Originally from Hamburg, Germany, Robert Geller is currently based in New York. After interning at Marc Jacobs, he helped found Cloak. He launched his own brand in 2007 and won the GQ/CFDA Best New Men's Designer in America award in 2009. He was nominated for a Vogue/CFDA award in 2010 and won the Swarovski Award in the men's category in 2011. This young designer is steadily building his career.

He is known for his use of textured fabrics and mixed styles, and his works are sold in Japan at American Rag Cie and ESTNATION. We spoke to Geller, who recently came to Japan for research.

I heard you use Japanese fabrics in your collection.

I first encountered Japanese fabrics while working at Marc Jacobs, but even during my time at Cloak, when I went to Premiere Vision, over 90% of the fabrics I liked were Japanese. The quality and colors matched my aesthetic perfectly. For example, even with something as simple as wool, Italian fabrics tend to be too bright and crisp. In contrast, I was surprised to find that Japanese fabrics have a wide range of subtle hues that are difficult to describe.

After that, I had the opportunity to work with a Japanese manufacturer, and that, too, naturally fit my sensibilities. I was born and raised in Germany, and I feel that Japanese and German people share similarities, especially in terms of mentality. Germany and Japan are the only two countries in the world where people stop at red lights even when there are no cars around (laughs). I find that valuing order very comforting.

--As a Japanese person, I'm honored that you chose Japanese fabrics, rather than simply choosing Japanese fabrics from the start. What fabrics do you particularly like from the Autumn/Winter collection?

There are so many, it's hard to choose, but if I had to choose one, it would be cupra. It has the luster of silk, but I love how it softens after washing. I like fabrics that combine synthetic and natural fibers to bring out the best in each.

--Please tell us again about the concept and characteristics of your A/W collection.

When I design, I often focus on a particular era, and this time I'm imagining Berlin in the 1920s. I was particularly inspired by the German film from that era, "Dr. Caligari."

Germany suffered economic damage from the war and was not in a position to exchange with the rest of the world, even in the entertainment industry. However, this actually led to the development of the domestic film industry. The black-and-white films of that time are beautiful, with unique makeup and simple sets, yet exuding a strong core. I really empathize with the strength that flows through the darkness.

--How do you embody this inspiration in your collection?

One is rubber coating. For example, the shirts are coated on the outside of a fabric with a print on the inside. The polka-dot shirts are also distinctive. The polka dots are bleached and the reverse is turned out to create a faded pattern. Some of the pants are color-coated.

--Looking at your styling, it seems like you're using a lot of layers. I work on the runway with Takenaka, a stylist based in New York. We both like the style of layering and solidifying pieces like sculptures, and we have similar silhouettes in mind. Both he and I believe that what we show on the runway needs to have an entertainment aspect, so even if it's just a simple pair of pants and a shirt, we try to include some element that makes the viewer think, "Wow, isn't this interesting?" --You've also featured down jackets. --This is a collaboration with TATRAS. I was impressed by their high quality during our first meeting. --The show is enjoyable, but when I hear about the details, I really understand. --That's the problem with the runway. No matter how much attention you pay to styling, you can't predict the finish or the feel of the clothes. The moment the music starts on the runway is special. I love the energy, but it's not the best way to showcase the clothes. --So does that mean you have to have a shop?

That is the next step for the brand. In order to present Robert Geller's worldview, and to allow people to touch each item and see the details. Wholesale has its limits, after all. Even if you like something on the runway, when you go to the shop there are only five pairs of pants, five pairs of jeans, sweaters and sweatshirts. They might not even have a jacket from the collection. But in reality, if they sell 25 shirts but only one jacket, the shop will refrain from purchasing more. The economy is bad and the fashion industry is in a tough time, but fashion is originally something that is very fun and makes you happy. I hope to return to the exciting fashion scene as soon as possible.

Continued in vol.2/2