Hajime Tachibana relaunched his career as an artist with "Monaco," his first solo album since 2002's "THe End" and his first with the band since 2007's "THE CHILL." His first release was a limited-edition USB art piece, which was later downsized and released in April of this year, drawing attention to the combination of music, art, and the digital presentation of these pieces. Hajime Tachibana (hereafter H): When I was in Plastics, people would ask me if I was a graphic designer or a musician. The term "artist" wasn't even widely accepted back then. People might think I do a lot of different things, but I only do design and music. I like clothes, but I don't really care about them; I just enjoy them. As for fashion, I'm happy being a follower of Hiroshi and Jonio. If I became a follower of someone through design or music, I'd be finished. (Design and music) are, after all, work. It's not enough to just enjoy them.

Takahashi Jun (hereinafter J): That's definitely true.

H: But I think Jonio is amazing. Releasing an album a year is quite a feat, but he releases collections that are like albums for musicians twice a year.

J: No, that's because there's a set cycle. In fashion, the basis for presentations at exhibitions and business is set. It's not a matter of whether you can do it or not, but if you don't work on those rails, you can't survive in this industry.

H: Maybe it's just a matter of getting used to it, but even so, it's amazing.

J: Part of it is that I'm used to it, but I really love fashion.

H: Have you ever wanted to take a break this season?

J: I've never wanted to take a break. There have been times when I didn't want to present in a fashion show format, but I would think about presenting in a different way, and I've never wanted to design clothes. I want to make them. Hajime's new work, "Monaco," is a completely different approach from what I think and perceive, even though I also create the graphics on a Mac. It allowed me to view the work from a bird's-eye view. It was fascinating. I only do basic things, whether it's using a computer or working on the web, so it made me realize he perceives things on a much deeper level.

H: Deep?

J: Hajime has been incredibly involved with themes like typography and applications since the '90s. I like artists who are hyper-sensitive (laughs).

H: That's true. It's his job, after all. He's so hyper-sensitive, sometimes he goes crazy (laughs). Last year, he worked hard on Monaco all year, so after the release, he relaxed a bit this year. That's why I think it's amazing that Jonio can consistently release two collections a year.

J: Even though he says it's consistent, there are ups and downs. As a company, we do a lot of different things, so sales fluctuate, and I have to think about my personal life, including my family. Undercover will celebrate its 25th anniversary next year. While our customers used to age together, we've recently seen a resurgence in the number of young people in their 20s, which has led to ups and downs in the brand. If I don't make decisions and process everything quickly, I won't be able to keep up with the pace of my work. This is extremely important in this industry. If I were to release an album every two years like a musician, I'd end up with a gap in my work, which would make me anxious and I don't think I could do it.

H: While it took me six months to concentrate on making "Monaco," I can't just finish it and move on to the next thing.

J: A true artist wouldn't release a work under a deadline without fully committing to it. An artist's own timing is their top priority, isn't it?

H: That's true.

J: In that respect, fashion designers are a little different from artists; they feel a little more like artisans. If you think too much, you won't be able to move forward.

Continued on 4/6.