"Ask the Future of Fashion," a series that focuses on young talents who will lead the future of Japanese fashion. In this second installment, we speak with Kotoha Yokozawa, designer of kotohayokozawa.
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--Even though you were highly acclaimed, why did you choose to work for a company instead of starting your own brand right away?

Actually, when I graduated from ESMOD, I had two plans. One was to have my own brand, and the other was to become a designer for a major company. If I was going to work as a designer for a company, I wanted to work for a large company where I could reach as many people as possible. I didn't do much job hunting at all, but I applied to just one company and was grateful to be accepted. After joining the company, even though I was busy, I had time to think concretely about my creations. Until then, I couldn't even imagine the idea of making my own clothes, having someone buy them, and continuing that journey. My graduation project was well received, and I honestly thought it would be a shame not to start my own brand. That's why I attended "coconogacco" while working.

--So I launched my own brand, and things progressed so smoothly that my clothes were finally on display at Isetan.

When I was a student, people would say, "You can't even make it with clothes like this," so I was worried about whether my clothes would actually make it onto the shelves at Isetan. I was worried that someone higher up would scold me (laughs). But when the results came out, I received a lot of attention on the first day, and I was like, "Oh, that's great!" I ended up receiving three additional orders. I prepared two collections for this Isetan project. For the pleated collection, which I've been doing since my debut, I sometimes make around 20 pieces a day. Actually, it takes about 30 minutes to an hour to make one piece. There's no right answer with this collection. I freely adjust each time, thinking, "I want this part to be a little looser," or "I want this part to be more rounded."

Another thing is that I interpreted the theme of this pop-up, "uniform," in my own way, and created a bodysuit for working women. I was imagining the working woman of the early '90s, throwing on a jacket and wearing a bodysuit under a tight skirt to go to work. In terms of brands, it's a style similar to DKNY or Calvin Klein at the time. I usually create for people my age or a little younger, but this time I wanted to show a different side of the brand. But the roots are the same: I wanted to show the "working woman" that these women aspire to be. I wanted to propose a style that would make them think, "This kind of woman is wonderful, and I want to be like her."が待ち遠しいですね。 English:



-- "Genderless" is a keyword in the world of fashion, but I sense femininity, the joy of being a woman, and even a sense of rebellion in your clothes.

When I was in high school, I admired the so-called world of fashion. The beauty of structured, well-proportioned silhouettes, many of which were created by male designers. For me at the time, this was absolute, an insurmountable wall, but I was heavily influenced by female designers working for major fashion houses, led by Phoebe Philo. The clothes they made directly expressed "insecurity" and "weakness." That was extremely helpful for me, and it made me realize that I didn't need to strive for masculine perfection.
But it's not just about masculinity or femininity. I think there's a tendency to favor logical, theatrical creation. But I think there should be more casual, "I did it!" creations. When people ask me, "Why did you make these clothes?" I can only answer, "I wanted to make them at that time!" I can't explain it well either, but I rely on that kind of intuitive empathy, and that's why I'm so happy when I can connect with my customers.

--Earlier, you mentioned "30 minutes per garment." That's a very intuitive approach, isn't it?

Just because something is fast doesn't necessarily mean it's good. (laughs) I've had some experience making clothes since high school, but it takes an enormous amount of time and effort to make one garment. For example, even making a shirt collar requires many steps. And it's incredibly difficult. The collar doesn't take shape at all. (laughs) There are countless pieces of clothing in the world that are made through such a tedious process. It's truly amazing, and at the time I thought it was scary. So I hope that my method of making clothes will reflect a sense of speed, like "What should I wear tomorrow? I want to wear something like this, so let's make it." I want to incorporate those momentary changes in my mood into the details and sewing.

--Please tell us about the theme for next fall/winter

I proposed a collection that mixed the image of the clothes lined up in my grandmother's dressmaking shop with my current feelings about the clothes I own. I guess I'm similar to my grandmother, in that the fabrics we buy are very similar.



--I was impressed by the coat with lots of toggle-like things on the chest. Were these inspired by the toggles on a duffle coat?

I don't even know the answer myself (laughs). I was kneading some clay for crafts with an intern, and we came up with something that looked like a handle, and we said, "That's great, let's put it on the coat." And then we thought, if we're going to put them on, we want to put loads of them on (laughs). I'll leave that to your interpretation. I hope that people who see it and pick it up will think, "What is this? That's interesting."

--What is your vision for future developments?

First of all, in the near future I'd like to create a new collection that can be offered year-round, like the pleated collection. I'd like to create another iconic piece using new materials and new stitching. And of course, I want to focus on speed. I wonder if I can make one piece in about 20 minutes. I've gained some confidence from my past activities that it's okay to make things in my own way. I want to go back to the basics of clothing making, by finding materials that allow me to express the "imperfections" and "weaknesses" that people have in their own way, and sewing methods that suit those materials. I want to create clothes that are easy to wear and care for, and can be worn everyday, but that have a certain presence at first glance, even though they are weak.

--Finally, please tell us your vision for the distant future.

It may seem simple, but I hope that my work will reach even more people in five or ten years. I want to increase the number of people who think that clothes are great and fashion is interesting. It's a bit boring if people only buy clothes because they see them in magazines or because they're wearing them on mannequins. It makes me think that it's fun to have to choose what to wear and think about it in the morning. I know this is really none of my business for people who aren't interested in fashion... (laughs)

But ultimately, that's exactly what it comes down to. Once, I lost a customer who came to my pop-up at Isetan. The customer was also interested in making clothes, and we got really excited talking, and she asked me, "Can I make this too?" I replied bluntly, "Yes, I can. I'm sure I can make it," and I lost the customer. But that's okay.
Later, the customer contacted me directly, and I've decided to hire her as an intern. Normally, recommending "You can make this outfit" might be seen as a negative because it alienates customers, but in a broader sense, especially within the broader context of fashion, I think it actually raises the bar. Skip the technical details and anyone can make the clothes they want to wear tomorrow today. It would be great if people could come to accept this value. Is that a bit too grandiose? (laughs) Andy Warhol once said, "Anyone can be famous in 15 minutes." Her commitment to immediacy isn't an antithesis to existing fashion; it's simply, "I make it because I want to wear it now." It showcases her unique humanity, unconstrained by the rigors of clothing design. A pop-up will also be opening at Ginza Mitsukoshi on July 27th. I hope you'll come and see her clothes up close, making choosing your outfits in the morning fun and making fashion even more enjoyable.


【Event Information】
＜Part 1＞The drama ~TOKYO uniform~
Dates: May 25th to June 7th (end of period)
Venue: Isetan Shinjuku Main Building 2F = Center Park / TOKYO Kaihoku

＜Part 2＞The life ~TOKYO uniform~
Dates: June 15th to 21st (end of period)
Venue: JR Kyoto Isetan 5F Special Venue

＜Part 3＞The days ~TOKYO uniform~
Venue: July 27th to August 2nd
Venue: Ginza Mitsukoshi 3F Le Place Promotion Space