Atsushi Nakajima, the designer of ATSUSHI NAKASHIMA, is competing on the world stage with his unparalleled ideas that mix modern and classic, Japanese delicacy with European boldness.
He was the first Japanese to win the DHL Exported project and made his Milan Collection debut in the 2016-17 Autumn/Winter collection. For his second show, the 2017 Spring/Summer collection, he drew huge applause with a surprise-filled production set inside a royal palace built around the 16th century, celebrating 150 years of diplomatic relations between Japan and Italy.
ATSUSHI NAKASHIMA 17SS Collection
Nakajima has worked so hard that he can say, "I would have no regrets even if I quit at any time," but he still has big dreams for the future.
--What specifically does your experience working under Gaultier connect to the present?
Until then, I had aimed to create designs from scratch. However, under Gaultier, I witnessed "meaningful" designs that respected history and culture. He was the kind of person who sought meaning in every detail of a design, asking, "Why did I do it that way?" Europeans really value history, don't they? Japan is a country with a rich history, traditions, and unique culture, so I think it's appreciated in that respect. However, when I was in Japan, I didn't have an objective perspective on my own country, so I wasn't conscious of Japan's proud history. The idea of transforming classic designs and applying them to modern times, which is the foundation of the brand today, is something I learned from Mr. Gaultier and from living in Paris. -I feel like the 17SS collection really reflects the individuality of the ATSUSHI NAKASHIMA brand. How do you usually come up with designs and collection images? It feels like they come from within me. Sometimes they just come to me out of nowhere, and ideas just come to me naturally. I don't often get inspiration from external sources. I've been going out more recently, but I prefer to stay home and sleep in on my days off (laughs).
Sometimes I can't come up with any ideas, but once I have one, I branch out and expand on it. Last season, when I first showed in Milan, there was a dramatic last-minute change to the entire collection just a week before the show. For this season, I had a clear image from the beginning, which allowed me to proceed with relative ease.
--This is your last time participating in the Milan Collection with the support of DHL Exported, but where will you be presenting your collections in the future?
I plan to continue in Milan. From next time onwards, there will be risks in terms of manpower and funding, but I still believe there is value in holding a show in Milan. Buyers visit from all over the world, and your brand spreads globally through the media, so the influence is on a completely different level than in Tokyo.
--You've already made your mark on the world, Nakajima-san. Finally, what are your future plans?
I've worked so hard up until now that I feel I would have no regrets even if I quit at any time. Going forward, I want to raise the brand's profile and become an influential designer. Just having a show in Milan doesn't mean you're recognized and appreciated as a talented designer. I'm keenly aware that there's still something I'm lacking.
The brand is gradually growing, but compared to a fashion house, there's still a long way to go. The fashion industry today is tough; the pyramid is already in place, with the top half full and the bottom half bursting at the seams. There are many fabric options, and we have to compete shoulder to shoulder with top brands that make 3,000 samples and present only 40 carefully selected looks, as well as brands that have strict conditions that require them to use all 40 sample looks. It's difficult, but I want to grow into a globally renowned brand and expand my sales channels.
--Return to Part 1.
He was the first Japanese to win the DHL Exported project and made his Milan Collection debut in the 2016-17 Autumn/Winter collection. For his second show, the 2017 Spring/Summer collection, he drew huge applause with a surprise-filled production set inside a royal palace built around the 16th century, celebrating 150 years of diplomatic relations between Japan and Italy.
ATSUSHI NAKASHIMA 17SS Collection
Nakajima has worked so hard that he can say, "I would have no regrets even if I quit at any time," but he still has big dreams for the future.
--What specifically does your experience working under Gaultier connect to the present?
Until then, I had aimed to create designs from scratch. However, under Gaultier, I witnessed "meaningful" designs that respected history and culture. He was the kind of person who sought meaning in every detail of a design, asking, "Why did I do it that way?" Europeans really value history, don't they? Japan is a country with a rich history, traditions, and unique culture, so I think it's appreciated in that respect. However, when I was in Japan, I didn't have an objective perspective on my own country, so I wasn't conscious of Japan's proud history. The idea of transforming classic designs and applying them to modern times, which is the foundation of the brand today, is something I learned from Mr. Gaultier and from living in Paris. -I feel like the 17SS collection really reflects the individuality of the ATSUSHI NAKASHIMA brand. How do you usually come up with designs and collection images? It feels like they come from within me. Sometimes they just come to me out of nowhere, and ideas just come to me naturally. I don't often get inspiration from external sources. I've been going out more recently, but I prefer to stay home and sleep in on my days off (laughs).
Sometimes I can't come up with any ideas, but once I have one, I branch out and expand on it. Last season, when I first showed in Milan, there was a dramatic last-minute change to the entire collection just a week before the show. For this season, I had a clear image from the beginning, which allowed me to proceed with relative ease.
--This is your last time participating in the Milan Collection with the support of DHL Exported, but where will you be presenting your collections in the future?
I plan to continue in Milan. From next time onwards, there will be risks in terms of manpower and funding, but I still believe there is value in holding a show in Milan. Buyers visit from all over the world, and your brand spreads globally through the media, so the influence is on a completely different level than in Tokyo.
--You've already made your mark on the world, Nakajima-san. Finally, what are your future plans?
I've worked so hard up until now that I feel I would have no regrets even if I quit at any time. Going forward, I want to raise the brand's profile and become an influential designer. Just having a show in Milan doesn't mean you're recognized and appreciated as a talented designer. I'm keenly aware that there's still something I'm lacking.
The brand is gradually growing, but compared to a fashion house, there's still a long way to go. The fashion industry today is tough; the pyramid is already in place, with the top half full and the bottom half bursting at the seams. There are many fabric options, and we have to compete shoulder to shoulder with top brands that make 3,000 samples and present only 40 carefully selected looks, as well as brands that have strict conditions that require them to use all 40 sample looks. It's difficult, but I want to grow into a globally renowned brand and expand my sales channels.
--Return to Part 1.
