However, the purpose of the college was to create artworks. Textiles were also considered an artistic medium. Furthermore, the curriculum placed emphasis on how to interpret the context of each other's work. In short, it was an environment dominated by a courageous spirit: a group of young people determined to succeed in the arts, even if it meant stepping on others. Naturally, it was quite a mentally challenging experience. While it was a negative example, it must have fostered a tough spirit that didn't let anything negative be said. Classes prioritized concept development, preventing any progress in production. He also began to feel uneasy about his lack of practical manufacturing skills. At the same time, the Cool Japan wave was also sweeping across London. "The only brands on display at Liberty were Japanese brands like NUMBER (N)INE and UNDERCOVER. Japan seemed to be the hottest thing. I began to feel like there was no point in staying in the UK," he recalls. Also, if he cited anime in his essays, he would receive rave reviews. "If I stayed in London, I'd be judged for simply incorporating Japanese subculture. I realized that this wasn't the same as being judged for my identity," said another Takahashi, objectively analyzing his situation. So, he decided to attend Bunka Fashion College, where he learned sewing and other techniques. A boy who followed fashion based on magazines, living abroad inevitably confronted these questions, but before he knew it, he began to question his identity. His experiences in London would prove useful in many ways. "I studied English like crazy in critical classes, where we had to write reports about four times a week," he said. After his debut show in Paris, Takahashi gave an interview without an interpreter. I'd wondered when he'd studied English, but now it made sense. He'd also acquired the English language, an essential tool for working internationally. "I felt that I needed to hone my skills in order to compete on a global level, so I began to think about joining Issey Miyake." "Another, completely separate thought was that in my first and second years of high school, I was also interested in chairs and admired the Eames. That's when I came across Tokujin Yoshioka's Honey Pop chair. I thought it was an amazing chair, and when I looked closely at his resume, I saw that he was with Miyake Design Office. I realized that his fashion was different, so I thought maybe I could do something like Yoshioka. He also created the 21_21 design website, and I thought he was doing some interesting things," he says, hinting at some uncertainty. It seems he was still unsure whether fashion, or clothing, was the right field for him, and whether he had the talent. He won the Soen Award in April 2009, and in mid-month, he had an interview in front of a distinguished group of candidates. Having set his goal, Takahashi said, "The difference between a student and a professional designer is not just the artwork, but the ability to create products. I've created additional items that incorporate the Soen Award's taste into wearable clothing," and presented around 10 new pieces. "It might be better to say that I worked hard to get the Soen Award in order to get into Issey Miyake," Takahashi said. His execution ability when he sets his sights on a goal is impressive. To be honest, he seems a bit of a pushy guy, but when he concentrates, his energy is incredible. On the contrary, it's starting to look like an advantage. He has happily accepted the position. Starting in July, he will begin training under Miyamae Yoshiyuki, a current designer at Issey Miyake and a senior at Bunka Gakuen. While he studied textiles and had knowledge of Issey Miyake's clothing, such as A-POC, during his time in London, he will also learn more about the intricacies of fabrics. For example, there are various ways to create a wrinkled jacket, such as twisting and processing the thread.
Continued on 4/4.
