Gwenael Nicolas has created a perfume called "CURIOSITY ESSENCE." This limited edition of 300 perfumes follows the concept of his monograph of the same name. "Eternity exists in every moment." Ripples are created by a single drop that seems to float in the air. The scent, inspired by the garden leading to a teahouse, features shifting notes of Japanese sweets, green tea, cinnamon, and sandalwood. What is Japanese design? This is the third chapter of a long interview. --What does Japanese design mean to you? I have an image of Japan as being minimalist. It's said to be a design that focuses on subtraction, but it's like results come without any effort. I wonder if this can be done with mass-produced items as well. Even when creating large objects, I try to subtract, and create designs that minimize the amount of material. --When creating something, don't create anything, it's like a Zen riddle.

It's a metaphor I often use: when you put a stone in water, you think about where the stone will go. In America, you wonder what the stone is and where it's from. In France, you wonder what kind of stone it is and where it's from. In Japan, you're interested in the ripples in the water. It varies from country to country, but I'm also interested in effects, and you can create ripples in water without stones. That's what I want to communicate through my designs.

--Did you always want to be an interior designer?

I have five siblings; my oldest brother is an architect, and my third brother is a CG movie director. So my two worlds are fused together. When I wanted to be a designer, I had to decide whether to become a designer who creates real worlds or virtual worlds. I personally thought about how to connect the real and virtual worlds. At first, I wanted to be a film art director and create worlds within films, but once I created the world of one film, it would be over. I began to question this and thought there was meaning in creating real things, so I came to Japan. There are no "limits" in Japan. There are no constraints on design in Tokyo. In France, creating something new is difficult due to various constraints, especially in architecture. Tokyo overcomes those problems. There are issues like earthquakes and high costs, but it's a paradise for designers.

--Did you realize that when you were in Paris?

I didn't realize that until I came to Japan. When you're abroad, you don't understand anything about Japan. It's like a black hole, or a white hole. I don't understand, but it feels good (laughs). After coming to Japan, I realized the depth of the culture.

--Is it understood overseas that Japan is a paradise for designers? Compared to 20 years ago when you came to Japan, are there more designers who want to design in Japan?

I haven't seen an increase in designers wanting to come to Japan. Young designers and students aim for famous places or countries, cities, and places that are booming at the time. Nowadays, I go to Shanghai and Hong Kong to see new architecture, take photos, and explore it, but personally, I don't think the location really matters. When I first came to Tokyo, I looked for who was building it. Depending on the era, it may be a producer or an architect. The era and the people are important, not the location. You have to connect with the dynamics of that era and that place. In my case, I wrote to Naoki Sakai and was able to meet him, and he was very kind to me. The fact that I came to Japan because I love temples doesn't really matter to me.

--It's more Tokyo than Japan.

Japan can't stop. We have earthquakes, and stopping is risky. There's no choice. And maybe that's a good thing. Europe has the option to stop, but Japan can't. I like the feeling of constantly moving forward, accelerating. Tokyo in particular is a city driven by high-speed trends. The only decision is whether you want to join in or not. If you don't want to get on board, you don't have to. That speed is incredibly energetic, and it has the power to pull those around you along. Even in collaborations, it's more like, "Let's get on board with Tokyo together." Designers can create things together if they have an idea. "In Japan, there's a limit to what can be done, but overseas, we're looking for ways to avoid failure." --What is the difference between working in Japan and overseas?

When working with Japanese people, I always try to find out where the limits are. Japanese people are modest, so they don't say yes to things they can't do perfectly. I try to find out how far we can really go. When working with foreigners, I also consider the possibility of failure. Overseas, it's common for people to receive photos of construction sites in progress and not understand why they ended up that way. So, next time, I have to come up with a design that will prevent failure. That's my role as a content management designer.

--The perfume bottle design announced alongside this portfolio is very Japanese. It even comes in a paulownia wood box.

When I asked Sugawara Glass Crafts to create the bottle, I initially requested an 8mm diameter neck, but they declined, saying that this design was impossible. After a while, they brought me a sample, apologizing, saying they could only go up to 9.2mm. A glass artisan took on the challenge. For a designer, that margin of error is perfectly acceptable. I was moved to tears. In France, they'd say, "OK, we can do it," and an 8mm order might end up being just 3cm. Japanese craftsmanship is incredible.

--Don't you think the techniques in France and Italy are also high-quality?

That's certainly true. The techniques of European and Japanese artisans are very similar. The difference is the process. In Europe, the goal is to achieve perfection, and the line between artisan and industrial products is becoming increasingly narrow. In Japan, perfection is pursued, but something perfect is destroyed, a twist is added, and a different quality is created. The difference between machines and people is the ability to judge. Issey Miyake's PLEATS PLEASE is made by machine, but Issey Miyake's own products are created with a slight twist, capturing the beauty of handmade craftsmanship. Designers must fulfill their role as judges. The role of judging the beauty that can only be achieved by human handiwork, something that machines cannot produce, is what is in demand.

■Interview & text: Noda Tatsuya

--In the next and final chapter (4/4), we will hear about systems unique to Japan and the future of digital.