In this interview, designer Yasuhiro Mihara of MIHARA YASUHIRO talks about his thoughts on moving his presentation venue to London Collection.

Click here to read the first part, "Yasuhiro Mihara Discusses 'My Thoughts on Moving from Paris to London'."

In the second part, we get a glimpse into the future of fashion as he envisions it.

--This collection was held in a bowling alley, and it simply exuded a sense of fun and unrestrainedness.

I often tell my staff that before we discuss trends, we should simply ask, "Do you like clothes?" I used to simply love clothes, too. I think now is the time to reexamine why we liked the clothes we wore back then. Now that I'm 40, the things I've created up to now have become my greatest teachers. I think this is the time to use my past creations to further define myself.

It's the same in the art world. Looking back at the expressions and techniques that I liked for no particular reason at the time, I can objectively analyze them after some time has passed. How can I express that in fashion, something that people use every day? I think it's time to go back to my roots.

--Was that "returning" also part of your decision to move to London, a new place?

Because I had a certain level of "status" in Paris, I thought that by moving to London I would lose some of that status. But conversely, I also thought that I would gain a lot.

This also ties in with the intuitive aspect I mentioned earlier, but I'm choosing what I find fun at the moment. I was well-liked by the collection organizers in Paris, and my schedule was well-scheduled. However, the atmosphere in London was very welcoming, and I was told it was fine to take as long as I wanted.

--I think there's a growing trend in the world of culture and art to reevaluate intuitive choices and emotional expression. I think we're living in an age where we can honestly say what's good is good, without any negative attitudes.

I think both culture and people have become wiser over time. Intelligence, or rather, intelligence, may be suppressed, but I think people's willingness to fully grasp things that can't be put into words is stronger than ever.

The same can be said about fashion these days. Runway shows may be the catalyst, but young people today are becoming more historically oriented and street-oriented. They have a free sensibility and imagination that wants to further evolve runway shows.

--The emergence of Instagram must have played a big role, too.

I think it's important for fashion to be intuitive and sensory in a certain way. It's interesting because "cool" and "uncool" exist as a fundamental premise. In the past, there was a lot of very theatrical art, and while I thought that made sense, I sometimes struggled with it. But, no matter how many words you use, it's impossible to fully express something that is simply "beautiful" or "wonderful" at first glance.

--Perhaps it's precisely because the world has become so complex and chaotic that art and fashion seek something "intuitive" and "emotional."

We have no idea what the world will be like in the future. As a designer, I'd like to keep an eye on future trends.

I believe fashion allows us to "reexamine" the world. You could say that fashion re-presents the world. To put it more simply, I believe the power of fashion is its ability to elevate it in a positive way. However, I'm not a political commentator. That's why I intend to continue expressing myself through fashion, using it as a metaphor for the world. It's hard to say whether it's right to cite Miuccia Prada or Alessandro Michele as examples. While they consistently uphold idealism and envision a free future free from gender inequalities, Mihara's collections challenge current fashion and the social mood. But he's not a complete realist either. He remixes the past and presents it as something new, utilizing his signature technique of "reconstruction." The result: a wealth of free, relaxed, and almost idyllic pieces. It's what might be called "positive realism," a Mihara-style future backed by experience and training. Just browsing through each look is invigorating and positive. He's reverted to the rebellious teenager he was in London, when he simply loved clothes. So, what will future collections hold?

I can't help but feel that the future envisioned by Mihara Yasuhiro lies beyond the "liberation of gender differences." In other words, if the "liberation of individuality" is what lies ahead, then clothing will be created that anyone can freely enjoy, regardless of gender or class. In this future, there will no longer be any need to be obsessed with being unique. It will be a future in which being unique and not being unique will be treated equally. This collection in London is connected to future generations with a new sense of morality.