Japanese designer Akira Naka, a graduate of the Royal Academy of Fine Arts in Antwerp, Belgium, which has produced many famous designers, has revamped his own brand, AKIRA NAKA, for the 2014-2015 Autumn/Winter season. The first collection was released as a limited edition exclusively at Shinjuku Isetan.

For this collection, he utilizes Japanese factories that are recognized by international luxury brands but are relatively unknown in Japan, promoting Japanese textile techniques to the world through his own collection. What Japanese techniques were incorporated into this collection? We spoke to designer Akira Naka in detail about the new AKIRA brand, its production background, his relationship with the artisans involved, and his business strategy for expanding overseas.


--Please tell us how AKIRA NAKA came to be reborn.

Since the brand's founding, he has maintained the conceptual style he learned in Antwerp, Belgium, but the Great East Japan Earthquake prompted a major change. Until then, my craftsmanship had focused on me, bringing my creations to life. However, my desire to use my creations to generate value for society shifted.

At the time, the term "contemporary" had yet to be coined, and the "AKIRA NAKA" brand aimed to represent "affordable luxury," meaning "affordable luxury." I wanted to create socially valuable clothing that Japanese people could incorporate into their daily lives and feel positive about. Since my previous brand was "prêt-à-porter," which refers to "high-end ready-to-wear" in Japan, I came up with a new brand concept: "prêt-à-porter for everyday wear." As the years passed and my brand gradually gained recognition, it was time to consider taking the next step. I began to feel the need to offer a more authentic designer label, rather than simply offering easy-to-wear, convenient, cute, and stylish ready-to-wear. Because we create within the international category, I felt it was time for us to make a shift and expand globally. --So you're expanding your activities overseas. What specific activities do you have planned?

We've decided to hold an exhibition in Europe starting next September. However, if we enter Europe and only make convenient, inexpensive everyday items, we won't survive there. To be seen in Europe, we need to use more assertive textiles and take our designs a step further. We want to make them "Made in Japan."

--Do you mean you'll be using all Japanese materials?

Yes. Japanese technology is excellent, and overseas collection labels actually use many Japanese materials. Even if you don't "make a kimono using Yuzen," but rather a tailored jacket, if you use "Japanese manufacturing," it will always have a Japanese flavor. I think that will be a great asset for my label. 」。 English: --I was intrigued when you said that Japanese manufacturing is a necessary element for expanding overseas, having been exposed to world-class talented people and technology in Antwerp.

I think it's because living abroad has made you more conscious of your Japanese identity. As a designer going overseas, I feel it's inevitable that you will gather together things that are truly considered good and have strength.

--Why do you think you can win when creating something that embodies the good qualities of Japan?

Editors, buyers, and other people who have seen the world will understand, but to me, "design" is something that is Japanese and Italian. Japanese and Italians have the attitude and virtue of pursuing what they have cultivated up to that point. For example, even if they do the same thing and get the same results, they will perceive it completely differently if they have done it for three years and if they have done it for ten years, and the one who has continued for ten years will be called a "takumi". They are a people who respect pursuing something to the fullest, continuing to pursue it, and continuing to work towards it. In that sense, Japan is actually a rare breed of "potential fertile ground for churning out designers," and the Japanese are a race suited to design. I believe that the lack of such talent is simply due to educational issues. --Japanese technology and talent need to be utilized more in the fashion industry. While there aren't many Japanese designers, there are many who shine globally as creators. Many Japanese pattern makers are employed by major fashion houses. As I mentioned earlier, many major fashion houses use Japanese fabrics in their overseas collections. Currently, large American brands are increasingly entering the Hokuriku region and securing factories. --Your Isetan limited edition line also uses various Japanese material manufacturers. If you had to pick one that stands out in particular, which one? It's difficult to choose just one, but if I had to choose, I'd say Canale and Fujimoto Shoten. There are companies that can weave textiles, but Canale is incredible, as they create original designs starting from the yarn stage. They put a tremendous amount of effort into creating couture-quality pieces. Fujimoto Shoten, originally a kimono maker, has exceptional silk skills and has received orders from various fashion houses, including Dior and Hermès. To achieve the texture needed for ready-to-wear, they pay particular attention to the twist of the threads used in the fabric, carefully considering the final fabric from the yarn stage. These silk-wool bonded pants are made with Fujimoto Shoten fabric, and I feel they turned out exceptionally well. They're a bit pricey, but they're definitely worth it. The materials and stitching are on par with those of luxury brands overseas, and the silhouette features a pattern carefully designed for Japanese wear. These pants can be styled with any top, and even a simple T-shirt can elevate your look. --Given the current trend of data showing that many young people are turning to fast fashion, it can be difficult to sell highly designed items at a high price. How do you view this? There are plenty of stylish, easy-to-wear, and convenient clothes on the market today. However, there are few clothes that evoke the feeling of "exhilaration that can only be felt in these clothes" or "a view that can only be seen when wearing these clothes," and I feel that more of this kind of clothing is needed. Recently, SHOWSTUDIO (a fashion website run by photographer Nick Knight) featured a JW Anderson garment. When she first purchased the garment, she felt uncomfortable with the width of her shoulders, but as she continued to wear it, it became a new style for her, revealing a feeling and sensation that could only be felt and brought out by the garment. In this case, I don't know whether the person is obsessed with the garment or vice versa, but this phenomenon is something that can only be achieved with the garment. I believe the price includes this value. To reach a purchase, someone is needed to convey the "value of this aspect"—the view that can only be seen when wearing the garment.

--You mean the sales staff who interact directly with customers.

When I actually serve customers, they tell me, "It's expensive, and it seems difficult to wear, so I'll think about it." For customers, wearing the clothes is a risk they take, so in a sense, it's a natural reaction. But instead of offering a discount, I communicate, "This clothing can bring you a new sensation and a special sense of exhilaration. That power is included in this price." This means offering customers not only the visible, superficial aspects, but also the deeper aspects of fashion, the power and influence that fashion can inherently possess. It's common for people to feel anxious about whether something is okay when wearing it, but it's important for both buyers and recommenders to enjoy that aspect. I believe that truly enjoying fashion goes beyond beautiful shoulders or a perfect drape. I believe that ready-to-wear clothing should increasingly be designed to create these kinds of clothes. --At least, that's the way ready-to-wear should be. Because it's what Europeans, with their centuries-old history of clothing, desire. To fully expand this global reach, I believe this (this collection) is what I'll be stocking in Isetan's international sales areas. It's pointless to simply stock easy-to-wear and convenient items. Not all of our products are bold or easy to sell, but I think it's important to get customers to understand and buy them. In that sense, we think carefully about what we deliver to our customers and how we deliver it to them.

--You're also really thinking about your sellers.

Although it doesn't happen as often now, we've had cases where we've been criticized for our sales rate. Sales rate and design are the easiest things to point out, since they're perceived through image. But I don't think it's right to simply attribute the problem solely to the design. Various aspects need to be considered, such as whether the seller was able to create a truly good experience. Of course, when it comes to why items don't sell, design is a matter of course, so I don't intend to shift the blame. However, I wonder if the seller properly understood what happens after the clothes are worn and whether they were able to properly convey the story the clothes tell. If it still doesn't work after all that, I think we need to fundamentally reconsider what our customers want.

--I'm looking forward to seeing how this revamped collection will unfold.

Isetan is a model case for department stores. My impression of Isetan is that it operates with a subjective perspective, rather than with objectivity that conforms to those around it. It has a strong sense of the concept of "having a philosophy, selling department stores, and being a museum," and it has implemented measures that fit that. It's difficult to reduce sales floor space, but I think it's amazing that sales have increased this way. I think their success is due to a manager who is skilled at branding. My request is that they don't just preserve their own model, but also share their know-how. Looking at it broadly as a business, I hope that Isetan's success story will be more widely known in some form.

--We've talked a little about business, but do you have a business strategy for expanding overseas?

Of course I do. I don't plan on going to Europe out of curiosity. Studying in Antwerp was a big factor, but from the beginning I wanted to do global business. A friend who studied with me in Antwerp is now working at a renowned fashion house, and I think what makes international labels so great is their teamwork. Each craftsman works hand in hand. To build something on par with overseas fashion houses, a team needs to share the same philosophy and assemble strong personnel.

--You've said that overseas brands have excellent teamwork, but what exactly makes them different from Japanese brands?

I tried displaying my own brand on the same floor as truly strong brands like Balenciaga and Prada, and there was a time when I wondered what the difference was. Of course, there's history, but I realized the key difference is overall strength. There's an American proverb that says, "A chain is only as strong as its weakest link." This means that a group is only as strong as its weakest member, and no matter how strong the others are, as long as there's a weakest link, the chain can only be as strong as that weakest link. A team needs creative designers, pattern makers, and the management brains that support them. I think European brands possess all of these at a high level. I think Japan currently has few brands with the teamwork to rival these overseas fashion houses.

--You say Japan lacks comprehensive strength, but where do you think there is room for improvement?

An industry is a collection of companies, so the success of a single company does not depend solely on the software. With the right communication and the right channels, the right strategy and management can be put together. I've heard that Alexander Wang's success stems from the fact that he pulled out brains from major fashion houses and developed a solid strategy to accommodate the brand's expansion. Rodrigo Bazán, formerly of Louis Vuitton, leveraged his experience and skill to lead the brand, taking on the role previously held by Alex's father. How does a brand grow and maintain its roots? Ultimately, a director with a strategy that can match the vision is needed. For example, it's rare in Japan for a CEO of Burberry to join Apple. I think we need someone who can draw a map to lead a brand to success, not in design but in management at a major overseas fashion house, bring that experience back to Japan, and use the Japanese background to guide the brand to success.

--Management and branding are extremely difficult, and perhaps few people in Japanese companies truly understand their importance.

I invited a friend who ran a company overseas to join my company. Bringing in a brain with management experience at a major overseas company outside of the fashion industry also changed my perspective on profit margins. Rather than studying the history of fashion, I think it's better to learn the mindset of people like Steve Jobs, who are successful in other fields, and how they achieved their current success. I'm drawing a map for Japan to become a happier place through fashion, but in that long-term vision, I think it's important to think about how to grow my brand while also supporting the growth of the company behind it, and how to make my family, my employees, and even the families of those who produce the clothes happy—a sustainable win-win.

--That's amazing. That's an astonishing leap in such a short period of time.

I believe that if you have a strategy and assemble a solid team, your business will definitely succeed. The challenge is how to build that system in Japan. Young designers often ask me, "When is the right time to debut?" I tell them that if they think that way, they shouldn't go out into the world. There's some fateful moment, and they connect and sell. I don't think that kind of business is sustainable. Young designers often dream that one day, if they have talent, they'll find a channel that matches and suddenly become a hit. Even among buyers, there are still some who believe a product will sell because of the designer's talent. While a designer's talent and foresight are certainly necessary, I believe it can be strategically developed through solid branding and management. Yet, this is perhaps surprisingly little recognized. Even if they say they want to create something unique, without any direction, the unique product will remain unique forever. In many cases, they don't even consider what value it brings to the table or how to achieve it.

--So, what exactly is the role of a director?

It's like the situation in Japanese soccer at one time: players had great potential, but without a coach, the level didn't improve. The current situation for Japanese fashion brands may be similar. There are few experienced directors with the know-how to develop a brand. I was once called in by a certain company in a consulting capacity, where I was collaborating with a designer. However, the project was completed with the provision of fabric and design, and there was no room for further ideas or direction based on that planning. Furthermore, the project ended without any perspective to evaluate it. This does not motivate either party. Both the company and the designer need to have a strategy and create a flow that moves from 1 to 2, and from 2 to 4. Isn't it expected of a director to observe and support these aspects from multiple angles?

--It's true that overseas, artisans are valued and there is a common belief that every process is connected from start to finish.

Once our lookbook is complete, we send it to everyone involved in the project, including the auxiliary shop, fabric manufacturer, sewing factory, and pattern maker. If they don't have a computer, we print it out and give it to them. Then, everyone at the factory looks at the lookbook and says, "This arrived from Naka-san's place, and this is how it turned out," and they're delighted. When we contact them and say, "A celebrity will be wearing your clothes on TV, so please take a look," employees take time out of their breaks to watch, and seeing the clothes they made on TV really motivates them. The visuals created at the exhibition are brought back to the factory. The atmosphere is that of a factory with an old sewing room, and displaying campaign panels featuring beautifully dressed models in the workplace apparently sparks conversation among colleagues and neighbors. I once invited a seamstress to visit an Isetan department store. She told me that seeing the clothes she had sewn on display there in person brought about many emotions and motivations. We toured various stores, including major fashion houses, and as a fellow seamstress, she said she felt a deep connection with the many garments on display. She told me, "I may never meet a Céline seamstress face-to-face, but when I see the pieces, I can sense their connection." There was a mutual understanding through the clothes, which led her to feel a strong desire to take her craft to the next level. Each seamstress has their own story, and it's something that should be told and treasured.

--That's a wonderful story.

We believe it is important for our brand to continue working with such talented people. By increasing the number of work requests, we can improve each other's production efficiency, and by sharing various situations, we can also share our philosophy and vision. I believe this is how production environments become a team. To build such an environment, I believe that designers with a vision should visit fabric production areas and production environments directly. To ask, "Our company's ship is in this state, but this is what we plan to do in the future. If you share this vision, would you like to join us on board?" It may be rude to call them my team, but I feel that the people who create with me are truly highly motivated. Starting October 15th, we will be releasing an exclusive Isetan collection, but I hope you will keep an eye on Akira Naka's future activities, including his overseas activities.


[Profile]
Akira Naka
A graduate of the Royal Academy of Fine Arts in Antwerp. He participated in the Louis Vuitton project while still a student. He was also a designer for the "DELVAUX D-175 PROJECT" and was selected as a designer for the "Yale International Newcomers Festival" in 2005, receiving the Textile Support Award from PUNTO-SETA. He studied under knitwear designer Els Arnols. After returning to Japan in 2006, he started "POESIE" the following year. He participated in the Tokyo Collection in the AW 2008 season, and in June of the same year changed the label name to "AKIRA NAKA."