<![CDATA[Fashion Tech News]]> (2024)

Combining High-absorption & High-water-repellent Threads for Both Quick Sweat Absorption / Drying & Breathability

Comfortable Innerwear with “DRY AEROFLOW” Recognized by Top Athletes

Items that Are Both Sweat Absorbent & Breathable Include Boxer Shorts & Caps

Text by Naoki Sakata

Habits that Shape Sensibilities

Using cuisine as a reference to discuss fashion

Ashida

One issue that personally concerns me is that there isn't really established criticism on fashion (design). When you consider the consumers (those who buy and wear clothes), most often they buy or wear clothing based on criteria of "adorable/not adorable" or "cool/not cool."

Miura

For example, in the case of baking bread, cooking has a scientific aspect to it, and if it's not done logically, there can be failures.

Ashida

In fashion, when you ask "Why is there a zipper here?", you might just be told "Because it looks cool." Yet if a chef was asked why they stewed a daikon radish in rice water when making "buri daikon" and they responded with "I'm not sure, but I think it tastes better this way," you wouldn't have much faith in their abilities.

Miura

I see, so you're asking about the relationship between intuitive judgments like taste and, especially, the logical judgments involved in creating a dish. I'm fond of cookbooks and I've written "食べたくなる本," an attempt at critiquing them. Looking back on this relationship, I find it's very complex and constitutes an intriguing zone worth examining. When compared with clothing, the relationship between intuition and logic or data may indeed conjure something up. I'd like to explore this while considering some specific examples.

A Game Between Numbers & Imagination

Ashida

How is the statement "the umami is escaping" explained scientifically?

Miura

That's absolutely empirical science. For example, comparing the amount of umami ingredients in a chunk of meat with and without lisolet. However, I don't think the data revealed by such empirical science can fully explain the "deliciousness" as a comprehensive and intuitive judgement. This is also recognized by scientists in this field.

Deliciousness is Formed by Habit

Ashida

The discussion so far has been an analysis of what the "maker" is making or trying to make, but in "LAフード・ダイアリー," you tend to describe yourself as the "receiver" who eats the food. Has there been any changes in your thoughts or discoveries as Miura, who used to think mainly about cooking, now writes as the one who eats?

Miura

Yes, when I was in LA, I was there as a foodie, and one thing I realized again is that there aren't just one kind of "deliciousness." There was a jumble of dishes, from those things I thought, why would anyone call this "delicious"? There's no way to judge such a jumble of dishes by one objective standard, and this diversity itself seemed to hold value. LA is a city consisting of migrants who've created a mosaic of territories, each offering deeply authentic food targeted to their compatriots in their respective restaurants. I've encountered flavors that were surprising, even ones that I thought might not be acceptable at all.

We Also Experience Food Through Our Mind

Ashida

If there are a thousand dishes, there are a thousand standards—that seems to connect to the stance of "everyone is different and everyone is good," which refrains from making value judgments. Even then, within one culinary norm, can there still be judgments of whether a restaurant (or its food) is delicious or not?

Miura

Indeed, if we rely solely on our intuition and conclude that something is delicious because it's just delicious, then that does lead to a resolution of everyone is different and everyone is good. But I think there's a need for the intervention of reason alongside the intuition of "deliciousness." For example, to judge whether a dish could have benefited from more sophisticated cooking techniques, or to consider the various contexts surrounding the food—like its environmental impact or how it'll affect one's health in the long run. These judgments aren't purely based on the senses of taste and smell, but on reason.

Ashida

I see. What could be the standards when savouring food with our mind? When you eat, how do you make your judgments, Miura?

Miura

There was a time when I was really into nutritional science and, during that time, I focused on whether a food was nutritious or not. For example, I used to cook organic brown rice in a pressure cooker. Although, I really do think that brown rice is delicious, when it comes to kale, it might feel like I'm eating with my head, one might say. There are foods that I might spit out if I didn't know they were supposed to be good for me.

Ashida

Speaking of capitalism, as discussed in Baudrillard's thesis and elsewhere, it has been said that consumer society promotes consumption by creating differences. While it is true that wines have different scents, it can be said that they are creating minute differences in the way of mass production and mass consumption under capitalism. In the world of cooking, is this never criticized, always viewed positively?

Miura

Respecting "terroir" sounds like doing something good for the environment, but the real motivation might just be what Pierre Bourdieu refers to as "distinction" (showing off the difference between wealth and poverty, contributing to the reproduction of class disparities), or it could simply be a means of speculation. Transporting wine with temperature control requires a considerable amount of energy, so the environmental load must be reasonably high. Words like ecology and diversity can sometimes function as a disguise for such facts. This kind of criticism seldom appears in gourmet magazines.

Understanding the Role of Data & Imagination

Ideal & Scientific Facts

Ashida

In the discussion so far, are the scientific analysis of cooking, habits, the affirmation of diversity, and the uncovering of analogic imagination, things that are in conflict? Or do they become integrated?

Miura

I aim to integrate them. To do so, I think it's necessary to understand each other's role. That way, we can avoid falling into unhealthy confusion or exclusive conflicts, and pave the way for good integration. There are things that can only be advanced in an empirical scientific way, and similarly, there are also things that can only be advanced in an analogical way. What is most unproductive is for one to antagonize the other, so it’s crucial to think about how to mediate a relationship where both complement each other.

Ashida

What do you mean by that?

Miura

The problem is that it's less efficient per hectare. The fact is, it's dramatically inferior when compared to the productivity of modern farming methods. Of course, the qualities and taste might be better, but organic farming alone cannot support the world's booming population, nearing 8 billion. Asserting that modern large-scale farming methods employing pesticides and genetic engineering techniques should be immediately and totally abolished just because they are 'evil', is an extremely violent claim. Considering that only a small percentage of the world's elite can access organic food, it can only be seen as the recklessness and ignorance of the establishment.

Ashida

In Miura's "LAフード・ダイアリー," there was a discussion about how only the elite class can enjoy diverse food. The same applies to fashion. For instance, many high-end goods are consumed by the powerful and wealthy to flaunt their wealth, rather than because they look good or feel comfortable to wear.

Combination, Not Antagonism

Ashida

In fashion, you hear people say things like "organic cotton is good for the skin," but this is antic-scientific, isn't it? Just because it's organic cotton doesn't mean it's good for the skin. If pesticide residues from ordinary cotton were so significant that they remained on the skin just by touch, it would be greatly problematic and unlikely in contemporary society.

Miura

There is a documentalist named Jean-Paul Goude who is involved in an anti-pesticide citizen movement. When I interviewed him once, he told me, "Smell me! I don't stink, do I? It's because wearing organic cotton gives you fantastic perspiration!" That left me at a loss (laughs).

Ashida

At that point, it's almost synonymous with spirituality.

Miura

It does make you wonder, doesn't it? Whether we can really justify the use of organic cotton just by how good it feels. While it's reassuring to think that no pesticides were used, we should also be concerned about who's pulling the weeds. How can we economically transition to organic cotton farming? What will happen to the structure of the industry and employment in the third world? These are all things we need to take into consideration.

Can We Be Satisfied with the Same Thing Every Day?

Ashida

In fashion, there is a trend to try to avoid producing unnecessary items. Some radical individuals even argue that we don't need new clothes because the clothes that already exist in the world are sufficient.

Miura

That's definitely a valid point. It's possible to argue that the best course of action is not to drink at all, rather than choosing eco-friendly wine to avoid contributing to consumerism or to reduce environmental impact. Although I personally can't see myself ever giving up alcohol, but Ashida, could you be satisfied with wearing the same clothes?

Ashida

I usually end up wearing the same clothes out of habit, but ideally, I'd like to wear different ones.
Simply put, clothes can change your mood. Changing your clothes is a quick and easy way to bring variety to your daily life. You feel and behave differently when you're wearing a t-shirt and jeans than when you're wearing a suit. Clothes are always in your field of vision and in direct contact with your skin, making them an effective tool for mental transformation.

Miura

Urban living involves various scenes or modes. Whether you're alone at home, at work, or heading to a place at night where you might interact with someone, the way you dress can completely change your mindset and behaviour. I believe changing that is a vital stimulation in urban life.

The Twin Wheels of the Ultimate & the Ordinary

Inquiry at the Cost of Decline

Ashida

Let me change the topic slightly to interweave my thoughts about diversity and uniformity.

Miura

Your story about the bakery got me curious. Is the bread that good?

Ashida

It's delicious indeed (laughs). There's another bakery in Kyoto, which I consider one of the best, and they're very particular about their bread-making process, like they use natural yeast and ferment for two days. However, it seems the owner's health is starting to deteriorate. No matter how much effort they put into making bread to their satisfaction, they find difficulties in sustaining it or making a profit. While everyone says it's delicious, the creators suffer fatigue. This could also be interpreted as a kind of exploitation.

Miura

Stories often celebrate craftsmen who make things like soba noodles and become so obsessed with creating the perfect product that they eventually can only serve 20 dishes a day. I wonder about that though. I believe that humans have the capacity to perceive the subtle 'differences' in taste and aroma, especially when we set our minds to it. The pursuit of these minute 'differences' in minimal settings like bread or soba is a path unto itself. This sometimes leads to the illusion of creating something one of a kind after considerable dedication, yet at the risk of one's health. But bread in general has become much more delicious compared to the old days. I think that if you choose the right ingredients and make it properly, you can enjoy a flavorful bread, which might be good enough.

No Need to Be Sensitive Every Day

Ashida

To be honest, I sometimes wonder if it's alright to settle for things like clothes and food that are decent quality with reasonable effort. But, I'm not sure if that's really the best way. From my own experience, I used to enjoy leisurely meals at delicious restaurants when I didn't have children, but recently, I found myself getting tired of savoring good food.

Miura

I can understand that feeling.

Ashida

I don't get tired eating beef bowls at fast food restaurants, but I do feel exhausted when I eat delicious French or Italian food because I have to use my nerves to savor the taste. I find that I'm more relaxed and less tired eating moderately delicious food. It might be because of my age (laughs).

Miura

It would be nice if we can have both monotonous flavor with less stimulation and refined taste that seeks the ultimate delicacy. What's crucial is recognizing that both are established based on different standards and not confusing them. If we don't maintain a balance between the two, we'll indeed fall ill.

Ashida

Recently, society tends to quickly categorize things as "friend or foe," so it'd be good if we could find a way to balance. In fashion too, it's often said that fast fashion is evil. When considering the producers, it's unacceptable to force them to work under poor conditions. However, from the perspective of the consumer, there's a positive aspect that fashion, which was previously enjoyed only by the rich, is now accessible to ordinary people. In this sense, perhaps it could be politically correct to choose "items of reasonable quality at a reasonable price."

Miura

By the way, is it possible now to have "good yet cheap clothing"? If so, where can we find it?

Ashida

Fast fashion prices fundamentally require outlandish methods to be viable. I'm not well-versed in business, so this will be a bit subjective. I believe the goal is to maximize efficiency, produce a certain amount, and sell a shirt for around 10,000 yen.

Miura

In terms of wine, a bottle made in a so-called "natural" way, with considerations to both "ecological soundness" and "sociological sustainability," would be around 2,500 yen to 4,000 yen. This price reflects the standard bottle from each winery. Striving for 'natural' production signifies distancing oneself from consumerism and facing the land and wine at one's own pace, but it comes with a cost. Therefore, I also drink cheap wines from discount stores. Both options are necessary.

The Potential of Future Culture

Modern Human Desires

Ashida

Considering not only the taste but also the environment, unpolished rice may be more environmentally friendly than regular rice. It reduces water usage in households. Reducing individual tasks also reduces waste and lessens the environmental load. I've been idly thinking, is the sustainability of food the same as that of fashion?

Miura

There is an inherent wastefulness in purposely manufacturing sustainable products, promoting them, and then selling them. But I don't believe that getting closer to true "nothingness" is better. I think it's healthy to have a variety of modes existing in unison. At the same time, it's worth repeating that there are separate ways of respecting different things in a mix, and attempting to gain profits from ambiguity. Whether it's so-called "organic products" or the latter, I think critical consideration is necessary for each case.

Ashida

In discussions about the future of food, I think about scenarios where most people would be satisfied with obtaining nutrients and a feeling of fullness from a capsule. Or if people could have perfect travel experiences through VR, or wear stylish clothes by projecting images onto a plain white t-shirt, would they be content?

Miura

I believe the notion of not being satisfied is characteristic of modern humans. The possibility of "transformation" is related to a fundamental human freedom, and modernity acknowledges that humans seek this freedom. Clothes and food may have this in common; they directly impact bodily habits, opening up entirely different sensory worlds. I believe they provide us with the chance to adopt habits that aren't yet familiar to us. Once you've experienced the raw and fascinating transformations of the body through eating, I don't think you can go back. Calming these desires with pseudo-equivalents negates the experience of freedom.

The Potential of Remixes

Ashida

Just an observation, but while the concepts of clothing, food, and housing are lumped together, you don't often hear of people getting bored of living in the same house every day. Nomads might wonder, "Don't you get tired of staying in the same place?" Perhaps our discontent with the same items is a product of our fixed ideas.

Miura

Surely there are people who seemingly turn moving into a life's work, but ordinarily, it's not like that. Maybe it's fine if you don't anticipate anything from the start. Due to the expansion of the coronavirus infection, we have situations where we end up staying home all the time, and it's interesting to see how it takes on the aspects of an energy-saving experiment testing how much a person can endure in the same space.

Ashida

Miura, do you think you could still enjoy food without air transportation?

Miura

Without air transportation, places like the LA food scene would inevitably have to transform... Authentic sushi restaurants wouldn't be possible without the air transportation of fresh fish, and French, Italian, and Southeast Asian cuisines would all have to start making do with imitation ingredients. It would become difficult to maintain situations with a deep mix of different cultures.

Ashida

In fashion too, remixing will continue indefinitely as a means of creating new elements. With fashion, unlike food, there is criticism against the appropriation of culture, which is challenging. There was an incident where a Caucasian model wearing a kimono for a shoot in an American fashion magazine came under fire.

Miura

Regarding the issue of cultural appropriation in food, it was discussed extensively and thoughtfully on the Netflix show "Ugly Delicious" hosted by David Chang. Some memorable moments were discussions about the multi-layered meaning fried chicken holds for African-Americans and the significance of kimchi for Korean immigrants. They are not simply "colors on a palette" that can be freely used; there are delicate histories relating to minority identity. I believe appropriation without respect for these histories should rightly be criticized. David Chang, himself of Korean descent, vehemently disapproved of the trendy use of kimchi. However, as Ashida pointed out, there might be a more free-spirited approach with food than clothes. If you try kimchi and say it's delicious, that's generally seen as a friendly gesture. There might be some people who'd say, "What do you know?!", but I think eating kimchi might encourage transformation in the eater too.

Ashida

There's something else I've been curious about regarding the differences between food and fashion. Up to a certain point in the Showa period, many mothers used to make clothes for themselves and their children. Like cooking, everyone was doing it at home. But from a particular point, people stopped making clothes at home. No one seems to feel guilty about this. But when you eat out all the time and don't cook at home, you tend to feel guilty.

Miura

Quite a large proportion of the cookbooks sold in bookstores frame the theme around the "guilt of cooking being a chore."

Ashida

While there's a certain expectation to hand-make things for kids at daycare, there's no demand for hand-stitching. Though using a sewing machine is acceptable, outsourcing is usually not. This differentiation is quite mysterious.

Miura

The culture of kindergartens in Japan can come as quite a shock, can't it? It would be unimaginable in a country like the U.S. that prioritizes efficiency above all else. The demands for sewing skills in kindergartens carry a gender bias, with a hint of educating young mothers. Making children's clothes may increase your knowledge of clothing, but in today's busy society, it's quite a radical method. In the field of home cooking, Yoshinobu Doi's book, championing the concept of homemade rice and miso soup, even if it's just those two, struck a chord with many and became a bestseller. The idea is to maintain homemade meals using only natural ingredients, even if it's just these two dishes. I think it's a very suggestive and modern introductory book.

(1) https://www.youtube.com/watch?v=sxK9_kotE1Y (accessed on September 18, 2021)
(2) Based on the definition of fashion as an "item," "clothing," and "social phenomenon" by Hiroshi Ashida in "言葉と衣服" (Adachi Press, 2021).
(3) https://www.env.go.jp/policy/sustainable_fashion/ (accessed on September 18, 2021)
(4) Shinro Ohtake's "既にそこにあるもの" (Chikuma Bunko, 2005)
(5) Igor Kopytoff, “The cultural biography of things: commoditization as process” in The social life of things: Commodities in cultural perspective, edited by Arjun Appadurai, Cambridge University Press, 1986. There has been criticism towards Kopytoff's argument that overly emphasizing the history of an object can make it difficult to have a critical perspective on the social, economic, and cultural structures in which it exists. I believe that a classic yet certainly surpassable way to connect objects and the structures that enable their existence is to highlight the repetition of necessary practices in the constitution of an object's material qualities.
(6) What I am stating here may resonate with a group of practices known as "critical design" (refer to Matt Malpass's "Critical Design in Context: History, Theory, and Practice" (supervised translation by Daijiro Mizuno and Tomoya Ota, BNN Shinsha, 2019)). However, in order to "read" critical practices through design that is unintended or casually executed as such, there may be situations where a (meta) criticism that translates them into words, including the context in which design functions as criticism, is also necessary.
(7) Many of the examples discussed here fall into the category of "small-production items" that are based on existing (mass) produced goods (for instance, theoretical frameworks such as the one in Shinya Konaka's "The Delicate Globalization of Small Production Items" in "躍動する小生産物" (edited by Ryo Ogawa, Koubundou, 2007) could be applied for analysis). However, in order to elucidate their meanings, it is necessary to examine in detail the peculiar effects of the design process and the framework of distribution in relation to the fashion system. Also, it would be possible to carry out critical production in the midst of mass production.
(8) Op. cit., p. 431.

Expansion of Platforms

Unique Platforms

この投稿をInstagramで見る

Inclusiveness that Engages the Audience

この投稿をInstagramで見る

この投稿をInstagramで見る

この投稿をInstagramで見る

Forming a Sense of "National Identity" across the Scene

この投稿をInstagramで見る

この投稿をInstagramで見る

この投稿をInstagramで見る

この投稿をInstagramで見る

The Momentum Spills Over

Media Complex Developments

この投稿をInstagramで見る

この投稿をInstagramで見る

この投稿をInstagramで見る

この投稿をInstagramで見る

Behind the Sizzling Scenes

What the Return to Film Brought

この投稿をInstagramで見る

この投稿をInstagramで見る

Not Just a Revival: The Transformation of Body Aesthetics

Mass / Approaches to Body Expression

この投稿をInstagramで見る

この投稿をInstagramで見る

この投稿をInstagramで見る

An Approach that Turns the Tables on Social Media Editing

*1 https://jp.louisvuitton.com/jpn-jp/articles/lightning-a-virtual-heroine

The Overwhelming Speed of K-POP

The Balance Between Digital & Handwork

From Float Designer to New York Nail Artist

Encounter with a 3D Printer

A Desire to Try Character Design in the Future

Header caption: Kiko Mizuhara

Text by GANTAN

Text by Rika Okuyama

Public Spaces in the City

Concept of Public Viewing During the Olympics

Hayamizu

Regarding the Tokyo Olympics, while there were tough decisions about whether they should be held and whether there should be spectators, it was surprising how quickly the idea of public viewing was canceled without much discussion. I thought using parks and plazas to enjoy the Olympics city-wide, or deploying advanced technologies for sports broadcasting, was a core element of the Tokyo Olympics. It seemed even more important than the presence of spectators. I believe it could have been an invention for new forms of gatherings.

Iida

With the spread of concepts like New Urbanism and compact cities, as Hayamizu noted, parks are also undergoing significant changes amid efforts to attract people to central urban areas in response to a declining birthrate and aging population.

New Forms of Parks Through Redevelopment

Hayamizu

Continuing from the earlier discussion, parks across Japan have started to change, not just MIYAsh*tA PARK. We are seeing more parks operated by private entities, such as Minami-Ikebukuro Park and IKE・SUNPARK, which have been reborn as new urban parks. A common feature among these parks is the absence of large trees. They are focused on lawns, providing a clear viewpoint with no shaded areas, making them easily visible from the surroundings. This visibility improves safety. In Shibuya, Kitaya Park, located at the upper part of the park's street, has been transformed into a "step park" with the opening of "Blue Bottle Coffee," and it has become a spot for food trucks on weekends. The steps function as open, seating-friendly areas, completely different from the chaotic bike-parking and the smoking area for nearby office workers it once was.

Iida

The talk about new forms of parks focusing on lawns and the absence of shade relates to the cancellation of live sites in Yoyogi Park, initially triggered by criticism of tree felling. Although the pruning in Yoyogi Park was actually minimal, the large-scale tree removals in other parks redeveloped for the Olympics brought renewed scrutiny.

Hayamizu

The tree cutting in Yoyogi Park was indeed a symbolic scene in the anti-Olympic movement.

In the New Lifestyle

Importance of Proximity Remains Unchanged

Iida

During the COVID-19 pandemic, there has been a lot of critical reporting on so-called "nightlife" and street drinking, while at the same time, rural relocation and workations are being praised. In this context, I was reminded of Hayamizu's book "東京どこに住む？：住所格差と人生格差" (Asahi Sensho, 2016).

Hayamizu

"東京どこに住む？" was written about the contradiction that, while people were concentrating in cities both in Japan and globally, Japan was trying to promote decentralization as a national policy. The same holds today; Japan is still trying to disperse the population to rural areas, even at a cost, and there were discussions during the COVID-19 pandemic about the diminishing importance of living in city centers. As technologies like IT, which nullify the importance of location, develop, the argument that cities are no longer necessary, and that you should find affordable land in the suburbs and live freely, seemed more logical. But it was the opposite. And, even under the COVID-19 pandemic, I think it’s safe to say that decentralization did not advance.

Rediscovering Publicness

Hayamizu

Universities used to be open to local communities. Since I live near Hongo, it was normal for me to eat lunch on the lawn in front of Yasuda Auditorium at the University of Tokyo, but it's been a long time since entry was restricted.

Iida

Ritsumeikan University's Kinugasa Campus has a place called "Riaju Plaza" where students eat lunch on artificial grass, and it’s a space that can be seen by others. Traditional campuses have a sense of plaza, but new urban campuses lack this plaza-like feeling because they are vertical buildings.

Hayamizu

MIYAsh*tA PARK is very much the same. There’s a Starbucks in the park space on the 4th floor, and the benches are 100% filled with teenagers who film TikTok videos and do live streaming. There’s a food court on the floor below, and it’s always full, creating a vertically stacked space of a shopping mall and a park. The upper part is a public space, and the lower part is a commercial space. There’s even a skateboard park beside it. If you think about it, it's quite unnatural, but no one feels it’s unnatural.

Shaping Event Experiences

Stadium Watching & Public Viewing

Hayamizu

I think the 2002 Korea-Japan World Cup was the timing when public viewings started to become popular in Japan. Strictly speaking, at that time, public viewings were in limited spaces like stadiums or sports bars and not in spaces like city squares. However, many foreigners came, continued cheering for soccer in the streets, and caused a ruckus in places like Roppongi. They spilled out from the stores. The Shibuya scramble crossing became a festive place, and that started to become a problem. I believe the culture of drinking outside shops began from that time.
The early 2000s seemed like the beginning of a change in urban residents' dining styles. Not only did sports bars and British-style pub chains increase, but bars also sprouted in the streets, with more opportunities to drink alone at bars and pubs near home rather than with bosses and colleagues near the office. This trend became even stronger after the 2011 earthquake. These also imply a rediscovery of the city center. This means that changes in the city's culture affected dining styles, not solely those kicked off by the World Cup.

Iida

I have no interest in soccer and was reluctant about participant observation. On the other hand, when I looked into public viewings in Germany, it was interesting to find that even people who had no interest in soccer could freely participate. While many tourists seemed to be soccer fans, local people, from mothers with strollers to elderly people with mobility issues, could widely participate.

The Impact of Display Size

Hayamizu

The protest movement against this Olympics was heavily influenced from abroad, I think. Criticism of holding the Games in Tokyo was prominently featured in a 'New York Times' column, causing domestic opinion, which seemed about evenly divided, to become completely split due to the pandemic. Globally, the financial burden and urban development associated with the Olympics are becoming clear dividing lines of opposition and support. Even before Tokyo, the London Olympics saw growing opposition in major developed cities. Those who dislike urban development tend to overlap significantly with anti-Olympic movements. Although I couldn't see it myself, those who saw the massive display set up in Yoyogi, which later became a vaccination site, said they wished they could watch the games on it. Just that would have been a new experience. Television has always been a medium that created national unity, common emotions, and public spaces since post-war times. Televisions originally started from public spaces, so the large-screen public viewings felt like history coming full circle. My media theory interest was particularly piqued by what size of display would be used for public viewings, but that was disappointed.

Iida

Hayamizu, in your column in "Pen," you discuss the size of familiar items, starting with post-war street TVs. The topic of display size is something I've been pondering for years as well. In "かくれた次元" (1966, Misuzu Shobo), cultural anthropologist Edward Hall introduces the concept of proxemics. Just as birds maintain equal distances on power lines, humans also express relationships and intimacy through the way they manage distances with others. This concept classifies interpersonal distances. Drawing inspiration from this, during a collaborative research on mobile phones, we discussed the potential for a "proxemics of media." Essentially, the size of a TV determines the distance between it and the viewers, which also defines the proximity between people watching together. Peering into a smartphone screen together creates a very intimate distance. Thus, one could think about "intimate distance," "personal distance," "social distance," and "public distance" as mediated by objects. However, it’s not just display size that dictates distance; the design of the space is also crucial. While movie audiences maintain distance from each other, public viewings in venues might foster closer proximity than watching TV at home. This might be considered proxemics or perhaps modern ethnography.

Thinking About Future Cities

The Metaverse as a Catalyst for Gathering People

Hayamizu

When discussing the metaverse, Shibuya's scramble crossing is surrounded by screens, forming an "advertising space." Unlike the area in front of Shimbashi Station, for instance, it's a public space enveloped by ads, functioning as a place where people gather. While there’s a high possibility the metaverse may not become widespread, it’s easy to imagine it becoming a bustling place if, for instance, many people gather to celebrate New Year's together in a well-known location. The "Virtual Shibuya" experiment on cluster has already shown that Shibuya can symbolize such gatherings. Conversely, metaverse-izing anything else may not make much sense.

Iida

After "Second Life," we saw the emergence of "Sekai Camera" and "Pokémon GO," but I believe pure VR that doesn't reference reality is limited. To capture attention beyond just being an interesting game, it naturally has to involve augmented reality elements.

Hayamizu

On the other hand, for gamers, it's become normal to play games while chatting with friends online, or gather with hundreds of people at once. Noteworthy cases of metaverse utilization related to show business included Travis Scott's live performance in "Fortnite" and "Animal Crossing: New Horizons." Particularly, it’s easier to understand things like music concerts that unite fandoms and create excitement, indicating that such events might be the initial examples with potential. However, it’s worth mentioning the uproar during the same Travis Scott concert in Houston, where 10 people died. It showcased the fear and dangers arising from the haste to resume public gatherings, resulting in the worst situation at the worst timing.

Designing the Atmosphere of Places

Hayamizu

How can real urban spaces become more interesting? Generally, the trend of concentrating in city centers will continue. The benefit of concentration is the mix of various people, but there will also be a trend toward clarifying places people prefer. TikTok users might gather in Shibuya, while anime fans in Ikebukuro, as is already the case. The concentration of vintage clothing shops in areas like Shimokitazawa and Koenji is significantly higher compared to the boom in the '90s. Additionally, there might be towns for those who find city centers uncomfortable. These trends might link with the transformation of parks, specifically privatized parks centered around cafes. This might be seen pessimistically as a retreat of public spaces, similar to complaints heard when shopping malls increased, but there often is a disconnect from the actual user experience. Recently, food trucks have also evolved. In our childhood, the vitality of shopping streets was symbolized by pedestrian zones. Now, places where food trucks gather seem to have taken over that role.

Iida

Speaking of which, food trucks also come to the lively areas of Ritsumeikan University. Besides that, current examples like MIYAsh*tA PARK deserve attention. Instead of viewing it from the antagonistic perspectives of civic-centrism vs. commercialism, it raises the question of how to ensure openness and acknowledge the diverse urban forms through the design of spaces.

The Function & Appearance of Wearable Items

Subjectivity Surrounding Appearance

Development of Functional Beauty

The Significance of Having Design Options

The Relationship Between the Body & Tools

Keywords: Body Assistance / Enhancement

Tools & Rules

The Role of Fashion

Fashion that Embraces New Proposals

Challenges in Tackling SDGs

The Joy as a Human Being

Function, Design, & Values

Special Feature Theme: "Body / Clothing & Functionality"

Voices Gathered for This Feature

Photo by Teruaki Tsukahara

Current Perspectives towards Disabilities

From "Pitiable" to "Cool" & "Unfair"

Endo

I first met Ubukata at a related event of "Ghost in the Shell: ARISE" held at Big Sight. Intrigued to know more about his views, I invited him to my office. Given his wide receptiveness towards discussions on technology, he has always been an inspirational figure for me, encouraging me to broaden my horizons in the realm of technology.

Ubukata

While I create my stories by envisioning various scenarios, firsthand accounts can be quite influencing. After hearing your views drawn from direct interactions with people, I've translated them into my works. Specifically, when I heard you say, "People with leg disabilities can't walk, but with a prosthetic leg, they might be able to run," it left a deep impression on me. I realized this was an acute question poking at human values. That perspective stays with me to this day, and I look forward to delving further into understanding the current values and thoughts held by individuals depending on prosthetics.

Endo

The Paralympics were held recently, and interestingly, reports focusing on 'efforts put in by disabled individuals' did not abound as much as one might typically expect. Instead, there has been a shift towards enjoying the games as a sports event, treating it independently from the usual narrative around disabilities. Previously, high-emotion stories of disabled individuals overcoming adversity were more common, much like charity TV programs, but the recent Paralympics has been quite different. Mind you, I don't intend to denounce the previous narratives, but it's apparent that a different trend is emerging.

Ubukata

There was a case in basketball, wasn't there? Where one had to amputate their leg to qualify...

Endo

Yes, indeed. There was someone who lost their eligibility because they didn't want to go through with the amputation.

Ubukata

So, you decided not to amputate, huh?

The Moment Values Change

Endo

I'm very interested in the idea of values changing, and one of the reasons I'm an engineer is because I want to help orchestrate those moments when human values shift. I truly believe that there will come a time when having a prosthetic limb is no longer seen as a disability.

Ubukata

I was really looking forward to today's discussion on fashion. Fashion contributes to the shaping of culture through clothing, and was also a tool for expressing class and attributes in past societies.

The Role of Technology

From the confines of disabilities to individuals

Endo

I think there's something inherently eugenic in this, and it's very risky. I believe there are quite a few people who live with the preconceived notion that people with disabilities are inferior to themselves. Some people say this is a cognitive bias that humans instinctively have for boosting their self-esteem, while others feel it as an essential rationality for sustaining life.

Ubukata

Nowadays, many things are being solved by technology, which shows the power of technology has grown strong.

Deviation from the Norm

Endo

Actually, when I was making Hirotada Ototake's prosthetic leg, I thought about discussing it with Ubukata. I wondered what kind of future it would bring with Ototake's prosthesis.

Ubukata

The challenge is in redefining the long-standing norms that date back 2000 years, possibly even 16,000 years. We instinctively imagine human forms to have one head and two limbs. Even traffic signals use marks of complete human limbs. The accepted standards of all symbols representing pedestrians have to be altered. Yet, most people register no incongruity with pedestrian symbols, accepting them as human forms.

Radical Freedom

Ubukata

The shape of the body itself communicates something. As the term "body language" suggests, the physical body sends various messages to the observer. If I, for example, were to attach aggressive spikes to my prosthetics, it could signal deterrence, aggression, or even warning others to keep their distance.

Endo

Have you ever noticed differing perspectives on these body-related values amongst others? You grew up in Nepal and Singapore, and I was always curious if your experiences there influenced your thinking.

Ubukata

Regarding the body, I often saw people in Singapore who had suffered from the Vietnam War. Some had lost limbs, while others were malformed due to Agent Orange. I was there when Singapore was still accepting of these individuals. However, as the country gradually transformed into a tourist destination, these individuals were increasingly excluded, and they are hardly seen now.

Endo

Absolutely. During Ototake's project, I often found myself surprised at how differently others reacted to what I found intriguing.

Ubukata

Could you give me some examples?

Endo

One simple suggestion was to fly Ototake. As he isn't too heavy, we considered using a drone to lift him into the sky. If we're talking about merely walking, bipedal movement can be risky, and electronic wheelchairs already exist. So, we thought about something like a centaur-shaped set-up that would make it impossible for him to fall while walking in the forest. We wanted to do something a bit more challenging, but it proved difficult due to various circ*mstances.

Ubukata

I see, the image of Ototake riding a robot does bring the future to mind. But having him lifted by a drone might create an image eerily similar to that of a human sacrifice. Elevating a person can evoke scenes of hanging someone, possibly prompting an ominous feeling. If he were to be lifted, it would probably be less unsettling to see him with artificial limbs. Without limbs, the sight might induce anxiety. On second thought, we could have suggested turning him into Ironman.

Endo

That would make good use of sci-fi indeed, but Otawa is actually like Darth Vader. Unfortunately, the enthusiasm died down since nobody knows that he lost all his limbs like Darth Vader (laughs).

Changes for the Future

Things Felt During the COVID-19 Crisis

Endo

Did you envision this kind of pandemic during the COVID-19 crisis?

Ubukata

No, I didn't anticipate it at all. And later, I realized that it was strange that I hadn't anticipated it.

Endo

No, I was completely blindsided. When something like this happens, I'm not sure if it's a similar situation, but it reminded me of the anime "Ghost in the Shell." There's a storyline involving an "Murai Vaccine" where the high-ranking individuals are receiving a vaccine that hasn't been authorized. Looking at the current vaccine situation, I've really seen firsthand how people don't always act rationally.

Ubukata

Rationality has become more diverse, or rather, I think that people who are anti-vaccine have their own form of rationality, which makes dialogue difficult. People find comfort in building logic to explain things.

Endo

That's right. Humans crave stability and are weak against change, and this experience made me realize that I'm no different.

Ubukata

When I moved to Tokyo after the Great East Japan Earthquake, I thought I should prepare for future disasters like it. However, the pandemic came from a completely different angle, and it seems like we're facing a new crisis every 10 years. This is the 20th anniversary of 9/11, the 10th anniversary of the Great East Japan Earthquake, and now we're in the middle of a pandemic. I now feel that with each crisis, the usual order of things is shattered.

The Potential of the Metaverse

Endo

What do you think is the way to reduce wars?

Ubukata

Simply put, it's economic interdependency. I personally think it's very dangerous that the coronavirus has destroyed that. It would be the worst if we had to deal with a war in 10 years. I've had enough.

Endo

In the tech community during the COVID crisis, there's a trend towards thinking of things in terms of a "metaverse." The idea is that there's an economic zone in a virtual space, like Second Life was in the past, where you can work without being tied to a physical location, and ultimately you might be paying taxes and living off a salary in that space.

Ubukata

How realistic is that, and how far has the discussion progressed?

Endo

I'm not sure, some people around me say that poverty can only be solved in the metaverse, but I wonder if it's something that could be adopted in places like Africa. The concept has been around since around 2000 with Second Life, but now it's taking on a more real-world meaning. Facebook is developing a virtual space, and in Japan, major VR chat events are being held with sponsors and advertising revenue being generated. In other words, an economic zone exists, and it's become possible to do most things there. However, the number of people who can live there is still limited, and if not used wisely, it could exacerbate inequality and create new discrepancies. I'm watching this development with those concerns in mind.

Ubukata

The dangerous part of the virtual space is that it's controlled by those who own the servers. When individuals don't own servers, they have to hand over all their rights. I wonder how we can establish neutrality, like banks do. Depending on the design, even if I'm told that we can go to a virtual space in the future, I might refuse.

Endo

Of course, I don't think it's something that can solve all the world's problems. However, I think there are also good aspects to it. For example, people with limb deficits are not physically limited in virtual spaces. There are also people living with avatars that lack the concept of race. I wonder if there is a more diverse and flexible world than the real one.

Ubukata

That's true, especially for people with total paralysis, the virtual space becomes an important "assistive device"—there are few words to express this because it has never existed historically, but I think many people are being saved by VR spaces. If that's the case, I'd like to see it built on a large scale, like public institutions.

Endo

In VR spaces, clothes are sold, and you can dress your avatar. What humans seek in VR spaces comes from things that have value in reality. From this fact as well, I believe that humans cannot change unless they create a sense of security.

A Future Where Prosthetics Become Fashion

Ubukata

I think it will change depending on whether we perceive prosthetic limbs as clothing or as a physical body in the future. For example, glasses have become part of clothing, originally a replacement for the lens of an eye, close to a prosthetic eye. Wigs should also be part of the body, but they are used as fashion. I was thinking while listening to you talk that perhaps prosthetic limbs will become more acceptable if they become like clothes or shoes, with new modes coming out every year, and you can change your legs.

Endo

That's interesting, I thought there were both perspectives. I feel like my perspective is more physical.

Ubukata

Even for men, but especially for women, I feel that this kind of sensitivity is strong. Women want beautiful legs, the latest trends, or something that gives them chic pride. Therefore, I think that prosthetic limbs might be divided into those for men, women, children, adults, and the elderly in the future.

Endo

Certainly, there might be a trend for men to use it as it is, mechanically. I haven't taken any data, but I feel that women overwhelmingly tend to make efforts to make their prosthetic limbs look invisible.

Ubukata

I think this goes back to the discussion of individuality, but so far, prosthetic legs have served as a substitute for disability badges, serving as a target for either pity or malice. But I suppose that's going to change in the future.

Endo

When that happens, I feel like it's going to be a time when it's difficult to gain empathy. Even when you want to call many people to an event, there are only a few events that can call tens of thousands of people, and even the Olympics are tough. So, it might be that instead of a large number of people sympathizing, there are small groups, each with a little empathy, in a form that supports each other, and that may be economically rational.

Ubukata

Even in Shibuya now, everyone is dressed in different ways, and the way they gear up is different. That applies to everything, including entertainment, and in the case of novels, there aren't many people who read both SF works and historical ones.

Endo

While opportunities to see prosthetics have increased and they're becoming familiar in cities, I still think they're in a state of not blending into everyday life.

Immunity to Change

Ubukata

I think there is a problem of not knowing what it is, and not knowing how to worry about it. For example, when a person with a prosthetic leg rides on a scream machine at an amusem*nt park, they are told, "Is it okay? Shouldn't you take it off?" The only institution that's responsible for teaching common sense is school, but schools hardly deal with such matters.

Endo

Indeed, teaching everything on-site is challenging. An acquaintance of mine, a researcher, loves "Anne of Green Gables," and I was inspired to read it. It's a story from the 1890s, in which a mysterious girl named Anne is taken in on an island, and all the people have some kind of bias, not being perfect. It made me realize that human beings are just like this. This realization hit me hard, because, if we can't learn everything from childhood, as humans can't change that easily, I wish to have a mentality that can accept people we've never seen before and cope with changes, just like Anne.

Ubukata

If it were up to me, I'd uproot them from their land. They would transfer schools in the first grade of elementary school (laughs).

Endo

I thought I was on the side of being very resilient to change, but as I get older, I feel that I don't have immunity to change. I think that as you age, things you can't remove start to accumulate around your body, like work. It's hard to break away because of responsibilities, and although the work is interesting and enjoyable, I feel that my perspective is narrowing. As a researcher, I don't want to lose that perspective. I felt that strongly as I was listening.

Ubukata

Yes, for adults, there's always some responsibility involved. If everyone started to change at once, everything would collapse.

Endo

There is some sense of achievement, but as soon as one thing is completed, more tasks accumulate. What I have achieved is only one rational progress, not everything. It's like seeing many more mountains after climbing one. There's a thrill to that, and there is a sense of achievement, but it's not the end. I don't think I can climb all the mountains myself, so I want to find the mountain I enjoy the most and climb it to the top.

Ubukata

I'm looking forward to it. The future is exciting.

How to Enjoy Parisian Fashion

Considering Japan to be the Starting Point for Asian Expansion

Text by ELIE INOUE

Process Design & Facing Users

The Basics of Inclusive Design

Cassim

First, the word "inclusive" means "to include." No matter how much design tries, inherent exclusion is possible.

Endo

When did the term inclusive design start to be used?

Cassim

The term was first used around 1997 in a meeting report by Roger Coleman, who was my boss during my time at RCA.

Endo

For better or worse, compared to the costs associated with mass production and mass consumption processes, inclusive design seems to incur higher costs by addressing individual diversity. How does inclusive design approach this economic rationale?

Cassim

That is a common question. If carefully designing the process itself leads to better results, these good results tend to last longer. Additionally, design mistakes are drastically reduced. In that sense, inclusive design, by reducing mistakes, can be more economical in the long run and more sustainable.

Prostheses & Users' Self-Image

Cassim

I think it varies depending on the type and extent of the disability, but all parents of children with disabilities clearly feel the issues with the design of special equipment. In other words, the products are unusable and ugly. Whether it's for their own child or in interactions with other disabled people, they see daily how insensitive designs impact users' everyday lives.

Endo

In my case, I often create things assuming that I really don't understand anything. Although I try to empathize with people who don't have legs, ultimately understanding is challenging. When I made artificial limbs in India, it was difficult to create things without understanding their culture. So, I have to start by acknowledging my own ignorance and then communicate from there. I felt that there are many parts similar to Cassim's experience and practice.

Challenges Around Fashion

Creating Scenarios

Cassim

Around 2000 when I was at RCA, the concept of inclusive design was not well understood. Especially since students from RCA's fashion department rarely visited our research lab, I was constantly thinking about how to convey the necessity of inclusive messages to people in the fashion domain. The reason was that both disability and aging were seen as unfashionable, and meeting the needs of such people was believed to reduce the style level, hindering their creative expression.

Cassim

To logically address this issue, I created scenarios within the spectrum of inclusive design by connecting disability with fashion, particularly the aspect of sports. As a result, placing disability and extreme sports on one spectrum, we realized the functional requirements for people with disabilities and those in extreme sports were similar. For instance, extreme sports require materials that maintain body temperature against snow and sweat, provide good breathability, which are the same needs for disabled people. Long hours in a wheelchair cause hands and feet to get cold. By mapping these similarities, we could identify the necessary materials and cuts. For example, both skateboarders and wheelchair users faced issues regarding where to store their belongings. At the time, skateboarders stuffed their pockets with phones, keys, and money, just like wheelchair users. We created scenarios that mainstream users, positioned between the functions sought by disabled people and extreme sports, could enjoy.

Trends in Adaptive Fashion

Cassim

I think "adaptive" is an old-fashioned term. "Adaptive" refers to modifying something that already exists to make it usable for the user. Unfortunately, especially for the elderly and those with disabilities, the approach has mostly been to slightly change existing things to fit their needs. Instead, by returning to basic principles and adopting new processes and methods, the design itself improves, and adaptation becomes unnecessary.

Definition of Terms

Endo

In computer science, the term "ubiquitous computing" was once proposed by Professor Mark Weiser. The word "ubiquitous" itself is generic, but here it meant computing being present everywhere and becoming an invisible part of life, implying that we become unaware of it. However, "ubiquitous" began to be used as a commercial marketing term. For example, mobile phones and body sensors themselves became ubiquitous, replacing terms like "portable" and "anytime, anywhere," eventually making "ubiquitous" a less favorable term.
It's said that the meaning of the word changed because different people started using it in ways different from what the proposer intended, and many things were created. To add different nuances, similar new words like IoT emerged, slightly modifying the meaning.

Cassim

As I mentioned earlier, I think the term "universal" is unrealistic, just like "ubiquitous." The only universal thing in life is that we will die someday.

Potential of Design

"Hided" & "Fronted"

Endo

Since the topic of extreme sports came up, I create blades for Paralympians, researching biomechanics to help them run faster. Being in this field, I feel the significant impact of the promotions during the London Paralympics. It was a year when perspectives on the Paralympics greatly changed.

Cassim

The world of parasports is incredibly fascinating. For those who wear assistive devices, there are two distinct cultures. In English, we distinguish them as "Hided" and "Fronted." "Hided" refers to those who prefer not to show their prosthetic devices, like artificial limbs. Therefore, the prosthetic legs required here are more realistic and resemble a natural leg. On the other hand, "Fronted," which is often seen in men, involves individuals who desire to look like cyborgs and transcend so-called ordinary bodies. I find it extremely interesting that there are such contrasting cultures related to self-image.

The Potential of Inclusive Design

Cassim

Returning to the topic of fashion, there is a shared awareness of issues surrounding fast fashion, and inclusive design agendas have started to be incorporated primarily in mass clothing brands like Uniqlo. Meanwhile, in haute couture, high levels of craftsmanship by artisans, similar to old crafts, are being preserved. Although the production quantity is small, it functions as an essential means to preserve traditional crafts and techniques.

Endo

I’m in a different field from Cassim, but I found his way of thinking highly relatable. There’s a professor at MIT I really admire named Eric von Hippel. He says, "Innovation comes from lead users." In our field, those using prosthetic legs face the most challenges and hence understand them best and know how to solve them. By investing in lead users, we can solve problems. Creating innovations by scaling efforts aimed at lead users is something that requires tremendous inclusivity.

Cassim

Understanding backgrounds to design processes is important. The context relies not just on locality but also on human skills. By thinking about context and process together, we can produce inclusive outcomes.

Text by Hanako Hirata

Introduction

I

II

III

IV

V

VI

VII

VIII

IX

X

XI

XII

The Relationship Between Temperature, Humidity, & Smell

Focusing on Existing Industrial Technology for Product Development

One Bottle for Negating All Daily Odors

A Product that Discloses as Many Ingredients as Possible for Peace of Mind

Text by Junko Hayashida

Researching Not Only Breakdancing Movements but Also Culture

Developed by Listening to Breakers at All Levels

Breakdance-specific Innovations Even in the Details!

Text by Fumihito Kouzu

To Contribute to Every Woman's Beauty & Comfort

Considering Fashion from "Words & Images"

Thinking About Fashion Logically

The Complementarity of Words & Images

Words Around Fashion

"Fashion" & "Mode"

"Fashion" & "Fashion Design"

Facing the Ambiguity of Definitions

Information Transmission Through Images

Fashion as a Vessel for Images

Potential Shifts from Image-heavy Trends

hom*ogenization & Differentiation Through Data

Rationalization and hom*ogenization

Social Structures of Inequality Presupposed by Luxury Goods

Strategies for New Differentiation Achieved Through Technology

The Creation of Fashion Through Words, Images, & Data

How This Special Feature Is Structured and What Voices Were Gathered

Photo by reckhahn

Today's Fashion Culture, & the Environment Surrounding Clothing & the Body

Fashion as Entertainment

The World of Images vs. Actual Clothing Making

Creating Clothes for "People"

The Spread of Cutting-edge Technology & the Situation Surrounding Clothing & the Body

Fundamental Value Beyond Astonishment

The Power of Creators Needed for Technology Utilization

Therefore, I believe we need to be cautious with both the technology itself and how it is used. Ideally, material manufacturers, sewing machine manufacturers, and designers should shape products together through discussions. Even if there isn’t a suitable sewing machine for a beautiful new fabric, designers will find ways to bring it to life with creativity. This can lead to accidental yet wonderful results and new discoveries, making the challenge worthwhile. However, this alone does not constitute the development of materials aimed at clothing rooted in a lifestyle that considers the global environment.

Fashion, Wearing Clothes, & Our Bodies 10 Years Later

Imagining the Future Through Dialogue with the Environment

Today’s Image of Designers

Ideas Over Objects as Individuality

Photo by Kazunori Ohki

Prologue

Today’s Fashion Culture & the Environment Surrounding Clothing & the Body

The Disappearance of Enjoying Waste

The Illusion of Being Able to Become Anything

The Spread of Cutting-Edge Technology & the Situation Surrounding Clothes & the Body

The "Easy to Understand" Nature for Social Media

Fashion Distribution & Technology

The Ancient Nature of Clothing

Fashion 10 Years Later, Wearing Clothes, & the Nature of the Body

How Evil Fashion is Possible

The Issue of Desire

Photo by ANDY

Showcasing ZOZO NEXT's Efforts

Tajima

Originally, Nakamaru and I were conducting a research and development project on smart textiles with HOSOO Co., Ltd. and the University of Tokyo. We held a results exhibition in Kyoto from April to September last year, and it received a great response, leading to the decision to exhibit overseas. Among many overseas exhibitions, SXSW was proposed by our CEO, Kanayama. That was around October last year.

Tamamura

I knew the name SXSW, but I had a strong image of it as a music festival and entertainment event. Learning for the first time that they also have tech booths, I found it interesting that it blends various fields like film and music, making it more fascinating than typical tech events. I look forward to interacting with attendees from diverse backgrounds and receiving various reactions.

Nakamaru

Typically, MATRIX teams work on separate projects, so showcasing multiple projects like smart textiles and XR projects together is a first for us. It's exciting to compile what the newly established ZOZO NEXT (since October) is doing into a single concept and bring it to a festival of music and innovation. It's a very challenging endeavor, but we started working on it with great anticipation.

Kwon

When I first heard about the exhibition, I was really surprised. I was worried about whether we could pull off such a large display with such a small team. However, there were many areas that we had not been exposed to by other teams, so in that sense, it was a great experience to build towards something together while coordinating with others.

Tajima

ZOZO NEXT is a very small organization, but we're setting up the largest booth at the SXSW Creative Industries Expo. We're not only preparing the content for the booth but also handling all the novelties and transport. Honestly, it's not something this small team should be able to handle (laughs).

Kwon

Tasks just kept coming one after another.

Tajima

Especially because of the current COVID-19 situation, we had to tackle how to enter the country and set guidelines for our stay by ourselves. There are many challenges, but it feels very rewarding.

Unveiling the Veil Between Fashion & Technology

Kwon

We are showcasing a project that combines fashion and technology. In reality, the field of fashion still holds many possibilities for the application of technology. So, we set the concept as "UNVEIL THE FUTURE OF FASHION TECHNOLOGY" to break through this veiled, unknown territory. The booth is designed with a lot of black boxes surrounding it, and as it dissolves, the resolution becomes clearer. We wanted to express our desire to enhance the resolution of the world of fashion and technology and make it more visible.

Nakamaru

There were many twists and turns to reach that concept. At first, there were discussions about bringing out a Japanese color, but under Kwon's leadership, we all created something that truly represents ZOZO NEXT.

Tajima

Initially, there was even a proposal to place a traditional Japanese room in the booth. The design was primarily white, with a tea room in the middle and textile works displayed within it.

Kwon

Since it was an overseas exhibition, there were opinions on emphasizing Japanese-ness, but in the end, we aligned it with the company's message. Different projects coexist within the booth, so many of the textile works are displayed in a darkened space, which led to a unified darker theme. Also, black is the color of ZOZO NEXT.

Tamamura

The XR booth offers a virtual experience. Visitors can create avatars that look just like them on a touch display and even dress them in clothing. They can share this on their social media accounts, making it an interactive and enjoyable experience.

Nakamaru

In the textile booth, we are showcasing the results of a project aimed at enhancing beauty through technology, in collaboration with HOSOO Co., Ltd. and the University of Tokyo. The interesting group dynamic and the process of creation are also explained, along with prototype displays showcasing the development stages of the project. The overall concept of the displayed works is that the environment influences the textiles, treating the textiles themselves as a medium. For instance, in designs that emphasize light, we created spaces where shadows are accentuated, aiming to highlight the charm of the products.

Kwon

This time, we've prepared a website and leaflets for SXSW, so you can get the vibe not just at the booth but also online. You can scan the QR code to browse the site and have an interactive experience on your smartphone or PC in addition to the on-site experience, which I think is a great feature.

Concept Movie Depicting the Future Lifestyle

Tamamura

This concept movie began as a project to create a promotional video for ZOZO NEXT. Since it hasn't been long since we transitioned from ZOZO Technologies to ZOZO NEXT, we still need to spread the image of fashion + technology = ZOZO NEXT. We wanted to create a video that could present ZOZO NEXT as a creator of the future of fashion tech, and we shaped it through numerous brainstorming sessions and discussions within the team.

Tajima

ZOZO NEXT possesses various technologies, including XR and textiles, and also must address the sustainability issues crucial to the fashion industry. This short video effectively communicates our vision of the future to a certain extent.

Nakamaru

The concept for the future can vary greatly depending on who envisions it. Unless specific products are developed, it's challenging for us to grasp the concept, let alone convey the message to customers. By portraying a story through the lives of three protagonists, the video clarifies how the technologies we've developed might be utilized in the future, enhancing our—and hopefully the audience's—perception of the possibilities. Additionally, it will be interesting to see how the world reacts, which will have significant implications.

Tamamura

The virtual technologies shown in the video appear to be an extension of our current endeavors. As someone involved in the production, I personally believe that the featured technologies will eventually come to fruition.

Kwon

Watching it as a user, I felt thrilled. The technology was incredibly integrated into daily life, and it made me excited for such a future to arrive sooner.

A Catalyst for Taking the Next Step

Nakamaru

We look forward to seeing the global reactions to this opportunity to showcase our ideas externally. Their amazement will provide valuable hints for our next products, which is one of our goals.

Tamamura

Regarding the XR booth, attendees can actually experience it firsthand. So, I’m both excited and anxious to see how general users will react and whether they’ll find the experience enjoyable. Their feedback will be crucial.

Kwon

Since ZOZO NEXT was launched last year, I still consider it to be in its early stages. This exhibition is also a first step. I think it will serve as an opportunity to gauge how the public perceives the future we envision and the value we offer.

Tajima

Getting feedback on the technologies and developments we are working on from users is a major goal of our SXSW exhibit. Additionally, having our development team on-site to hear the voices directly has great significance. SXSW features companies from various countries, offering a prime opportunity to understand what others are thinking.

*In October 2021, ZOZO Technologies Inc. underwent an absorption-type company split, changing its name to ZOZO NEXT Inc., and part was integrated into ZOZO Inc.

The Development Background of the "Virtual Experience"

Yudai

In the demo we presented, participants can instantly create their virtual avatars. The steps involve the user taking a photo of their face, which is then used to automatically generate a virtual avatar that closely resembles them. The user can then specify height, weight, pose, and background, and save a screenshot to share the image on their social media.

Jack

Our goal is to add an element of fun to E-Shopping and E-commerce. Regarding this exhibition, it was crucial from a user experience perspective to ensure people enjoyed it. Of course, quality is our top priority, and since the technology being used is cutting-edge, it is a very exciting project.

Hao

The reason I find this project so exciting personally is that our solution allows people to create a 3D version of themselves and wear their favorite clothes. To me, this project provides a glimpse into the future that ZOZO NEXT is crafting, a future where everything has the potential to become virtual. Traditionally, people have purchased clothes at physical stores, but ZOZO is one of the few successful examples of an online shop without physical stores. I believe the next generation's shopping experience will not just involve browsing images on an online shop, but also allow users to see themselves trying on clothes without having to change.

Jack

Most of the demo is created using Unreal Engine.

Hao

There are several new technical aspects. First, we have cutting-edge avatar creation technology developed by Pinscreen. This technology creates an avatar from a photo without needing a 3D scanning process—literally just taking a photo. At SXSW, we demonstrated this by having participants take a photo, and within about 1-2 minutes, an avatar is automatically generated. The second aspect is the ability to specify height and weight, using machine learning solutions to generate the most plausible body shape from this data.

Jack

As Hao mentioned, this project started with the goal of creating a virtual influencer. Existing virtual influencers are mostly created by taking a photo and replacing the face. However, what we are doing is different in that everything visible in the video is CG. The avatar, the clothes, the face, everything is CG. As Hao noted, building a scalable solution is very crucial to us, and in this demo, we focused particularly on achieving a film-like photorealistic quality. For example, we had a lighting artist join the team to develop and adjust the lighting in the space and the environment. This allowed us to create even more refined expressions.

Yudai

Yes, the demo we're presenting this time is related to our scalable solution for creating virtual content. As Hao and Jack mentioned, our focus in development is to create virtual content with a low-cost, ultra-fast process. Currently, there are many CG studios creating virtual humans, but most of them do everything manually, which takes a lot of time and is very expensive. Furthermore, very few CG artists can create such virtual content. So, in this demo, we want to show that anyone can create virtual content even without 3D artists.

Hao

Looking at today's participants, Jack is in a position to reorganize the entire experience between humans and machines, while Yudai guides us on aspects like what people's needs are, what the long-term vision is, and what the future of fashion tech should look like. At Pinscreen, we are considering what is possible not merely as a technical solution. So, this demo is not just one product but a byproduct of a larger long-term goal we are trying to achieve.

Yudai

Since Pinscreen are the technical experts and ZOZO NEXT are the user experience experts, development was conducted by Pinscreen's team, while ZOZO NEXT handled the creation of UI/UX and asset specifications. I believe the combination of better technology and UX was key in this development.

Hao

From a development perspective, I think we have made a synergistic collaboration with ZOZO NEXT. What sets Pinscreen apart from other development companies is the strong element of research. For example, when creating technology that does not yet exist in the world, we have the ability to determine "Is it possible?" and "How can it be done?" Moreover, we take on such challenges. Interestingly, with many new technologies, even if you set a goal, it is not always clear how to solve it, and there are multiple options. Meanwhile, in the project with ZOZO NEXT, many new ideas come up to solve problems. Therefore, it is not like "We hired Pinscreen to do this for us" but more like we are under the same roof, so to speak. When you feel like you are under the same roof, it is not "I have to do this for them," but rather it feels like we share the same purpose and goal of "Let's make this successful." I believe such a relationship is a result of long-term efforts.

Jack

This effort is truly an interesting partnership where we have learned each other's strengths. For example, I'm not knowledgeable about technical matters, but I sometimes ask, "Can't we do something like this?" Then, Pinscreen thinks for a moment and says, "Oh, we can do that!" It's a great environment when someone says, "Oh, we can do this."

At the SXSW Exhibition

Yudai

In the demo, users can share the avatars they create on social media, so we hope many people will share them.

Jack

Additionally, we want honest feedback from users. What they liked/disliked, what was boring, whether they want more/less/crazier clothes, whether they prefer an environment like space or a park, and so on. This festival attracts people of all ages and backgrounds, so it's a good opportunity for a test run. Using this feedback, we plan to continue development in the future.

Hao

Well, ideally, I'd like visitors to feel "This is amazing" without worrying about anything. Especially now, with the COVID-19 pandemic, there are few opportunities to meet people face-to-face or encounter new people. During lockdown, we had to rely solely on the internet for everything. Therefore, having an event like this allows us to engage with people directly. As Jack mentioned, we can receive honest feedback and see people interact with our products firsthand. People might have different interests, such as seeing avatars with different hairstyles or specific types of clothing, which we hadn't considered.

Yudai

Scalability is the most crucial aspect for us. Automating virtual content creation is vital to allowing many people to use our products. Additionally, we aim to develop the service itself so that people can actually use it.

Hao

It might sound general, but I'm convinced that everything will become virtual, and clothes must be 3D assets, not just photographs. At the same time, the application scenarios for clothes are expanding. Interest in the metaverse is growing, and there are various needs such as wanting to become avatars, integrating oneself into game worlds, or selling clothes as NFTs. No one knows how things will develop in the coming years. The one thing certain is that, in addition to physical clothes, virtual clothing will exist. Even for physical items, people will have digital assets. The goal of fashion is to look better and appear trendy, so how do we optimize this?

Jack

Whatever form the metaverse takes, technology is the key.

Note: Images of virtual humans created by the audience at SXSW can be viewed on Instagram under "#ZOZOSXSW".

text by Hanako Hirata

Trademark Polo Player Logo

Timeless Classics: Polo Ralph Lauren Underwear

Seasonal Terry Cloth & Knit Piqué Items

Polo Ralph Lauren’s Beloved Icon: The POLO Bear

Two Types of Underwear from Polo Ralph Lauren

The Pioneers are K-POP Idols

How is it Different from the Heisei Girly Boom?

The Continued Popularity of Balletcore

［1］The “First Half Trend Ranking 2024” compiled by AMF Inc., which provides marketing support targeted at Generation Z, summarizing the trends from January to June 2024.

Started as a Factory Sewing Uniforms for the U.S. Military

The Unwavering Standard “FATIGUE 4 POCKET PANTS” of the Rare Brand GUNG HO, Persisting with Made in USA

GUNG HO's "6 Concepts"

Upgraded to Modern Utility: GUNG HO's "JAPAN EXCLUSIVE" Line

The Fashion Icon is "Sukeban"

Where Can You Buy Bubble Suits?

“Showa” & “Neo Showa”

Text by GANTAN

Today's Fashion Culture & the Environment Surrounding Clothes & the Body

Delivering from "Intimacy"

I'm also very interested in the younger generation. One of them I often interview is PUGMENT. I stubbornly only want to deliver from what I observe and experience from a close distance. PUGMENT thinks about clothes in the current information environment, believing that clothes can connect to various fields. However, at the same time, I feel they are struggling and don't know what to do. To confront this conflict, I repeatedly carry out prolonged interviews. I think that this aspect of them, where they have difficulty reaching conclusions, reflects the complexity of modern times. Normally, people in the media prioritize efficiency in interviews, but I want to convey the real sense obtained my way, a way I'm satisfied with. My book "つくる理由," scheduled to be published this year, is also a record of interviews accumulated over a decade, including with PUGMENT.

Designing Thoughts

Media Exists Because of its Users

The Diffusion of Cutting-edge Technology & the Circ*mstances Surrounding Clothing & the Body

Technology for Wellbeing

Coexistence with Fashion

Fashion in 10 Years & Our Relationship with Our Bodies

Designers "Designing" Philosophies

Fashion for Everyone

I believe that creating clothes that align with people's lifestyles will become increasingly important. I anticipate that fashion will eventually emerge from workshop-like activities. Ideally, wearers' voices should be heard and integrated into the end product, creating a more accommodating environment for their needs. This doesn't mean that I think the creators of fashion will no longer be necessary. The people who consider the nature of clothing, a thing so close to our humans, and propose alternatives after rethinking its purpose, their existence will always be crucially important.

Photo by Mayumi Hosokura

The Origin of the "Game Change"

Presentation of a New "Language"

Visual Expression Also Speaks of the Times

この投稿をInstagramで見る

Why "Game Changers" are Born

この投稿をInstagramで見る

Changes Starting from Scratch

*1: https://www.businessoffashion.com/articles/news-analysis/turning-point-how-j-w-anderson-became-a-brand-builder

Fashion is About Decorating Our Own Bodies

Fashion in Virtual Spaces Doesn't Use Your Physical Body

Making the Communication Interface Pleasant

(1) I have previously written about these characteristics. Shinji Matsunaga "What is fashionable: Everyday aesthetics of fashion" in "Vanitas" issue 4, pp. 165–181, 2015. The first feature partially explains the fact that fashion tends to be closely connected to the maintenance of self-identity and self-esteem (and in some cases, its lack or excess).

(2)In this respect, metaverses and traditional MMORPGs (e.g. "Final Fantasy XIV") can be somewhat distinguished. MMORPGs are clearly set in fictional worlds, and the locations and characters that appear there are also fictional. As a result, players tend to interact as the characters with specific fictional attributes who live in that fictional world, rather than as their real selves, interacting with the world and other players. Metaverses, on the other hand, lack this inherently fictional aspect. However, this is not a fundamental difference, but rather, a matter of degree.

(3) While there seems to have been a revenue business selling customization of avatar appearances (including clothing) since the early 2000s, in recent years, many fashion brands have become increasingly active in providing virtual fashion items (currently, providing items for free as part of marketing, rather than selling directly). In 2020, many high-end brands took the spotlight by offering designs for avatar clothes (essentially image data for the "My Design" feature) against the backdrop of the hit "Animal Crossing: New Leaf." Please refer to the following article. Ayumi Gunji "Why high-end brands offer clothes in 'Animal Crossing: New Leaf.' The key to the post-Corona fashion industry lies in young people's new values" Huffington Post Japan Edition, August 4, 2020.

(4) That's because attempting to answer the question, "Is XX ZZ?," head-on, it will only lead to technical definition debates, which are probably boring and unproductive for people other than philosophers.

(5)Some important functions to list are as material support for an individual with a single identity, as a tool for activity, and as a sensing device.

(6)There is a nuanced fact about this point. For example, when using motion trackers in VRChat, the real body literally becomes part of the interface for communication in the virtual space. Even if the appearance of the avatar is unrelated to the real body, its behavior directly reflects the behavior of the user's real body. In this way, there are indeed technologies and cultures that incorporate the real body as part of the interface in communication in the metaverse. On the other hand, there are also technologies and cultures that partially exclude the real body from the virtual communication interface. Voice changers (which make the real body opaque) are a good example of this.

Today's Fashion Culture & the Environment Surrounding Clothing and the Body

"Transforming the Body with Restraints"

Function & Beauty

Proliferation of Cutting-edge Technology & the Situation Surrounding Clothes & The Body

Creating with data

Virtual bodies & real bodies

Fashion in 10 years: Wearing clothes & the State of Our Bodies

Gips to craft bodies 1000 years into the future

AI & Aesthetics

Photo by Kazunori Ohki

Today's Fashion Culture & the Surrounding Environment for Clothing & the Body

What Was Lost During the Pandemic

The Moment When Something Unfashionable Becomes Fashionable

The Spread of Cutting-Edge Technology & the Situation Surrounding Clothes & the Body

Science & Technology for Advancing Manufacturing

Human Senses Adapt to Technology

How to Encounter Technology & Collaborate

Wearing Clothes that Weave in Technology

What I Want to Challenge Next: Both Function & Decoration

Fashion in 10 Years: Wearing Clothes & the State of Our Bodies

Fashion with Weight & Weightless Fashion

Clothing to Protect People

Photo by Yoshikazu Shigetomi

What to Do in an Environment Where You Can Challenge

Nakamaru

In the collaborative research involving the three parties, ZOZO Technologies primarily managed the selection of devices and materials that would add functionality to textiles and handled negotiations with partner companies.

Tajima

I played a director-like role, selecting partners and forming alliances.

Tajima

As Nakamaru mentioned earlier, there was an existing project involving Hosoo and the University of Tokyo during his doctoral course, which led me to start considering “beautiful smart textiles” with our Chief Innovation Officer, Kanayama. Previously, smart textiles often focused on functionality, but when thinking about ZOZO Group-style smart textiles, focusing on design seemed like a new endeavor.

Nakamaru

The smart textile market is already said to be worth about 600 billion yen, with expectations to reach 2 trillion yen in the future, according to market reports. While there are doubts about reaching such scales, ZOZO Technologies provides a platform that encourages taking risks in uncertain areas. If we have the chance to challenge, I thought it would be interesting to try something different from others.

Facing the Question Unique to Textiles

Nakamaru

Initially, we started by gathering as many potentially interesting materials suitable for weaving as possible. The project members collected information, shared it, and moved forward through trial and error.

Tajima

During the production process, there were many ideas that got rejected. At first, I had no understanding of the fields of smart textiles or human-computer interaction (HCI), so I read hundreds of academic papers to grasp the trends. I also gathered information from my surroundings, trying everything.

Nakamaru

I organized physical signals from the perspectives of light, water, and temperature, wrote down the resulting physical phenomena, and considered materials that might match, thinking, "maybe this can be woven." I also read papers and looked for untouched areas.

Tajima

I believe we each have different answers here, but when selecting weaving materials, I tried to avoid altering the traditional Nishijin weaving process. Within this premise, I tried various materials, and what surprised me the most was that we could weave silicon tubes. That discovery was exciting. When I realized that using silicon tubes wouldn’t disrupt the production process on the Nishijin weaving loom, I found it very intriguing.

Nakamaru

It was also a discovery to be able to weave it into the warp threads.
For me, it was PDLC. The soft PDLC hadn’t been required for any applications before, so I’d never seen it woven. This time, focusing on design development brought out new requirements, and it was pleasing to see such long and flexible PDLC.

Tajima

There weren’t many technical difficulties. However, there are still many areas we haven't explored. One thing is the Nishijin weaving loom itself. I think if we could bring more changes to the weaving process, we could create even newer expressions of smart textiles. This time, we focused specifically on the material used for weaving, so we didn’t have the bandwidth to look at other aspects.

Nakamaru

Currently, electronic devices are centralized. Microcontrollers have excellent processing power, and just by attaching semiconductor chips, various data can be collected.
Compared to that, smart textiles have functional elements embedded in their structure, making their operating area very broad. The trade-off is that the functions of each element are generally not very complex.

Expectations for New Domains Born from a Playful Heart

Nakamaru

Since there's plenty of room for interpretation, once it becomes easy to create and express these products, I believe people will find their uses. For example, hyper yo-yos became popular just with a bearing. People start playing with things once they understand how to use them, given a certain level of access.

Tajima

Considering that devices are becoming centralized and miniaturized, I believe that the functional components can be integrated into the smallest units, like threads. It’s a broad interface, but each part might house a microcontroller, thanks to current technological developments. Personally, I feel that smart textiles hold significant potential in this context.

Nakamaru

Next, I want to approach the structure from the material. This time, the first step was to incorporate elements like threads and foils into the fabric. Still, we are also progressing with approaches to looms, so I expect that when we dive into the material × structure, the possibilities will expand exponentially.

Tajima

Ideally, I'd like to expand three-dimensionally within the fabric's structure and present new smart textiles that can only exist because of the three dimensions. I want people to feel the vast potential of textiles.

Nakamaru

I feel the same and want the final users to use what we've made. This time, we showed it in an exhibition format, but we aim to work on how to use it and develop it into products from here on.

Photo by reckhahn

Products That Feel Like Part of Your Daily Life

A Wide Range of Products

Making "3COINS Cosmetics" a Choice for Many

Text by Riko

You can also enjoy this article in video form

The Value of the Project's Challenge

Why ZOZO Technologies is Taking on Textile Development

Kanayama

There was a time when we were making clothes under the ZOZO (private) brand, and this project started back then. When ZOZO decided to make clothes, we wanted to create something that no one had ever seen before, something that would surprise everyone, something that would go "beyond imagination." At that time, I felt that design alone wouldn't achieve this.

Hosoo

I'm the 12th generation.

Kanayama

The 12th generation, and the academia's Kakehi. My image of them was that they were stubborn and had this unique self-importance, but it turns out they are open-minded and eager for discussion, which is incredibly cool. Looking at their previous works and products, I found them very stylish, which is something they both share.

Technology Evolution for Pursuing the Beauty of Textiles

Hosoo

As Kanayama just mentioned, ZOZO is well-known as a technology company. It is also one of the companies that represent Japan, which I find very interesting. In other words, our Nishijin textiles are inevitably seen as traditional crafts. In a certain sense, they are perceived to be the opposite of technology. In reality, there are many aspects of that. We can't produce much by hand. However, when we look back at the history of textiles, we see that humans made wooden frames while using their bodies as looms and gradually developed power looms. Technology has evolved as we expanded our bodies, and in a way, the evolution of technology in the history of textiles has always been about the pursuit of beauty.

Key Points for Connecting Function & Experience

Kakehi

We initially started our research with digital technology, feeling that it was a waste for digital possibilities to remain confined within screens. How could these be connected to the physical world and resources? We have been working on this for about 15 to 20 years, believing that it would update experiences when these aspects converge.

Kanayama

I completely agree. It's said that digital technology has expanded human possibilities, but I don't think it has at all. Because what is expanded digitally are only visual and auditory information, the essence of the stimulus hasn't changed at all. In the past, if it wasn't digital, it would only capture light and air vibrations in that space as visual and auditory stimuli. Even if it is now captured through speakers and LCDs digitally, it hasn't really expanded because the source hasn't changed. To truly expand digitally, the five senses. We need to digitally stimulate the remaining three senses to create a substantial experience. In the future, everyone will get bored. Visual and auditory stimuli alone are weak as stimuli.

Kakehi

Listening to the discussion now, I realize we share the same perspective.

Where Digital & Physical Approaches Coincide: Harmony with the Human Body

Hosoo

I certainly feel the same way. While it may seem like an expansion of visual information or the body, there is an issue with the harmony not being achieved, meaning it isn't embodied. In that sense, thinking about harmony through textiles, which are always with the human body, is fascinating. Adding technology to harmonize with our body seems to be the direction for the future.

Kakehi

In this project, we ultimately created physical textiles, but we are primarily focusing on "relationships." Although I'm excited about the amazing textiles we've made physically, what interests me is how the interaction between people and the environment changes and how consciousness toward the environment through textiles shifts. This idea aligns with interaction design, but by involving materiality, we aim to open up our senses, including those that hadn't connected before. This project is precisely at the intersection of digital and physical approaches, or where they overlap, and the resulting implementation and outcomes.

Thoughts on Collaborating with Technology

The Power of Technology to Democratize & Ensure Rarity

Kanayama

I have a question that might be a bit tangential to the project itself, but both of you are essentially professionals, such as craftsmen and researchers. In contrast, I believe that the work we and those involved in digital practices are doing is fundamentally about democratization. The way to democratize is by reducing costs. By using the internet to bring the cost of time and money as close to zero as possible, a variety of people can gain access to information and goods. What was previously available only to a limited audience can now be provided to numerous people through software, the internet, and digital methods.

Hosoo

Nishijin has not been democratized for 1,000 years. It has been providing the ultimate beauty to a limited number of people. There were people who would pay properly, and over a year, we accumulated the process of delivering the ultimate beauty and receiving money in return.

Kanayama

It was about 100 years ago after all. (laughs)

Hosoo

As the saying "return home in triumph (故郷の錦を飾る)" indicates, Nishijin textiles and kimonos were essentially something only a small segment of people could purchase. Naturally, there was a hierarchical society behind it. However, the social structure changed drastically, and Nishijin adapted to the new society by introducing technology while maintaining beauty. If you consider it that way, what we are doing now could be seen as a next turning point, where we aim to deliver beauty to many people by updating it through technology without compromising on quality. That, I believe, is the natural form of Nishijin.

Kanayama

I understand very well now.

The Necessity of Constraints

Kakehi

I have no hesitation at all. If we are allowed to do anything, nothing new will emerge. To create something new, we need to establish some constraints. Of course, the democratization of technology and the inclusion of various people are fundamentally important.

Kanayama

I believe Japanese people excel at creativity within constraints, like haiku or tea ceremony. On the other hand, Americans are strong without constraints, creating freely and then establishing constraints to their advantage. It's fascinating.

Future Prospects

Business Development for Sustainable Research & Development

Kanayama

Our next step is to continuously evolve and develop these great research and outcomes. To do this, we must align with societal systems—in our country, that’s capitalism. In other words, it must be recognized as a business and have value, which means it must sell. Creating things that people recognize as valuable, earning returns from this value, and reinvesting to evolve—that's the basic model for modern manufacturing and research.

Hosoo

Yes, I would like you to continuously add the preparations you have made. What Nishijin weaving has been doing for 1200 years is the pursuit of beauty. Depending on the era, sometimes the imperial family would back us, sometimes the shogunate family would. It has always been about pursuing the ultimate beauty in relation to society and the partners of those times.

Potential of Hybrid Crafts

Kakehi

From a research standpoint, we are challenged not by creating fabric connected to a computer, but by making fabric containing computational functions, or starting from threads with such functions. We want to return to a more primitive stage and elevate it to a new value. The next challenge is to create looms themselves and tools for making them. Additionally, what we realized through this deep collaboration is that the overlapping of skills is very interesting. Just as we experience craft by hand, when craftsmen understand digital technology and generate ideas from it, new kinds of professions and skills might emerge. Creating a field that can be called a hybrid craft and leading such new areas, including the creation of educational environments, shows great potential.

Information about the ongoing exhibitioncan be found here

The Official Pilot's Watch for the First Scheduled Airline in the United States

The Design Was Handled by an Industrial Designer Known as a "Genius"

A Unique & Asymmetrical Triangular Case

"The King of Rock 'n' Roll" Loved It Both Publicly & Privately

Production Stopped After 7 Years, Revived in the 1980s

Featured in Popular Hollywood Films as a Prop

Text by Ryota Osujo

Experiencing / Tasting Emotions in a Full Course

“Tasting” is Similar to Traveling

Contemplating the Relationship Between Nature & Man

An Experience akin to Touching Another World

The Sharing Ease Unique to "Food"

Words to Extract Commonalities

Exploring New Creativity from Changes During the Pandemic

Thinking About Fashion from "Words & Images"

Ashida

In the book "言葉と衣服" (literally, "Words & Clothes"), published in February, I focused on definitions of words related to fashion. For example, people might say things like, "This dress is very elegant," about a dress presented in a collection. But what does "elegant" actually mean? It's not clearly defined. Of course, there is a dictionary definition, but in the context of fashion, it's often used in a vague way, like "the fabric is flowing and the length is long." I'm trying to attempt to define such vague words. To do that, I'm trying to unravel the historical changes in usage and the ways creators use words.

Nakamura

What interests me more is establishing the data structure of fashion and the way it's represented in computers, rather than the phenomena surrounding fashion. It's not so much about what I think about the phenomenon of people wearing clothes, but more about the idea that it would be interesting if inorganic objects could be fashionable too. If machines or computers could calculate the concept of fashion, I think that would broaden people's choices of clothing. To do this, we need to be able to represent fashion in computers. Currently, I'm thinking about how to handle it as data.

Hirakawa

I started because I wanted to resolve the questions I had about fashion in my daily life using technology. I wanted to verify for myself whether there are mathematical rules behind it. To find these rules, I've been experimenting with image processing, grouping features of individuals from data, and so on.

Ashida

I apologize if this is a naive question from someone who doesn't know anything about data science, but I would like more details on why fashion is a good match with machine learning and image recognition. When it comes to clothing, small changes—like a slightly shortened length or a slightly bigger silhouette—can significantly alter its impression. Also, since clothes are made to fit the human body, their shapes are more or less predetermined. For instance, tops need to have holes for the head and arms.

Nakamura

While it may not be the most exciting answer, it depends on the data. For instance, a few centimeters of difference in full-body snapshot photos is a very weak signal, so it might be challenging to spot the differences.

Ashida

So does a human need to guide the learning process to some extent, or can a computer also take on the task of identifying differences?

Nakamura

If we're assuming human use in the end, it'd be more reliable for humans to provide the information. If the assessment isn't interpretable by a human, it would be difficult to use as a machine and not really helpful. Therefore, I think it's necessary to give information or hints about differences as much as possible.

Understanding "Fashion" through Image Recognition

Ashida

What are you two particularly interested in when looking at clothing? For instance, some fashion designers shape the impression of clothing through silhouettes, some emphasize decorations like frills and ribbons, and others focus on materials.

Nakamura

As for my approach, I usually don't focus on individual features but rather use the provided information fairly. Basically, I expect the machine to automatically acquire features that contribute to identifying differences.

Hirakawa

It matters a lot what we can glean from the existing data. I am in charge of trend analysis research called "survey release" that uses images. I have been analyzing things like the ratio of tops to bottoms in images and when trends change. I also consider physical information gleaned from images along with information about the clothing in my judgments.

Ashida

When extracting information from images, I think what you consider to be the constituents of clothing can change the information you can read. For instance, from what you're saying, Hirakawa, you see the balance of lengths as a crucial element of outfits, meaning the coordination, right?

Hirakawa

Aside from the shape of the clothes, I'm interested in colors. Even when using the same color, the atmosphere of the outfit can change depending on the ratio of that color. I'm considering a rich color search and recommendation that cannot be compensated by a single-color search alone.

Nakamura

When I took on the challenge of automatically generating coordinated outfits, I used product images as elements. I only input images. The problem I tried to solve was whether it was possible to create a natural coordination using only images of clothes, without any information about the color or brand, and so forth.

Ashida

Hirakawa, you started from the question, "Isn't there a mathematical law in fashion?" What are your current thoughts on this? Is there likely a mathematical law?

Hirakawa

A little off from fashion, but I find it difficult to handle measurement data. Just because the measurement value is the same, it does not necessarily mean that they prefer the same product. It's hard to reflect physical elements to preferences. We need ingenuity to find mathematical laws from such correlations.

Ashida

I see. This might be a very rough question, but there are things like "stylist's laws of fashion" where in some cases, a proportion of something to another like 7 to 3 is just right. Could we somehow quantify these, even if not as mathematical laws, and present something—like "it looks stylish" or "it sells"—?

Hirakawa

Yes, defining existing laws or rules in a mathematical formula is the most straightforward personalization. I think we could handle the standards set by someone, like bone structure diagnosis or personal color, as a math problem, and tell you this suits you. However, whether the user likes the recommended product according to that law is a different question.

Ashida

I see. Which would be appropriate in such instances? Suggesting it "suits" one, or to say something like, "as of now, this is selling, it is popular"? The reason I'm asking this is because "it's selling" can be stated as a fact. That's exactly what we can measure in numbers. Even if we somehow quantify "suiting," there is a plenty of room for "interpretation." I think that's like a preference, but I wondered if we could use the phrase "it suits you" where there's room for "interpretation" instead of "fact."

Hirakawa

Basically, what we expect as a law should be whether it's "suiting" regardless of trends, but I think the data depends on currently popular and sold clothes. I don't think the recommended product will suit just as it is and keep suiting forever. I think there can be a situation where the law itself changes after several years.

Ashida

So the main focus is on image recognition, right? For instance, I assume colors and lengths are easy to recognize, but can things like material or texture be handled with image recognition?

Nakamura

Currently, we can't handle material. It's not impossible with image recognition, but it would be very labor-intensive. With the resolution of product images used on e-commerce sites, differences in material don't show up in the image. If it doesn't show up in the signal, we can't deal with it with just image processing. So we consider adding material information to the clothes.

Ashida

Aside from materials, are there any other aspects that are currently difficult to handle?

Nakamura

I think information that doesn't come in through an e-commerce site is difficult. For instance, the occasion when the clothes are worn is a condition that comes into play when suggesting what "suits" someone, but it's hard to follow how the clothes are actually used, so I feel it's information that tends to be missing.

Ashida

I see. It's not just about what "suits" a person, but also about what's suitable for where they're going. Even if it suits someone, it may not be suitable for certain situations.

Hirakawa

In the cosmetics field that I currently handle, I think it would be nice if there was sufficient data about the ingredients. I believe that information about whether it's harmful to a person is the most important. In clothing, that would be material information.

Coexistence of Uniformity & Diversity

Ashida

This might be a bit sudden, but there's a scene in the manga, "Juhan Shuttai (重版出来！)," where a manga editor is asked for his PR strategy. He talks about having an imaginary reader in his head and describes their behavior. This is a great example of how to create a persona. You can construct a persona simply using lists of information, but if you narrate it like that editor, you can better grasp the context that links the different pieces of information, the space between data, so to speak.

Hirakawa

Outfits posted on social media can include outfits merely taken for the photo shoot, separated from daily life. It requires some ingenuity to interpret the space between such data.

Nakamura

While it's possible to automate the aggregation and abstraction of individual pieces of information, it's our job to assign meaning to them. I think data science's value lies in providing information that's easy to interpret.

Ashida

So you're grouping from brands to categories, right?

Ashida

Fashion trends have always existed, but recently, young people who dress alike are sometimes lumped together under the term "mass-produced." It feels like trends taken to their extreme. This isn't just about e-commerce, but I sometimes worry that pushing data science's recommendation functions would lead to even greater conformity in trends.

Nakamura

That very point, is a hot topic currently among data scientists. There are arguments that the biases from recommendations are causing problems. As a statistical field, models are made on the premise that data distribution is biased, but the outputs can sometimes exacerbate this bias. There are observed cases where minority groups don't receive accurate recommendations. If only popular groups receive recommendations and users naturally assimilate those results, there's a worry that conformity will be even more accelerated. It's not hard to imagine people all ending up dressing similarly.

Hirakawa

While I think recommendations of statistically popular items may result in convergence, my gut feeling tells me that it's not converging to such an extent. With the recent broadening appreciation of diversity, the understanding that it's fine to wear what you like is spreading. I think this will lead to more individuals not being tied to trends.

Ashida

What are your predictions for the future of fashion? I'd like to hear your forecasts for 5 or 10 years from now.

Hirakawa

With the spread of e-commerce, it's possible to sell without a store and the acceleration of CtoC creates an easier environment for shops to personalize for users. It would be great if such a situation were established.

Nakamura

Personally, I would be delighted if we could initiate activities that expand the possibilities in fashion choices. We are gradually seeing more options, like outfit coordination services and rental-based services, becoming popular. While it is challenging to apply data science without a certain level of data, as usage increases, it becomes an object of analysis. I believe this could lead to providing further value in the context of data and fashion.

Ashida

This might be a general question that strays from the topic of fashion, but in the incoming era, where AI and technology will advance even further, what are the things that only humans should or can do?

Hirakawa

Providing a sense of security and empathy are things that can't really be achieved without humans. I believe that as we live while supporting each other, these aspects will never change and can only be performed by humans.

Nakamura

I believe that generative activities are still difficult for AI. In Ashida's book, you had a section where you defined "design" as a means of problem-solving. Only humans can decide what the problem is. If the solution is understood, AI may eventually be able to replace it. However, with each era, new problems will continually arise, and you can't construct solutions or prepare data for them until they are recognized as problems.

Click here for the ZOZO Research Institute website

Designed to Fit Japanese Feet

Reasons Why "rig" Sandals are Supported

Product Development Leveraging Athletes' Feedback

Text by Osawa Kei

Header Image: Haruhisa Mitsuda "ji*zai Daiari Gyoretsu - Enkan -"

Contemporary Art & Crafts, Crafts & Traditional Crafts

Advanced Use of Technology & Environmental Awareness

Shinya Hongo《visible01》

Building the Future of Craft

Expanding the Use of Virtual Humans

Unique Aspects of 3D

Diversity Issues Surrounding the Use of Virtual Humans

この投稿をInstagramで見る

HATRA
Web / Instagram

Making Virtual Humans Accessible to Everyone

Takahashi

In the backdrop, the fashion industry is lagging in technological growth compared to other industries. The structure of the textile and apparel industries has not changed much in the past few years. On the other hand, our lives have seen various changes over the decades, such as the spread of smartphones. Precisely because it's an industry with so little change, we need to consider how technology can bring about transformation as a fashion tech company.

Li

At Pinscreen, we are engaged in the automatic creation of virtual avatars using AI and developing technology that allows users to create their own avatars. There are many other companies creating amazing virtual humans, and you might often see them in video games as visual effects.

Partners Sharing the Same Vision

Takahashi

First, both Hao and Pinscreen are incredibly positive. This project is really tough and requires a lot of time and effort. However, neither Hao nor Pinscreen hesitates or stops even when facing challenges that nobody has tackled before. Their decision-making is also quick. This ability to take action was ideal. And since the final idea was already solidified, the development process was extremely simple. What's more, Pinscreen conducts research and development while simultaneously building its products, which is a significant difference from other startups.

Li

Let me add something. We were talking in a previous meeting about the goals and objectives for the next project, and someone asked, "Is this project impossible?" Our intuitive response was, "We should do it. If we succeed, then others can too." We aim to be the first to achieve what seems impossible, and the only way to do that is to set high hurdles.
What we are pursuing is disruptive technology that nobody has achieved yet. I never think about failure. This is because we either succeed through challenges or learn from them and achieve our goals based on that knowledge.

Li

The reason we consider the services provided by the ZOZO Group and ZOZO Technologies to be good partners is due to their bold vision of providing everything online without having physical stores. They are eager to elevate their business to the next level.

Launching "Drip" on Social Media

Takahashi

This is precisely about democratizing technology and just the beginning of making virtual fashion accessible to everyone. What we've shown is the quality attainable with a scalable solution. We want users to know that they can create such avatars without needing expert technical knowledge or expensive equipment. We hope that everyone who sees this will think, "If this can be done on a smartphone, the virtual world should offer even more possibilities."

Li

This is truly the first step. Before creating virtual humans, we built the framework necessary to create them, thinking about how to introduce virtual humans to users. One method is creating an app that allows users to create their avatars.

Takahashi

They are the most popular platforms globally and are suitable places to share and preserve memories like what you are doing, wearing, or where you've been. Additionally, fashion communities on Instagram and TikTok are important for providing enjoyment to users.

Li

Furthermore, there are platforms where virtual influencers are active. For example, successful virtual influencers can have between 500,000 to 2 million followers. Looking at such situations, it becomes clear that it’s possible to do in the virtual world what one does in the real world, making this a future platform for selling clothes and advertising brands.

Takahashi

It feels very positive. The reason the collaboration is progressing well is that through repeated discussions, we gain more strength to take on seemingly impossible challenges and become more confident. We honestly discuss whether those challenges are realistic from a business or technical perspective, which is crucial for streamlining the process.

Li

Our relationship with ZOZO Technologies feels different from other collaborations. While exploring what technology means and what business opportunities exist here, we are confident that we are achieving something substantial and becoming game-changers. At the same time, we keep a close watch on what our competitors are doing to ensure that we are not falling behind. There are things we can’t disclose in this interview.

The Vision of the Future

Li

Surely, we will be having conversations like, "Just press a button to wear a Balenciaga T-shirt," or "I want an LA Lakers hat." Using this technology, we can use our imagination to create interactive content and view or experience whatever we want in three dimensions.

Takahashi

This aligns with changes in other industries. For instance, Netflix has moved from physical to virtual, Spotify has transitioned from selling items to streaming experiences. If we can quickly create and actually sell virtual products that could be termed as architect-fashion-material using NFTs, it could open up new markets for fashion e-commerce. Currently, mass production of such items is difficult, and only companies with substantial funds can manage it. But the disruptive technology we are exploring can enable anyone to create something virtual. If users can express themselves in the virtual world, this could realistically become a significant marketplace in the future.

Interview by Phillip Scott
Translated by Hanako Hirata

The Growing Utilization of Deepfake

Creating an Environment for Diffusion

From Concept to Image

① Concept Planning for Post Content

- Model's posing and expressions
- Live-action background
- Clothing, shoes, accessories, etc.

② Shooting Live-Action Background & HDRI Images

- Shooting live-action backgrounds to be combined with the virtual model
- Capturing 360-degree images to replicate the lighting environment of the shooting location in CG, converting them to HDRI data to handle in a CG environment

③ 3D Modeling of Clothes, Shoes, Accessories

- Using 3DCG production software like Marvelous Designer and Maya
- Specialized 3D modelers handle the production

④ Compositing CG (Model) & Live-Action (Background)

A Production System Focused on Speed & Flexibility

Commitment to Realistic Settings

Check out "Drip" on Instagram here

The Lightest Racing Shoes in PUMA History

New Upper Material Also Used in Football Cleats

“Carbon Platforms Everyone Can Wear” Also Updated

Comfortable Rebound with "DEVIATE NITRO 3"

Text by Fumihito Kouzu

Comfortable, Stylish Functional Shoes for Everyday Life

Design is Also a Part of Functionality. The Meticulously Crafted "Flip Flop Zerovity"

Striving for Global Serenity

Text by Rika Okuyama

Aiming to Popularize Virtual Technology in Fashion

Providing an Experience Beyond Simulation

Bunka Fashion Graduate University (BFGU)
3-22-1 Yoyogi, Shibuya-ku, Tokyo 151-8547
WEB：https://bfgu-bunka.ac.jp/
Instagram：@bfgu_official

"Warm, Light, & Easy-to-Move-in Clothing" Recognized by the Japan Red Cross Nursing University Institute for Disaster Relief

Koji Yamada (Yamada)

What was the origin of the "X Shelter" project?

Shinnosuke Kawata (Kawata)

The initial trigger was our collaboration with disaster relief experts from the Japan Red Cross Nursing University Institute for Disaster Relief. This collaboration took place at the "Comfortable Work Research Institute," which Workman established in 2023.

Yamada

The word "insulation" is common in fields like construction, but not often heard concerning clothing.

Kawata

In spacesuits, insulation materials are sometimes used.

Yamada

Being from Kobe and experiencing the Great Hanshin-Awaji Earthquake as a middle school student, I understand the difficulty of securing water during disasters.

Kawata

When a large-scale disaster occurs, there are often cases where people evacuate without their emergency bags, leaving their homes in just the clothes on their backs. With Workman products, which are affordably priced for everyday wear, if they have the specs needed for disaster situations, there's a possibility that "the clothes you normally wear could save your life."

The Meticulous Details

Yamada

It seems several products using "X Shelter" will be released for fall-winter 2024.

Kawata

First, I'd like to introduce the "Insulated Jacket" (3,900 yen). We have put all of Workman's know-how in workwear production, which we have cultivated over many years, into this item.

Kawata

First, the key aspect of workwear is ease of movement. We've adopted a three-dimensional pattern that emphasizes easy movement, such as raising and lowering the arms.

Kawata

The hood can be rolled up and stored in the collar.

Kawata

The front and side pockets are equipped with waterproof zippers. The chest also has a discreet pocket with a concealed zipper.

Kawata

There is an inner pocket on the inside of the left hem that can hold a PET bottle, ensuring ample storage capacity.

Kawata

The sleeves are designed with ribbing to prevent cold air from entering, maximizing the insulating effect of the "X Shelter."

Kawata

Reflective print enhances nighttime safety, subtly featuring the "X Shelter" logo.

Kawata

It might not be noticeable, but we have paid attention to the finer details as well. For example, we use a brushed material at the neckline where the outerwear touches the skin directly to reduce the cold feeling.

Kawata

As a unique feature of "X Shelter," there's a thermometer attached inside. Remember those that were attached to keychains? The kind you bought during elementary school trips. It's the same idea, allowing you to know the temperature inside the clothing.

Kawata

This is the "Insulated Vest" (2,900 yen).

Kawata

Basically, it's a vest version of the "Insulated Jacket," but we paid particular attention to the hood. It is designed to adjust the fit finely so that it does not obstruct your view when you turn your head.

Kawata

Moreover, we paid a lot of attention to the fit of the armholes to minimize the entry of cold air.

Kawata

This "Waterproof Warm Outerwear" (4,900 yen) is a ladies' item. We also focused on fashion, incorporating a cinched waist to add shape to the silhouette.

Yamada

This design is nice. I wish they would release it for men as well.

The Virtuous Cycle of "Fast, Good, Cheap" Created by Large Orders

Yamada

Given the innovative features of "X Shelter," won't other companies try to follow suit once it's announced?

Kawata

There might be. Of course, we take pride in our product development, so we don't think similar products will be made so easily. Additionally, I believe our company's scale advantage is significant.

With over 1,000 Workman stores, the lot size for manufacturing is enormous. We sometimes order in units of 100,000 pieces. Even with the same 100,000 pieces, "20 items of 5,000 pieces each" versus "one item of 100,000 pieces" is far more efficient for the factory, making it highly advantageous.

For the sewing artisans, continually sewing the same item improves their skill, resulting in higher quality products. By placing large orders, labor costs decrease, allowing Workman to sell at low prices, which pleases customers. This creates a virtuous cycle of "fast, good, and cheap," much like a beef bowl chain.

Yamada

The only concern is that "insulation" is a new concept for clothing, so it's uncertain whether consumers will accept it.

Kawata

Indeed. We would like to focus more on publicity than ever before. First of all, we hope many people read this article (laughs).

From Subcontracting to Selling Their Own Products

Products with Relentless Attention to Detail

The Reason for Focusing on YouTube

Providing Data Operation Solutions

Jonathan

Our platform "Tailor" can be considered a data solution. It allows the collection of raw data from the client side, processing it through various algorithms. As shown in the diagram below, "Tailor" serves as the axis, around which information such as products, supply, stores, and customers are linked. What's important here is that all data are stored on the client's side. Once the "Tailor" platform is connected to the client's IT, our algorithms, machine learning, and AI technologies can be used as plug-and-play. In other words, it adds a layer of simplification and acceleration to the existing IT systems of companies.

Romain

Data is fundamentally stored and analyzed in units, but to actually improve customer performance, sales, and reliability, it's necessary to accurately understand the matching between the product content, collections, offers, and demand. For example, if you aim to have a highly profitable store, you need to understand what products to push and sell in that store, who the competing retailers around the store are, and what kind of customers live around the store. Therefore, we offer clients a more organized way to operate their data.

Jonathan

Our API solution is structured around three pillars: customer, product, and supply chain. For instance, there are departments such as customer relationship management and visual merchandiser in the supply division of a brand. Since the organization of most fashion brands is similar, this division helps make our solutions easier to fit the client's organization. What’s crucial is not just adjacent departments, but finding the interrelation between what we can do for the customer and the product, connecting them, and ultimately delivering better value to the customer. For example, using our "Product Forecast" function, new collections can be predicted in better ways, ultimately reducing product waste and boosting sales.

Romain

That's right. Our platform is beneficial to retailers that can collect a lot of data. The more data collected, the faster the algorithms can process it. For example, retailers with over 50 million in demand, revenue, and stores are ideal. Currently, we offer solutions targeting multinational retail companies. Take Fast Retailing, for example; they have markets in both Europe and America. Companies like them, managing hundreds of customers and thousands of inventories simultaneously, have a high compatibility with our platform solution due to the large amount of data they possess.

Responding to Brand Needs, Founding the Company

Romain

Various French fashion brands needed more data operation expertise to improve their current businesses. However, they lacked the capacity and funds to establish their own data labs within the companies. To meet their needs and develop data and AI solutions specifically for the fashion industry, Fashion Data was founded with their investments. Even before its founding, we had major clients and customers who supported us in developing cutting-edge data operation and AI solutions for the digitalization of the industry. Thanks to them, we could enter the market at an extraordinarily fast pace.

Romain

At the time of its founding, there were only five employees, most of whom were members of the brands supported by Fashion Data. Now, the team has grown to around 30 people. The new hires include people accustomed to managing Excel, engineers, and freelancers. The reason I mention Excel is because Fashion Data's biggest challenge is to help transition from traditional Excel sheet-based manual business processes to optimized digital, data-driven processes powered by data and algorithms.

Jonathan

In fact, most of the engineers do not have a background in fashion; the remaining members handle business aspects and direct interaction with customers while managing project development. However, since our service targets the retail industry, we need to deeply understand how to sell products, communicate with customers, forecast sales, and manage stores to help the industry transition. Thus, we do have many members with fashion knowledge.

Romain

The issues we are currently addressing involve ordering and producing only the quantity that can be sold, and reducing markdowns (discounted products) and waste to zero. This also meets the demand of responsible consumers who want to buy durable products. As everyone knows, the fashion industry is often cited as the world's largest polluting industry, and reducing CO2 emissions is a significant challenge for the industry.

Romain

Having been involved in retail for about 20 years, I understand that it is impossible to force clients to use standardized data formats. Therefore, at Fashion Data, we do not impose restrictions on brands and aim to keep the data we receive from them as simple as possible. That's why we developed Tailor. This platform can transform data into the forms necessary to provide solutions. The significant advantage of this platform is data collection, quality verification, and organization. The added data can ultimately build models usable in all solutions and be returned as plugins. This allows for very low-cost, rapid implementation without imposing constraints on retailers. Furthermore, the platform's current pricing is relatively low, making it even more accessible for adoption.

Multifaceted Data Analysis

Romain

Our solutions operate entirely on a database, equipped with agile responses and alert functions. Members such as employees, planners, buyers, and customer managers who use the system receive notifications. This means they can receive push notifications for matters they previously had to constantly monitor. Additionally, the system features recommendation functions suggesting things like, "Do this" or "Try that," allowing users to focus their time on other tasks. Over time, as they continue to use our platform, gaining confidence in our system's proposals, and building a trust relationship between the platform and its users, it becomes possible to fully automate the platform.

Jonathan

Traditional "Buyer Personas" from a marketing perspective clarify "who your customers are." When starting a business, you decide who you want to target in the future, aiming to turn them into customers, designing and producing clothes for them accordingly. However, in reality, there's often a significant gap between the customers the client imagines and those who actually purchase.

Jonathan

Yes, this product continues to generate high sales. It's essential for brands, accelerating their customer-centric transformation. While we've discussed "Buyer Persona" from a marketing perspective, this tool is crucial beyond marketing, impacting production, products, and supply. For instance, if purchasing behavior is active among a different group than initially targeted, products can be modified to appeal to actual customers, or changes made to increase purchases among the intended target group, or even aim to attract a new type of customer. Thus, from a strategic perspective, this tool helps identify true customers, customize the customer journey based on persona differences, adjust product pricing and promotions, and improve new products and services.

Romain

Demand prediction is a platform for buyers and match planners to manage collections and purchase quantities. The idea behind this solution is to estimate the potential of new products. This demand prediction can be done even when the products do not actually exist. For example, suppose you plan to have blue pants in the next collection. Then, you can predict the performance of that product based on the past sales history of similar products. Predictions are made based on the sales history of similar colored products and the history of products in different colors.

Jonathan

The key to Fashion Data's success lies in transforming what was once very troublesome and where no one had a complete picture of the types of data collected into a beautiful, easy-to-use tool that actually helps in building business models. Moving forward, we want to continue to propose ways to utilize data to transition the fashion industry into one that is sustainable and highly profitable.

Text by Hanako Hirata

Started with the Sale of Masks During the Covid-19 Pandemic

New Material with Limestone as the Main Ingredient

Sustainability Post-COVID-19

Providing Services that Accompany Women Throughout Their Lifetimes

The Potential of AI & IoT in Mental Healthcare

To Revitalize the Image of Femtech

"Product Appeal" & "Scene Appeal"

The TikTok Plan Born from Trend Words

TikTok: The Hottest Platform in Social Commerce

Momotani Juntenkan's Research on Rosemary Extract Captivates the Industry

Takahiro Ishida (hereafter, Ishida)

We focused on how epidermal turnover affects the smoothness, feel, and dullness of the skin. We identified rosemary as a substance that influences the activity of desquamation enzymes involved in this mechanism.

Noriko Nogami (hereafter, Nogami)

At Momotani Juntenkan, our research is driven not by material inspiration but by the desire to enhance our customers' beauty.

The Potential of Rosemary Extract & Product Development

Ishida

Various research institutions have reported studies on antibacterial, antioxidant, anti-aging, whitening, and stress reduction. Some of these have been confirmed through human trials, making rosemary extract a highly promising ingredient in the realm of beauty.

Ishida

The amount and composition of plant-derived ingredients, including rosemary extract, vary significantly depending on their origin. Furthermore, the extraction method affects both the kind and quantity of ingredients that can be collected, leading to differences in the effectiveness and action of the extract.

Nogami

We incorporate rosemary extract into all items of the "MEDI SHOT" series, as well as other skincare and makeup products, to leverage its effect on maintaining and improving epidermal turnover, thus reducing skin dullness.

Future Prospects for Utilizing & Researching Rosemary Extract

Ishida

We will continue to uphold the founder's ambition by researching and elucidating dermal mechanisms based on customer skin observations and identifying effective ingredients.

Text by Rika Okuyama

Photorealistic Digital Fashion

Enjoying Extraordinary Moments with Digital Fashion

Popularizing Through AI Development

"Cultivated Fur"

Please tell us about the technology of Furoid™.

Maria

First and foremost, it is important to understand the basic principle that hair is born from hair follicles. While it differs between cells and species, fundamentally, if cells can be differentiated to create hair follicles, they can also be used to create animal hair follicles.

Sundar

The process involves first collecting stem cells from animals that produce fur similar to mink. Under specific conditions, hair follicles form, and small cell clusters emerge from these follicles. As cultivation progresses, hair fibers or even pelts emerge from these clusters of about 1,000 cells each. We plan to make this usable in a lab environment.

Maria

Thus, what we aim to achieve is not merely fur created in a petri dish, but cultivating what we call "Cultivated Fur."

Does Furoid™ have the same functions as traditional fur?

Maria

Our goal is to achieve the warmth and beauty of traditional fur. These functionalities can be added by editing all layers, including biopolymers, and we aim to include more in the future. We want to advance development while discussing specific functionalities with industry stakeholders.

A basic question, but what are the differences between animal hair follicles and human hair follicles?

Sundar

While the structures of human hair and animal fur appear very similar when looking at their composition names, there are significant differences in the quantity of chemicals and at the molecular level. This is due to evolution, but they cannot be said to be identical. On the other hand, it cannot be concluded that they are completely dissimilar. The significant difference is that human hair continues to grow, whereas animal hair stops growing at a certain point and falls out. In the case of dogs, the hair starts growing, reaches a specific length, and falls out, whereas human hair keeps growing if left uncut. In reality, the method for differentiating cells and mixing them is nearly the same; the difference lies in the varying elements added and the conditions provided. As mentioned earlier, because animal cells differ from human cells, they don’t grow under the same conditions. Thus, different conditions and durations apply for animals and humans.

Regarding the specific cultivation environment, it seems you have embarked on developing bioprinting technology. Can you explain this technology?

Sundar

Bioprinting is a technique used to create the necessary basem*nt membrane for cell growth. Using biopolymers, a foundational membrane can be bioprinted to create a sheet membrane for cell growth. We plan to combine this with the cutting-edge rotational electrospray technology. By embedding cells into the biopolymers created for this purpose, we support cell growth. While we cannot disclose specifics about the polymer composition, it contains keratin, collagen, and various enzymes and elements commonly found on the surface of fur, all working to ensure clean fur growth. Currently, CRISPR technology and gene editing techniques are being applied in our polymer development. In other words, it's like a plant pot designed to combine certain quality and nutrients to facilitate the plant's growth environment. This approach promises significant scalability.

How do you address concerns regarding environmental impact?

Sundar

With the current trend of banning fur and its high costs, there's a shift towards using fur made from environmentally harmful microplastics. People fail to consider whether it amounts to killing animals for fur or causing harm through microplastic alternatives. In the current scenario, we are essentially making a choice between the two. Microplastics exacerbate issues like climate change profoundly. Thus, we aim to offer effective or green alternatives through our products.

Maria

As Sundar mentioned, our ultimate aim is to be nature-friendly. Making sophisticated and expensive products only to rely on toxic materials is pointless. Instead of checking off one of several sustainability criteria and claiming to be moderately sustainable, our final goal is to produce truly sustainable products.

A Shift from Model Careers

The Founding of Furoid™

Maria

It all began in 2017. At that time, my husband was working at a biotechnology company, researching Parkinson's disease and mini-brains. As a side project, they were also studying how to generate human hair follicles in petri dishes. Over time, they developed a process to grow hair follicles in these dishes and eventually obtained a technical process patent. Even after obtaining the patent, we continued our research and development on the subject.

How does your career in the fashion industry connect to your current work?

Maria

I've worked in the world of fashion for nearly ten years. Through my work as a model and for various brands, I gained insights into the supply chain, product sales methods, and retail demands. I also had the opportunity to build a network.

Towards Positive Change

Tell us about your future development goals.

Sundar

In the coming years, we plan to optimize hair growth. We aim to refine the use of biopolymers and study functions such as water resistance and UV protection. Over the next two years, we will seek investments to enhance the durability of our products for broader use.

How is the application to the fashion industry being planned?

Maria

We are currently seeking fashion industry partners. So far, we've received various offers, but none have met our conditions. We often hear, 'It's too early,' as brands want products they can already offer customers, and we're still building connections. However, we are supported by organizations involved in fur production. They understand consumer preferences and the political environment, showing interest in our ideas and wanting to contribute.

Please tell us about your future vision.

Maria

Through Furoid™, I want to provide new choices. If you believe that what we envision is possible, I hope you'll participate. I'm not trying to exert pressure or create conflict. I want the industry to recognize us, understand us, and allow us to continue this journey. I want more people to know about us, to think, talk, understand, and know that there are alternatives and choices we offer. As a result, if we can support others' positive initiatives and first steps, it will be a great encouragement. Even providing the opportunity to think about how to do better for an interested industry is enough, I think.

*All images were taken by Furoid™ in the research facility district.

Text by Hanako Hirata

Creating Digital Fabric Data from Existing Scanners

Alexis

The 3D Fabric Creator, which supports Frontier’s technology, is equipped with our proprietary AI technology. This technology allows the transformation of actual fabric images directly into 3D digital materials, creating a digital version of the fabric. Until now, the biggest obstacle in the 3D fashion design process has been the inadequacy or lack of digital material data.

Tammy

However, with Frontier, users can easily create digital fabric data using scanners already available in their offices. All the fabric data on our platform has been uploaded by users. Uploading fabric data is very simple; you only need to scan the swatches owned by textile companies with office scanners and send them to our specially prepared email address, textile.com. There are two types of uploads: smart upload and manual upload. The former is optimal when swatch cards with fabric information are already available. Our AI engine then generates fabric data based on that information, recognizing the actual size and Pantone, and tags the fabric data with materials like poplin, stripes, wool, etc. In addition, suppliers can optionally add text.

Alexis

These tags allow for fabric searches. For example, if someone is looking for striped material, they can enter the keyword in the search bar, similar to Google or other search engines, and get matched results.

Tammy

We also support list searches. Our AI engine has been trained to allow searches not only through fabric keywords like denim or stripes but also for designers looking for "spring fabrics." For instance, one can think of silk or floral patterns and search with those keywords.

Alexis

Furthermore, information uploaded to the platform can be edited. Optional information can be added, and internal information for company communication can also be appended. Tasks can be added, along with certification info, videos, PDFs, making it usable as a marketing tool. If any issues arise during upload, users will be notified to recheck and meet the required conditions, such as resolution and fabric orientation, before re-uploading.

Tammy

Previously, it was necessary to purchase very expensive machines for scanning fabrics. Moreover, another machine was required for conducting physical properties after scanning. Designers struggled to make fabrics more realistic without the budget to purchase these machines.

Alexis

The data created in this way was not necessarily accurate. Many designers relied on Photoshop, and any adjustments made there were largely guesswork. Hence, the results were never truly accurate. Alternatively, competitors required sending materials to create fabric data using expensive scanners. However, with Frontier, all you need is a scanner and an internet connection, eliminating the need for extensive, costly kits and lab shipments.

Tammy

Users can generate fabric as a U3M file with just a click on the platform, which can then be imported into 3D design software like Browsewer and CLO. This fabric file already has physical properties set, allowing you to design as if it's a real product immediately after downloading.

Alexis

The built-in function called Bend Stretch on the platform includes a visualization feature that helps designers easily imagine how the product will look and move once produced. For example, the material properties and physical attributes differ greatly between lightweight fabrics and thick coats or denim jackets, affecting movement.

Tammy

Our "Fabric Creator" visualizes fabrics using general 3D models. This allows buyers and suppliers to think, "Where should I use this fabric on a skirt?" or "Should I use it on the back of a shirt or shoes?"

Tammy

Our "4D-Ready Smart Material" not only provides 3D fabric data but also commercial data, such as fabric prices, the minimum order quantity (MOQ) from the factory, and competitiveness. This enables designers and brands to decide whether to use the material while considering lead times and budgets from the start of the design process, thus shortening the development workflow and enabling quicker decision-making.

Alexis

Additionally, "4D-Ready Smart Material" includes calculations and measurements yet to be seen by others, like carbon footprint information. This means it provides detailed insights on land use, water consumption, and energy consumption such as electricity, showing the material's real-world impact. We believe this information is critical. Our unique research has shown that about 80% of textile products worldwide are landfilled, often in the poorest countries. Therefore, our proposal for "4D-Ready Smart Material" can positively impact the environment, making it a revolutionary idea.

Alexis

Through Frontier, designers and brands can use a collaboration space to directly contact factories for conversations and order placements.

Tammy

Think of it as a feature similar to stickers. Frontier is not just a marketplace but a platform where all industry stakeholders, including designers, suppliers, and brand merchandisers, can participate. This allows for collaborative design and manufacturing. These stickers also come with task assignment functions to suggest product development or sample requests. Using these stickers, every step is recorded on the platform, allowing you to review all events related to the fabric and refer back to what occurred during development.

Alexis

Exactly, from start to finish, you get complete traceability and transparency, with everything recorded as a unique digital footprint. For instance, a brand connected to a factory can track and manage each fabric stage whether it’s post-development, pre-development, or in progress. This allows for swift tracking of any fabric’s life cycle stage.

Tammy

This also ties back to the carbon footprint discussion. Even if someone wants to measure such information, without undertaking information digitization, traceability, and transparency, it’s often unclear how to measure it. That's why our "4D-Ready Smart Material" emphasizes visualizing this information, focusing on traceability and transparency.

Frontier: Entrance to Fashion’s Metaverse

Alexis

The entire team, including the founders, has amassed extensive experience in the textile industry. First, in 2013, we developed an in-house system to speed up our sourcing workflow by leveraging this expertise. Later, in 2018, we officially launched Frontier 1.0 using AI technology. Subsequently, the platform was upgraded to Frontier 2.0, which already incorporated elements of 4D-Ready Smart Material. The company itself was founded in April 2020 and began full operations six months later, achieving remarkable growth since its inception. Frontier experienced rapid growth in a short period, which was partly triggered by the COVID-19 pandemic, as people had to transition all activities, including interviews and collaborations, online.

Tammy

As Alexis mentioned, our founders have experience in the textile industry. They ventured into the textile sector despite their different backgrounds in math, engineering, and finance. They identified that the overall workflow was exceedingly slow and envisioned smoother workflows through digitalization. Initially, they built the platform for internal use. However, during a meeting with J.C. Penney's Hong Kong team, it was suggested that this technology should be expanded to the industry, leading to the creation of Frontier.

Alexis

Yes, additionally, the development's core ideas included ease of use, accessibility, and scalability. Essentially, the goal was for anyone in the industry to utilize Frontier, eliminating obstacles like costs, hardware introduction, and operational complexity. Frontier's specifications are straightforward and can be used consistently everywhere across the globe—whether in Vietnam, New York, Paris, Milan, or London—yielding precise and consistent results. Thus, we can generate data daily while simultaneously achieving process traceability and operational sustainability.

Alexis

I believe the current fashion industry is evolving and transforming the status quo. The sector is transitioning from traditional offline methods to online to maintain competitiveness. Beyond just maintaining competitiveness, it's also about fostering connections through better communication, saving time, and being sustainable. Brands and retailers aim to offer models based on digital apparel, which hasn't yet been manufactured, to reduce return rates. As such, they are hastily joining the fashion Metaverse. We think that if the entire supply chain can participate in this Metaverse, efficient and environmentally friendly digital apparel can be developed, expanded, and provided. Hence, Frontier serves as an entryway into the fashion Metaverse, helping companies within this ecosystem offer digital assets. For brands and the supply chain, now is indeed a transformative period towards digitalization.

Tammy

When we talk about the fashion Metaverse, we don't just mean digitalizing everything within the Metaverse; it also means that designed clothes can be manufactured as real garments. So, Frontier opens a gateway that allows anyone to participate in this Metaverse, where digital assets can also be produced as actual clothing in the real world.

Alexis

Precisely, Frontier acts as a gateway from the physical world to the digital world and vice versa.

The World's First "Fabric Meta Chip"

Alexis

The motivation behind developing the world's first "Fabric Meta Chip" stemmed from the issue that the entire industry needs more computing power, yet lacks sufficient capability. The "Fabric Meta Chip" enables the conversion of physical fabric into digital material, allowing designers to create virtual clothing directly from real fabric, thereby enhancing the superiority of virtual fashion and strengthening the entire textile supply chain.

Tammy

From our internal investigation, we found out that traditional supply chains do not resist change; they simply do not know how to change. In a recent survey conducted with Taiwanese suppliers, they were asked, "Do you have a digital library? Do you use 3D design software?" They panicked because they were afraid of not getting good evaluations from brands.

Alexis

In other words, they fear losing business because they cannot meet the demands of brands.

Tammy

As Alexis mentioned earlier, since Frontier also acts as a digitalization consultant, we not only recommend Frontier but also build digital workflows and provide solutions using 3D software and 4D scanners. In this way, we connect people at every stage and provide solutions to overcome this difficult situation.

Alexis

In the end, this can be considered a journey towards digitalization. We want to walk this journey together with brands and the supply chain. Of course, there will be obstacles along the way, but we aim to be with you at every step to ensure a smooth and seamless transition from traditional workflows to this new and exciting digital era.

Alexis

As the "Fabric Meta Chip" is a world-first and large-scale endeavor, it garnered significant response and buzz across the industry via social media during and after CES. For example, significant interest has been shown by media outlets such as "Apparel Resource," "DigiTime," "the voice of fashion," and "Women's Wear Daily (WWD)," as well as investors worldwide, marking an immensely important period for Frontier. Additionally, in Taiwan, the Taiwanese government's association appreciated the value, impact, and potential of this innovative technology within the industry and requested to work with us on its expansion and development.

Tammy

Even though it’s still February, it feels like the momentum is incredibly swift, and we're constantly on the move.

Alexis

First, we are currently progressing towards plugins for various 3D software companies worldwide. We have actually formed a partnership with a Swiss company. This allows us to integrate with the software as a plugin, enabling designers to use 3D materials on the software with just a click. In other words, they can utilize our technology, and conversely, we can utilize this company’s technology to enhance overall value. This is very exciting.

Tammy

The equality in the world textile industry we are talking about means the shift from brands previously requesting digitalization of the supply chain to everyone being able to create value through this digital workflow. In other words, our platform allows everyone to be equal and create their own materials and workflows.

Alexis

It is also important to be fully open and interoperable. We want to create an open ecosystem, where everyone benefits, not by making everything closed, but by allowing anyone to use it, regardless of who or where they are.

Text by Hanako Hirata

MERY Gen Z Kenkyujo
Through interactions with the real Gen Z members of the paid community "MERY＆" and its articles on social media, "MERY" extracts insights and shares its research with client companies and the media to help solve corporate marketing issues.

Generation Z Valuing Self-Identity

Saita

At MERY, our main business areas include media-centric advertising, brand production to solve client issues, e-commerce for individual consumers, growth hacking for corporations, and community products. The Life Creators initiative is one of the solutions under our brand production business.

斉田

MERY offers its clients creative development and campaign design capabilities that capture the insights and emotions of young generations, accumulated within our company as tacit knowledge. Our motive for establishing the "Gen Z Kenkyujo" was to convey this information clearly to the public. By leveraging our internal know-how and actively disseminating information, we aim to further enhance and utilize what MERY inherently possesses.

Saita

It is because MERY's user base mainly consists of Generation Z. Though we have a broad user range from late teens to those in their 30s, our primary users are in their early 20s. Thus, how to understand and market to Generation Z has become a significant need for our clients.

Saita

It was notable how often the word "self" appeared. In a survey we conducted last year, we asked Gen Z users, "What do you think defines your generation?" as an open-ended question and aggregated the keywords. The results showed responses like "I want to live authentically," "How should I be?" and "Self...," with each participant writing something along those lines about three times. My generation in our 40s had to be multitaskers and didn't place much importance on the individual, but it seems to have come full circle and is starkly different now.

Saita

Indeed. There seems to be a significant influence from changes in school education. For example, the integration of dance as a mandatory subject has possibly driven TikTok's popularity. This generation, which has been educated to take initiative, exhibits little resistance to self-promotion on social media.

Turning Passions & "Oshi" into Work

Okumatsu

The driving force was Gen Z's characteristic focus on the individual. Whether through our surveys, operating MERY, or observing Instagram, we noticed a significant number of individuals living authentically with their unique passions and "oshi" (favorites). Their enthusiasm toward their passions is so high that we launched the Life Creator initiative as a collaborative content creation effort.

Okumatsu

Thank you! We aim to increase opportunities for people to turn their "oshi" (favorite celebrities or favorite things) into work, recruiting Life Creators regardless of their follower count. Even those unknown today can start with MERY and potentially turn their passion into a career.

Okumatsu

It's not an audition format. Our editorial team scouts based on content that catches their attention while browsing Instagram. Unlike typical magazine or media influencer groups, we scout based on content, not just influence, follower count, or appearance. We're seeking collaboration on content first, without focusing on influence, because MERY's platform naturally amplifies their reach.

Okumatsu

MERY's media concept aligns well with Instagram, a platform that emphasizes content aesthetics. Gen Z predominantly uses Instagram for trends and information. While TikTok is also strong these days, our target audience primarily engages with Instagram, so we're utilizing its Reels feature for short videos. It helps maintain a cohesive visual theme for MERY's content.

Okumatsu

In the process of researching Generation Z, we select the top genres they are most interested in. Another key aspect is the business perspective. We start with genres that match well with future monetization as advertising products. In this context, advertising means leveraging life creators to create reel videos or featuring creators in client advertisem*nts.

Okumatsu

Many people want to increase their followers and become famous so “being featured on MERY and getting recognized” serves as a motivation.

Okumatsu

We aim to respect each individual's preferences and collaborate with more life creators who pave their own paths, providing unique and stimulating content. MERY's concept of "UPDATE MY HAPPINESS" is something we want to offer to many people. Additionally, as a community media, we aim to support the self-fulfillment of life creators and the expression of diverse values while co-creating new forms and business models with our users.

MERY's Concept of "Influensumer"

Okumatsu

During the COVID-19 pandemic, content offering a virtual shopping experience online has become more valuable.

Saita

We consider the concept of 'influensumer' to be crucial. This is a coined term used at MERY, combining 'influencer' and 'consumer.'

Saita

That's right. In the long term, I want to further explore the commercialization of self-fulfillment for Gen Z. More and more people want to achieve self-fulfillment on their terms, pursuing what they love and creating beautiful content. I aim to expand and spread these activities by integrating them with MERY's business, allowing sustainable growth.

Text by Aya Hino

Rebranding & Restart Based on a Son’s Question

Crafting Midway Between Leather Shoes & Sneakers

10th Anniversary & Restarting Shirt Making: A True Return to Roots

Text by Yasuyuki Ushijima (NO-TECH)

Refreshing Existing Business Models

Maximizing the Power of Materials

Toward Establishing a New Fashion Business Model

Targeting Men Under 168cm Based on Personal Experience

Using Real Customer Coordinates on Social Media

Glad to Be Petite

Comprehensive Support Focused on Dialogue

Ultimately, It's About "Making Things"

Overcoming Specialization and Educational Challenges

Using a Rejected Material from History

Utilizing Well-Cared-For Hair

The Pandemic that Brought About a Change in Awareness

Text by Hanako Hirata

Driving Digital Transformation

Realizing Seamless Workflows

Unlocking the Potential of 3D Fashion

Text by Hanako Hirata

Cosmetics that Envelop Sensitivity with "Membranes"

Iiyama

fillwith is a skincare brand based on the concept of "embracing fluctuating skin and emotions." Skincare is an essential time to face oneself throughout the day. Developed with the desire to make that experience the most fulfilling for each individual, it was released in 2023.

We have a lineup of four items: "D Barrier Moisturizer," "Smooth Fix Serum," "RF Color Control Cream," and "N Wrap Mask."

Wakabayashi

"D Barrier Moisturizer" is a mist lotion that protects the skin from makeup melting and dryness. The fine mist creates a veil on the skin, which protects it from external stimuli, helps makeup adhere, and prevents it from smudging.

"Smooth Fix Serum" is a gel-based serum that can also be used as a makeup base. It features a shape memory gel with excellent elasticity.

Iiyama

The common feature of all fillwith items is the membrane-like texture that adheres to the skin. This not only highly moisturizes and protects the skin, but also, for example, the "Smooth Fix Serum" smoothens the skin's uneven surface, enhancing the appearance and enjoyment of layered makeup.

Feel, touch, and smell. We encapsulate this experience in the term "sensory skincare."

What are "Aphanothece Sacrum Exopolysaccharides" with 10 Times the Hydration Power of Hyaluronic Acid?

Iiyama

All items feature a free formulation that avoids parabens (preservatives), ethanol, synthetic dyes, and synthetic fragrances. However, the symbol of fillwith is an ingredient called "Aphanothece Sacrum Exopolysaccharide."

Known colloquially as Suizenji Nori, Aphanothece Sacrum is a species of freshwater cyanobacteria, which is a type of algae. It produces a gelatinous, pudding-like substance around itself to protect its cells.

Wakabayashi

Exactly. It has been found that "Aphanothece Sacrum Exopolysaccharide" has an extraordinarily high water retention capacity. According to our company's research conducted with the Japan Advanced Institute of Science and Technology, the pure water retention capacity of "Aphanothece Sacrum Exopolysaccharide" is about five times that of hyaluronic acid and about ten times in saline solution. When applied to the skin, it forms an ultra-thin, dense membrane that not only provides moisture but also reduces skin roughness more effectively than hyaluronic acid.

Wakabayashi

The reason it is not well known is its rarity. Suizenji Nori is classified as an endangered species and grows naturally only in a small river called Oganegawa in Kyushu. Thus, it has not been an easily accessible material for cosmetics. However, it is an extremely useful natural moisturizer for various applications. Therefore, our company has embarked on artificial indoor cultivation of Suizenji Nori and succeeded in doing so domestically for the first time.

Iiyama

Yes. At DIC, under our management vision "Challenge Beyond Chemistry. Seek Unknown Colors and Comfort," we are pursuing the potential of algae extending to the healthcare domain. fillwith is also a challenge as a chemical manufacturer.

An Extraordinary Cosmetics Brand Created by a Chemical Manufacturer's Technological Prowess

Iiyama

It may come as a surprise, but our connection with algae spans over 40 years. Are you familiar with "spirulina"? Known as the "king of superfoods" for its high nutritional value, spirulina is widely used in healthcare products, natural colorants, and cosmetics.

Iiyama

It's also included in smoothies. DIC was the first company in the world to cultivate spirulina on an industrial scale back in the 1970s. Leveraging the algae mass cultivation technology and functional component extraction technology developed over our long-standing spirulina business, we have successfully achieved the artificial cultivation of Suizenji Nori, which had previously been considered difficult.

The gelatinous substance extracted from Suizenji Nori has been trademarked as "Sakuran®." Sakuran® can be woven into fibers to create moisture-retentive clothing and is expected to be applicable in food and pharmaceuticals. Most notably, it holds great potential as a cosmetic ingredient, which is why we launched fillwith.

Impact that Transcends Gender & Generations

Wakabayashi

While our initial target demographic was women in their 40s and 50s, we are delighted to receive positive feedback from a broader age group. The most frequent buyers are actually in their 20s and 30s. The texture of the "membrane" created by Suizenji Nori and the natural fragrance from our carefully selected natural scents have garnered high praise.

Opting for a colorful package design has also been successful. Unlike many cosmetic products that focus on a single key color to create a unified look, DIC, being a "color" company primarily dealing in printing inks, took a different approach. Our color sample book team managed the color design, capturing the beautiful airiness of sunlight, twilight, and night skies, which has been well received by customers and often chosen as gifts.

Wakabayashi

Yes. Among male users, both the "RF Color Control Cream" and the "Smooth Fix Serum" have received particularly positive reviews. There is a demand for subtly enhancing skin texture with high-quality sunscreen and as men's makeup becomes more popular. Some users have mentioned that they want to bring it when they go to the sauna.

Iiyama

When using your beloved foundation or concealer, we highly recommend adding fillwith as a plus one.

Whether it's the moist feeling of the mist, the glossy texture of the CC cream, or the balm that melts on your skin. We wish to create moments where you can sharpen your senses and enjoy makeup time with genderless cosmetics that let you experience changes in texture.

The brand "fillwith" was born to resonate with skin concerns. Using DIC's cultivated technical prowess, they are now developing new cosmetic materials. Keep an eye on future developments.

Text by GANTAN

The Two Inner Wears that Became the Foundation of AIRism

Focus on the Discomfort Caused by the Disruption of the Inner Garment Environment

Thorough UNIQLO Quality, Right Down to the Details & Sewing

Expanding Beyond Innerwear into Apparel & Goods

《Note》
[1] One of the regenerated cellulose fibers made from plants for which Asahi Kasei holds the trademark
[2] The functionality varies depending on the product. There are differences in appeal and how functionality is expressed depending on the country or region
[3] Some products do not support tagless
[4] Yarn that gives stretch, warmth, and bulk to synthetic fiber filaments

Text by Ryota Osujo（Office Osujo）

Moving Towards a Virtual Platform for Smartphone Users

The Future of Fashion & NFTs

The Collaboration that Began Online

Utilization of Waste Materials

Sustainability as a Reward, Not a Burden

Text by Hanako Hirata

A Platform Connecting Products, Sales Points, & Production

A Business Model that Mitigates Inventory Risks

Lessons Learned from Toyota's Model

Text by Hanako Hirata

Offering a Fusion of Platforms & Sales Personnel

Nakamura

"Tig LIVER" is a team of salespeople who can seamlessly demonstrate advanced customer service skills in live streaming and social media utilization.

Ebiko

Last autumn, we released the service "Tig LIVE." The first broadcast was with a major shoe retail company, featuring content introducing recommended sneakers from the shop, and an influencer introduced the store's products.

Ebiko

Basically, we come up with a plan, direct the day of the event, and analyze the performance post-broadcast. iDA accompanies us in planning and directing on-site, and also provides advice in post-broadcast analysis.

Ebiko

While selling products is important, enhancing engagement between the brand and customers is also a crucial aspect of live streaming. Therefore, we provide feedback on such areas. During the streaming, users leave comments about the products, the presenters, and the brand. We prioritize responding to these comments during the broadcast. Post-streaming reports include feedback on addressing comments and appropriate responses to the types of comments.

The Importance of Continuously Streaming

Ebiko

First, the staff responsible for streaming are not yet accustomed to live broadcasts. This requires a lot of practice. However, to increase engagement and sales, it is essential that the content is enjoyable for users and effectively communicates the value of the products.

Nakamura

Apparel companies often find it challenging to allocate budget for live streaming. Employees unfamiliar with live broadcasts may also be reluctant to participate. Due to cost constraints, they often rely on their own staff.

Nakamura

Defining success can be tricky, but those who are committed are seeing results. For example, Baycrew's has effectively used Instagram Live to boost sales.

Ebiko

As Nakamura mentioned, consistency is very important. User learning is crucial in increasing repeat customers. Some clients have grown their loyal customer base by streaming at regular intervals. In the first two to three months, tangible results were hard to see. However, there was a turning point when showcasing discounted products via live commerce resulted in sales of 3 to 4 million yen.

Influencers × Commerce

Nakamura

Store sales staff undeniably now require different skills than before. Depending on the brand or area, the number of customers visiting stores has decreased overall. Previously, it was the role of sales staff to attend to in-store customers, but now, unless sales staff engage through online efforts like social media or live streaming, it has become difficult to attract customers to stores.

Ebiko

For us, while the influencer aspect is important, we place significant emphasis on the role of the commerser with strong sales skills. Our goal, in partnership with iDA, is to nurture commersers. When activities as a commerser lead to a growing follower base, and they can also take on an influencer role, it only enhances their impact.

Nakamura

We are committed to elevating the value of sales staff and particularly aim to realize new ways of working through our online customer service endeavors. For example, if store sales staff use their own social media to conduct live streaming and then receive a portion of the sales revenue, they'll feel their efforts are directly contributing to sales, increasing their motivation.

Nakamura

We intend to continue and strengthen the training and planning of commersers. Creating new ways of working for sales staff, leveraging their in-store skills to succeed in live streaming and online customer service can be achieved not just by us alone but through collaboration with various companies. Although there are significant challenges, we are determined to persist in our efforts.

Ebiko

We have a roadmap for the development of visualizing staff sales. For live streaming, it's vital that sales are transparent and staff motivation is boosted, ensuring results are achieved.

Revolutionary Resilience of the "Nike Maxfly"

"Nike Pegasus" is an All-Mighty Shoe

Text by Fumihito Kouzu

The Vintage T-shirt Boom Started About 5 Years Ago

The Beatles 1990's T-Shirt

THE ROLLING STONES 1990's T-Shirt

HARLEY-DAVIDSON 1980's T-Shirt

Corporate T-shirts & Art T-shirts

Details to Identify the Era of Vintage T-shirts

In America, It's Becoming Harder to Gather Vintage Items, but We Want to Stick to American Vintage Clothing

Bringing the Issue of AI Surveillance Closer to Home

Tanaka

Initially, it started around February 2019, when Tokui and I were having a casual conversation. We made T-shirts printed with this concept as the first step. Tokui had an invited lecture at Meet the Media Guru, a media art conference held in Milan, where he introduced it.
At that time, Tokui was about to become an associate professor at Keio University, so we decided to prototype further in collaboration with SFC students. This led to an exhibition at Media Ambition Tokyo in February 2020.

Tanaka

To be honest, we didn't proceed with the aim of creating a product this time either, and what we are announcing today is more of a work of art than a product.

Tokui

Exhibiting at events such as Media Ambition Tokyo, people who came said it was "interesting" or "it made them think about the relationship between surveillance society and AI." However, the people who visit such exhibitions are already quite literate and conscious of these issues, so the appeal is limited. To reach a broader audience, especially young people who will create the future society, incorporating it into the context of street culture could make them think about it as a familiar issue. Rather than rigidly discussing AI and surveillance society, it would be great if conversations and discussions could begin from the point of finding the camouflage stylish.

Tokui

In human recognition, convolutional neural networks, a model of deep learning, are commonly used in image recognition. There are various models, but this time, we are targeting one of the most mainstream models in image recognition for about five years called "YOLO (You Only Look Once)" to create mechanisms to deceive the AI's recognition.

Tokui

Yes, the prototype was a full-body coat that could deceive from various angles. However, this time, adapting it to street culture, we considered the balance of design and cost with the designers.

Tanaka

We prepared many variations and proceeded with tests and designs in parallel.

Tokui

Of course, the larger the camouflage part, the more effective it is, but even small items like badges can fool the system depending on factors such as distance from the camera and the percentage of the body covered by the camouflage.

Tanaka

We saw potential in applying camouflage to various products, but we chose to expand into fashion because fashion is not just about functionality like warmth; it's something people wear to express their will and statements. We refer to it as camouflage in modern society, considering it to be a design item for blending into urban environments.

Tokui

Skateboarding is also our hobby (laughs).

Tanaka

Yes, skateboarding was the first item we decided on. Initially, we thought it might be fine just as an artwork, but NEXUSVII. strongly resonated with our project, which led us to expand it into clothing as well.

The Necessary Dialogue for Fostering the Right Relationship Between Technology & Humanity

Tanaka

This question often comes up, but the premise is that what we made isn't technically feasible for criminal use. Surveillance cameras use various object and image recognition technologies, the details of which aren't public for security reasons. We're using a model called "YOLO," so wearing this won't necessarily make you unrecognizable at airports or in taxis.

Tokui

If it indeed had the potential to be misused, that would be problematic. But as an art piece, it pushes the boundaries of speculative design. When AI surveillance technology evolves, or when camouflage also advances in response, it could become an endless cycle. We want people to envision such futures and think about what it means for society and human happiness. We'd like people to see this work, perhaps buy it, wear it, and discuss it with others.

徳井

At both my company and university lab, I frequently use the term "Computational Creativity," which revolves around the idea of extending human creativity using AI. This is a major theme of my work. When people think of AI, they often see it as a tool for optimization and labor-saving. However, I consider AI not as a means for optimization but as a tool to shape alternative possibilities and ideas divergent from merely optimizing or streamlining what humans have been doing historically. In January this year, I published "創るためのAI：機械と創造性のはてしない物語," where I introduce this project, which I view as an attempt to present a possible future of cat-and-mouse games between surveillance and camouflage technologies.

Tanaka

As for my current profession, I tackle problems using creativity while also deepening questions as an artist. On the problem-solving front, I think it's perfectly acceptable to leverage AI for issues like diagnosing diseases, where human detection has limitations, and curbing social challenges such as abuse.

Tanaka

One early concept I've had is to create a product next that allows individuals to choose the gender they are recognized as by AI. Essentially, aligning their internal gender identity with their external appearance. A shocking realization for me was while riding a taxi with a transgender friend who was shown adverts inconsistent with their internal gender identity, such as a commercial for razors or job ads targeted at men. This experience made me aware of the imposition of presumed gender based on appearance. Thus, I'd like to create clothes that allow people to control their gender in such scenarios. Ideally, we aim to release this by March next year.

"Camouflage Against the Machines" can be experienced in person at the following location. Viewing the store itself as a piece of art, we'll exhibit, sell, and demonstrate the work.

"Camouflage Against the Machines"
Dates: October 22-27, 2021, 11:00~20:00 (until 18:00 on the last day)
Venue: COMINGSOON (Shibuya PARCO 1st floor)
Admission: Free
DESIGNART Special Site　UNLABELED Site

Bringing Incense Closer to You

Providing Incense by Subscription

Incense as a "Crossroad"

As a Denim Consultant

Combining Digital Tools & Denim

Towards the Application of Digital Tools

Text by Hanako Hirata

indigo studio, AiAii

Kaigandori 2-3-19,

Sumoto city,

Hyogo,

656-0022

Shop open Fridays and Saturdays 10:00-17:00

Official Site

Instagram

Since 2017, I have been designing glasses and decanters for the Austrian wine glass maker Riedel. The glasses are sold in stores across Japan, and each year I design a new series for Riedel using Kanazawa gold leaf made by Hakuichi.

Toyo Department Store: Leading Shimokitazawa's Vintage Culture

From Black Market to Subculture Hub

Harajuku & Shimokitazawa

The Vintage Clothing Boom of the 2020s

Redevelopment & "Shimokitazawa's Uniqueness"

Text by GANTAN

Oliver Peoples Born in West Hollywood

How Sophisticated Design Work is Created

Japanese Craftsmanship in Titanium Engraving

The Beauty of Minimalist Design and the "0NLY" Japanese Collection

The Inspiration for Starting a Business: Biohazard-Free Compost

Efforts Towards Decomposable Clothing

Utilizing Microbial Degradation

Creating a Structure that Circulates Over a Long Span

Hoping a Full-Scale Pilot Project Can Be Realized Soon

Convenience Within a 3km Radius

Trends in Marketplace Apps

The Future Perception of Physical Stores

"FACY"'s interface

Social Material Focused on Secondary Distribution

Issues in the Industrial Structure

Sustainable Practices Beyond Ethics

This project is quite grand, so we'll probably approach it in a multi-faceted manner. Initially, the goal is to bring this project to real-world application.By the end of the year, we're aiming for adoption by apparel manufacturers and considering how to integrate it into UX design.While there are attempts to use bio-materials for sourcing materials, rather than such bio-materials, we want to address this circularity issue with a new concept called social material. We aim to provide not just products for sale but also social aspects that resonate with people's usage.Years ago, when PATAGONIA released recycled polyester products, the recycled polyester couldn't be bleached, so all the clothes were emerald green. It became a symbol and spread. The fabric created by the "コンシューマーコットンプロジェクト" will have a melange tone with various mixed colors, and we hope it will spread widely as a symbol of social material.
What kind of initiatives are necessary for consumers to join the sustainable cycle within the fashion industry as a whole?
Monetary incentives are, of course, important, but so is considering well-being. Often, when talking about sustainability, the term "ethical" is used. I basically think that ethical approaches are not sustainable for most people.Ethical actions are moral and rational approaches, but they involve a certain level of patience. In the natural world, no creature practices patience. If only humans take ethical and rational approaches, it won't be sustainable over a long period. The key is how to connect with others and society, relating it to human well-being.]]>

Birth of "ALDY" from a New Graduate Proposal

Considering those points, how do you think the femtech market will change in the future?
I feel that there is still a taboo surrounding femtech in society. If this area becomes more open and conversation becomes easier, I believe the femtech market will expand significantly. Personally, I felt a barrier, thinking I had to avoid discussing it. By actively sharing information and practicing self-care, lives can change, so it would be great if we could share more about these aspects.
What are the advantages of your product compared to others?
While focusing on functionality, we did not compromise on design. Most absorbent shorts are black and trunk-style, but ALDY integrates lace elements, incorporating a more underwear-like design.
It's been about a month since the launch of ALDY shorts; how has the response been?
Reviews on the e-commerce site mention feedback like "I can wear white bottoms without worry and discomfort." Wearing white bottoms on those days requires courage for some people. It's not just white bottoms; clothing in general can be restricted in such cases.Knowing that those wearing ALDY can spend their days without such worries is encouraging and makes us happy too.]]>

Concept: "Photoaging Countermeasure Skincare Products"

What is Retinyl Ester, Which Accounts for About 91% of Vitamin A in the Skin?

Reasons for Redness & Peeling with Vitamin A

Note:
[1] By replenishing Retinol, skin metabolism is promoted and may cause inflammation such as redness and peeling.

Text by Junko Hayashida

SANDERS, Started by the Sanders Brothers & 5 Craftsmen

Inheriting Craftsmanship that Sustains the Quality of SANDERS

"DERBY SHOE" & "OFFICER SHOE"

Elegant "MILITARY SANDAL"

Upper Leather & "Studded Rubber Sole"

Example: ［1］ Goodyear welt construction:
One of the shoe construction methods where the upper, insole, and welt are sewn together to a part called the rib, and the outsole is stitched on. The cork inserted in the insole for cushioning fits the shape of your foot over time, creating a comfortable fit. This method does not directly connect the upper to the outsole, allowing for multiple replacements of the outsole.

Example: ［2］ ISO:
The International Organization for Standardization, headquartered in Geneva, Switzerland. It has international standards for quality, materials, performance, functionality, safety, and services. Obtaining ISO certification proves that a factory or organization has established a management and production system to consistently create products in accordance with these standards.

People Need Clothes, Even During a Pandemic

Proposing Clothes Through Real Voices

Rather than formally training streamers, we encourage them to be natural. The key points about the products are shared internally by the design team, so they understand what to talk about, but the streaming style we focus on is proposing clothes with a genuine feeling. While professional customer service recommendations can be enjoyable, at COHINA, we aim to create an atmosphere like picking out clothes with friends, making it feel approachable. The staff members who stream are fans of COHINA who decided to become streamers, so their words are authentic. This makes it easier for customers to relate to them.

To Be Purchased as a Special Piece

Text by Aya Hino

Re-Offering Preferred Enhancements Through Individual Recognition: The Purikura Machine of the Future

Kanno

The "future purikura machine" was created through a collaborative proof-of-concept experiment with NTT DOCOMO Inc. This purikura machine is equipped with 5G communication and AI facial recognition functions.

Kanno

This is a special version of an existing model called "CAOLABO2." The standard "CAOLABO2" comes with features where the device reads the outline of the subject's face from the first photo to propose the "recommended parts balance," and combines it with the user’s preferred "skin texture and finishing ambiance" for shooting with an "enhancement setting."

Kanno

In the special version of "CAOLABO2" known as the "future purikura machine," individual recognition is performed during the second shoot to determine whether the user has used the machine before. If the user has, a message saying, "Thank you for shooting again" and an option to reflect the previous "enhancement setting" are displayed.

Kanno

The special version of "CAOLABO2" is equipped with 5G communication, and it sends the first image captured to the cloud-based AI facial recognition software "SAFR" to determine whether it is the user's first time shooting or if they have shot before.

Shiraishi

With purikura machines, the images are taken with a DSLR camera and edited on a computer, which can result in heavy data before editing. Therefore, by exporting the high-resolution raw images through 5G communication, we can perform individual recognition on the cloud and display the results on the purikura machine quickly. This is the essence of the experiment.

Kanno

Yes. We installed a special version of "CAOLABO2" at our purikura machine specialty store "girls mignon Nagoya Oasis 21," where users could actually take photos. Visitors who took photos more than twice received a message saying "Thank you for taking photos again," along with an option to reflect the previous "mole feeling settings" or not. We got feedback from visitors like "I'm happy that you remembered," and "It's interesting." We believe this level of attachment and familiarity that wasn’t there before will lead to repeat visits.

Kanno

In the first phase, we conducted an experiment to deliver high-quality purikura images to users. Typically, when delivering image data from purikura machines to users, the image size is reduced to match the display resolution of the user's 4G smartphone, or the image is compressed to reduce the data size, causing a decrease in image quality. Keeping in mind a future where users' smartphones will be 5G-compatible, we conducted an experiment equipping purikura machines with 5G communication to let users view the images on 5G smartphones.

Kanno

As a starting point, we have used NTT Docomo's network for our purikura machines for many years and have built a relationship as business partners, contributing together to creating memories for the younger generation.

Shiraishi

Each of our companies had specific reasons to engage in this proof-of-concept experiment. For NTT Docomo, although 5G communication existed, it wasn't widely recognized, so how to popularize it was a challenge. For our company, integrating 5G communication meant we could perform some of the processes currently done within the purikura machine in the cloud, reducing the machine's load and potentially adding new processes and features. However, integrating 5G communication increases costs for communication and cloud services compared to our limited resources. Therefore, this joint PoC aims to verify the cost-effectiveness of how many people would use this feature (and also the expectation that we want them to use it).

"Mori Research" Which is Continuously Loved by High School Girls

Shiraishi

Project planners and image coordinators involved in purikura machine production have opportunities to directly talk with high school girls at least once a week about the development image, features, and the latest trends. When creating purikura machines, planners come up with concepts, which image coordinators then translate into enhancements. Planners and image coordinators must understand high school girls' perceptions and sensitivities to develop products that appeal to them, so we regularly conduct hearings with high school girls to research "More" enhancements.

Shiraishi

It was around 1997 when our company entered the market. We experienced a major failure with a machine we had developed at that time. High school girls outright said, "We don't need a machine like this," and we were left with a massive inventory, unsure of what to fix. A client advised us to listen to high school girls' opinions, and from there, we began conducting hearings.

Shiraishi

There have been quite a few changes. Looking back, around 2010, the editing was very strong, making the faces look flat and almost like a shoujo manga. By 2011, they gained more three-dimensionality. Within our company, we call this the "Mori Turning Point." Until 2010, it was all about having white skin, big eyes, and black eyeliner, but from 2011, there was a shift towards a more natural and personal style, adding three-dimensionality to the face as a result.

Shiraishi

After 2015, eyes started to become larger. This period saw the rise of image editing apps, which made extreme facial changes popular among high school girls. Consequently, the demand for stronger enhancement editing in purikura increased.

Shiraishi

Purikura has evolved from something used to introduce oneself or look cute to a way to express one's worldview, thanks to the advancement of social media. Instagram and TikTok have become tools for conveying a partly staged reality rather than capturing the authentic self. This trend has translated into purikura, where the focus is now on enhancing the overall atmosphere of the image.

Kanno

I believe both share the same goal of enhancing images, but smartphone photography aims to capture the moment including the background, while purikura offers an experience akin to a photo studio. Moreover, we see photo-editing apps not as competitors but as partners in elevating the "Mori" culture together.

Kanno

In our most popular machine, "97%," we emphasize a lavender-tinted finish, incorporating this trend from camera apps where the entire image is colored.

Kanno

We also have a latest purikura machine, "Neko to Kanojo," which includes features geared towards social media posting. This machine introduces "Nekokano Videos," which allows users to apply purikura effects to videos and post them on Instagram Stories with the desired "Mori" effect intact.

Exploring the Potential of Purikura Machines

Shiraishi

Yes. We also offer a service called proof prints, which allows you to take photos in a setting similar to a photo studio with strobe lights, using a DSLR camera, and print slightly edited images. With a machine called "PURi BOX more," you can adjust the position and size of the subjects and choose from two levels of editing to achieve a polished final look. Several print sizes are available, making it possible to use these photos for resumes and other documents. Typically, it costs about the same as using a regular purikura machine, so it's highly recommended for adults.

Shiraishi

When it comes to purikura machines, I think our company's greatest strength is being able to provide the kind of photo enhancement that girls of each era desire better than any other company. We've been able to do this by listening to high school girls since 1997 and having an internal system that can implement customer feedback, including technical aspects.

Shiraishi

We have received inquiries about this, and we recognize the opportunity internally. However, as mentioned earlier, the current purikura machine PCs have difficulty processing information in addition to their primary functions, so we haven't been able to take on the challenge. That said, partner companies also have high expectations for new developments utilizing purikura machines and marketing data, so we aim to consider this moving forward.

Shiraishi

Until now, purikura machines have provided enhanced images using on-the-spot image processing without identifying users. By identifying users, as in our current pilot experiment, we believe that "future purikura" can offer more user-friendly services and functions based on past usage and operation history of purikura machines.

Text by Aya Hino

Collaboration with GHOSTCLUB

Community & User Image in Virtual Spaces

The Significance of Continuing with Virtual Fashion

The "610" Developed for Outdoor Activities

Expert Approach Characteristic of "New Balance" Enhances Its Popularity

The "610" Solidifies Its Place as a New Staple with Its Variety

(SHOP DATA)
Herringbone Footwear
Torahom Hills Station Tower 3F, 2-6-3 Toranomon, Minato-ku, Tokyo
TEL: 03-3528-8262
Business hours: 11:00 - 20:00

Photo by Hiroyuki “Lily” Suzuki (StudioLog)
Text by Yasuyuki Ushijima (NO-TECH)

Towards the Next Generation of Commerce

Additionally, one way for us to enjoy culture is to engage in collecting. When you enter my room, you will see my collections of books, records, figures, and DVDs, which tell the story of what interests me and what I value. I believe that an essential aspect of enjoying culture is collecting valuable items within culture and subculture that teach us about ourselves. For this purpose, I consider spatial computing particularly important.
The world is moving in a new direction, focusing on how people experience and interact with the Internet. I believe we are moving away from screens and looking more towards physical spaces, resulting in software designs resembling architecture, not just pages. Therefore, alongside enhancing avatar functions, we will be adding mechanisms so that players' belongings are visible to others. This feature will extend the marketplace, allowing players to make direct offers and trade with each other.

Enriching Experiences Merging with the Real World

What interests me is the other aspect, where the metaverse is not a destination but a dimension overlaying physical reality. This is the greatest unnoticed opportunity and the reason for our focus on the gaming industry. The larger opportunity is reflected in companies like Amazon, Apple, Microsoft, Google, and even Meta (Facebook) and Tesla. These companies are leading the charge in merging the virtual and physical worlds through device development that reads the real world for software to understand reality, creating augmented reality experiences. One reason Facebook is altering its entire corporate approach is to explore how future interactions with the Internet will evolve. They are betting on virtual worlds, but recently, they also unveiled AR glasses in collaboration with Ray-Ban. Therefore, they are also contemplating real physical spaces. The imminent fusion of virtual and physical worlds represents a significant opportunity. Just like this, Aglet aims to open new dimensions, not as destinations, but as a part of the next phase of the Internet.

Text by Hanako Hirata