For "FASHION HEADLINE," we asked journalists and buyers to share their reviews of the 2013 Spring/Summer Tokyo Collection.
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Our second guest is Masuda Kaijiro.
Respondent:
Masuda Kaijiro (Fashion Journalist/Creative Director)
Q1: Which brands did you like best and why?
A:
・writtenafterwards
The show was like a cheap, solemn ritual of a new cult, mixing together an annual festival in a closed-off village in Tohoku during the Showa era with pros and cons about Japanese fashion culture, which absorbs and reconstructs the clothing cultures of all eras and countries. It seemed as though the show was both happy and sad about the editing culture that is being lost among young people in Tokyo today. I also sensed a longing for the passionate Showa era and a sense of sadness about the sense of stagnation that seems to be pervading Japan today. Although the expression was completely different, I felt the same thing when I saw the blackmeans exhibition a few days after the show.
As always, there's almost no wearable clothing. I was negative about this for a long time, but since starting his activities in Japan with "Newcomers Met in Europe" in Spring/Summer 2008, Yamagata has been regularly releasing collections and seems to be making a living. I now understand that he is proposing a new path for fashion designers, overturning the conventional wisdom of "selling clothes wholesale to select shops or directly in stores."
But then, in Autumn/Winter 2010, he presented a real-clothes fashion show titled "Crime and Punishment." As I personally expected, the clothes were a mix of Lolita, pre-war European (more peasant) influences, and a cozy Tokyo vibe. His tastes in this area are very similar to those of his former partner, Tamai, now of Ase Don Cloud, and it's easy to see why these two seemingly polar opposites ended up working together. Yamagata said that "this show put me in a slump," but I believe that Adam, the protagonist of the four-part "The Tale of Urashima Taro Adam," which concluded this time, was a projection of him in that confused state.
Now that Yamagata has finally become the "god of clothing" and cast off the armor of Adam, I can't wait to see what his next proposal will be. I don't know when it will be, but I believe the next real clothes he creates will be completely different from Crime and Punishment.
- et momonakia
The theme song, Akina Nakamori's famous song "TATTO," was released in May 1988. It was right at the height of the bubble economy, and the body-conscious costumes that symbolized both the bubble and Roppongi became a hot topic. The show featured Akina's music from her heyday, dresses that combined the brand's signature elegance with a unique sense of freedom (or aggression?), a Mercedes dealership in Roppongi, and the R230 SL63 (65?) AMG that dominated the venue, creating a perfect harmony that made for a highly polished and enjoyable show.
That said, it wasn't a literal reproduction of the costumes from 25 years ago. While the production perfectly recreated Akina's on and off-duty looks from the bubble era, it was merely a parody, and I was impressed by how well the brand's world was conveyed in each scene. The small floral-printed TATOO dresses, which didn't fit perfectly to the body but instead created a slight gap to create elegance, are symbolic of this. While it lacked the opulence of the bubble era, it still captured the elegance of 2012 Tokyo (although the duo's studio is in Kansai). In Roppongi, I felt a cultural maturity as I contrasted the current era with the bubble of my memories (the DC generation of designers who rose and disappeared like fireworks).
・Sise
As this was Sise's first show under the Mark Styler umbrella, I was filled with a mixture of anxiety and anticipation, but I got the impression that the quality had risen a notch while still maintaining Sise's signature clean, minimalist worldview. He skillfully incorporated patterns, which had previously been a weakness for him, such as a faded jacquard check pattern, highlighting his steady evolution. However, one thing that bothered me was the three-dimensional look and shoulder line of the tailored jacket. Sise, along with ETHOSENS, are one of Tokyo's two "straight-line bosses," and linear patterns are one of their defining features. I personally believe that this weapon was what allowed Dior Homme to attract fans since Hedi Slimane stepped down. I wasn't able to attend the exhibition, so I can't confirm the details, but I found the elegant curves of the classico style and the slightly concave shoulder line a little odd. While boyishness is one of Cisse's greatest virtues, I got the impression that he'd grown up a little. If this was something that came naturally from Matsui, I wouldn't reject it...
Also, I think it's about time to move on from Jack Purcells. I'd love to see Cisse's own minimalist white sneakers next.
・Jenny Fax
Jenny Fax's show installation was something I could understand for the first time. Jenny Fax has always shown even more eccentricity than Sakabe, printing family photos on T-shirts and using her sister as a muse. This time, through the theme of a trendy Japanese drama set just after the collapse of the bubble economy (a criticism of the bubble era that love isn't about money), she directly expressed her love for her partner Sakabe, with whom she has recently been drifting apart due to their busy schedules. Designers and novelists are meant to reveal their inner selves, and I think she's the one who can do so most confidently and shyly right now.
Turning to her clothing, while office lady uniforms are difficult to pull off, there are now many more pieces I can wear. Her frequent use of pastel colors and sheer materials is similar to Sakabe's, but I like the straightforward and casual way she arranges her characters. If this were arranged in a logical way, it would be difficult to wear, but she has an exquisitely handmade, street-style feel. I think it would suit young women in Tokyo today.
・Motonari Ono
Among the second wave of European returnees, this is the only brand that continues to present in the form of a show. Initially, the brand's style was one of revealing character costumes, mixing European elegance with Akihabara-style otaku culture, but with each season, the otaku vibe has faded and she's moving in the direction of elegance. This season, the performance featured a spectacular performance in which models carried bodies dressed in costumes and then set them on stage. The geeky vibe was completely gone, and I felt that Motonariono's elegance had been perfected. Also, Ono, who always wore the same outfits to greet guests after shows, has been wearing outfits linked to the theme for the past few seasons, and his once-overweight body is gradually becoming more muscular. I feel as though his personal transformation is reflected in his collections, reaffirming my belief that "a designer's personality and lifestyle changes are unconsciously reflected in their clothes."
However, while it seems that Ono has become one of the main brands at fashion week, his style does not mesh well with select shops, and his wholesale numbers are still in the single digits. His Loveless line seems to be hugely popular with celebrities, so I hope he will work on building a business model that doesn't rely on wholesale in tandem with his creative work. Q2: Which brands are worth watching and why? A: Barbudos. The show, which was created by the designer's friends with all the production, sound, stylists, and press involved (though he called it an installation), felt very childish and amateurish because it wasn't handled by show professionals. The items themselves were often poorly made, including the five-pocket pants that made the crotch bulge stand out, and frankly there weren't any memorable pieces or looks. The low sound, the runway that was just a white cloth, and the production that went back and forth twice all showed the brand's lack of funds in a negative way. It was a real shame, considering they were able to create such a unique world in AW12. However, my opinion of them remains unchanged. We haven't seen a designer with such individuality, imperfection, and a dangerous charm in recent years, and I can't help but feel that he has something beyond the common sensibility (beatnik, purple, ombre check, etc.) shared by those who graduated from Nepenthes and Number Nine, where he previously worked. "If I expressed everything I like, it wouldn't sell, so for now I'm keeping it to about 30%," the designer said at the second season's exhibition, and while it may be irresponsible, I think it's fine to express about 80%. With the domestic market shrinking and the younger generation becoming less interested in fashion, what true fashion lovers are looking for now is overwhelmingly unique clothing. I'm looking forward to your next post!
Q3: What items do you want or have you ordered? A:
・Things I want:
Blue gingham check Gore-Tex parka from White Mountaineering
Green paisley print blouson from PHENOMENON
Oversized pullover shirt and gradient check coat from Sise
・Things I've ordered:
m's braque: Safari-style short-sleeved jacket and something...
sacai: Denim shirt and striped easy pants
PASCAL DONQUINO: Hawaiian print cardigan
Maple: Hawaiian print short-sleeved shirt made from the same material as the M65
TALKING ABOUT THE ABSTRACTION: Transfer-print clutch bag and umbrella
hatra: Denim shirt coat
tilak: Short-sleeved pullover shirt I only wear my go-to brands, but this is my first time ordering from Hatra. I'm in the mood for flashy patterns and beige and green, and next spring I'd like to try a safari style that combines vintage (Bana Republic, Abercrombie & Fitch, Willis & Geiger from the 70s and 80s) with modern styles.
Q4: Overall impressions of this season's collections
A: The final Shibu Fest was a big hit, so I was able to finish the 10 days feeling good. Unlike the lackluster 2012 Autumn/Winter season, this was a season where the influential people really showed their strength. Shibuya Hikarie (9th floor), which became the main venue this time, may have good capacity and facilities, but it was in a location that was less visible to the general public than I expected, so I didn't see the benefit of holding it there. If they set up tents in Miyashita Park and continued the Shibu Fest vibe for a week, I think it would become a unique fashion week unlike any other in the world... Q5: Thoughts on Tokyo Fashion Week A: I think it's time to reconsider whether a fashion week centered around shows, like the rest of the world, is truly suited to Tokyo. While sales aren't everything in fashion, given the slogan "Bringing Japanese fashion to the world," I don't think we should allow a situation like this, where a representative brand at Tokyo Fashion Week has fewer than 10 wholesale outlets, should be tolerated. We need to seriously discuss "What are Tokyo fashion's strengths compared to the rest of the world?" with people who are familiar with the industry and restructure the structure to reflect those strengths. Personally, I believe that men's fashion brands have an advantage, so I hope for the creation of a men's week that doesn't rely solely on shows timed to coincide with exhibition dates. I also think that the organization should include personnel from major select shops. While the brand's presence overseas, such as Pitti Uomo, New York, and other parts of Asia, is steadily taking shape, Japan itself remains neglected. While the disconnect between major select shops and Tokyo Fashion Week is nothing new, the current situation, where buyers from major select shops are barely present, with the exception of a few popular brands, is clearly abnormal. It's like shooting arrows at a transparent target, with no connection between shows and sales. While we may no longer be in an era where we expect returns on our investment in shows, we must first create an environment where buyers can properly view our products. Furthermore, while the situation for regional select shops is becoming increasingly difficult each year, there are still a huge number of shops, so we should consider inviting regional buyers (and perhaps even using subsidies for this purpose).
Finally, the Japan Fashion Week Organization (JFWO) was established in 2005 with the aim of promoting Japanese fashion, bringing together Japan's textile industry from upstream to downstream. The collection business is managed by major apparel companies, including TSI Holdings Chairman and President Masahiko Miyake. Seven years have passed since the start of JFW, but the only time I can remember a major apparel brand participating in an official scheduled show was with Zechia (now independent), which debuted as a unit under San-A Inter International. Why don't they participate themselves when they have so many brands of their own? If they don't have the right brands, why don't they bring in some great brands? That's the question I've always had.
>
Our second guest is Masuda Kaijiro.
Respondent:
Masuda Kaijiro (Fashion Journalist/Creative Director)
Q1: Which brands did you like best and why?
A:
・writtenafterwards
The show was like a cheap, solemn ritual of a new cult, mixing together an annual festival in a closed-off village in Tohoku during the Showa era with pros and cons about Japanese fashion culture, which absorbs and reconstructs the clothing cultures of all eras and countries. It seemed as though the show was both happy and sad about the editing culture that is being lost among young people in Tokyo today. I also sensed a longing for the passionate Showa era and a sense of sadness about the sense of stagnation that seems to be pervading Japan today. Although the expression was completely different, I felt the same thing when I saw the blackmeans exhibition a few days after the show.
As always, there's almost no wearable clothing. I was negative about this for a long time, but since starting his activities in Japan with "Newcomers Met in Europe" in Spring/Summer 2008, Yamagata has been regularly releasing collections and seems to be making a living. I now understand that he is proposing a new path for fashion designers, overturning the conventional wisdom of "selling clothes wholesale to select shops or directly in stores."
But then, in Autumn/Winter 2010, he presented a real-clothes fashion show titled "Crime and Punishment." As I personally expected, the clothes were a mix of Lolita, pre-war European (more peasant) influences, and a cozy Tokyo vibe. His tastes in this area are very similar to those of his former partner, Tamai, now of Ase Don Cloud, and it's easy to see why these two seemingly polar opposites ended up working together. Yamagata said that "this show put me in a slump," but I believe that Adam, the protagonist of the four-part "The Tale of Urashima Taro Adam," which concluded this time, was a projection of him in that confused state.
Now that Yamagata has finally become the "god of clothing" and cast off the armor of Adam, I can't wait to see what his next proposal will be. I don't know when it will be, but I believe the next real clothes he creates will be completely different from Crime and Punishment.
- et momonakia
The theme song, Akina Nakamori's famous song "TATTO," was released in May 1988. It was right at the height of the bubble economy, and the body-conscious costumes that symbolized both the bubble and Roppongi became a hot topic. The show featured Akina's music from her heyday, dresses that combined the brand's signature elegance with a unique sense of freedom (or aggression?), a Mercedes dealership in Roppongi, and the R230 SL63 (65?) AMG that dominated the venue, creating a perfect harmony that made for a highly polished and enjoyable show.
That said, it wasn't a literal reproduction of the costumes from 25 years ago. While the production perfectly recreated Akina's on and off-duty looks from the bubble era, it was merely a parody, and I was impressed by how well the brand's world was conveyed in each scene. The small floral-printed TATOO dresses, which didn't fit perfectly to the body but instead created a slight gap to create elegance, are symbolic of this. While it lacked the opulence of the bubble era, it still captured the elegance of 2012 Tokyo (although the duo's studio is in Kansai). In Roppongi, I felt a cultural maturity as I contrasted the current era with the bubble of my memories (the DC generation of designers who rose and disappeared like fireworks).
・Sise
As this was Sise's first show under the Mark Styler umbrella, I was filled with a mixture of anxiety and anticipation, but I got the impression that the quality had risen a notch while still maintaining Sise's signature clean, minimalist worldview. He skillfully incorporated patterns, which had previously been a weakness for him, such as a faded jacquard check pattern, highlighting his steady evolution. However, one thing that bothered me was the three-dimensional look and shoulder line of the tailored jacket. Sise, along with ETHOSENS, are one of Tokyo's two "straight-line bosses," and linear patterns are one of their defining features. I personally believe that this weapon was what allowed Dior Homme to attract fans since Hedi Slimane stepped down. I wasn't able to attend the exhibition, so I can't confirm the details, but I found the elegant curves of the classico style and the slightly concave shoulder line a little odd. While boyishness is one of Cisse's greatest virtues, I got the impression that he'd grown up a little. If this was something that came naturally from Matsui, I wouldn't reject it...
Also, I think it's about time to move on from Jack Purcells. I'd love to see Cisse's own minimalist white sneakers next.
・Jenny Fax
Jenny Fax's show installation was something I could understand for the first time. Jenny Fax has always shown even more eccentricity than Sakabe, printing family photos on T-shirts and using her sister as a muse. This time, through the theme of a trendy Japanese drama set just after the collapse of the bubble economy (a criticism of the bubble era that love isn't about money), she directly expressed her love for her partner Sakabe, with whom she has recently been drifting apart due to their busy schedules. Designers and novelists are meant to reveal their inner selves, and I think she's the one who can do so most confidently and shyly right now.
Turning to her clothing, while office lady uniforms are difficult to pull off, there are now many more pieces I can wear. Her frequent use of pastel colors and sheer materials is similar to Sakabe's, but I like the straightforward and casual way she arranges her characters. If this were arranged in a logical way, it would be difficult to wear, but she has an exquisitely handmade, street-style feel. I think it would suit young women in Tokyo today.
・Motonari Ono
Among the second wave of European returnees, this is the only brand that continues to present in the form of a show. Initially, the brand's style was one of revealing character costumes, mixing European elegance with Akihabara-style otaku culture, but with each season, the otaku vibe has faded and she's moving in the direction of elegance. This season, the performance featured a spectacular performance in which models carried bodies dressed in costumes and then set them on stage. The geeky vibe was completely gone, and I felt that Motonariono's elegance had been perfected. Also, Ono, who always wore the same outfits to greet guests after shows, has been wearing outfits linked to the theme for the past few seasons, and his once-overweight body is gradually becoming more muscular. I feel as though his personal transformation is reflected in his collections, reaffirming my belief that "a designer's personality and lifestyle changes are unconsciously reflected in their clothes."
However, while it seems that Ono has become one of the main brands at fashion week, his style does not mesh well with select shops, and his wholesale numbers are still in the single digits. His Loveless line seems to be hugely popular with celebrities, so I hope he will work on building a business model that doesn't rely on wholesale in tandem with his creative work. Q2: Which brands are worth watching and why? A: Barbudos. The show, which was created by the designer's friends with all the production, sound, stylists, and press involved (though he called it an installation), felt very childish and amateurish because it wasn't handled by show professionals. The items themselves were often poorly made, including the five-pocket pants that made the crotch bulge stand out, and frankly there weren't any memorable pieces or looks. The low sound, the runway that was just a white cloth, and the production that went back and forth twice all showed the brand's lack of funds in a negative way. It was a real shame, considering they were able to create such a unique world in AW12. However, my opinion of them remains unchanged. We haven't seen a designer with such individuality, imperfection, and a dangerous charm in recent years, and I can't help but feel that he has something beyond the common sensibility (beatnik, purple, ombre check, etc.) shared by those who graduated from Nepenthes and Number Nine, where he previously worked. "If I expressed everything I like, it wouldn't sell, so for now I'm keeping it to about 30%," the designer said at the second season's exhibition, and while it may be irresponsible, I think it's fine to express about 80%. With the domestic market shrinking and the younger generation becoming less interested in fashion, what true fashion lovers are looking for now is overwhelmingly unique clothing. I'm looking forward to your next post!
Q3: What items do you want or have you ordered? A:
・Things I want:
Blue gingham check Gore-Tex parka from White Mountaineering
Green paisley print blouson from PHENOMENON
Oversized pullover shirt and gradient check coat from Sise
・Things I've ordered:
m's braque: Safari-style short-sleeved jacket and something...
sacai: Denim shirt and striped easy pants
PASCAL DONQUINO: Hawaiian print cardigan
Maple: Hawaiian print short-sleeved shirt made from the same material as the M65
TALKING ABOUT THE ABSTRACTION: Transfer-print clutch bag and umbrella
hatra: Denim shirt coat
tilak: Short-sleeved pullover shirt I only wear my go-to brands, but this is my first time ordering from Hatra. I'm in the mood for flashy patterns and beige and green, and next spring I'd like to try a safari style that combines vintage (Bana Republic, Abercrombie & Fitch, Willis & Geiger from the 70s and 80s) with modern styles.
Q4: Overall impressions of this season's collections
A: The final Shibu Fest was a big hit, so I was able to finish the 10 days feeling good. Unlike the lackluster 2012 Autumn/Winter season, this was a season where the influential people really showed their strength. Shibuya Hikarie (9th floor), which became the main venue this time, may have good capacity and facilities, but it was in a location that was less visible to the general public than I expected, so I didn't see the benefit of holding it there. If they set up tents in Miyashita Park and continued the Shibu Fest vibe for a week, I think it would become a unique fashion week unlike any other in the world... Q5: Thoughts on Tokyo Fashion Week A: I think it's time to reconsider whether a fashion week centered around shows, like the rest of the world, is truly suited to Tokyo. While sales aren't everything in fashion, given the slogan "Bringing Japanese fashion to the world," I don't think we should allow a situation like this, where a representative brand at Tokyo Fashion Week has fewer than 10 wholesale outlets, should be tolerated. We need to seriously discuss "What are Tokyo fashion's strengths compared to the rest of the world?" with people who are familiar with the industry and restructure the structure to reflect those strengths. Personally, I believe that men's fashion brands have an advantage, so I hope for the creation of a men's week that doesn't rely solely on shows timed to coincide with exhibition dates. I also think that the organization should include personnel from major select shops. While the brand's presence overseas, such as Pitti Uomo, New York, and other parts of Asia, is steadily taking shape, Japan itself remains neglected. While the disconnect between major select shops and Tokyo Fashion Week is nothing new, the current situation, where buyers from major select shops are barely present, with the exception of a few popular brands, is clearly abnormal. It's like shooting arrows at a transparent target, with no connection between shows and sales. While we may no longer be in an era where we expect returns on our investment in shows, we must first create an environment where buyers can properly view our products. Furthermore, while the situation for regional select shops is becoming increasingly difficult each year, there are still a huge number of shops, so we should consider inviting regional buyers (and perhaps even using subsidies for this purpose).
Finally, the Japan Fashion Week Organization (JFWO) was established in 2005 with the aim of promoting Japanese fashion, bringing together Japan's textile industry from upstream to downstream. The collection business is managed by major apparel companies, including TSI Holdings Chairman and President Masahiko Miyake. Seven years have passed since the start of JFW, but the only time I can remember a major apparel brand participating in an official scheduled show was with Zechia (now independent), which debuted as a unit under San-A Inter International. Why don't they participate themselves when they have so many brands of their own? If they don't have the right brands, why don't they bring in some great brands? That's the question I've always had.
