FH: For young people, the Kenzo brand's collections and fashion shows of that time may be legendary.

Takada: My collection topped the popularity rankings in the Journal de Textiles in 1973, so that was 40 years ago, no, nearly 50 years ago.

FH: Recently, Kenzo has released a collection inspired by Sayoko Yamaguchi and others, and 1980s collections by Comme des Garçons and Yohji Yamamoto have appeared as vintage or reproduction collections. Designer books compiling exhibitions and collections have also been published. Also, over the past few seasons, there have been many collections that bring a brand's past collections and icons back to life in the present, further expressing the brand's unique style. What do you think of fashion these days?

Takada: The Kenzo collection was probably based on old archives. Fashion is something that repeats itself, so I was happy that they seemed to have thought of me. However, fashion is constantly evolving. Not only the clothes themselves, but the fashion business and the media used to communicate collections have also evolved dramatically, and I think the times are changing very quickly. In that sense, I've once again come to realize that fashion is an incredible job. When we started our collections in the 1970s, fashion was seen as something to do with play, but now fashion is both a culture and a huge business. I believe that in the future, fashion will become even more integrated into lifestyles and become a major part of daily life.

FH: When Kenzo was presenting his collections, there was no internet, and collection information was only available in magazines and on television several months after the collection. Meanwhile, the Paris Collection seemed like a dream, something to aspire to. The spectacular shows are gone compared to back then. The number of looks presented and the show time have also decreased, and some designers see the Paris Collection, which ends in 10 minutes, as a way to expand their business. Kenzo, you were recently at the Junko Shimada Fall/Winter 2018-19 show at the Balée de Tokyo in Paris, and I've seen you at Kenzo collections in the past. What do you think of the current Paris Collection?

Takada: Compared to our time, I think it's tough for designers today. There are so many designers and brands, and so many collections. It's difficult to have your collections and creations recognized and succeed in business in such an environment. The way clothes are made has also changed and evolved.

FH: What do you think is necessary to succeed as a fashion designer?

Takada:A certain level of talent and curiosity as a designer. And it's also important to "ride the times." I think I rode the times. At the time, fashion was changing with the May 1968 revolution. Paris was overtaken by London, and Paris collections lost momentum. However, with the emergence of ready-to-wear designers like Dorothevis and Sonia Rykiel, the times were waiting for new fashion and designers. I was able to ride that wave. If I had gone to Paris two or three years later, the results might have been different. When I returned to Japan, I incorporated kimono fabrics and flat cutting, which seemed fresh at the time and became one of my signature styles.

FH: If you were in your teens or twenties now, would you aim to become a fashion designer?

Takada: You mean if you could do it all over again? I love fashion, so I think I would work in fashion. I've never done it, but I'd also like to work in architecture or interior design. In any case, I don't think I'd go into management or politics, so I think I'd aim for a job in design, such as fashion, architecture, or interior design.

FH: Since leaving Kenzo, I've continued to do a variety of jobs. In 2016, I worked as a special guest designer for Seven & i Holdings, creating the limited-time collection "Set Premiere by Kenzo Takada."

Takada: That job was tough. I had to touch and look at different things, even just the materials, and I realized I had to keep making clothes every season. Once I actually started working, it was interesting, but I realized once again that the job of a fashion designer is difficult unless you continue every season.

FH: In the preface to your book, you write that the timing of your recovery from a serious illness in 2017 and resuming full-scale business was also what prompted you to publish your autobiography. What are your thoughts about your future activities as a designer?

Takada: Recently, I've been trying to cut down on my work, including clothing and fashion. Of course, I love fashion, but considering my age and other factors, I want to spend time traveling, drawing, and doing the things I love while I'm still healthy.

FH: Are you planning to cut down on your work as a fashion designer?

Takada: I don't know (laughs). When I worked on "Sète Premiere by Kenzo Takada," it had been a while since I'd last worked, so I thought it would be tough, but when I saw the toile exhibits at the "Christian Dior, Dream Couture" retrospective held at the Musée des Arts Décoratifs in Paris last year to commemorate the 70th anniversary of Christian Dior's founding, I was so impressed that I thought, "If it's such an amazing atelier, I'd like to do it again." Of course, only for a moment (laughs). I would like to continue doing what I love and what I feel like doing at the time.

FH: You've been back to Japan quite often recently.

Takada: I went three times last year. This is my second time this year, and I plan to be in Japan for almost a month. Outside of work, I often travel with a friend who came to Japan from Paris, and since I don't know Japan very well myself, I would like to travel and see various places in the country. Learning more about Japan is one of my goals for the future.