--Your samples were on display early at the pop-up shop "Nipponista" that opened in New York in early February. What was the response?

It was right before the men's collection, so I wasn't able to be there, but I heard it attracted a lot of attention. I was especially happy to hear people say they wanted to buy it. I also make leather geta sandals, but perhaps focusing on shoes was a good idea. Indigo is a fascinating dye. Blue is also a color that has a psychological effect on people. People overseas have become interested, so I hope this will serve as an opportunity for indigo dyeing to become more widely known.

--Traditional crafts are often criticized for their lack of successors. How do you view the current situation?

Depending on the region, the stance is polarized. Some continue to create, receiving public sympathy like an endangered species, while others are making the most of the know-how they've cultivated over the years and looking to the next stage. The latter are pioneering new markets and moving forward into the future. --By new markets, do you mean overseas?

Yes. Surprisingly, many overseas companies are turning their attention to Japan's traditional crafts. For example, Nishijin-ori receives numerous orders from renowned fashion houses. Therefore, Japan's proud traditional crafts, including indigo, should be promoted overseas. I believe that those who move forward open doors and are able to take on new challenges.

--Did you feel a sense of accomplishment with this project?

I myself started my career at a shoe wholesaler in Asakusa and now present my collections in Paris. I believe that the things I create shape who I will become. This project was extremely rewarding, as I was able to work with the people in the production area on a forward-looking project. I hope that Mitsukoshi Isetan's spotlight on Aomori Indigo will spark further chemical reactions. I hope that the people in the production area will use this opportunity to move on to the next stage. I believe that being able to unveil the product overseas was particularly significant.

--What are your thoughts on tradition and innovation in traditional crafts?

When I was a student in the Department of Textiles at Tama Art University, I had the opportunity to visit a Kaga Yuzen workshop. The tools used there were not old-fashioned, but the latest tools. I still vividly remember a craftsman telling me, "Tradition is the spirit of creating beautiful things, not simply inheriting history." I realized that tradition is about evolving using the most advanced tools, materials, and techniques of the time. Tradition and innovation are not about old and new.

■Industry and education are closely linked

--You have released collections that incorporate traditional Japanese crafts, including Nishijin weaving and indigo dyeing. Is this a desire to share them with the world?

On the contrary, I hope that traditional crafts will help me. The reality is that even if Japanese people make tailored suits or dresses, they are rarely recognized around the world. COMME des GARÇONS, ISSEY MIYAKE, and Yohji Yamamoto have earned global recognition for expressing a uniquely Japanese style by breaking down preconceived notions. As someone from a generation younger, I create subversive collections, but I also wanted to be recognized without being disruptive. I thought that by crafting clothes born from European culture with traditional Japanese craftsmanship, I could make more innovative proposals while making use of both cultures.

--Are there any Japanese techniques or materials that you're currently interested in?

I'd really like to keep it a secret... (laughs). I'm focusing on the fusion of technology and traditional craftsmanship. Advances in technology have made it possible to create fabrics of incredibly high quality, and I see great potential.

--Listening to you, Mr. Mihara, it seems like Japan's traditional crafts are on the decline. What challenges do you think need to be addressed to further their development?

Looking at the current situation, it is true that traditional crafts are in decline. I think it is important to nurture young talent in order to pass them on to future generations. The Ministry of Economy, Trade and Industry is actively approaching the market to encourage consumption, but they should also focus on educational activities for students who will support the industry in the future. We need to recognize once again that industry and education are closely linked. One idea would be to actively accept foreigners who want to learn traditional Japanese crafts and secure a labor force.

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