at home right away and buy a camera!” [Laughs]. So I actually sold my instruments and bought a camera. At that moment, I reached a point of no return.

——So then when did you first come to think of yourself as a photographer?

Mitsuya: I became aware of myself as an artist when London-based media found my work and featured it. That gave me confidence that my work would be seen as art. After that, I started sending my work to international art magazines and taking pictures to show to people.

Just when I began to think that I wouldn’t be able to continue work as a photographer unless I won an award or something, I won a prize in a competition called the JAPAN PHOTO AWARD. This led to people in Japan seeing my work, and I began to get client work. Looking back, I guess I wanted to escape from music, which wasn’t going well for me, and I was eager to try anything new.

——Was your first work recognized abroad a collage like the one you’re working on now?

Mitsuya: No. Back then, my works were straight photos of critical moments on  the street. But as I went along with it, there were times when I felt that my work could have been improved through editing and manipulation, so I digitized the photos I’d taken on film and edited them. Originally, retouching is a process of removing what you don’t need, but I tried adding something else to the images. For example, I placed a person in an empty mirror. By doing so, it became what I wanted it to be, and it was interesting because it felt like I was drawing a picture. I shifted focus from film to digital because my photography became more about the manipulation after the shoot than the shoot itself.

——Do you think the technique of retouching is a part of your own style?

Mitsuya: Yes, I do. I consider my style as one long process of releasing the shutter. I take a quick shot, bring it back to my workshop, and edit it on the monitor. In the editing process, a slight noise appears in the picture. I make a large print of the photo so that the noise can be seen, check it, then erase it. I feel as if the camera shutter stays open until the end of this editing process.

However, collage photography is already common around the world. Overseas, fashion photography and art photography are at the same high level and are fused together, but in Japan, there is a big cultural divide between the two. So I think what I’m doing stands out more in Japan. From a global perspective, collage photography needs more advanced elements in addition to the technique itself, and I’m constantly experimenting in order to reach a higher level.

——I feel like the collage technique can be used to realize anything through editing, like there are no limits to the images that can be made. In the case of fashion photography, where you already know what you’re going to shoot, how to you come up with the ideas and materials for what you’ll combine?

Mitsuya: I don’t come up with ideas from scratch. For example, a telephone pole with an interesting curve in a photo I’ve already taken can be a source of inspiration. I develop my ideas from that kind of starting point. For fashion shoots, though, I draw from elements like the model’s pose, styling, hair and makeup, and then work to find things to combine from my personal archives. So I don’t think about anything while I’m shooting. When I bring home the photos I shot and refer back to my archives, they often miraculously come together. This way, I’m able to maintain a feeling of life in the images without stopping to think.

Original works made by Mitsuya

Digitally transforming the indestructible natural world can result in a humorous image

——When you were working on the “Gucci Off the Grid” pieces, did you have any particular theme in mind?

Mitsuya: First, I chose ”nature” and “sustainability” as my themes from the existing keywords associated with the items. In the mountains behind my parents’ house in Kyoto, there’s a forest I love that hasn’t changed a bit since I was a child. I created all the images on the theme of sustainability by repeatedly using one tree from a photo I took there. The same tree is repeated in the four images, the look of the tree is changed little by little through manipulation on the PC. So I’d like the viewer to see the process of gradually building a relationship between the product and the tree.

——It’s really the kind of world that only you can create. The products in the “Gucci Off the Grid” collection, which was the focus of this collaboration, are made from sustainable materials. Are you involved in any sustainability-conscious activities yourself?

Mitsuya: I don’t think there is anything in particular that I’m doing on purpose with an awareness of sustainability. However, as I mentioned earlier, when I go to the forest near my parents’ house I pick up trash the trash that I find, and I ride my bike most of the time in Tokyo. So, I haven’t yet ventured to take “sustainable” action, but I sometimes think afterwards that what I have been doing in my daily life might be connected to such practices. The important thing is to protect the environment that surrounds us all.

——Is there any difference between working with brands and manufacturers and creating your own works?

Mitsuya: I basically take the same stance. But the process of creating a work of art is different from that of creating work for a client. In the case of my own artwork, the subject may or may not be in the picture, but in the case of commercial work, motifs such as models and clothing have to be in the picture. This difference is massive. When there are things that must be in the picture, the work has less freedom, but there are also ideas that can only be born from such limits. By being forced to look at something with a certain gaze, I feel like I’m in a training session. I also make use of these experiences in my own work where I have a higher degree of freedom. I’m now able to come and go between my own work and client work, enough so that I’m able to balance my mind as an artist.

Ever since I was a child, I felt weirded out with the fact that everyone was doing the same thing without question. Like, I felt uncomfortable with only being able to paint a certain color in arts and crafts class, and the same goes for chorus. With photography, I can express a sense of “discomfort.” Also, I think collage might suit my personality because it expresses something that doesn’t look the same to everyone. I feel that my work is like a picture of something that comes from within me.

——Finally, can you tell us about anything you’d like to do as an artist or photographer in the future?

Mitsuya: Photography is basically something that is shown on a flat surface. But to show a flat surface, you need space. So recently, I have been thinking about three-dimensional modeling and how to show photography. I’m thinking about how to make a two-dimensional object look three-dimensional. In other words, I’m thinking about how to combine three-dimensional objects and collage within a certain space.

And I would like to continue to explore as an eternal theme whether I can make use of ideas that I have never thought, to open up my thinking and create works of art.

“Nature and greenery have always been my favorite motifs— I grew up in a place with lots of greenery nearby, so I want my favorite place to exist forever, never fading away. So I connected this work with the nature preservation that “Gucci Off the Grid” aims for. It was interesting to process an image of single tree over and over again while trying to create harmony between it and the green items in the collection.” (Mitsuya)

So Mitsuya　
So Mitsuya is a photographer, born in 1990 in Kyoto. He switched from a career in music to photography and has attracted attention from around the world. In addition to doing work in media and advertising, he has also held solo exhibitions. In 2018, he received the Charlotte Cotton (Editor) Award and David Toro (DIS) Award from JAPAN PHOTO AWARD.

Gucci’s sustainable collection using sustainably sourced materials

The items Mitsuya has played with in his work this time are from the new “Gucci OFF THE GRID” collection, which makes use of special sustainable materials. Each product uses the recycled nylon yarn “ECONYL,” made from scraps, waste, organic and bio-based materials, and is characterized by environmentally friendly designs. The new Khaki collection will be released first in Japan, ahead of other countries.
Gucci has been carbon neutral throughout its supply chain since 2018, and continues to make efforts to create positive change in the natural environment by protecting and restoring forests and mangroves, and investing in regenerative agriculture. In July of this year, the company announced that it has become a strategic partner of the Ellen MacArthur Foundation to accelerate its efforts in the circular economy.

Clockwise from left: Gucci tote bag ¥217,800, belt bag ¥129,800, card case ¥47,300, sneakers ¥99,000

Gucci Japan Client Service
0120-99-2177

Photography Shinpo Kimura[STILL]
Edit Wataru Matsumoto (PineBooks inc.)
Motion & Sound Shigeru Suzuki (THE ME)
Translation Shinichiro Sato(TOKION)
Produced by TOKION for GUCCI

The post Photographer So Mitsuya Layers his own “Greenery” over the New “Gucci Off the Grid” Collection appeared first on TOKION - Cutting edge culture and fashion information.

EYEVAN is a brand based on the concept of eyewear as fashion. After launching brands such as EYEVAN 7285, 10 eyevan, and Eyevol, the brand has launched its fifth and newest brand: E5 eyevan.

E5 eyevan’s theme is based on the idea from biology that “form follows role and purpose,” and the brand strives for true function. In a return to the roots of eyewear, the brand has five principles for creating functional products: the products must be practical, functional, reliable, flexible, and durable. Born out of the pursuit of essential functions, the resulting designs are minimal and beautiful. To celebrate E5 eyevan’s launch, there will be pop-up stores at EYEVAN 7285 Tokyo, THE EYEVAN Kyoto Gion, and Continuer Ebisu until October 24^th.

We asked E5 eyevan designer Hirotaka Nakagawa about how the brand started and the products’ special features.

An aesthetic that prioritizes convenience and efficiency for the wearer

――Why did you end up choosing biology as E5 eyevan’s theme?

Hirotaka Nakagawa: I was familiar with “form follows function” as a phrase in the architecture industry—such as in Bauhaus—but it had never been the focal point of my design. I just remembered it as cool, so when I faced the challenge of designing eyewear that would strive for function, these words felt right. Upon making this phrase the theme of the new label, I learned that it had originated in 19^th-century biology.

――It’s a famous saying in architecture.

Hirotaka: Further research led me to readings that refer to Darwin’s evolutionary theory. Why is it that when we look at plants and animals, we find them beautiful? This is because the shapes of these organisms have a purpose. Purpose has shaped their design. The same goes for architecture and manufactured products. I feel like everything reaches its ideal state based on its purpose and role, and that’s how I came up with this theme.

――In terms of design, how is this brand different from the other brands you’ve worked on, such as EYEVAN 7285, 10 eyevan, and Eyevol?

Hirotaka: The production process is very different. In the past, my design process mainly consisted of imagining a beautiful shape first, and once I’d decided on the exterior, so to speak, I’d dig deeper into the function—how easy it was to wear and use. You could say this was based on the brand’s concept of interpreting eyewear as fashion.

On the other hand, items meant for function are primarily designed with convenience and efficiency as the top priorities, right? For example, with military wear and workwear, all the parts—such as the fabric, the pockets, and the placement of the buttons—have a fixed purpose and role, and the final design is created according to that. Unlike other brands I’ve worked on before, I realized that if I followed this very basic process with E5 eyevan, I would end up creating something beautiful. I also remembered that when I was a kid, I was obsessed with plastic model tanks. There’s also a clear reason behind the tank design.

――That’s similar to the philosophy of menswear. The placement of suit lapels, vents, and pockets all have a purpose.

Hirotaka: Right. In the past, an idea for a beautiful eyewear design came first. But E5 eyevan has the opposite approach. I think if you strive for function, the product naturally becomes beautiful.

Creating products that suit the subtle differences of each generation’s face shape

――10 eyevan is also a label that emphasizes function. How exactly is it different from E5 eyevan?

Hirotaka: This is quite straightforward, but since the birth of EYEVAN 7285 in 2013, we’ve gone on to launch 10 eyevan and Eyevol. My creative thinking has gradually shifted in a direction that emphasizes function. Eyevol’s sunglasses are an exception, but EYEVAN 7285’s designs focus on beauty, or what I’d call artistry. With 10 eyevan, I think the artistry—how beautiful the parts are—is equal to the function aspect. E5 eyevan prioritizes function, so there’s a clear difference in the way we strive for artistry and function. We’ve been launching a new brand about every three years, and looking back, it’s clear that my feelings have gradually shifted towards function.

――Recently, the trend of returning to the classics has calmed down. but what do you think of this when it comes to E5 eyevan’s branding?

Hirotaka: I don’t think of the branding in a chronological way such as new or old, but rather, as a mix of artistry and function. That being said, there are clear trends in the lens shapes. But that isn’t something that gets in the way of function, so while E5 eyevan looks classic on the outside, the construction is modern. It’s a bit of a strange combination, isn’t it? While it uses the latest technology and materials for functionality, it appears classic.

――The brand has five principles: the products must be practical, functional, reliable, flexible, and durable. Could you give us some more detail about the features?

Hirotaka: First, there are the L-shaped temples, which we patented. I had the idea to maximize the effectiveness of the materials and use BS titanium, which we had never used before. The point between the temple of the glasses and the temple of the head is kept farther away from the front of the face and the reach of the hinge is about 1 cm longer, which makes the spring more flexible.

Another thing is the construction of the hinges, which don’t loosen easily. The stress of opening and closing the temples can cause the screws to loosen, but by covering the area around the screws with piping, we can reduce that impact. This eliminates misalignment and distortion for a long-lasting, comfortable fit. In addition, the end tips are made of tungsten—which means “heavy stone” in Swedish—to reduce the weight on the front of the face, and the nose pads are made of Nucrel, a material that doesn’t slide around easily and stays intact over time.

Lastly, this is very important—the glasses are easy for opticians to adjust. In reality, few brands think about this point. As a result, one of our brand’s unique characteristics is that it’s difficult to tell if the glasses have been adjusted.

――With metal frames, you can clearly see if the glasses have been adjusted.

Hirotaka: That’s why our glasses are structured in a way where even if the temples are spread out quite widely, it’ll look like that was the original design. I have experience as an optician, and eyewear that’s easy to adjust only has advantages for the person wearing it. This is obvious, but every idea is for the end user.

――What kind of brand do you want to develop E5 eyevan into?

Hirotaka: Regardless of how complete the first collection is, I’ll continue creating products that suit the subtle differences of each generation’s face shape.I think if I do that, the theme will naturally become clearer. It’s just like the theme says: “Form follows role and purpose.” With past designs, I often pursued artistry, so I was searching for answers that didn’t exist. But if you strive for function, the answer is clear. I think designs with practicality and purpose naturally give way to beauty, and while I’m not interested in that process, the final design contains an answer. I believe that in the future, we’ll be able to feel a certain newness from an aesthetic that pursues functionality, structure, and construction in addition to beauty.

Hirotaka Nakagawa
After graduating from university, Hirotaka Nakagawa worked for a machine and tool manufacturer, and then for an eyewear boutique. While working in sales, he also independently studied design. In 2009, he began working at EYEVAN. In 2012, he started his career as a designer at EYEVAN 7285. Currently, he is also involved in the design of 10 eyevan as well as the fifth and newest brand, E5 eyevan.

Photography Kazuo Yoshida

■E5 eyevan Pop-up Store
Dates: Until October 24th
Venue: EYEVAN 7285 Tokyo, THE EYEVAN Kyoto Gion, Continuer Ebisu

EYEVAN 7285 Tokyo
Address: Pop-up space 2F, 5-16-2 Minami Aoyama, Minato-ku, Tokyo
Hours: 11:00-20:00
Closed on Tuesdays
Phone number: 03-3409-7285 (Reservation only)
Official site (For online reservation): https://reserva.be/e5

THE EYEVAN Kyoto Gion
Address: 570-125 Gionmachi Minamigawa, Higashiyama-ku, Kyoto
Hours: 11:00-19:00
Closed on Wednesdays
*Designer Hirotaka Nakagawa will be at the store on October 9th and 10th

Continuer Ebisu
Address: 1F Calm Ebisu, 2-9-2 Ebisu Minami, Shibuya-ku
Hours: 12:00-20:00
Closed on Wednesdays

The post Eyewear based on an idea from biology: A new common sense by EYEVAN’s new brand, E5 eyevan appeared first on TOKION - Cutting edge culture and fashion information.

In retrospect, the fashion industry was a bit more serious a year ago. But of course, designers had never attempted to do something that would exacerbate our fear towards the unprecedented peril. But instead, for spring/summer 2021 collections, they came up with more functional clothes that kept us snug and enjoy our “time at home,” and the source of inspirations were spawned from the collective messages shared among us all being physically apart from one another.

The production of summer/spring 2021 collections started around spring of 2020. It was right when the world went into lockdown. I remember myself feeling in danger, and there were many designers harboring negative thoughts deep down inside. Creations by designers, who vent out their pent-up feelings, made an imprint on me and made me see fashion’s sociability. After a while, society was further into turmoil with new variants and conflicting opinions on prevention measures arising, and the mood of “don’t-speak-of-hope-so-easily” swept through the entire society, including the fashion and beauty industry. Compared to the year, for spring/summer 2022, while being aware of the flurry of voices around, designers are courageously turning into the direction of “let’s-talk-about-hope.”
As one of the members of the industry, I hope the honest passion of the fashion industry chime with as many people as possible and guides them to a better and happy life next year.

Andrea Pompilio (from hereunder, Andrea) is a creative director of Onitsuka Tiger, who purely wishes to “deliver hope” and launched the new collection espousing his sincere feelings.

Onitsuka Tiger Spring/Summer 2022 Collection Film, MILAN – TOKYO

The utterly silent world, under the epidemic prevention measures, started moving towards the future

For spring/summer 2022, at Milan Fashion Week, Andrea—from his hometown of Milan—showcased not only the Onitsuka Tiger collection, but also a video he produced with film director Hideto Hotta. Among a slew of distinguished luxury brands, the sports-inspired fashion brand, representing the country of Japan, exuded a profound presence.

The collection and film conveyed the “silence” and “dynamism” of Tokyo. They portrayed the utterly silent world under the epidemic prevention measures, start resuming and moving towards the future. Andrea comments, “I think Tokyo is a much more dynamic city than a silent one. Despite everything there are historic districts, where passing by at night there is a relaxing silence that takes you back to the past. Totally in contrast to the morning, when you wake up to go to work in full traffic with endless people who create this vibrant and beautiful metropolis.” And he tells us that the “silence” and “dynamism” of Tokyo, which he had experienced before, is the perfect analogy of the current world trying to overcome the adversity and pave the way to a new generation.
His creation of this season fits well with the current time and shows his journey to a “bright future.”

The global lockdown lasted for a long period of time, however, in Andrea’s recollection, “it actually passed quickly.” He also recalls, “I enjoyed life at home doing chores and things I had not done in the last 15 years, and I started offering live conversations on social media with friends and colleagues from the fashion world from all over the world.” The vibes and pure will that Andrea gleaned through communicating online with younger generations, certainly gave him a hint in producing the new generational creation. He also mentions, that for spring/summer 2022, he deliberately went back to basics and began from questioning himself, “what is Onitsuka Tigers?”

So, what is Onitsuka Tigers? Some people may immediately think of the man, Kihachiro Onitsuka, who believed that “sports have the power to change our lives”; some people may imagine the functional shoes that awe the world during the Olympics; and some people may view it as a leading brand that redefined sports as lifestyle and fashion. Andrea has adopted all these notions in the latest collection.

The spring/summer 2022 collection is so powerful that may bring change to someone’s life—full of functionality, highly fashionable, and fits right into our lifestyles. And it is entirely expressed with the “silence” and “dynamism” of Tokyo.

The “silence” and “dynamism” of Tokyo diversely expressed in the collection

The “silence” and “dynamism” of Tokyo. The conflicting and fascinating elements are diversely expressed in the spring/summer 2022 collection. The compact collection, comprised of 25 looks in total, begins mainly with the calm grey tones. It made me wonder, is the color from the skyscraping buildings in Tokyo, which Andrea calls it, “the beautiful metropolis”? Or is it representing the “silence” in the dark before dawn, before people wake up? The collection also opens with elegance, displaying many sets of jacket and trousers. However, towards the end, the collection upsurges in the mood of “dynamism” with garments in vivid neon colors; cut-off active and sporty styles, with the Onitsuka Tiger aesthetic, that assertively show off skin; and the brand’s iconic “tiger” motif, which has not been re-interpreted since the beginning when Andrea started co-branding with Onitsuka Tiger.
“Back when the “tiger” was first re-interpreted, it was proposed as a gadget to give along with the shoes. This time, however, it is the absolute protagonist of the collection.” As Andrea states, the “tiger” motif is lavishly adorned on the utilitarian retro-mood multi-wear.

The collection also features packable hooded blousons that can be carried like a bag, and many other multi-use items. Andrea notes, “it is certainly an eco-sustainable choice to have garments that can be used in different ways and occasions.”

The accessories, including classic high cut shoes and comfort tech ragged sole sandals, are consisted of a wide of variety of designs, from splendid classics to incredibly impactful new styles, from grey to “tiger,” from elegance to sporty, and from classics to new styles; each piece is protean. The collection, rendering the “silence” and “dynamism” of Tokyo, is made to complement multifaceted lives of various individuals from all around the world.

Strong sense of nostalgia spawned from Andrea’s strong feelings toward Japan

The spring/summer 2022 collection and video are both nostalgic. The blousons embellished with lines evoke the origins of the 70s retro-sports, and the short skirts, shorts and mock neck tops somewhat emanate a nostalgic vibe as well. Although the video was filmed in 2021, in the city of neon lights, an emotional mood seeps through the screen. The cabs that appear in the video are all sedans, and not the London-taxi-style cars that are seen more commonly in the city nowadays. With such details, although the video captures the real scenery of Tokyo, it would still appear new to young people in Japan who know the city very well. And for young generations in the rest of the world, the video presents two versions of Tokyo: a cutting-edge city and a nostalgic city that is somewhat relatable to their own homelands. Andrea has been visiting Japan frequently, ever since he became the brand’s creative director, so for him, it’s been a while not being in Japan for two years. He eagerly says, “I can’t wait to go back to Japan!”—His desperation to come back to Japan is probably what took him down the memory lane, and became the underlying source that generated the sentimental, nostalgic mood.

The film was entirely shot in Japan. It was directed by film director Hideto Hotta—who had cut his teeth as a project planner and film director for independent media outlets, and recently produced music videos and documentaries for artists like OZworld, MIYACHI, and Shakabozu—and Andrea also took part in directing, remotely from Milan. “The Japanese team is very good and professional and managed to get the message I wanted to send,” Andrea proudly tells us. Though, he is already thinking about the next and conceiving an even brighter future in his head, “by the time people wear the [spring/summer 2022] collection, the problems will be resolved, therefore, I hope for a return to travel also by the international press and in the possibility of showing in Milan. It is going to be a beautiful emotion.”

Andrea is not fazed by the unprecedented peril, and he is rather positive about what’s lying ahead. Again, like I said earlier, I’m extremely excited to see his new Onitsuka Tiger collection bring about the “hope that the world is now waiting for.”

Andrea Pompilio
Creator director of Onitsuka Tiger. A designer born in Italy. He was raised in a creative environment—His father an architect, his mother a painter, and his grandmother an owner of a fashion boutique. He was determined to become a fashion designer at an early age. After studying fashion design at the prestigious Instituto Marangoni in Milan and developing his career through working for eminent brands, he debuted his eponymous brand in autumn/winter of 2011 – 2012. After a successful collaboration with Onitsuka Tiger, he became the brand’s creative director.

Kaname Murakami
The chief editor of WWDJAPAN. He is from Shizuoka-prefecture, Japan. After working as a journalist in the social sector of Shizuoka Newspaper, he flew to the United States of America. After he came back to Japan, he entered INFAS Publications, Inc. He is the chief editor since April 2021. He is enamored of fashion and gym.

The post The Japanese Label, Onitsuka Tiger and the Italian Designer Convey “Hope that the World Currently Seeks” appeared first on TOKION - Cutting edge culture and fashion information.

Ginza is a city in Tokyo known as an epicenter of fashion and culture. GINZA SIX is located in such city of Ginza and houses a slew of shops with solid concepts. dunhill GINZA SIX Concept Store is a popup store opened in April on the second floor of GINZA SIX. The store embodies the brand’s heritage as a foundation and displays products that are a match to the modern fashion scene; it is a space where dunhill’s both traditional and innovative attitude is intertwined with the identity of the city, Ginza, which keeps evolving even today.
This time, TOKION has carried out a shoot for the fashion visuals with Shuhei Uesugi, who is an actor, singer, and model of wide versatility, donning the new collection showcased at dunhill GINZA SIX Concept Store. Along with the shoot, we were able to hear Uesugi’s viewpoint on fashion and his episodes around dunhill.

Shuhei Uesugi x dunhill GINZA SIX Concept Store

I want to always keep embracing the classics

――GINZA SIX is a large shopping complex located in Ginza—what kind of image do you have towards the city of Ginza?

Shuhei Uesugi (from hereunder, Uesugi): In Tokyo, most buildings that have been built in the past couple decades look stark. Though, if you look at the city of Ginza, there are a lot of unique buildings while the historic cityscape of Tokyo is preserved, and it makes me feel good just walking around the city. So, Ginza has been my favorite city of all time. Also, there are old tea houses and Kabukiza theater in the city. For shopping, it’s a bit too high-end for me, but other than that, it’s a place where I can explore many new things. Also, the streets are designed in a grid and exude a historic vibe. But they are mostly one-way streets, so when I drive in the city, I often end up going around and around the same place [laughs].

――In GINZA SIX, located in the historic city of Ginza, dunhill GINZA SIX Concept Store has opened. The store carries an array of fashion clothing targeting the young generation as well—Please tell us your thoughts on the opening of this concept store.

Uesugi: Today, I also visited the flagship store (dunhill Ginza flagship store,) which is within walking distance from the new concept store; I thought it’s significantly meaningful that the historical brand, dunhill, has created an open space in GINZA SIX, where different kinds of people gather for different reasons.
I think it’s crucial to adapt to each new generation and present ideas to the younger generation, not only for brands, but for anyone expressing themselves. In a way, it’s a deliberately designed space, where you can also feel dunhill’s attitude of challenging the modern era.
Though, I personally admire dunhill’s classic elements, so even if times change, I want those elements to be everlasting.

――Essentially, what kind of image do you have of dunhill?

Uesugi: No doubt, I have a strong image of it being the quintessential classic brand that provides products for mature men to wear. I myself, used to use a golden lighter from dunhill, and quite often wear the brand’s vintage clothes. For some reason, I’ve been feeling close and familiar to the brand for a long time. Like, it’s always been near me. So, I’d say, it’s my all-time favorite brand.

――So, you feel like it’s a brand exquisitely made for gentlemen.

Uesugi: That’s right. I think it looks cool when people around my age don the brand’s clothes. Actually, I’d like to see them on people who are younger than me. I want younger people to try on these classic clothes. Today, for the shoot, I had a chance to hold the brand’s signature bag, and it made me happy to know that along the cutting-edge designs, the brand embraces their authentic items keeping them the same since the old days. Like, the brand’s gimmick hasn’t changed, and they’ve been carrying on the classic forms. Also, the double-breasted jacket that I wore for the shoot was formally and beautifully designed, but also modified to be worn more comfortably by using linen fabric. I’ve realized that the items are made into a modern fit while keeping a lot of the traditional features.

Instead of being satisfied with myself, I want to constantly set the bar high for myself

――Now, can you describe your perspective on fashion. Also, has it changed at all from the pandemic?

Uesugi: I’d say the baseline hasn’t changed. By the way, it’s not about Covid or anything, and it was probably the timing but, I’ve started thinking that I should wear more good quality clothes even if they’re expensive. Before, I used to wear vintage clothes and pick based on the silhouette and size, without paying much attention to the price and brand. Of course, I still love vintage clothes, but now I wear clothes or brands with price that used to be too much for me to spend. What’s good is good. So right now, I want to be a person who looks good in things that are truly beneficial and valuable. Plus, brand new products look refined and feel comfortable when worn. And the products from dunhill fit my current mood. But to be clear, I don’t need to own a lot of clothes, and I want to wear the ones that are genuinely good for a long time.

――How is it going with music and your acting career?

Uesugi: Regarding music, you see, I’m in a big group called KANDYTOWN. So, there are things that can’t be said on my own, but what’s definitive is that, right now, we’re just about to start working on our new project. We did a show in May, so now, I’m hoping to get started on our next work. For acting, I can’t spoil the details yet, but I’m now working out for the upcoming work. So, I would say, right now I’m in the process of taking in ideas for my various works.

――Would you say, you are spending each day to the fullest with your creative activities?

Uesugi: I think so…. It’s hard to explain, but I feel like there are a lot of people around me, who are more liberated and authentic to themselves than I am to myself, so I strive to be like them, but speaking of work, I think it’s going quite well. Now, I’m constantly figuring out ways to express myself more freely. There are constant worries, but I think I’m on the right track as there are a lot of fun things I get to do, like today’s shooting. Instead of being satisfied to the current state, I want to make sure that I live each day with diligence.

Shuhei Uesugi
An actor born in 1992, in Tokyo. As well as appearing in many TV dramas and commercials, he is a rapper belonging to the hip hop group, KANDYTOWN. Currently, he is preparing for his upcoming acting work.
Instagram：＠shuheiuesugi8

■dunhill GINZA SIX Concept Store
A temporary concept store opened in April. The store showcases the brand’s new items, iconic leather goods and accessories, and selected items by creative director, Mark Weston.
Address: GINZA SIX 2nd Floor, 6-10-1 Ginza, Chuo-ward, Tokyo-city
Opening hours: 10:30AM – 8:30PM
※Store hours are subject to change. Please call the store for further information.
Holidays: None
TEL：03-6891-3390

Model Shuhei Uesugi
Movie Masataka Saito（RIGHTUP）
Photography Takaki Iwata
Styling Takeshi Toyoshima
Hair & Make up Taro Yoshida（W）
Text Ryo Tajima
Translation Ai Kaneda

The post Actor Shuhei Uesugi Dons dunhills New Collection for the Fashion Shoot Carried Out at the Brand’s Newly Opened Concept Store in GINZA SIX appeared first on TOKION - Cutting edge culture and fashion information.

Some of the items showcased at True Colors FASHION—one of the programs of True Colors Festival – One World, One Family hosted by The Nippon Foundation—will be available at TOKiON the STORE and TOKION E-STORE from May 30^th to June 13^th.. 

True Colors Festival is an art festival where the collective of exceptionally talented unique individuals of all abilities, gender, age, language and nationality share enjoyment with others; and one of the programs, True Colors FASHION, is a Diversity Fashion Show, which media artist Yoichi Ochiai serves as the general director. (For the overall information, click here to read the article that picks up on the show.)

True Colors FASHION: The Future is Now! Runway Show

True Colors FASHION:The Future is Now!True Colors FASHION presents The Future is Now! a series of presentations & dialogues about tech wearables and adapti…

www.youtube.com

Works of 01 BORDERLESS WEAR produced by creator Masatane Mutoh, who fights against ALS and perseveres through challenges, the pioneer of adaptation fashion, Tommy Hilfiger Adaptive, and official goods of True Colors Festival are among the items that will be exclusively available at TOKiON the STORE and TOKION E-STORE. True Colors Gummy made by Kasugai Seika will also be given out in store. 

In addition, “LIVE JACKET”—created by Yoichi Ochiai in collaboration with KANSAI YAMAMOTO and Hidefumi Kenmochi, allowing its wearers to feel sound with their whole bodies—will be exhibited. You can also wear and experience the jacket in store. 

LIVE JACKET x KANSAI YAMAMOTO

A bodily perceptual sound experiencing apparel, “LIVE JACKET,” redesigned by KANSAI YAMAMOTO. You can feel the soundscapes composed exclusively for the event by Hidefumi Kenmochi. Available to try it on in store. 

01 BORDERLESS WEAR

01 (zero one) is a fashion brand by Masatane Mutoh, a designer with amyotrophic lateral sclerosis (ALS). Aiming to create a BORDERLESS society where everyone can push boundaries in their own ways, 01 offers BORDERLESS WEAR, a stylish and comfortable collection that transcends the barriers of disabilities. This time, 01 is releasing a new item in collaboration with a special flower artist, Makoto Azuma, that propagates the worldview of “EVERYONE,CHALLENGER.(feat.androp)by EYEVDJ MASA.”
※A portion of the profit will be donated towards supporting those with ALS.

TOMMY HILFIGER ADAPTIVE

Tommy Hilfiger Adaptive is a collection for adults and children with disabilities. It includes features that make putting on and taking off easier and which factor in the requirements of wheelchair users, and compatibility with prosthetic arms and legs. All of this is designed to be inconspicuous and simply part of each item of apparel. This is a lineup that is hard to find in actual stores.

True Colors Festival official goods

Goods include T-shirts designed by Kom-i and haru., tote bag, masking tape, and cap with True Colors Festival logo designed by Kazunari Hattori.  

True Colors Gummy

Kasugai Seika Tsubu Gummy package design made together with various individuals with color vision deficiency, under the theme, “listening attentively to body diversity.” This original gummy package is a project that provides opportunities for people to reflect on body diversity and delve further into understanding the diversity in color perception abilities. Giveaway only available in limited quantities.  

■TOKiON the STORE
Address: MIYASHITA PARK North 2F, 6-20 Jingumae Shibuya-ward, Tokyo
TEL: 03-6712-5665
OPEN HOURS: 11AM – 8PM (hours are currently reduced)

Photography Yohei Kichiraku
Translation Ai Kaneda

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The post Pop-up of the Fashion Show, True Colors FASHION, Launching at TOKiON the STORE “LIVE JACKET” Made by Yoichi Ochiai Exhibited In Store appeared first on TOKION - Cutting edge culture and fashion information.

On May 30st, there will be a new online fashion show with themes of diversity and adaptive fashion (clothes that adapt to people with unique individualities). The title is True Colors FASHION-The Future is Now. The presentation is one of the series of True Colors Festival, hosted by the Nippon Foundation, which looks at the physical and capability borders in disabilities, sexualities, generations, and languages through performing arts. 

In line with the concept, “clothing is a basic necessity, but at its best, becomes a form of self-expression as fashion. Human bodies call for fashion that is designed in recognition of individuality, and updated by technology,” researcher and media artist Yoichi Ochiai serves as the general director of the show. 

11 fashion brands/projects and tech developers/companies that support disabled people and their bodies will showcase a show centered on visually impaired people, people with hearing impairments, prosthetic limbs for children, ALS, pregnant people, and so forth. There will also be a video of Ochiai speaking to the 11 groups of creators too. In his words: “I am interested in how technology can support one’s physicality. I hope this event can help sharpen the audience’s awareness of the diversity of bodies and awaken the audience’s own bodies too.” 

Ochiai has carried out and received high praise for many projects that combine diversity and technology. We asked him about his zeal for the show and thoughts on diversity, which is the foundation for said show. 

The potential of devices and fashion design  

——You’ve developed projects about diversity in the past too. Could you talk about some projects you’ve been involved in? 

Yoichi Ochiai (Ochiai): I’m the representative of xDiversity (Cross Diversity), a project supported by JST CREST (Japan Science and Technology Agency CREST). Our research theme is on gearing technology towards visual impairments, hearing impairments, and physical disabilities. OTOTAKE PROJECT, where Hirotada Ototake, a writer with tetra-amelia, used robotic legs to walk, is one example. Also, we’ve held workshops using Ontenna (a user interface where the user can feel sounds via vibrations and light) and created See-Through Captions, a communication tool for deaf people and hard-of-hearing people, which converts audio conversations to subtitles in real-time. Based on communication and hosting workshops between disabled and non-disabled people, and for disabled people themselves, we reflect on [how to create] a society where different people could keep their individuality, live a regular life, and remove the walls of physical and capability differences. This way of thinking is similar to digital nature; a theme I often use in my art and research at the research center. When marginal costs change and digital technology that can adapt to diversity is born, division in the modern sense of the word will be gone. After that, the mutual understanding between the majority and minority and forming a diverse community will be imperative. 

——Perhaps there are quite a few links between your interests and research in this fashion show. 

Ochiai: Fundamentally, through shows and events, I wanted to explore what would happen if someone who creates devices collaborated with fashion designers. So, the show will probably focus on device developers and designers. 

——You’re also going to partake in the show and reveal the latest version of LIVE JACKET which you built previously. Could you touch on that a bit? 

Ochiai: I initially made this in collaboration with the rock band ONE OK ROCK. It’s what you would call a wearable sound jacket. The jacket has speakers that emit low and high sounds and vibrations; you can experience sounds using your whole body. Drums, guitar, and other sounds and vibrations randomly come out from different parts of the jacket, and you can experience music like never before. Deaf soccer player Kento Nakai coincidentally visited an exhibition where I presented this jacket. Nakai-san told me, “People with hearing impairments can enjoy Live Jacket too.” A few projects on diversity and music started because of that. 

——This version of LIVE JACKET is a collaboration with KANSAI YAMAMOTO. What is it going to be like, specifically? 

Ochiai: I’m attaching the device to KANSAI YAMAMOTO clothes. I’ve also collaborated with an orchestra before. But this will be my first attempt to wear it and walk onstage. 

Wanting to deepen mutual understanding via the event  

——What aspect of the 11 groups in the lineup will you be paying attention to? 

Ochiai: Firstly, I have selected [disabilities and devices] that are widely known, such as visual impairments, hearing impairments, physical disabilities, ALS, and wheelchairs and prosthetic legs that support [such conditions]. One of the concepts is to express the diversity of bodies and such people’s individuality. I want to pay attention to the elements that make them look cool, a uniqueness exclusive to them, and things like that. 

——Do you mean you want to find what makes them cool and bring that out of them, as opposed to solely focusing on their disabilities? 

Ochiai: If technology develops even more in the future, physical and capability disparities might disappear. Also, if everyone were deaf, then that wouldn’t be a disability; it’s considered a disability because most people can hear. Thinking about it, if technology could [help deaf people hear], then the “difference” would only be between [a hearing person and a person with hearing impairments who became hearing because of technology]. With that said, adjusting the minority’s values to the majority isn’t the essence [of the matter]. Niche things are beautiful, and that’s why we have diversity. It’s vital to make their individuality, coolness, and beauty shine. If my approach isn’t to bring out that coolness through collaboration—instead of pushing [my ideas] onto them—I would end up expressing the values of the majority. So, I have to be careful. 

——I see. I’m starting to hear people say the words adaptive fashion recently. What do you think is necessary for those with disabilities to enjoy fashion? 

Ochiai: I think many disabled people enjoy fashion. But there aren’t a lot of companies [that produce clothes for disabled people]. For instance, some wheelchair users’ legs move involuntarily, and their shoes come off because of that. Some women wear shoes with velcro straps on them, even if they don’t really want to. Not having many options is a big problem. I want to create a future where locally produced technology or manufacturing technology can resolve that. Perhaps there are many more issues we’re unaware of. That’s why we’re also going to put out interviews with those involved, aside from the show itself. There are many things only they know about and things they usually can’t say. I want to lean in and listen to them. 

——What are you thinking of asking in those interviews? 

Ochiai: I genuinely want to ask what they think about fashion. This is something I heard from a friend, but there’s a visually impaired person who likes to wear pink. They asked her, “Why do you wear pink?” and she said, “I wear pink because people tell me it’s cute and looks good on me.” She’s not being forced to wear pink; it’s her preference. You can say she’s free to do it, but if she’s following sighted people’s values, then I can’t help but wonder if that’s alright. If she understands color as a tool to match the majority’s values, then perhaps there’s another way of thinking. Maybe she can express what she truly likes with other colors. 

——Could you expand on that? 

Ochiai: Recently, I was thinking about umwelt, partially because I was working on something based on SDGs in Kitakyushu. German biologist and philosopher Jakob von Uexküll coined this term. It’s about how every living organism has a world they’re aware of and that each of them perceives themselves as the main subject and their own world. For example, the smell-based world that dogs perceive and the sight/sound-based world humans perceive are vastly different. Of course, the world blind people perceive is different from the world deaf people perceive. Attempting to make everyone’s worldview the same is absurd. Meaning, blending the minority’s “world” with the majority’s “world” is extremely violent, and it’s not something I want to do. But I do often think those with different values as mine—for instance, the outfit or way of thinking of the person sitting next to me—are cool, or it makes me want to copy them. That’s what I mean when I say I want to pay attention to their coolness through the show. There are many discoveries every day, and I feel like wanting to mix different cultures is a natural idea of creativity. 

——That point of view might be the authentic understanding of diversity, as well as the key to open up a diverse society. 

Ochiai: I question if the concept of the majority and minority exists in relationships between other living organisms. For example, I don’t think dogs really think about how monkeys feel, and monkeys don’t believe they’re superior because there are more of them than dogs. The problem of the majority and minority occurs because the same group lives together; maybe it doesn’t really occur between different species. If we look at it from a broad perspective, we could consider the mutual understanding between the minority and majority more openly. It might be unnecessary to cater to just one of the values, but mutual understanding is a prerequisite. I hope this event could be the catalyst for that sort of mutual understanding. I want to discover the essence of diversity together with the participants. If you perceive [the event] with your sensibilities and without assumptions, I think it’s also alright to approach it with context and logic. 

Yoichi Ochiai 
Media artist born in 1987. He earned a Ph.D. in Applied Computer Science from the University of Tokyo’s Graduate School of Interdisciplinary Information in 2015. In the same year, he became the head of Digital Nature Laboratory as an Assistant Professor at the University of Tsukuba. In 2017, he became an Associate Professor, and in 2020, Ochiai became the Director of Strategic Platform for Digital Nature. He is also a Visiting Professor of Osaka University of Art, Kanazawa College of Art, Kyoto City University of Arts, and Digital Hollywood University. He has won: the World Technology Award in 2015, Prix Ars Electronia in 2016, EU Starts Prize, his fifth Laval Virtual Award in 2017, four years in a row, SXSW Creative Experience ARROW Awards in 2019, and Cannes Lions Music Bronze and SDGs Shortlist in 2019. He was selected for St. Gallen Symposium’s Leader of Tomorrow, the Global Shapers at the World Economic Forum, and was one of the Innovators Under 35 selected by MIT Technology Review. 
https://yoichiochiai.com

A 180-minute online show about the diversity of bodies

True Colors FASHION: The Future is Now! Runway Show

True Colors FASHION:The Future is Now!True Colors FASHION presents The Future is Now! a series of presentations & dialogues about tech wearables and adapti…

www.youtube.com

11 teams will appear on the runway for True Colours FASHION, an online fashion show based on diversity. The 11 groups are: Masatane Muto/01/ALS SAVE VOICE PROJECT, Tommy Hilfiger Adaptive/GIMICO/Kenta Abe/Masunoshin,Hirotada Ototake/KORISHOW PROJECT/OTOTAKE PROJECT, Xiborg “Run for All”/Runner kids, Mari Azuma/WHILL, GenGen/LIVE JACKET/KANSAI YAMAMOTO, OTONGLASS/betapost/Fumiya Hamanoue, RYUCHELL/MIKAGE SHIN, Kokone/Nene/KOTOHA YOKOZAWA, pippi/ANREALAGE/Ontenna, and Mission ARM Japan/HATRA. An unprecedented portrait of bodies will come forth via models with different body types such as those with limb deficiencies, hearing impairments, people with ALS, the elderly, pregnant people, and children. Along with interviews with each team on their process, these 180 minutes will make you think about the diversity of bodies.

GenGen/LIVE JACKET/KANSAI YAMAMOTO are going to present LIVE JACKET, a visual manifestation of feeling the music through its vibrations. Hidefumi Kenmochi will be in charge of the sound design, and GenGen, a dancer with a hearing impairment, will model the jacket.

RYUCHELL/MIKAGE SHIN will showcase a dress for pregnant women as well as un-pregnant women and men. Drawing from RYUCHELL’s notion of family, MIKAGE SHIN designed an original print using tulips (symbolic of honest love and love for humanity) and irises (symbolic of hope). By wearing an artificial pregnant belly and a dress, he will embody a person of a new era.

Pippi/ANREALAGE/Ontenna have created a headpiece, earrings, and necklace out of thin, flexible fibers of light (optical fiber) in a knit and lace pattern. These accessories respond to and interact with sound. By “translating” audio information to visual information, it paves the way to a new form of fashion.

You can tune into our special program, “An Audioguide by Fashionistas,” with Kaname Murakami (chief editor of WWD JAPAN), Soudai Yamaguchi (fashion director), Keita Tokunaga (wheelchair-using fashion journalist), and Kao Kanamori (producer of True Colours FASHION) on UDcast.　

■ True Colors FASHION: The Future is Now!
Date: May 30th, 2021, 1 pm~

True Colors FASHION身体の多様性を未来に放つダイバーシティ・ファッションショー：アーカイブ | True Colors Festival – 超ダイバーシティ芸術祭

あなたの身体には多様性が潜んでいる。テクノロジーとファッションがアップデートする身体の挑戦を見つめ、個々の身体に耳を澄まし、体を研ぎ澄ます。

truecolorsfestival.com

Five participating brands (ANREALAGE, betapost, MIKAGE SHIN, HATRA, and YAMATO x KORI-SHOW PROJECT) will exhibit their clothes. We’re planning on having an order-taking exhibition in early summer.

■House @ Mikirihassin 
Date: May 30th (Sunday) ~ June 13th (Sunday) 
Location: Jingumae, Shibuyaku, Tokyo 5-42-1
https://shop.mikirihassin.co.jp

A selection of items will be sold at TOKION E-STORE and TOKiON the STORE from May 30^th to June 13^th.

Further, some items from Tommy Hilfiger Adaptive, 01, and more will be sold at TOKION E-STORE, our online shop, and TOKiON the STORE in MIYASHITA PARK from May 30th to June 13th. The LIVE JACKET worn during the show will be displayed at TOKiON the STORE as well.

Photography Hironori Sakunaga
Text Masanobu Matsumoto
Translation Lena Grace Suda

Contact
The Nippon Foundation DIVERSITY IN THE ARTS
TEL: 03-6455-3335
MAIL: info@truecolorsfestival.com

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The scope of art widens in tandem with advances in technology. Means of expression grow broader and more diverse as time marches on, such as with VR for AI and AR. Such advances and widening occur due to a desire for art among both the artists expressing themselves and the audience. Now more than ever, art is deeply entangled not only with technology, but also with fashion and music as it extends outward like a vast ocean. This should be apparent to anyone who takes a look at social media sites, where tons of art is being uploaded every day. It is wonderful that audiences are able to freely enjoy such art which is now so accessible. Yet rather than just merely appreciating it, at times we ought to turn our attention to the artist’s sensibilities and viewpoint, as well as the background behind its creation. 

Shohei Otomo is an artist who uses ballpoint pens to produce drawn pieces in black and white that are elaborate and subtle. Otomo’s works are drawn using the type of ballpoint pens for office use that can be found anywhere. It is this means of expression with a sense of tension hanging over it from the fact that these strokes of the pen cannot be undone that draws the audience in. In this article we will thoroughly examine the new pieces drawn by Otomo by incorporating iconic elements from Gucci as well as the rough sketches made on the way to creating them out of a desire to take a deep dive into both the messages embedded within them and the appeal of his work, together with comments from the artist himself. 

Two pieces imbued with Gucci elements and “hope” 

One of the two pieces he sketched portrays a motif of a kinetic, beautiful woman, while the other is that of a lion floating amidst a jet-black backdrop. At the same time these pieces take on a finely-detailed realism that one would not expect from works drawn with a ballpoint pen. When one examines both pieces by visually comparing them, one senses that they inhabit a contrasting relationship between yin and yang (light and shadow). If the piece with the woman in which the elements of the Gucci clothing pattern is represented in a gradation from bottom to top is taken as the yang, then the picture of the lion’s mouth with the double G pattern rising up out of the darkness represents the yin. In light of this contrasting nature, one might conjecture that the messages embedded within them are different, but in his response Otomo indicated that this is not the case. “I wanted to imbue the two pieces with this contrast between black and white. The portrait of the woman is an ascending image. The lion, which has held the significance of dispelling disaster and ill will since long ago in Japan, is an image indicative of the power that resides within.” Speaking about both pieces like so, Otomo used his ballpoint pen to imbue them with such “hope.” 

Next, we will examine some of the rough sketches from the process of creating these pieces. Along with the woman dressed in the style of the bosozoku (Japanese biker gangs) wearing the tokko-huku jacket typical they are known for, we see a woman’s arm holding a wakizashi (short sword) and a courtesan wearing sunglasses. As one can see by looking at these prior works, Otomo actively incorporates Japan’s traditional culture and subcultures into his works. Otomo has established a sense of originality through this mode of expression in which Japanese culture is fused with symbols of modernity such as the sunglasses. I believe that this style presents the viewer with new value while stirring up their emotions. 

Let’s examine these even more closely. Upon closer inspection, one realizes that in both cases their “eyes” are concealed: the woman’s by her sunglasses and the lion’s by the darkness. Works in which the subject’s eyes are not depicted is a feature often seen in Otomo’s past works. In a previous interview, Otomo offered the reply, “I feel that drawing absolutely everything throws my rhythm off, whereas leaving some things out produces its own rhythm … [omitted] … Doing it this way produces an enigmatic depth, and I am partially of the mind that I want this to serve as an entry point for approaching my work.” By not depicting absolutely everything, he creates blank spaces and intervals. These blank spaces and intervals are part of a sensibility that is uniquely Japanese, and become apparent by observing them as a characteristic unique to Otomo.

Shohei Otomo is using his ballpoint pen to clear the way in an anxious world with an uncertain future 

But why is it the case that Otomo, who studied oil painting back in his student days, draws pictures in ballpoint pen and not pencil? “My personal stance when it comes to drawing pictures is to leave them fundamentally unchanged from when I first jot them down in my notebook. I find they turn out better on ordinary stationary rather than with specialized art supplies. The feeling resembles drawing pictures on the notebooks you would jot notes down on during class, like the ones made for writing (kanji) characters. As for the ballpoint pens, I like the cheap ones for office use that are hard to draw with.” Ever since he was a young child, Otomo created pieces over a long period of time by continuing to use his favorite implements. This accumulated output is a testament to Otomo’s true self, and ties directly in with his outstanding powers of description. 

These two pieces imbued with Otomo’s heart and soul were created right in the middle of the novel coronavirus pandemic. They have an intense power that serves to embolden us and steel us mentally as we live through one day after another full of hope mixed with uncertainty. Shohei Otomo will continue to express himself via works that interweave the past with the present via ballpoint pen. One can’t help but wonder where such a rare artist as he is headed in the future. 

Shohei Otomo
Born in Musashino City, Tokyo in 1980. After graduating from Tama Art University, embarked upon his activities as an artist. Has released works made using ballpoint pens online, and has garnered worldwide recognition as an artist via the internet. Has displayed works in places like Japan, Paris, Italy, Australia, and Hong Kong to date. Recently has taken up the challenge of art via new forms of expression such as sculpted artworks and AR filter pieces.

Photography Yoshimitsu Umekawa
Motion & Sound Shigeru Suzuki (THE ME)
Cooperation Abilio Marcelo Hagiwara

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Eliminate the thinking process for creation

Yokoo’s work doesn’t have a set style or pattern. Fantasy images coexist with reality in the work. Many of the motifs defy a logical explanation. Where do such ideas come from?

“Chosen intuitively and fleetingly from a stock of various visual experiences from past memories. I’m not particularly interested in logical consistency. I create an encounter between unmeasurable things. I don’t think of creating things with a purpose, so I’m not interested in finished work. So the purpose of drawing is not to draw results or a just cause.”

Eliminating the thinking process in the production of work is Yokoo’s individual stance of “reception ability” to make one’s own thoughts those of another, and has left countless works with that theme. Yokoo continues to collaborate with fashionable brands. What thinking went into the collaboration with Gucci this time?

Brand logo’s jump straight into one’s eyes from works in the series “Kohke.” Vibrant pink and yellow background is repainted over the green and red of the Gucci colors and the GG pattern is a brilliant collage.

Also, to celebrate the 5th anniversary of the Yokoo Tadanori Museum of Contemporary Art, built in 2018 to commemorate the Hyogo Prefectural government’s 150th anniversary Predecessor Project, the works of the HANGA JUNGLE exhibition are surprising with elements of Gucci motifs. “Hanga” is well-known in English to mean super print, not the more traditional meaning of “print,” and works that combine the Gucci brand logo with the key colors of red and green are included intuitively in collages with the same theme as the exhibition where Yokoo’s varied expression is layered with the word “jungle.”

“There is no particular reason for choosing from the several candidate Gucci logos. The collage balance was improvised and set intuitively. Other logos or characters would have been just as good. I made 2-D works 3-D and I’m interested in situations where a new function is implemented in society. Similar to certain works, artists and fashion brands, in a way homage aims to break away from authority. Malevolence is necessary for that. Respect and beautification cannot exceed the object. You may also unknowingly reject the value of the market. Being too greedy in the market will stifle your freedom. I even think I should deny my purpose for freedom. In other words, I prioritize self-evaluation over social evaluation. Conventional styles will be the death of art.”

One of a kind originality when even one’s own work is subject to copying

As a feature of Yokoo’s work, which does not have a particular style, is the repetition of motifs. The “Pink Girls” series, representative of the 1960’s, was displayed again in the 1990’s and was drawn intermittently until recently. Also, works since the 2000’s symbolize “Y-Junction” and the same scene changes gradually through many iterations. Originally, Yokoo regarded copying existing images as an important element of his work. Then is can be said that his one of a kind originality is subject to copying. It is not just self-imitation, his conviction is supported by the idea that “works evolve over time” and is antithesis to Yokoo’s common sense.

“I always want to be new. Today I want to draw different images to the ones I drew yesterday. I’m always thinking how my drawings will change and develop. This is different to forming a setup. When I didn’t have a particular style, one of my peers said “Your style is all over the place! Are you sure you’re not schizophrenic?” and then I knew I had found my path. That was shortly after I turned to painting. An original way of drawing or compositional variations was never there from the beginning.”

When asked for a final message he replied “I am incomplete; my drawing are incomplete.” This time the works are themed around the Gucci motif, and include collages on “repetition,” which is the true value of Yokoo’s work, as well as visual and abstract metaphors. The artwork makes you appreciate the message that “everything is incomplete” could be considered a final present from Yokoo.

Tadanori Yokoo
Born in Hyogo Prefecture in 1936. Worked as a graphic designer from the 1960’s, and transitioned to being an artist in 1981. Since then was engaged in producing various pieces as an artist. The Yokoo Tadanori Museum of Contemporary Art, opened in 2012 in Kobe city, stores over 3000 pieces of art. Recently, solo exhibitions have been hosted by Tokyo Modern Art Gallery (1997), Hara Art Gallery (2001), The National Museum of Modern Art, Kyoto (2003), among other venues. Currently, the “Hyogo Prefectural Yokoo Emergency Hospital” exhibition will be at the Yokoo Tadanori Museum of Contemporary Art until August 30th.

Photography Masahiro Sanbe
Motion & Sound Shigeru Suzuki (THE ME)

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