I bought the newly released "KARUAIR" from Mizuno for the 2024 spring/summer collection and wore it under a three-quarter sleeve shirt as underwear. I was amazed at how much cooler it felt compared to just wearing the shirt alone, and there was no stickiness even after the sweat dried. Most importantly, it was light and didn't feel bulky despite layering. Intrigued, I visited Mizuno Corporation and talked to Masanori Inoguchi from the Global Apparel Product Division, Global Planning & Design Office, about "KARUAIR."
Combining High-absorption & High-water-repellent Threads for Both Quick Sweat Absorption / Drying & Breathability
"However, even if the entire wear is made from high-absorption, quick-drying fabric, sweat components remain as a film on the fabric after evaporation. This causes the fabric to clog and reduces breathability. As a result, the warm air heated by body temperature tends to stay inside the clothing, making you feel hot. The sweat film left on the fabric causes a sticky feeling and discomfort as it sticks to the skin."Wearing 100% cotton shirts after sweating is uncomfortable as they remain wet for a long time. When wearing functional wear that absorbs sweat quickly and dries fast, it’s true that the drying speed is a benefit, but it still feels sticky after the sweat evaporates. It appears that the sticky sensation was caused by the sweat components remaining as a film after the moisture had evaporated! I've been wearing such functional wear for years without realizing this.
![<![CDATA[Fashion Tech News]]> (2) <![CDATA[Fashion Tech News]]> (2)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/e75bd57ae4b44b22b4b1b496f5db0eb8/lh_un_karuair_2021019_technology01_2x.jpg?w=2400)
"The 'air gaps' secured by the water-repellent polyester yarns do not form a membrane, which means the breathability of the wear is not compromised, and comfort is maintained at all times. The highly absorbent polyester yarn's functionality works as usual, quickly absorbing and evaporating sweat, thereby eliminating discomfort and facilitating smooth body temperature regulation through evaporative cooling."
Comfortable Innerwear with “DRY AEROFLOW” Recognized by Top Athletes
The material of "KARUAIR," which combines highly absorbent and water-repellent yarns, adopts Mizuno's proprietary "DRY AEROFLOW," which has been trusted by top athletes and used in competitive sportswear."For example, professional boxer Naoya Inoue also trains wearing 'DRY AEROFLOW.' Additionally, many types of wear designed with the specifics of different sports in mind have contributed to improving the performance of numerous top athletes. By being less sticky even when sweating and maintaining breathability, making it cool, the technology of this 'DRY AEROFLOW' has been optimized for daily innerwear use, which is 'KARUAIR.'
"For innerwear or underwear, it is required to be thin, light, and not stressful to wear. While sportswear often needs certain thickness and strength, underwear is designed to be as light as air. The men's V-neck short-sleeve shirt size L is around 72g."Compared to functional wear that can be worn alone, the specialized specification for underwear came as a surprise when worn under a three-quarter sleeve shirt. Wearing 'KARUAIR' under a short-sleeve shirt, polo shirt, or your favorite printed T-shirt is comfortable. Upon trying various times, 'KARUAIR' proves to be extremely useful for rotating clothes during the scorching heat season."
![<![CDATA[Fashion Tech News]]> (3) <![CDATA[Fashion Tech News]]> (3)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/da9ceccc381e4a44a872cf1c54a5a2bb/IMG_6040.jpg?w=2400)
"When compared to our conventional products (60% cotton, 40% polyester), 'KARUAIR' offers 400% increased breathability and 105% increased heat dissipation. In terms of drying speed, it dries about 2.7 times faster than conventional products."
![<![CDATA[Fashion Tech News]]> (4) <![CDATA[Fashion Tech News]]> (4)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/b1d7be7ffdd24f65b8b3447f032561e0/cc_newsrelease_240312_img04.jpg?w=2400)
"We call it an armpit pad for simplicity. Instead of using a pad with a different texture, we chose to double-layer the fabric under the arms for seamless sweat stain prevention. The idea is to make it unnoticeable when worn. It seems that more women than men are concerned about sweat stains, so this subtle feature is incorporated into both men's and women's versions."
Even men have recently started layering tank tops or T-shirts under their T-shirts to prevent nipples from showing through. This is especially true for white T-shirts to avoid transparency when sweating. In such cases, "KARUAIR" as innerwear keeps you cool, dries quickly when sweating, and eliminates the worry of transparency.
Items that Are Both Sweat Absorbent & Breathable Include Boxer Shorts & Caps
For those interested in comfort, it's recommended to start with tops (V-neck short sleeve, crew neck short sleeve, V-neck sleeveless).
]]>Text by Naoki Sakata
To be honest, when people hear the word "researcher," they probably don't think of fashion or being stylish.
They're right about that.
No one really pays attention to each other's clothes, and I hardly ever talk about clothes with colleagues. The most we might discuss is the functionality of our clothes (like what type of attire is easiest to experiment in).
As someone who likes clothes, I sometimes wear my favorite outfits. It seems to stand out because among the secretaries, there's an image of me as "fashionable." Sometimes they even compliment me, which makes me happy. On the other hand, clothing is filled with a lot of technology. Whether it's designed for functionality or pure aesthetics, modern clothes are mostly a mix of mathematics, physics, chemistry, and engineering. I wonder what researchers wear while producing the research outcomes embedded in our clothes. They probably never imagined that compounds they synthesized would walk down the Paris runway.
Thinking about this brings to mind the perpetual debate in academia: the argument of "useful vs. useless." Some argue that funding should be concentrated on useful research, while questioning the value of what seems useless research. Nobel laureates are sometimes asked, "What is this useful for?"
As someone who genuinely loves science, I want to defend and enjoy things that seem "useless"—or more accurately, things whose utility isn't clear at the moment and don't lend themselves to such evaluations. From my point of view, I have a small request: The next time you hear the "useful vs. useless" debate, try imagining the researchers who produced the findings embodied in the clothes you're currently wearing. Speaking of which, what kind of clothes do you imagine researchers wearing in the lab? Probably lab coats, right?
Currently, I'm not wearing a lab coat, nor are the people around me. Whether to wear a lab coat or not depends on the research content and personal preference, but more people lean towards not wearing one. There are a few who treat the lab coat like a uniform and wear it all the time at work, but they are a minority. Most researchers wear lab coats when there is a risk of getting their clothes dirty, when handling hazardous chemicals, when touching lab animals, and when it's cold.
However, researchers on TV and other media often appear in lab coats. Why is that?
I found the answer when a TV crew came to interview our lab. The staff asked us to wear lab coats. So, it's a setup. By the way, scenes where professors or senior researchers appear to be peering into microscopes are also staged (more senior researchers are usually swamped with paperwork and meetings rather than experiments).
To avoid misunderstandings, I'd like to add that professors in medical schools (doctors) often wear lab coats regularly. Their lab coats even have the university name and the owner's name embroidered. That's typical of medical schools.
Incidentally, I also own a lab coat, which I bought cheaply on Amazon.
Oh, and there's one more occasion for me to wear a lab coat—Halloween. This cheap one is quite handy.A lab coat, as its name suggests, is simply a pure white garment (by the way, in English it's called a "lab coat," which means "laboratory coat" and sounds kind of cool). I once saw a flyer for a stylish lab coat being released. It had patterns on the sleeves and chest pocket (which might mean it's no longer a "lab coat"?), and it certainly seemed quite stylish.
Of course, I didn't buy it, and I've never seen anyone wearing one, nor have I seen the flyer again. I remember talking with a senior about how everyone only looks for functionality in a lab coat.
But maybe, for doctors who face patients in examinations, "dressing up" might actually be important? Saying too much might sound like a jab at doctors, so I'll hold back here, but I realized that what people seek (functionality or embellishment) can change depending on their role.Though I said I don't wear a lab coat, in experiments, there is something everyone absolutely wears: gloves.
In the lab, there are different sizes and materials (mainly nitrile or latex), and unless there are special reasons like allergies, each person chooses what is easiest to use. In other words, focus is on functionality.
I also care about functionality, always choosing S-size (tight for detailed work) nitrile gloves. But I actually have a particular preference for decoration.
They absolutely have to be light blue.
Nitrile gloves usually come in blue, purple, or light blue, but they definitely have to be light blue for me.
It's simply because I like the color, and wearing them makes me feel good.
But fashion is like that, right? I've never considered experiment gloves as fashion, but these are my fashion. These favorite gloves give me a bit of confidence.
I've never told anyone this, but maybe everyone secretly does experiments "with a sense of fashion" too.Could the research I'm working on now someday be connected to clothing? Could someone be fashionable because of what I'm doing?
That would be nice.
Well, back to the experiment.
Putting on the gloves.
S-size, nitrile.
Color: light blue.]]>
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."
Similarly for cooking, the biggest point of judgement is whether it's "delicious/not delicious," which is also sensory in nature. I feel this is where fashion and food are similar, and where they differ from cinema and art. At the same time, there are differences between fashion and cooking as well; food is prepared with impeccable logic.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.
I'm not at all familiar with cooking, but I imagine that chefs think about their work quite logically. Thus, by using food as a reference point, I think we can approach fashion in a different way from art or design, which are frequently compared.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.
The first work I'd like to mention is Naoya Higuchi's cookbook, "新しい料理の教科書." It's been highly acclaimed and I found it very interesting as I read it. Higuchi, who also writes novels, has a methodological consciousness of how to describe cooking that is extremely high. Basically, in his recent writing, he seems to be testing how far he can go in prioritizing data and eliminating ambiguities for objective descriptions.Cooking science has received a lot of attention in the past few decades and, since El Bulli introduced its notorious 'molecular gastronomy', it's been enthusiastically applied even in some high-end restaurants. Higuchi tirelessly researches culinary science and in "新しい料理の教科書," he reexamines all of Japan's staple home-cooked meals based on the latest findings. It's a book pointing out how techniques, that were previously considered common knowledge like how to make an omelet or how to cook meat, have room for improvement. It suggests there are more rational procedures. It was exhilarating to read, and it made me realize that I had been mistaken about so many things.However, I wouldn't necessarily say that the dishes made through Higuchi's most rational cooking method are the most delicious or that, in a way, the Higuchi style is the ultimate end point. Even Higuchi himself doesn't think so given his flexible disposition. Once the Higuchi style has become popular and people have become accustomed to it, if there was an occasion to taste cooking laden with irrational devotion and hardened by past superstitions, I think we could experience surprise and emotion. Not just out of nostalgia, but because it feels refreshingly different after going full circle. That's a fascinating aspect of cooking.For example, there's a process called "risolé," which involves searing the surface of the meat and according to old cookbooks, this was strongly recommended. When making a simmered dish, first doing "risolé" forms a wall, so it was explained that the umami components of the meat would not escape. However, contemporary kitchen science negates this effect. So sometimes it's suggested you can skip risolé, but without that "wall" of the meat, something feels lacking. I'm interested in the essence of that dissatisfaction. Even if the evaporation wasn't prevented, there may still be some secondary effects, and it's subjectively free to simply find that wall aesthetic or cool.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.
Then, what are the elements of 'deliciousness' that cannot be reduced to the amount of umami ingredients? I think there are various things that can be said, but one of them is the importance of analogic imagination. This is something I mentioned towards the end of the book "食べたくなる本." Even if it's a kind of sorcery-like imagination, imagining the circulation of matter is inseparable from the experience of deliciousness. The concept of "lisolet" is also something that the creator imagines and sympathizes with, creating a wall on the surface of the meat and keeping the meat juice in place. The eater, too, eats while imagining what happened to this meat, guided by the very word "lisolet." Ultimately, because it is found to have no effect on keeping the meat juice (or because it is found to have confused the rich taste of burnt walls with kept meat juice), it will fall into disuse. However, it is a fact that such forms of imagination were once under the word "lisolet."For example, making broth with kelp is nothing more than extracting glutamic acid from it in terms of figures and chemistry. But at the same time, the act of making broth with kelp itself has a side that invites people to a certain kind of imagination. This can be something big like imagining a large process where things floating at the bottom of the sea in Rishiri or Rausu in Hokkaido are washed ashore and dried by producers, and then transported to ports in Japan by northern ships in the old days. In other words, enjoying a bowl dish is an aesthetic act of recreating a sea view in a bowl. Even if we can recreate the same umami in terms of numbers and synthesize the flavor of kelp chemically, it would be completely different.When you read old cookbooks, you often find that more weight is placed on this kind of imagination than on data. For example, I really love the writings of Yoshiko Tatsumi, a leading cooking researcher living in Kamakura. The descriptions of Miss Tatsumi's cooking are truly poems, in the best sense of the word. The descriptions of how to control the heat when cooking, such as letting the soup on the surface of the pot smile or letting the carrots relax in a leisurely bath, are included. Objectively, of course, the soup is not smiling, but in Miss Tatsumi's imagination, there is a lively interaction with the material. I think that if you study from Miss Tatsumi's book, kitchen work is no longer a pain, and by the power of metaphor, it can become something blooded.It is my personal opinion that "cookbooks" are a unique literary genre, and authors who have given unique words to this kind of imagination have been featured in the book "食べたくなる本." For example, Naomi Takayama and Ai Hosokawa are not only excellent cooking researchers, but also excellent expressers of language, which have the same meaning. Therefore, even after the new "料理の新しい教科書" was published, their cooking methods will not all become outdated. They may not be the latest from an objective, verifiable or rational perspective, or may need some revising, but the point is that they are given a unique poetic expression in their lived imagination with cooking materials.![<![CDATA[Fashion Tech News]]> (7) <![CDATA[Fashion Tech News]]> (7)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/e7ae9a41436b4a9484b2540c122e4534/%E3%82%B9%E3%82%AF%E3%83%AA%E3%83%BC%E3%83%B3%E3%82%B7%E3%83%A7%E3%83%83%E3%83%88%202021-08-12%2020.41.12.png?w=2400)
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.
There was a restaurant critic named Jonathan Gold, who passed away in 2018, but he left behind wonderful essays full of humor observing the diverse food scene unique to this city, which has grown increasingly diverse due to the influx of immigrants since the 1980s. I read his essays while exploring restaurants in LA. Gold said something like: "If there are a thousand restaurants, there are a thousand greatnesses." In other words, the standard of what makes something "delicious," if taken to the extreme, there's as many standards as there are restaurants.LA is genuinely a peculiar place, in a sense it might be close to a botanical or zoological garden, housing such an eclectic mix of culinary cultures all within one city. Because of this, you can relativize your own concept of "deliciousness" and naturally realize that it's just one of many cultural norms.Speaking of "cultural norms," apart from the ethnic cuisines of migrants, I was also deeply intrigued by American food, which seems like the apex of artificiality. In Japan, many critics reflexively see industrial food as bad, but it's quite normal in American everyday life. There's the sensation of finding the combination of biting into a pizza and washing it down with soda "delicious." I too, after spending some time in America, increasingly lost my resistance towards such food. However, when I had the chance to eat delicate Japanese food after a long time, it was, of course, equally delicious. The sensation of multiple 'deliciousness' and the habits supporting them started intersecting like geological strata and coexisting unevenly within me. I wondered what this was, if it wasn't something that could fit into traditional gastronomy. That's what prompted me to write "LAフード・ダイアリー."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.
Also, I think there's a part of me that derives joy from reading science books. I want to experience tastes I have never tasted before, and smells I have never smelled. I think it's my intellectual curiosity leading the way. Also, what interests me most is what kind of world of taste is formed according to "habits" that differ from mine. A regional cooking system in Mexico, or a regional cooking system in Korea; I want to immerse myself in it, get used to it, and see what kind of different scenery becomes visible. At first, it may feel like a kind of asceticism, which seems to be tough unless preceded by conviction. If you don't hold the belief that "it may not be tasty now, but it will surely become tasty once you get used to it," you can't commit to it.I'm also very drawn to the world of wine. I want to enjoy the various terroirs of the world before I die, but at the same time, I have a suspicion—isn't this just perfectly compliant with the logic of capitalism? If I were to be pointed out as someone who naively continues to respond to the demands of those looking to sell by endlessly subdividing products and appealing their differences, it would be quite hard to argue against that.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.
I learned this from reading Ashida’s "言葉と衣服." In the world of fashion criticism, Ashida points out how concepts originally meant to represent different things are often ambiguously conflated and used without clear definitions and outlines the need for 'distinction'. I believe the discourse surrounding food is no different and that the most problematic thing is unhealthy confusion.For example, in discourses praising so-called organic food, things that should be discussed strictly with data often end up being explained in a pleasantly analogical way. There are narratives claiming that organic farming will realize the future of sustainable food. However, looking purely at the data, things may not always be so straightforward.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.
On this point, I would like to mention Paul B. Thompson's "From Field to Fork: Food Ethics for Everyone" Thompson argues that we need to demarcate at least three standards concerning "sustainability." The first is food sufficiency—whether it can support the world's population and does not disproportionately affect the poor. In this standard, new technologies including genetic engineering are deemed 'good'. The second is ecological soundness. Simply increasing productivity is not 'sustainable' in the long run if it comes with soil degradation. In this context, traditional methods of multi-crop farming that maintain a healthy natural environment are revisited. The third is sociological sustainability: If monoculture, the practice of growing a single crop extensively, is prevalent, the social diversity of towns and villages is lost, resulting in a decline in richness in the lifestyle of people in agricultural areas. That's why initiatives such as circular agriculture and community-building by cooperatives are desired according to this third standard.But the point is that it is insufficient just to pursue one of these, you need to respect all three standards and find a flexible balance between them. In reality, this is not easy. There is strong resistance to the idea that ecological living can coexist with genetically modified crops.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.
Although I fundamentally agree with the opinion that we need to preserve our traditional industries and cultures, maintaining the "luxury" aspects of traditions ultimately means upholding a structure of inequality. I've been contemplating this while working in the fashion industry. We must consider the potential risk of cultural preservation becoming an amusem*nt for just the wealthy. Your discussion made me realize that such issues might arise precisely because fashion and food are daily necessities.![<![CDATA[Fashion Tech News]]> (8) <![CDATA[Fashion Tech News]]> (8)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/52968ace937e41749166fe7da30da418/thomas-gamstaetter-IFGVE61AAno-unsplash.jpg?w=2400)
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.
I currently live in Kamakura, which gives me a lot to think about every day. Kamakura and Zushi are hubs for an organic lifestyle, with many dedicated restaurants and retailers engaging in pioneering activities, from which I learn a great deal. However, there are also plenty of people who behave as if they're the God's gift to mankind. The relationship between spirituality and "deliciousness" is indeed complex, and it's a theme I want to continue exploring. When I was in LA, I was struck by the deliciousness of kosher food, which Jewish people sell as their "pure food." The power to carve out Galapagos-like spaces within modern consumer society truly resides in religion, and that is a valuable aspect I find hard to refute.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.
While fashion and food may have their similarities, not eating will lead to death. We might need to wear clothes, but if we wear the same clothes, we won't die. Not creating new clothes won't impact our life or death. On the other hand, there's no necessity to eating meat or specifically, pork. I would argue, there's probably no necessity for any food ingredient. I wonder what excuses those who promote circular systems have for things that aren't necessary.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.
There are also instances where you immerse yourself in a new posture through clothing. In my case, when I bought jeans for the first time, I remember wearing them while imagining the refreshingly open society depicted in Levi's advertisem*nts. Clothes can serve as a catalyst for "transformation," and without them, I think society would be unbearably suffocating. The same goes for food. There should always be the option of food as an entrance to "transformation."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.
When I think about the future of fashion, I believe that for some time, clothing will become more uniform. Everyone will wear similar things, and radical items won't be accepted. If we try to eliminate disparities, both in what we eat and wear, they are likely to become quite similar, at least that's what I think. But when I think about it, I'm not sure if that would necessarily be a good thing.This might be a bit of a digression, but there is a great bakery near my house that, recently announced that they'll be closed three days a week. The couple who runs it told me that the husband is so invested in baking that his health is suffering because he only drinks clear soup every day. It seems that they decided they need to rest to avoid serious health issues. It might be acceptable as an individual belief to be stoic, dedicate time and effort, and create something ultimate, but from a societal standpoint that considers work-life balance, one might think, "Does it really need to be that extreme?" That's why I think it might become difficult to see ultimate single items in both clothing and food.Will food follow the same trend of becoming uniform like fashion, or will it deviate? Which way do you think it will go?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.
Fast fashion is especially useful for children's clothing due to its affordability. However, I notice that the budget brands often use flimsy fabrics and differentiate their products with a print or embellishment. On the other hand, mid-range clothing brands are increasingly emphasizing quality materials. Cotton items, for instance, come with very comprehensive descriptions. The dichotomy is prominent.![<![CDATA[Fashion Tech News]]> (9) <![CDATA[Fashion Tech News]]> (9)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/ddca74a96b0d4f22b9aabad7b1739a51/kolya-korzh-zrVY4blkWI4-unsplash.jpg?w=2400)
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.
In the realm of food, a regression to pre-modern times is often proposed, which sometimes leads to adulation of local food. However, I believe there are many misconceptions. There's a huge difference between only being able to eat local foods in pre-modern times, and a modern person choosing to eat a particular local food from a variety of options. In one of Makoto Shiina's books, he writes about staying in the same village for two or three months and constantly eating the same dishes. While this is normal for the villagers and they don't have any other options, Shiina is utterly frustrated by the monotony.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.
In the aftermath of the COVID-19 situation, everything may be replaced with pseudo-experiences on remote monitors, integrated with the demand for energy conservation. The Los Angeles that I wrote about in "LAフード・ダイアリー" was a city built on freeways where the heterogeneous food cultures of immigrants clash and mix, over and over again. It almost feels like the last flashy flare of 20th-century culture that allowed energy wastage. I read Kohei Saito's "人新世の「資本論」," which suggested that shortly, the energy problem would force us to severely limit the air transportation of food.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.
Personally, I don't eat much high-quality food delivered by air, but the decreased chances to experience fresh food from overseas is nonetheless disheartening. So, what can we do? Specifically, I think it might become something like home gardening. For example, somehow acquiring only the essential seeds from reading a Mexican cookbook, cultivating them in your garden, and recreating the dishes in your kitchen. Ensuring the possibility of remixing and transformation while keeping energy consumption within an acceptable range. I believe the potential for remixes in food culture is far from exhausted. After all, the world is full of yet unknown traditional cuisines, techniques, and ingredients.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.
That probably wouldn't happen with food. No one's going to be angry if a white person eats Mexican food, right?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.
![<![CDATA[Fashion Tech News]]> (10) <![CDATA[Fashion Tech News]]> (10)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/18abe1d3211a4e4d9c4b7320745256dd/IMG_5629.jpeg?w=2400)
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.
Personally, I think homemade food is excellent. Among the trend of losing touch with tangible things in our world, cooking can play a significant role. However, as I've mentioned repeatedly, the moment we start thinking about "homemade food" versus "pre-made items," various forms of "guilt" come into play along with accumulating negative feelings of "cooking is a burden." There's no need to view fast food as harmful, and isn't it better to think about how we can integrate the best of both?]]>Firstly, what should be noted is that probably a large number of items exist in this area. According to the Ministry of the Environment's website, the average number of clothing items purchased per person per year is 18, the number of discarded items is 12, and the number of clothes not worn in a year is 25 (3). On top of that, clothing that has been worn within the year but is not being worn today - you might wear it tomorrow, or you might not - is added. The clothes that aren't thrown away / can't be thrown away, or the clothes that are for sale on Yahoo Auctions and Mercari but haven't sold yet and are still at home, are floating between use and disposal. That exists for every single person.From the perspective of disposal, only a small fraction of clothes come into view through being incinerated, landfilled, or repaired. Many clothes are waiting to be reused after being discarded or waiting for incineration/landfill disposal.There are also accumulations from the seller's side, such as inventory left over by manufacturers for some reason, stocks in store backyards, clothing that has been picked up by reuse businesses after the selling period has passed.These are products of the fashion industry and probably exist in significant volumes. However, aside from the negative context of the "inventory problem solution" in the internal industry context and the "decluttering" object, they are not often actively talked about. Huge piles are quietly resting just outside the vibrant space of fashion, or right next to it, and even in the "visualized" spaces of fashion as an industry striving for improvement while being criticized. Between the "appearances" and the structures that enable them, these remnants simply exist there, co-creating our reality. How can we interpret this region and connect it to fashion? If fashion teaches us about the present, it should be permissible to look at the margins and background that shape the present with us.Let's call this area "what is already there," borrowing a phrase from contemporary artist Shinro Ohtake (4). The word "already" simultaneously implies both "it exists right now" and the time that has passed from the past to the present. In other words, while clothing is material, its existence itself is history and memory. This phrase also implies a state of being like a "stratum." Clothing materializes through the accumulation of practices such as raw material processing, weaving and dyeing, cutting, and sewing. Repetitive practices over time shape the materiality of clothing. The clothing then touches the skin, is washed, twists, and turns, wears down, dries, folded, and stays here. Unless the "thing that is already there" catches the eye, it is meaningless, but it is a not a cold-hearted meaningless like a pebble on the seashore or the roots of a roadside tree. Like old magazine cutouts that Otake often used in his creations, they are meaningless because they leave a margin that either lost its meaning or could have been traced from the start, and they forget their meanings without dampening. To grasp the accumulating stock as "what is already there," is to read materiality from/as temporality. The state of "already existing" could perhaps be considered part of the diverse phases that things undergo in the temporal process, what anthropologist Igor Kopytoff once called the "cultural biography of things" (5). However, whereas Kopytoff described the biography of things primarily in terms of the interchange between "commodification" and "becoming irreplaceable," "what already exists" is associated with ambiguous or disturbed temporality outside of the history that can be narrated. As far as it is meaningless, the history cannot be fully recorded and the things remain indistinguishable. And our present exists as an uneven forefront coexisting with these ambiguous historical entities. If we understand the stock as a "problem," the path is already indicated. There are no questions about temporality there, nor any hints for thinking about the present. It would be enough to control the volume and optimize it by not producing or processing it properly. But what if we consider this region, which accompanies our material culture like fat, as an "object of thought"? Moreover, by thinking through the very act of forming shapes rather than discussing in words. And to reinterpret our present through that. If you insist that it is my body including the fat. Now, some designers are making critical creations through design, eliciting sensitivity to "what already exists" from various directions (6). For example, the Bode team, who handled Lorde's costume at Met Gala 2021, sewed antique and vintage copper coins, cabochons, celluloid charms, and dead watches with "countless hours" into the base two-piece. By Walid collects various fabrics from the 18th century to Belle Époque and creates a single piece of clothing using sashiko embroidery and patchwork. In the past, the vintage clothing shop/selection shop 11747391 in Osaka used to display a very unnoticeable mix of vintage and new designer brands on some racks. Customers could face the clothes in front of them, unraveling the existing frameworks of seasons and eras, in their act of selecting products. Peterson Stoop repairs what could be called the residue of mass-produced sneakers that have undergone hydrolysis, and presents it as new shoes by doing sole-work as done to leather shoes (7). I do not want to say that these initiatives are good because they are upcycling or questioning the "fashion" of the world where the "new = good." We do not capture it with a measure of how much stock it has saved from disposal (which should be tackled at a larger scale).Rather, it's interesting because we can read their work as materializing the ambiguous historicity surrounding fashion towards the accumulation of things lurking near the visible place of fashion, while leaving its ambiguity. These attempts have the potential to appeal to our individual memories as well as the culture of the things made invisible through design (the culture of the era in which the clothes were made, storage, preservation, management culture, and the culture of consumption that the act of "not being chosen" reveals, etc.). Not only that, but they force us to look at the inherently ambiguous temporality of the material. The past that is looked at here is by no means a clear, linear 'orthodox history' but has the potential to connect to various different contexts. Items designed in this way have the potential to change our approach to the closet just by knowing their efforts (and at the same time, they may simply be consumed without changing anything). Here, there is the possibility of being read as a practice to think and change through making, and there is a chance between design and the recipient. This is not the only design. However, I think that design that critically represents the history surrounding fashion and prompts us to update our gaze is probably one of the directions we are asking for now. In the aforementioned essay collection, Otake leaves the impressive phrase, "Collaborative work with 'what already exists'(8)."
]]>(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.
When we think of China's position in fashion, there are probably few people who imagine keywords such as "counterfeit" or "mass production/consumption." This image has been reshaped in the last five years or so.
I first visited China and Shanghai around 2016. I remember being surprised by the atmosphere of the joint exhibition "MODE SHANGHAI" at the time, where construction work was carried out until the day before and dust was flying around the venue. And yet, by that stage, China was already in second place after the US in terms of nominal world GDP and had secured a lifeline centered on cashless-ness, in line with the rapid increase in annual mobile payment amounts: 108.2 trillion yuan in 2015, 157.6 trillion yuan in 2016, and 202.9 trillion yuan in 2017.Even if we consider the social factors behind these changes, such as the construction of new lifelines accompanying economic growth and the trends of the Z generation that are changing values worldwide, what was the key to the game change in Shanghai's fashion scene over about five years?
Expansion of Platforms
Unique Platforms
In 2016, while I was feeling various surprises and pleasures for the first time at Shanghai Fashion Week, at the same time, the start of "LABELHOOD" took place during Shanghai Fashion Week."LABELHOOD" is an important platform that breathed new life into the Chinese fashion scene, serving a role similar to "NEWGEN" and "FASHION EAST" in London, as I have mentioned in interviews and collection reports before. Please refer to the links below for your reference.The influence of "LABELHOOD" has expanded significantly in the past 4-5 years, which can be clearly felt from the brands it has produced. Brands such as Angel Chen, who appeared on Netflix's "Next in Fashion," Susan Fang, who was shortlisted for the LVMH Prize 2019, and Rui, who was nominated as a finalist for the LVMH Prize 2021, SHUSHU/TONG, who participated in the Milan and Tokyo fashion weeks, Feng Chen Wang, who participated in London Fashion Week, and Yueqi Qi, whose video work was selected at Guccifest, have all debuted at "LABELHOOD" and launched onto the global stage.
この投稿をInstagramで見る
Inclusiveness that Engages the Audience
There are two points where LABELHOOD's structure of fostering and producing young brands in the country, overlaps with "NEWGEN" and "FASHION EAST," which were mentioned in the previous article, but differs from London's due to its establishment after the widespread use of the internet.The first is that "LABELHOOD" has made the traditional value of "exclusivity," long maintained at fashion weeks, more inclusive.
Conventionally, fashion shows started with haute couture for the upper class with only people chosen by the brand getting invitations. This "exclusivity" can be said to maintain the premium feel of high-end fashion brands, unique to fashion. The appearance of brands like Gosha Rubchinskiy and VETEMENTS in Paris Fashion Week, which hold the highest level of this "exclusivity," around 2015, was a game-changing shock to these values.
Now, in the post-pandemic era of 2020, fashion shows are being broadcast online worldwide, making high-fashion brands explore how to create a sense of "exclusivity" in the digital realm.
As if foreseeing such circ*mstances, "LABELHOOD" has been open to general audiences as well as industry insiders since its inception. When asked about the origins of the event, Tasha Liu, one of the co-founders of "LABELHOOD," explains that it all began from a select shop called "棟梁" (now "LABELHOOD") in 2009. The idea was to create a space for dialogue with local audiences through a store-like environment. In fact, at venue of the shows, there are spaces for workshops and other gathering spots where snap photos can be taken, thus expanding the store-like communication dynamics.この投稿をInstagramで見る
この投稿をInstagramで見る
At the same time, while a diverse range of brands were emerging, the market itself was still in a growth phase, necessitating the nurturing of an audience at the same pace. Looking back on the last five years, Tasha Liu remarks: "I think this period has been one of cultivation for the market. In this process, we have been able to refine our sense of beauty that is uniquely Chinese." Perhaps it was because they continued to involve their audience in this flat manner from the start, that they were able to gain solid reactions from the audience even after transitioning to online distribution in the wake of the pandemic. Naturally, the fact that they were already carrying out online sales in a distribution format before the pandemic was also crucial. For this reason, "LABELHOOD" collaborated with beauty blogger Li Jiaqi, also known as the "Lipstick Prince," to introduce products from young designers such as Ming Ma, Swaying, and Mayali. Li Jiaqi, who became famous for earning 180 million yen in just 7 hours in a single day by testing 300 lipsticks via live streaming in 2017, garnered between 3 million and 10 million views in 2 hours through this collaboration. Additionally, the appearance of fashion designers Gong Li and Yirantian Guo in the streaming content allowed "LABELHOOD" to foster dialogue with its distinctive audience, not just relying on Key Opinion Leaders (KOL), and increase sales.この投稿をInstagramで見る
Forming a Sense of "National Identity" across the Scene
The second point is the cultivation of visual artists such as photographers, stylists, and hair makeup artists, as well as the cultivation of brands and audiences. Leaslie Zhang, who handles numerous magazines including "DAZED" and "A magazine curated by Simone Rocha," is now a celebrated photographer representing China. Also active are a wide range of expressive photographers such as Feng Li, Zeng Wu, and Xiaopeng Yuan.As for stylists, some, like Audrey Hu and Lucia Liu, are affiliated with magazines, while others work freelance. In the makeup industry, Valentina Li, who labels herself a face painter, has received recognition not only for her work during Shanghai Fashion Week but also for being selected for the Dazed 100.この投稿をInstagramで見る
In the midst of these various visual artists making their appearances, it seems like each of them is consciously considering the idea of "national identity" in everything from model casting to motif selection.When asked about how intentionally this "national identity" was formed, Tasha Liu responds: "Designers born in the 90s began studying in Europe about 5 years ago, where they were persistently queried about their background and early memories. I think that's when they realized that they needed to emphasize their identity, not just have an international ambiance. That realization probably has a lot to do with the beginning of everything. Also, once output has been made and reactions come in from abroad, that identity is further strengthened."Meanwhile, there is already pushback against this 'national identity' movement, as can be seen in the fashion brand Louis Chen Tao, which debuted in the 2022A/W season. In an interview with 1granary, he said, "One of the key points of my brand is not to stick to Chinese tradition. From the design of the clothes to the models I use, I want a more global presentation. The style of my debut collection doesn't fit neatly into either the Asian or European aesthetics; it is influenced by various countries."この投稿をInstagramで見る
Tasha Liu herself predicted the emergence and subsequent backlash against the formation of "national identity," discussing the creation of various styles and the interaction of diverse audience reactions. This prediction has already been put into action, and in order to nurture the next potential markets, the event "LABELHOOD Youtopia" was launched in 2018. This is a support program aimed at high school and college students aspiring to enter the industry, with fledgling young brands such as Anno Mundi, Fivekoh, Momonar, Sorgenti, and Toile presenting shows. Moreover, in a unique move for China, where the culture of vintage clothing is often met with resistance, a pop-up selling vintage and upcycled clothes, sponsored by "LABELHOOD Youtopia," was held at the high-end shopping center "Taikoo Hui" in Shanghai.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
By cultivating markets with potential for future growth through unconventional methods, the influence expands beyond just fashion brands and players to other platforms, media, and shops.First and foremost is the prize "Yu Prize," in which Tasha Liu also participates as a member of the judging panel. The prize, launched in 2020, welcomes worldwide judges such as ANDREW BOLTON and SIMON COLLINS. In the inaugural year, Chen Peng won the grand prize and received an award of 1 million yuan (approximately JPY 17.05 million), the opportunity to sell his collection at Harrods, and a one-year mentorship program from Renzo Rosso. Designers that emerged from "LABELHOOD" were also nominated, indicating that their training system will likely continue to circulate mutually.
This young talent is not only limited to fashion designers but also originates and thrives in the media. The recent worldwide news that the editor-in-chief of "VOGUE CHINA" was replaced by 27-year-old Margaret Zhan in spring 2021 is still fresh in our memory. Becoming the youngest editor-in-chief in VOGUE history and taking on the role of a KOL (Key Opinion Leader; influencers are referred to as such in China), her appointment marked a generational change.
In addition, the launch of "DAZED CHINA," which launched in 2019, was able to establish DAZED in China, due to a licensing contract with local magazine "YOHO!", and investment from Adrian Cheng of C Venture.
After its debut in 2005 as a fashion and lifestyle magazine, "Yoho!" quickly became China's largest streetwear e-commerce platform and now hosts a massive trade show featuring 150 brands from around the world under the name "Yo'Hood." The establishment of "DAZED CHINA," which includes culture and editorials as well as the publication of streetwear-focused magazines like "Yoho!", may catalyze the spread of different street fashion values and markets within the country.この投稿をInstagramで見る
While there has been an increase in local content circulation through online shopping and media, large shopping malls are striving to function as a venue to experience imported content. The Beijing shopping mall "SKP-S," featured in the June issue of "System Magazine" along with Farfetch, gained attention on social media for its impactful interior since it opened in 2019.In particular, the display area by Korean eyewear brand GENTLE MONSTER garnered attention for its futuristic displays in several locations. GENTLE MONSTER, a sunglasses brand born in Korea in 2011, has collaborated with FENDI, BLACKPINK's Jennie, Marine Serre, and AMBUSH, creating buzz with impactful visuals using 3DCG and store decorations.この投稿をInstagramで見る
While the concept and decoration of stores opened in various countries have been bold so far, in "SKP-S," they have rolled out across four areas under the theme of "Digital-Analog Future." One of them, the "Future Farm," features an installation of a pasture of dozens of robotic sheep reminiscent of Dolly, the world's first cloned sheep. There is only a small space where products are placed, but the store showcases an experience that cannot be obtained through online shopping.この投稿をInstagramで見る
この投稿をInstagramで見る
Behind the Sizzling Scenes
As we have introduced so far, in these past 5 years, China has kept initiating "game-changing" trends, thanks to its large population, and it's managed to involve both the fashion scene players and audiences.That being said, it's not like China is isolated from the world's trends and moving at its own pace.
The "Tang Ping-ism" (lying flat-ism) which went viral online in the spring of 2021 is a phenomenon in opposition to the accelerating society, in sync with the hippie mood that is floating around the world.
In actuality, fashion designers and creators emerging from "LABELHOOD" often come from families that can afford to study abroad, and it is not unusual for them to run their brands in a family business after their debut. Such a family environment leads to disparities, competition in society, and pressures such as education in industries outside of fashion, which can become intense when coupled with a trend to output at an accelerating pace.
I remember when I visited an art event held in Shanghai in the past, there was a booth exhibiting unique silk-screen T-shirts. The designer at the booth told me, "I once participated in 'LABELHOOD,' but my style of creation didn't match their momentum, so recently I started presenting at places other than fashion."
Income disparities and resulting poverty exist not only in China but also in Japan and globally. How will this reality affect the ""game-changing" trend in fashion, an industry that often portrays fantasy in a deceitful way?
Our next article will discuss recent fashion photography that captures the line between reality and fantasy.]]>
The close relationship between brands or designers and social media, resembling a sort of dependency, can be seen from the reaction to the news of Bottega Veneta closing its Instagram in 2021. According to Kering's statement, social media is entrusted to ambassadors and communities, while brands are starting to introduce the digital journal "Issue" as an optimal tool to express the brand's worldview beyond the standard format of social media by providing an interactive experience like flipping through a magazine. Despite going against the fast-paced competition of social media, it feels like it forms a unique community at the brand's pace, and this new power of visual communication is clearly reflected in the sales figures.In 2020, when various digital tools became saturated, and fashion shows could be experienced online worldwide, some brands struggled within the 2D realm of social media, while others, like PRADA and Bottega Veneta, changed their approach entirely.
From 2010 to now, how has the game changed in visual communication evolved?
What the Return to Film Brought
As touched upon in the first installment, one of the sources of keywords such as "genderless" and "diversity" in the fashion context since 2010 was the JW Anderson collection, presented in 2013.While not mentioned in the first installment, it is also essential to remember that in the United States, Hood by Air from the streets was at the forefront, expanding its influences with various collaborators.
Before they made a significant impact, the aesthetic presented by so-called high-end brands typically involved tall, slender models and photos glamorously processed with Photoshop. This one-way communication through magazines and advertisem*nts to audiences was possible before social media became widespread. However, since 2010, social media has allowed audiences to express themselves diversely, and that aesthetic has ceased to be aspirational. The hashtags like "PR" and overly processed beauty on social media are now overshadowed by the resonance with one's genuine self.The return to film photography and street casting has also influenced this trend.
For example, after the JW Anderson show in 2013, they appointed Benjamin Bruno as the creative director and collaborated with then-unknown photographer Jamie Hawksworth to launch campaign photos over three years. These campaigns featured everyday models creating peculiar forms using body movements and props.Around this time, photographer Harley Weir, who initially focused on body shapes, gained attention by capturing models in awkward poses for campaigns like Stella McCartney and BALENCIAGA.Even Hood By Air, with a strong street impression, used Colin Dodgson for their 2015 campaign visuals, creating a different vibe than his work for Simone Rocha. The pastoral film photography and casting relatable to the audience expanded the community's circle, distinguishing it from the consumerism-led ideal beauty.The image making by brands approaching with the values of the next generation can perhaps be deciphered from the contextual characteristics of the time when numerous brand photobooks were published around 2015 by IDEA BOOKS and OK-RM.
In 2013, IDEA BOOKS fell in love with Gosha Rubchinsky and started the publishing business in small quantities. Later, in 2015, it teamed up with GUCCI and in 2016 with PALACE, mainly selling at DOVER STREET MARKET, acting as a bridge between brands and photobooks. In 2017, OK-RM released the photobook "Disobedient Bodies: JW Anderson Curates the Hepworth Wakefield," based on an exhibition held by JW Anderson. It summarizes how designers and artists have perceived the body shape from the 20th to the 21st century.
この投稿をInstagramで見る
Of course, the aesthetic counter to excessive consumerism did not suddenly emerge in 2010. It is predicated on the values that arose in the '90s with photographers like Courtney Day, Mario Sorrenti, and David Sim, who propelled the career of Kate Moss, and the advent of independent magazines such as Purple and Self Service. Without respect for that era, the surge in popularity of film photography in the 2010s—as a unique technique amidst an era where anyone could easily take photos with iPhones—sparked mixed reactions for a time.この投稿をInstagramで見る
Not Just a Revival: The Transformation of Body Aesthetics
However, the reason it can't be simply declared a "revival of film photography" lies in the approach to transformed body aesthetics post-2010.As mentioned in part one, when JW Anderson and Hood By Air emerged, terms like "unisex wear" and "genderless" hadn't yet caught up, with the designers themselves referring to the phenomenon with the word "Androgyny." It’s precisely because of this that photographers like Jamie Hawkesworth and Harley Weir, along with creative directors, collaborated with designers to express the yet-to-be-fully-described body shapes through surreal poses.
Next time, as a continuation of this article, we'll discuss the approach to transforming bodies in visual making post-2010. This change propagates more realistically as it is communicated through social media rather than in print.]]>
Mass / Approaches to Body Expression
As I touched on in the previous series, while providing hooks to an audience that receives countless pieces of information and images on social media (scrolling might be a more appropriate term), non-fictional expressions that they can accept as their real selves naturally resonated. This phenomenon arose from the exhaustion of traditional advertisem*nts that promote consumer behavior in everyday life and the ideal beauty held up as a stereotype.On the other hand, it is undeniable that the audience looked forward to daily news and visuals being fed to them. Nostalgic "See now, Buy now" promotions, collaborations sold multiple times, and Instagram LIVE broadcasts to stimulate purchasing desires were also common during this period.Breaking down traditional notions of ideal body beauty, the photos captured were not just melancholic documentary photos but featured curious silhouettes created through posing and styling. This is articulated in the book "Posturing," which garnered immediate attention and is now sold out at twelvebooks, published in 2017.The book features interviews and works by 21 photographers, including Charlie Engman, Johnny Dufort, and Hanna Moon, who continue to thrive as of 2020. Holly Hay and Shonagh Marshall, the editors, bring a unique perspective, emphasizing that fashion photography is created not just by photographers but by stylists, prop stylists, and editors. They discuss how the depiction of the body in their new stories has become a movement capable of redefining the significance of the body and fashion, as opposed to traditional ideals of "perfect" beauty. As written in the first part of this series, the game change doesn't occur solely with the clothes or designers. Like a chess game, each piece moves forward or is taken out, shifting the direction of the game.As mentioned at the beginning of the page, this is evident in the styling genius repeatedly proposed by Demna Bazalia in the game-changing collaborations with VETEMENTS and BALENCIAGA around 2015 along with stylist Lotta Volvoka. They state that their creativity precisely restructured the relationship between the body and fashion.To me, Isamaya Ffrench brought a tremendous influence in terms of makeup around that scene, and the relationship between the body and fashion was re-knit not only through clothing, styling, angles but also through model selection.
For example, VETEMENTS, which featured the designer's own friends like Gosha Rubchinsky and Lotta Volvoka, garnered attention as pop news. They continued to use street casting for models in BALENCIAGA, making it common for other maisons to adopt the same approach. However, in this era where Instagram and social media have replaced the literal "street," casting now considers not only appearance but also one's lifestyle and sense visible on Instagram. This marks a clear difference from the street casting of the 90s, represented by Kate Moss. Because of this, figures like Clara 3000 and Fernanda Ly have also risen to prominence.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
This analog approach championing new body aesthetics has evolved closer to the 2020s, connecting directly with the editing culture of Instagram and TikTok present in our daily lives. This shift has transformed into more radical expressions, breaking conventional ideals of beauty.That said, this shift wasn't sudden, as suggested by "Posturing." Brands gradually transitioned towards creating hooks that cause minor glitches in the feed images familiar to audiences, evoking reactions.As a precursor, Louis Vuitton's 2016 S/S campaign, led by Nicolas Ghesquière, which collaborated with Final Fantasy, was a pioneer. PRADA had also employed this in 2012, but Louis Vuitton's campaign made waves as it blurred the lines between real and virtual, echoing Ghesquière's sentiment and garnering significant attention."The virtual beauty of video games holds significant importance in this collection. If we aim to promote heroines or women who perform courageous actions and become outstanding icons, it is clear that virtual personas align with the founding philosophy of the brand. Lightning embodies a global, brave woman seamlessly connected with social networks in her life. She also symbolizes a new drawing process. How can we create graphics that transcend traditional principles of photography and design? Lightning signals the arrival of a new era of expression."—Nicolas Ghesquière *1This was more of a prelude, distinct from editing culture, indicating a stronger mood of shifting models to street casting as the next stage. The rise of "virtual influencers," introduced around 2016 in various countries as noted in the Fashion Tech News article "Virtual influencers are surpassing humans. 12 people to watch now.," also influenced this phenomenon.Subsequently, around 2017, BALENCIAGA and GUCCI revamped their brand images and emerged as game-changers of the era. As a result, previous beauty ideals quickly became outdated. The debut campaign of BALENCIAGA under Demna Gvasalia, featuring photographer Mark Borthwick, initiated a new body/clothing relationship pointed out in "Posturing."This connection to editing culture began not with photos but with real-world presentations of exaggerated drop-shoulder shirts and deformed bags, causing glitches in both real visuals and look images. By the 2019 S/S show featuring artist John Rafman and a campaign video by CG artist Yilmaz Sen that depicted bodies warping, they introduced further glitches in both real and virtual realms.Next time, we will reflect on this "glitch" that has emerged following the movement described in "Posturing," capturing the ongoing phenomena in a world where the divide between real and virtual seems almost non-existent.
]]>*1 https://jp.louisvuitton.com/jpn-jp/articles/lightning-a-virtual-heroine
The Overwhelming Speed of K-POP
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Tell us about your activities, Tomoya Nakagawa.
While creating original items such as nails, hairpieces, and headpieces, I collaborate with artists' costumes, music videos, fashion brands, and other promotions. The design is mainly done with CAD software, the molding is done with a 3D printer, and the fine adjustments and painting are done by hand.
Recently, you are known for providing works to K-POP artists. Why are you continuously collaborating with various groups?
The Korean music scene is always looking for new sensibilities and is very flexible. My first job with K-POP was when NewJeans collaborated with the online game "League of Legends" and I provided the visual headpieces and nail tips. After that job, my work expanded suddenly.Orders for items that I've never made before increased rapidly from on-site inspirations, like "I want this kind of item" or "Can you make something like this?" The overall process has a sense of "Hurry up!" Often I finish the design in one day and deliver the new item in two days. The time from shooting to the release of the music video is fast, which I think is a unique culture in Korea.
That's a vivid, K-POP-like speed. In IVE's "Accendio" music video, you designed accessories for both princess and villain patterns.
When I made the accessories for the previous music video, "HEYA," another type of hairpiece that I was ordered simultaneously was used in the concept photo of the album. From there, I got involved in the music video.IVE has an image like a "magical girl" in Japanese anime, and during the process of arranging it in my own way and designing it, I received an order for a villain's hairpiece. At that time, an accessory that reminds of a gauntlet to put on your hand was also added.
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The Balance Between Digital & Handwork
Tell us about your production environment.
I think my production style is easy for anyone to start and has a high degree of freedom in expression.For molding, I use a modeling software called "ZBrush." It's a software that allows you to intuitively change the shape of a 3D model with a brush tool, like kneading clay in the digital world.
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It's a Japanese paint manufacturer that started from sheet metal painting, and their silver sparkle is extraordinary. Once you paint and dry it, then layer more paint on top to create a beautiful gradient, it is complete.
How did you learn this way of producing?
I learned most of my current styles by myself. I didn't originally aim to become a creator from the beginning.
From Float Designer to New York Nail Artist
Tell us about how you got into creating your unique nail art for work.
I was born and raised in Tokyo and started working part-time from high school. The job I held for the longest time was at an apparel shop, which sparked my interest in creating things. However, at the time, it was less about wanting to be a creator and more about being dissatisfied with the status quo.After working for about three years at a company that developed fragrances, where I was able to grasp the process of product planning and production, I thought I could create something myself. This was towards the end of my twenties. But I didn't start making nails right away. The first product I created was a "float."
A float?
Yes. At that time, it was popular among my friends to search for unique floats and go play in the sea. Our lives depended on finding those unique floats. When I couldn't find anything specific, I thought, "I'll make it myself" and launched a company as a float designer with a friend. It was all about wanting to create something that I desperately wanted. The minimum lot size was 1,000 units, and I thought the world had more than 1,000 people who would want something like this.The float was a big hit on social media from the first year of the brand's inception, and it sold incredibly well. Influencers and celebrities both domestically and internationally helped to spread the word.
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What a successful debut.
However, design and management required completely different skills. Once competition products started appearing, even counterfeit items began to circulate. As a result, from the second term, it became so hard that I couldn't live without working part-time. I folded the company in the third term, worked as a fishing net fisherman in Wakayama for about a year, then, at the invitation of my partner who was active as a nail artist in New York, I moved to the United States. This was in February 2020.I've written in detail about this time in my autobiography, which is scheduled to be published in October. I hope you'll take the time to read it.
Encounter with a 3D Printer
It sounds like a roller coaster ride.
I think I was already wanting to do something new, although I liked being a fisherman. At that time, I hadn't thought about becoming a nail artist.Shortly after moving to the U.S., we went into lockdown and I couldn't leave the house, so I ended up assisting with nails at my partner's house. In between, I started posting self-made nail tips on Instagram and TikTok.Having the time to immerse myself in nail art during the long stay-at-home period due to the pandemic was a big factor. If the pandemic hadn't happened, I'm sure I would have been out playing. I relentlessly experimented with detailed painting and using different materials. In doing so, I found that stretching resin used for gel nails with a pin and then hardening it with UV light resulted in an amoeba-like form, which led me to find my own interesting style.
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It seems like the prototype for your current organic shapes. Then, when you started using a 3D printer, it seems like your creation process really took off.
That's also thanks to my partner. The studio was equipped with everything from "ZBrush" to 3D printers and paints, and we were in the process of figuring out how to use them. I learned how to use the software from web articles and YouTube videos and began using it as one of my tools. At that time, there were very few creators using 3D printers to create three-dimensional nails, so I had to come up with everything from scratch, but I really enjoyed the freedom. It felt like I had received a toy box.
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A Desire to Try Character Design in the Future
Could you give a message to those who, like Tomoya Nakagawa, will start creating from now?
I would like you to pursue what you really want to do. I think it's an era where it's easy to lose yourself. I myself have never been satisfied with the status quo and continue to search for what I want to do. Regardless of whether it's work or a hobby, I would suggest something that you can be passionate about, even if it's tough. For me, creating works has worth for living rather than business purposes.
What would you like to challenge yourself with in the future?
One thing is that I want to refine my design skills outside of nail art, I want to try original character design. In fact, my sculpting and use of color are greatly influenced by characters from companies like Sanrio, and I want to create my own figures and goods.The other thing is to become a professional nail artist. Although I am currently active as a creator, I have not received sufficient training as a professional nail artist. To deliver my works to end users in the true sense, I feel that I cannot skip the basics. I started working as a newbie nail artist at "Vanity Projects," a famous nail salon in NY which helped me arrange my visa. Professional techniques are meticulous and fast, it's really tough. But recently, I've finally started to serve customers.3D printing will likely open up the creation of three-dimensional objects – an area that was previously a high hurdle both physically and economically – to talents across all generations. Tomoya Nakagawa has been one of the pioneers of this technology, continuously advancing into the realm of unknown creation. We can't take our eyes off his future developments.
Header caption: Kiko Mizuhara
]]>Text by GANTAN
Passing on the Tradition of Satsuma Tinware for 108 Years
First, could you tell us about your company?
Our company manufactures and sells products using a metal called "tin." We started this business in 1916, and this year marks our 108th anniversary.
We now manufacture about 300 different types of tin products, including tumblers and tea caddies.
Impressive! Why do you have such a wide range of products?
We have been creating products that are favored for different lifestyles over time. Naturally, the longer we continue manufacturing, the more diverse our range becomes.
One of the unique features of tinware is that it does not break or rust. Many people choose tinware as gifts and it pleases both the giver and the receiver.
Kagoshima is famous for shochu, and there is a culture of drinking it. Drinking shochu from tinware makes it taste even better.
Your tinware has won several awards, hasn't it?
We began receiving awards when our chairman, Manabu Iwakiri, presented a piece of tinware to Emperor Showa when he was about 30 years old.
Manabu Iwakiri was selected as a "Master Craftsman of Today," a recognition of outstanding craftsmen. He also received the "Yellow Ribbon Medal," an award for those who have made pioneering contributions to industry.
That’s an acknowledgement of your technical excellence. Are there differences between Japanese tinware and those made overseas?
Since the ways tableware is used differ between Japan and other countries, the products produced are also different. For example, we have a culture of using chopstick rests in Japan, but this does not exist overseas. Thus, most of the tinware abroad are Western tableware.
In recent years, traditional yet simple products like tumblers have become popular in Japan.
When developing new products, do you incorporate trends and customer opinions?
We do. Our company often attends exhibitions, and we take back customer feedback from these events to improve our products. We always make it a point to listen to what our customers have to say.
The Manufacture of Tin Products is Entirely Handmade by Craftsmen
How many years does it take to become a full-fledged craftsman of tinware?
It takes about 30 years. I'm 50 years old now, and I've just become able to make products that I can present to customers.
Since this is a business where we receive money, we can't create sloppy products. It takes almost 30 years to be able to create good products.
That's a long time. Could you tell us about the process to make a product?
First, the large chunk of the raw material, "tin ingot" is melted.
Next, the melted tin is poured into a mold, and once it solidifies, the tin is removed from the mold. This is called "roughing out," however, the product cannot be sold as it is too heavy, the periphery is rough, and dirty.
Therefore, to make it clean, it's shaped using machinery. This work is called "roughing out."
Roughing out is done by hand, not by machinery. The roughed out material is rotated on a machine, a chisel is gently applied, and it is carved by hand to achieve an appropriate shape and thickness.
After roughing out to some extent, patterns are hammered onto it, or surface processing called "etching" is applied. In total, there are about 13 steps until a product is made.
So you shape it with the feel of your hand.
Tin is a bit soft, and will easily bend when it heats up, so we adjust the strength by feeling with our hands.
Actually, tin is not a metal suitable for mass production. As tinware is all handmade, the finished products differ greatly depending on the craftsman.
We only ship products that look beautiful, so we carefully select the finished products.
What happens to the items that you decide cannot be shipped?
Items that can't be shipped are melted down and reused. Unlike other products, tinware is recyclable. It's an eco-friendly product that creates no waste.
You mentioned earlier that there are about 13 manufacturing processes. Can you tell us which processes are technically difficult or are high difficulty products?
Creating items such as tea caddies and teapots, which are highly sealed containers, is the most difficult. As I mentioned earlier, it takes about 30 years of training to be able to make these.
The most difficult part is the lid of the tea caddy. To enhance the airtightness, the lid cannot simply fall off, and at the same it cannot be too tight that it fails to open. Making it close just right is difficult.
Items that require very high precision are carved purely by hand. Also, since they are handmade, it's the craftsman's goal to be able to replicate the product at the same speed multiple times.
Do you have anything that you value in preserving these traditional techniques?
"Preserving tradition" is not just about technique, but I also think it includes employing new people.
Also, given how fast times are changing, we also have to adjust our selling methods. Previously, about 90% of our customers purchased from department stores. However, now is the age where people shop online.
I took over the family business 30 years ago when there were no smartphones. To adapt to the changing times, we need to embrace new trends.
As for the method of making tinware, good things that have existed since old should be kept. We need to pass on these techniques, so we hire young people and pass on the skills to them.
Passing on Tradition to the Next Generation Through the Experience of Touching Tinware
What are the overall challenges in the industry that you think about, Iwakiri?
Before the war, there were about 30 tinware manufacturers in Kagoshima Prefecture, but now there are only two. The reason for such a decrease is partly due to the air raids during the war that burned and destroyed the workshops, but also due to the soaring prices of the raw material 'tin ingot'. The price is now about five times higher than when I took over the family business.
Since we cannot mine the raw material domestically anymore, we have to import it. However, in recent years, the cost of raw materials has changed, or we haven't been able to import even if we want to.
We can't work without the raw material, so securing it is very important.
So you can't get tin in Kagoshima anymore, can you?
To be precise, tin is available, but it seems difficult to extract due to labor costs and other factors. When our company was founded, we could extract it even in Kagoshima.
In the past, tin was readily available in Kagoshima, and this led to our development as a production area for traditional crafts.
I imagine that the quality of the raw material varies depending on where you source it from. Does this make a difference in the finished product?
Indeed, the quality of the raw material inevitably differs between manufacturers. We once tested using a cheaper material, and when we looked at the finished product, it was clearly different.
The color was not good, the feeling during cutting was different, and it was more prone to corrosion. There were times when I could tell the difference during the manufacturing process, but there were also times when I couldn't tell the difference until it became a finished product.
The selection of the proper raw materials makes a difference in the quality of the finished product, which also leads to a credibility issue for our customers.
Can you tell the quality of the raw material by looking at it?
To some extent, yes. In our company, we have fixed import sources, but we used various tin ingots to decide on those sources. While utilizing years of experience and intuition, we procure reliable materials from selected manufacturers.
So you put a lot of effort into securing good raw materials on a steady basis. Finally, could you tell us about any challenges you would like to tackle in the future?
I believe that my mission is to pass on skills and such to the younger generation. Until now, we have only been making and selling tinware, but recently we have started offering workshops because we want people to feel closer to tinware.
We believe that providing experiences to touch tinware is a way to connect with potential future customers, and we want to convey the goodness of tradition through these activities.
Every year, during the summer vacation, we have people coming to Kagoshima to experience traditional crafts. We guide and help them create pieces, and it brings us joy to see everyone happily making their own.
Our company is located in Kagoshima Prefecture, which is at the southernmost tip of Kyushu and is not very well known, but we would be delighted if you could stop by when you visit Kagoshima Prefecture for sightseeing.
]]>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.
Conversely, debates about whether people should gather in the city had peaked even before the pandemic. For instance, there was the issue of throngs converging at the Shibuya Crossing during Halloween. I did not view Shibuya's Halloween negatively. Even though it got criticized due to the excessive excitement, it indicated a growing need for central urban gathering spaces. Ideally, it should have led to exploring new forms of plazas. I even interviewed the mayor of Shibuya about it. While it didn’t go as far as halting car entry like New York’s Times Square, Shibuya did conduct "social experiments aimed at creating pedestrian-centric road space."Street drinking and park drinking, which gained negative attention during the pandemic, actually predated it. Putting aside public safety concerns, these phenomena had many intriguing aspects as new urban communication forms. MIYAsh*tA PARK opened in 2020, resembling a hybrid of street drinking, park drinking, traditional parks, and shopping malls, and is mainly used by younger generations. It’s an interesting facility as an urban space where public space, commercial space, and street culture blend seamlessly.I believe public viewing, street drinking, and MIYAsh*tA PARK are significant phenomena in understanding urbanism and event-driven city spaces, which Professor Iida has researched extensively. Today, I’d like to discuss these topics, starting with your perspective on the trends in public viewing.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.
The interview with the Shibuya Ward Mayor was featured in an article titled "広場が都市を変える? イベントで賑わう街・ 渋谷で始まる新たな試み" (BLOGOS) in 2019. It was impressive to see the focus on "squares." In her co-edited work "現代メディア・イベント論" (Keiso Shobo, 2017), Shoko Tateishi considers public viewing by comparing it with Germany. My visit to Germany made me rethink the differences between squares and parks. The grand avenue in front of the Brandenburg Gate in Germany is very famous and, although there are entry restrictions, it typically serves as an open space where anyone can enter, and public viewing is conducted there. In Japan, such squares do not exist, and public viewing events usually take place in venues like stadiums or movie theaters, which require paid entry, fundamentally different in nature.However, around 2017, with the upcoming Tokyo Olympics, plans emerged for public viewing closer to European styles, utilizing parks. I found this trend quite fascinating. "現代メディア・イベント論" was also published with the Tokyo Olympics in mind, focusing on how we could utilize public spaces and design ways for people to participate.Hayamizu noted the attention on "Parking Day," an initiative in Shibuya Ward. This is a worldwide movement where parking spaces are transformed into small parks. I first met Tateishi in 2013 at an international seminar she organized at the University of Leipzig, and coincidentally, a Parking Day event was held near the university on that day. "Park(ing) Day" was written in chalk on parking spaces, and people were having a picnic. Seeing this, I felt there was a significant difference in the sense of public spaces between Japan and other countries, which also connects to the differences in public viewing formats.
Although translating the concept of "public" can be challenging, Japanese parks are an "official" space to the end, whereas European squares have a "public" and "open" nature.
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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.
Thus, the introduction of new forms of parks in Japan, distinct from the overgrown parks of the past, coincides with the timing of the Tokyo Olympics. It seems we finally recognize the need and importance of gathering spaces. Unfortunately, these developments occurred amid a COVID-19 pandemic that prohibited gatherings. The gathering of people in parks and squares typically relates to democracy and citizen formation, yet it was an ironic situation where such gatherings were deemed undesirable.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).
This book is not only fascinating as an urban theory but also served as a great reference for self-reflection and planning future life. Although many things have changed locally due to the COVID-19 pandemic, I feel that the issues of life disparity based on residence and urban gatherings, viewed from a broader perspective, are now more relevant than ever.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.
An analysis of the actual situation shows that the affluent moved to resort areas. Those who could afford the freedom to choose where to live—people not struggling financially—were moving. The land prices in city centers have not decreased, and I don't think the majority will move to the suburbs in the current situation. Particularly among the younger generation, there seems to be a tendency towards urban concentration. At this point, when the recovery from the COVID-19 pandemic is not complete, the demand for urban functions, especially for communication, seems to have returned, especially among the youth. People still find the greatest value in proximity and gathering, and that principle hasn’t changed.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.
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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.
For instance, during the Rugby World Cup three years ago, people spilled out from the shops into the streets without boundaries, mixing with other countries' supporters, drinking beer, and watching the matches. This is a different way of enjoying compared to going to the stadium. Especially for the Scotland and Ireland matches, it was an opportunity to experience authentic pub culture in Tokyo.
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 2020 Tokyo Olympics were seen globally amidst the trend of "young people distancing themselves from the Olympics," and it was a question of how to get them to enjoy the Olympics with innovations beyond the appeal of the competitions. Exactly, it was an attempt to create something widely accessible in urban spaces, and putting aside the debate on holding the Olympics during the pandemic, I believe this direction was not wrong.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.
There was a lot of debate about the absence of spectators, but I found it very strange that there wasn't as much interest in the disappearance of public viewings.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.
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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.
I originally worked as a reporter for a computer magazine and was responsible for covering "Second Life." The narrative back then was that virtual land would hold value, and it’s very similar to what’s being said now. Despite the faster connection speeds and the ability to access content simultaneously, the variety in avatars and their appearances hasn't changed. The fact that the same faces and narratives are pushing it makes it hard to believe it will actually become mainstream.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.
Comparing the period from around 2007 to 2009, when "Second Life" and "Sekai Camera" were in the spotlight, to now, the internet itself has become less exciting. When Twitter was still new and thrilling, these services emerged and became popular. However, the current situation is quite different.Discussions about who owns virtual spaces or the public sphere of AR were vibrant because the internet was inherently fun at the time. Nowadays, such debates are less prominent. Established gaming platforms remain dominant, and while their fan communities expand, I'm skeptical about broader adoption beyond that.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.
Speaking of fashion, high-brand clothes for avatars surfaced in "Animal Crossing: New Horizons," which could be interesting if it reaches the next stage where avatars wear the same outfits as people at parties. It's a virtual world, yet the idea of buying the right to wear unique clothes with NFTs, or trading the right to wear such clothes in reality, might become a trend. After mass production led to fast fashion, there could be a backlash, sparking new trends.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
For instance, the question of whether high heels embody functional beauty has been a topic of discussion with friends for a long time. However, my stance has fundamentally been that they do not represent functional beauty. As someone who researches walking, it's clear that high heels have certainly lost the essential functions needed for walking.That said, it was not until I entered my 30s that I came to understand that what people seek in high heels is not walking functionality but something else. Whether it's the pleasure women derive from an elevated perspective, the perception of longer legs by others, or a subjective confidence boost—these are what people might consider functions.Similarly, when we ran a project distributing shirts in India, several people argued that cheap ones would suffice. The idea was just to distribute white shirts and be done with it. However, I wondered whether it might be better to offer shirts in various colors, even if it meant increasing the budget by just 10 yen. Whether people in developing countries with limited funds would appreciate the choice was not something we could judge from our perspective. Ultimately, offering color options brought more joy.Thus, even within the realm of functional requirements, human perception includes subjective elements. This applies to clothing, wearable devices, and what humans desire. There isn't a singular answer; various people seek different things. Consequently, devices are diversifying, and fashion itself is evolving through technology; definitive correctness is becoming more elusive.
Development of Functional Beauty
Regarding functional beauty in sports, the trend of appealing, eye-catching designs emerged around the year 2000. Specifically, NIKE spearheaded this movement by focusing on design. For top athletes, being fast is crucial even if it appears unpolished. Pursuing speed ultimately leads to aesthetic appeal. The significance of functional beauty for general users is still uncertain, but it's undoubtedly not zero.As an engineer, I believe that functional beauty and fashion design will inevitably intersect and then branch out into diverse paths. People are inclined to accept practical and fast solutions; they often mistake them as correct and aesthetically pleasing.Thus, purely speed-focused designs are powerful and attractive. This perception is enhanced by the design's flexibility in appearance. For prosthetics, creating something similar to a human leg generally provides comfort and relatability. However, if the leg differs in shape, gaining acceptance takes longer. Yet, a focus on speed could make unconventional designs more acceptable despite initial discomfort.However, this might only be a significant value in competitive settings. At school, for example, the demand for this is limited. Additionally, some values, like those of high heels, must be respected even at the cost of certain functionalities.![<![CDATA[Fashion Tech News]]> (26) <![CDATA[Fashion Tech News]]> (26)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/c6b6fbe8eca544baab1bc92347b98ed1/048A9942RR.jpg?w=2400)
The Significance of Having Design Options
When considering wearing designs that you find favorable, it can be challenging. For instance, the notion that something is cool because Usain Bolt is wearing it is quite powerful. This is why sports brands create an image through branding by partnering with fast athletes and implying that anyone wearing these shoes is fast too. It's an aspect many people find appealing, but it shows that humans do not evaluate things purely. The concept of choosing something purely because you genuinely find it cool is rare.The fact that admired athletes wear different shoes holds significance. Each athlete has their own unique values, and a society that recognizes these differences is one where items aligning with diverse values are available. Therefore, it's more natural for a variety of options to exist.The Relationship Between the Body & Tools
Keywords: Body Assistance / Enhancement
Personally, I've stopped using the terms body assistance/enhancement often. Many people distinguish between the two, often imagining a standard based on able-bodied individuals. There is a consensus on what constitutes normalcy.For someone like Hirotada Ototake, who was born without limbs, the concept of prosthetics as assistance doesn't quite fit. For Ototake, limb deficiency is standard, and adding prosthetics might be cumbersome.While the terms "assistance" and "enhancement" can be used relatively from an individual's perspective, I have recently found this implicit agreement to be somewhat unsettling. Instead of those terms, I prefer thinking more along practical lines, like using a bicycle to travel 1km or a car for longer distances. Whether this constitutes enhancement feels off; it's merely about using tools to achieve a goal.If one uses "assistance" or "enhancement," the idea is to view a non-enhanced state as standard. Assistance would then mean restoring a lost capability, while enhancement means relying on tools for new capabilities. However, these terms can be tricky. If I lose a leg and use a prosthetic, calling it assistance has a negative connotation, suggesting that losing a leg is inherently negative, which is true to an extent. Nonetheless, I don't want it to be seen solely as a negative change, but as a transformation.![<![CDATA[Fashion Tech News]]> (27) <![CDATA[Fashion Tech News]]> (27)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/633ff9b41a71404fb0163b065b6546b8/image2.png?w=2400)
Tools & Rules
I think the preconceived notion that able-bodied people are superior is fundamentally different. I believe that it's better when that idea is broken down, and it's healthier too. While there may be tendencies where disabled people are seen as inferior, there have always been cases where technology and effort have overturned this, both in the past and now, and this is becoming more common.For example, wheelchair marathons are now faster than regular marathons. It makes sense because they are on wheels. Prosthetic legs are often compared to able-bodied people by appearance, but with springs, you can jump higher. In the Olympics, many archery athletes wear glasses, and although this could be seen as an extension, it is accepted as a tool that becomes a part of their body. The key is whether the tool is accepted within the rules or excluded.I feel that prosthetic legs are starting to be seen as unfair. In sports, everything must be done within the agreed-upon rules. However, this doesn't necessarily lead to looking down on athletes. It's about creating a society where both athletes with prosthetics and those following the rules are respected.The Role of Fashion
Fashion that Embraces New Proposals
I became interested in fashion last year when I talked with my friend Toshio Yamada of Factelier. I found the fashion industry fascinating because it's a culture where stepping outside of conventional values is permitted. The people walking in fashion shows look almost alien in their stunning physiques. The clothes they wear are vastly different from what you see in everyday life, creating a culture starting from questions like, "Would you wear something like this?" Moreover, this happens year after year. The constant stream of new proposals being accepted is something not seen in many other industries.Humans are very conservative creatures, so I find it interesting that such a flexible culture has been built. In the tech field, the time axis can't be sped up that quickly, so it's enviable to see constant new proposals. The fashion industry is also very sensitive to societal trends. For example, as social media is now used for branding, the industry adapts to these changes effectively. I'm interested in fashion due to its ability to propose new values and the attention to detail in maintaining them.Challenges in Tackling SDGs
On the other hand, I often feel that this is an approach mainly aimed at the majority. The structures that exploit laborers in developing countries, utilizing the very principles of capitalism that have become commonplace, naturally emerged. This isn't necessarily the fault of the fashion industry, but rather a natural outcome of capitalist principles.Awareness of SDGs is spreading across all industries, not just fashion, but challenges remain. In my close experience, after events like the Olympics and Paralympics, the employment of Paralympic athletes is likely to decline.There are very few companies that are considering activities for the post-Paralympic period. Ideally, there should be a big goal to promote social activities for disabled people, and create a society where various social minorities, including disabled people, women, and LGBTQ people, don't have to endure but are rewarded.I haven't seen any mechanisms or people who are truly working towards these landing points, nor have I seen such ideas gaining much attention.
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The Joy as a Human Being
Among these, to drastically change the image of disabilities and welfare, I believe fashion is a powerful tool.I felt this when working on aid in developing countries. People often mistakenly think the majority’s values are correct. A friend experienced this in India, where people bathe in rivers. He created a device to use river water as a shower, including a mechanism to heat the water, making it a warm shower. This effort goes beyond basic needs like food, clothing, and shelter. While food may have a higher priority, experiencing the comfort of a warm shower should not be seen as unnecessary. However, when he spoke to someone from JICA, they said the priorities were wrong, and a warm shower was not needed.This mindset feels condescending, ignoring that the people living there have human values and desires just like us and making them endure unnecessary hardships. Currently, individuals with disabilities, women, and LGBTQ people are enduring many difficulties imposed by society.These overlooked areas, deemed non-essential, often include fashion, sports, and design. Survival is possible with just liquid food, but everyone has human desires to eat delicious food and drink something warm. Fashion can dramatically change the situation, restoring these joys of human life.
Function, Design, & Values
Special Feature Theme: "Body / Clothing & Functionality"
I feel that the field of fashion will increasingly incorporate technology. The developments in robotics, exoskeletons, assistive devices, and sports technology will eventually become less noticeable. This means they will be present but unconscious to people.If asked whether glasses are fashion or not, I would say they are, but they didn't used to be. Similarly, things around us will gradually become part of fashion. Today's pre-fashion integration stages are rich in technology. As collaboration progresses, exciting things will happen.Voices Gathered for This Feature
Artist Viktoria Modesta is already in the realm where technology meets fashion. She is a Director's Fellow at the Massachusetts Institute of Technology (MIT) Media Lab and has engaged in various collaborations. Her perspective on the fusion of technology and fashion is intriguing.Inclusive design researcher Julia Cassim's work is fascinating, but her relationship with her daughter, Laila Cassim, is also intriguing. Laila is a graphic designer who uses a wheelchair, but she doesn’t define herself by her disability. Her engaging activities come to the forefront. I’m interested in understanding how these values and her design influence emerged in her life and career.With Shintaro Kadota, the designer at quantum, we discussed the wheelchair "Wheeliy," which he designed. From the creation of "Wheeliy," we delved into conversations about the relationships between engineering and design, especially regarding products integrated into the body.I've previously spoken with author Tow Ubukata during the release of "攻殻機動隊Arise." Today, we discussed the need to conduct thought experiments about every potential situation given by existing technologies and create a convincing worldview without contradictions. I realized that this is true for both science fiction and research. Additionally, I want to think about a worldview where the technology of prosthetic legs surpasses human capabilities and how it might change our perception of the human body.![<![CDATA[Fashion Tech News]]> (29) <![CDATA[Fashion Tech News]]> (29)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/5c15ae6d1db94a6b9ec40bd090085cda/048A9911R.jpg?w=2400)
]]>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.
Behind this transformation, there is no doubt that technology plays a significant role and supports it, reflecting the discussions often found in SF works. When asked if it would be alright for someone to have their leg amputated to run faster with a prosthetic leg in the competition, I personally don't see anything wrong with it. However when I consider the ethical implications, I realize that my personal sentiment might be offbeat.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?
I suppose there is a sense of it being a part of your own body, and just because it's not functioning, doesn't mean that disabled people can simply discard it, or rather, the struggle against the sense of discarding something clashes with our previous values. Teeth, for example, are readily pulled out, but that's because prosthetics that look identical can be easily set in place, so there's no sense of loss or letting go, is there?Indeed, as you, Endo, previously mentioned, the way we look at those with disabilities could certainly be seen as becoming more relatable, with terms like "sly" or "cool." Japanese people tend to shy away from situations they perceive as pitiful, so, for instance, you don't often see children with no limbs at regular schools, which is likely due to other parents feeling it sad and thus not wanting to see it, leading to exclusion. I believe our values are beginning to shift away from perceptions of pity.The previous design of prosthetic limbs was very bulky. A one-armed man used to come to a cafe in my neighborhood every day, and I remember he had a very bulky prosthetic, which must have been quite scary for children. But now, prosthetics have become more sophisticated, and are even considered 'cool'. Part of me thinks I would want one for myself, especially when I reach the age where I can't walk anymore. But what values will I hold at that time? Will I be contemplating changing my limb? It's still unpredictable.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.
In our current "Fashion Tech News" feature, we explore this topic from a fashion perspective. Fashion has a culturally ingrained ability to transcend boundaries. Lady Gaga's outfits are extraordinary to the point where no one else would wear them, but it's incredible that such styles are accepted.Similarly, in the realm of Science Fiction, or fiction in general, it's allowed—yet, when values preside too heavily, it can become less interesting. Adjusting the degree to which we push or change values is a real challenge.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.
I see fashion as something that aligns with personal circ*mstances, sensibilities, and backgrounds. This is especially relevant when considering disabilities; they vary greatly between individuals. There's a variety of background stories and even, perhaps, an orientation towards individuality in values. There used to be a phrase, "disabilities are also a form of individuality," and I remember thinking how odd it was we had to overtly state something so inherently obvious.I've always wondered why disabled people had to struggle so much. A little creativity could make a significant difference, so why had nothing been done? I feel that the issues surrounding the physical body are usually traced back to what happened in the aftermath of war. For instance, the development of cosmetic surgery was spurred on as a form of relief for those injured in World War I, and has since become normalized in the form of petty surgeries. If there had been stories of people returning to society even after losing limbs post-war, we perhaps wouldn't have struggled as much.Contrarily, I think this implies that Japan did not make enough efforts to aid its disabled population after World War II. This tendency to pretend that the issue doesn't exist could have made it difficult for disabled people to step into the limelight, leading to a cultural sense of guilt, uneasiness, and inconvenience. I feel that these sentiments have started to fade and we've started to realize why these prejudiced views towards disabled people were allowed to take root.It's inevitable that we lose things over time, but that doesn't mean society should just get rid of those who do. In fact, getting rid of them would barely leave society functional. Even people with the potential of losing something would eventually be pushed out. Consider patients with diabetes or kidney disease. We shouldn't start excluding them from society the instant they become ill. Rather, we should continue to support them, making it a normal aspect of life, and accepting it as a possible reality for everyone. We need to recreate that narrative again. I thought about this while watching the Paralympics. Although the opening ceremony had this beautiful story of "taking flight," I honestly thought we were still at that "taking flight" stage.![<![CDATA[Fashion Tech News]]> (30) <![CDATA[Fashion Tech News]]> (30)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/13cbfb6f49e5472bb35d8238c9d5315e/Xiborg%20%CE%BD%20side.jpg.png?w=2400)
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.
Given this, there are various solutions, and I think one good method is technology. In what people often call a capitalistic society, I think there's a cause for the fact that those who see social welfare as a burden are not thriving. I think there are various ways to approach this, but I feel technology does play a big role in providing that space.Ubukata
Nowadays, many things are being solved by technology, which shows the power of technology has grown strong.
In the past, we coped with problems through ethics, morality, and law. For instance, during the Edo period, they made people with disabilities monopolize certain occupations, like the blind were exclusively masseuses, acupuncturists, or moneylenders. Money lending was a privilege of the blind. In this way, as a caste system, they had a system to some extent to aid them. However, naturally, this restricts life choices, and they had no way to solve it for a long time. Thanks to the revolutionary advancements of technology, computer science, and hardware, we were finally able to extend individual choices. The result is what we see today, after continually solving the irrationality in our society which was previously the role of politicians, leaders, educators, and those who design society. In other words, we are placing more emphasis on individual values. I believe we are going to focus more on the individual rather than the category of "disabled people." There are many people who are categorized as "disabled," but what exactly is the issue? What about their age and gender? One phrase from Endo that struck me was "Mastering the use of a prosthesis is a talent." There might be a gap between those who are skilled at using a prosthesis and those who are not. When I consider becoming reliant on a prosthesis due to weakened legs in future, I wonder whether I have that talent. If I fall every day, I might consider switching to a wheelchair. Or, it would be nice if in the future, even with prosthetic legs, there's an automatic balancer that will prevent me from falling. Ideally, I would like my legs to walk on their own.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.
In the end, we made a prosthetic leg that resembled those of people without disabilities. The reason is that it was a project involving the government, so rationality was questioned, and Ototake himself wanted to convey a sense of empathy and to be of use to someone. He wanted to give people hope that even with limb deficiency like him, you can still walk; he wanted to be a role model. Then, when we thought about what it means to "walk," although there are many types of "walking," what everyone wanted was the way people without disabilities walk. Despite thinking about creating a new future, I still feel a sense of regret as if we were pulled back by our preconceptions.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.
In the world of science fiction, you can expect appearances of humans with goat legs, people who change the shape of their hands every day, and cyborgs living in robots. Rapid changes can cause anxiety, but I sense a gradual shift away from uniform human forms.This is becoming an issue in the world of cosmetic surgery. Everyone's turning out to look alike because they're choosing to imitate trendy faces. Moreover, the results often combine features that could not be naturally possible: a mix of Asian, Western, and African traits. Apparently, this mixed-up plastic surgery is now popular.When prosthetics start becoming more common, they’ll initially conform to the mainstream aesthetic standards. From these standards will emerge different aesthetics, like "this type of prosthetic" or "the beauty of that curve." Indeed, a standard shape will make people feel more secure. Honestly though, if I could move around, I would prefer wheels. I wouldn't mind having a body like the Gundam.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.
Nepal had its share of amputees and blind people too, but its caste system created a sort of safety net for them. Some became beggars while others lived by chopping firewood. Such lives might seem stable, but I thought to myself that this must be what living without freedom means.I believe these experiences are why I strongly identified with the value of freedom. Perhaps, Endo, you may have achieved a freedom similar to or even more radical than mine. While I understand that others may not readily accept this, I can also see why.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).
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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.
Despite the clear risks of pandemics with the advancement of communications and transportation, it seems like we had forgotten about it. Perhaps we had an overly optimistic trust in medical technology and systems, but we were truly unprepared. Now, we're just doing something akin to what we did in the Heian period, being careful and waiting for it to pass. Did you, Endo, foresee this?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.
Personally, I don't find this amusing, but this irrational behavior is both the interesting and challenging aspect of humanity. When faced with a global enemy, we should ideally unite to confront it. However, it's difficult for people to act rationally, and as soon as predictions become unclear, people start feeling anxious about the future, leading to a rise in anti-vaccine sentiment. It's almost as if it was bound to happen; the complexity and greatness of humanity has taught me a lot.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.
Depending on when one hit puberty, the methods for resolving anxiety seem different. In the case of 9/11, the enemy was clear so we could rally against them, but in the case of the Great East Japan Earthquake, the key was unity. There was a sense of togetherness, and those who were able helped those in need. However, with COVID-19, individuals are completely isolated. There are currently no methods for resolution or comfort, and I think we're still searching for them.The issue of poverty has become especially serious as it has intersected with the issue of the virus. I can't predict what's going to happen next. When everyone starts doing the same thing for comfort, historically it's often led to disastrous events like revolutions or wars. In fact, I think the world is currently preparing for war, and it's becoming a dangerous situation.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.
Such a status quo will lead us to consider how we want others to view our bodies in the future. In other words, how we want to perceive ourselves. In that sense, I thought it would be nice if prosthetics would quickly become a part of fashion.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.
Education on disabilities at schools has been left behind in the pre-modern era. It's not a difficult topic to deal with as a matter of course, rather than treating people in wheelchairs as spectacles. It has become a difficult issue due to bias.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.
If it were you, Ubukata, what kind of school would you build?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).
Ideally, they would change locations every three years and always study abroad, with classmates of different nationalities and religions. In such an environment, they would realize how narrow their own common sense is, and if they make a mistake in life, they might think of taking a different path. Japanese people tend to have too narrow of a community, and often feel like they have no choice but to die, when that's not really the case. I think education that doesn't provide a turning point is questionable.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.
It's tough when you can't keep up with positive changes. To this day, I find it a hassle to stamp seals and receive notices for my apartment through the mail instead of by email, but a lot of older people live here, so if it were email, many would be left behind. I feel like if these people don't make some effort to change, they'll be increasingly sidelined into inconvenient places. Of course, I myself need to accept change or else I will end up writing only soliloquies. There are writers like that whose works age like soliloquies and gain value over time. I'll try that when I get older.Endo, how do you feel about your current activities? Where are you in terms of your time schedule?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
Can you tell us about the concept of "Sézane" and the background of its creation?
In a word, it’s vintage. After finishing school, I started selling arranged vintage items online under the name "Les Composantes."I loved the creative process, the monthly launches, and the community surrounding it. Gradually, I began adding my designs to vintage pieces, giving birth to "Sézane."
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Currently, you offer a variety of items related to lifestyle, not just apparel. What elements inspire you in your creations?
There are many elements. I draw inspiration from the creativity of my team, and the desire to create pieces that bring joy for a lifetime and can be passed down through generations underpins my creations.I’ve always been inspired by the city of Paris, with its energy and genuine beauty. Recently, expanding the brand globally has brought new and fresh inspirations, which is very exciting.
"Sézane" is popular as a brand that embodies the Parisienne lifestyle. What is your biggest design emphasis?
When it comes to design, I aim to stay true to my original vision while being open to change and new ideas. Our design studio, as it grows, strives for innovation and more daring pieces, but always returns to the essentials. Every year, we evolve the classics (what we call Parisienne staples) to make them even more beautiful and durable.
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I'd like to ask Morgan about the indescribable allure of Parisian women. What do you think makes Parisians so captivating to women all over the world? What is their aesthetic?
It is said that "Sézane" also has an "indescribable allure," but explaining exactly what that is can indeed be challenging. That indescribable charm varies from person to person. It might be about wearing clothes that make you feel good and confident. Some might imagine something like perfectly fitting jeans that hug your body just right, or a flawlessly tailored white shirt that makes you feel put-together any time.Parisians, I think, love relaxed, life-rooted things that they can always rely on. It is this commitment to fundamentals that often resonates with their allure and aesthetic.
Aside from material things, what about the way Parisians manage their time or their mindset? What defines a typical Parisian approach?
I can't speak for all Parisians, but on a personal note, when I'm in Paris, it feels like time moves a bit slower compared to other busy cities.I enjoy exploring the local markets in my neighborhood in Paris, watching the world go by while sitting on a terrace, and indulging in these simple pleasures. This, to me, is the greatest joy.
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One of the reasons why "Sézane" is so popular is because of its upper-quality at affordable prices. Do you have any particular philosophy regarding pricing?
At "Sézane," we take pride in offering the most beautiful pieces at the fairest possible prices by avoiding intermediaries. We always assert that when you place an order, we can deliver Parisian pieces directly to your home no matter where in the world you are.
Considering Japan to be the Starting Point for Asian Expansion
You launched a Japanese website this year, didn't you? What motivated you to expand to Japan?
Last February, I visited Japan for the first time and was captivated by the culture, people, and unique style. The moment I considered expanding into Asia, I knew Japan was the starting point. Japan is one of the world's largest and most trend-sensitive markets.Japanese fashion culture is incredibly rich, and I saw it as an opportunity to merge the cultures of both Japan and France.
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What was your impression of how Japanese people enjoy fashion during your visit?
In terms of style, Japan presents a completely new realm for us, being quite different from European fashion. Japanese women tend to favor more neutral tones and often use distinctive volume and shapes.On the other hand, "Sézane" offers more vibrant yet relaxed pieces, embodying a very classic French style. It’s exciting to think about how these different styles might blend and evolve together.
Finally, could you share your future plans and vision for expansions in Japan?
Since launching the Japanese website, our customers in Japan can now order directly from sezane.com without worrying about customs duties or import fees. Orders over 200 euros/25,000 yen come with free shipping and free returns.In the future, I aim to connect directly with our Japanese community and eventually engage with local ambassadors. We definitely have plans for pop-up stores and more visits to Japan in the near future. Please look forward to it!
]]>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.
The most fundamental aspect of inclusive design is considering how to address various levels of physical diversity—diversity of the body, mental diversity, and even linguistic diversity. The design of the process itself becomes crucial to make designs that various people can enjoy and be satisfied with. In any project, I always start by thinking about how to design the process to achieve the desired result.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.
At that time, the term universal design was also in use, but many designers disliked it. While "universal" implies that it is enjoyable and usable by everyone, no matter how excellent the design, not everyone will enjoy it. Because of this unrealistic expression, the term "inclusive" emerged as a more accurate term.![<![CDATA[Fashion Tech News]]> (36) <![CDATA[Fashion Tech News]]> (36)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/7c9d147775bc442790f44d871d9191d2/image4.png?w=2400)
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.
My daughter Lyra (a graphic designer who uses a wheelchair) wore extremely heavy and ugly boots with metal in them when she was little. Looking at those boots, I wondered who would approve such outdated and bad design and felt they negatively impacted the image of the user. They weren't stylish, and others couldn't see the humanity of the user. I felt very angry about why such products were accepted.One thing that really interested me was distinguishing between things worn directly on the body, like clothes, and things that exist separately from the body in the world of disabled people. For example, even if the design of a wheelchair is bad, it doesn't affect the user's image since the blame is on the wheelchair. However, if it's something like an orthosis that becomes part of the body, it significantly impacts the self-image.I started my design activities after Lyra was born, and at that time, there were still few stretchy clothes. For example, jeans were 100% cotton with thick seams, making them tight and dangerous for people in wheelchairs all day. When asked why she didn't wear something like jogging pants, the answer was, "Those pants give the image of an unemployed person," so even if jeans were dangerous, they were worn to pursue a stylish image.Mental self-image and functionality were completely separated. Now, new materials have emerged, especially highly stretchy fabrics and stylish sportswear items available at low prices, and such issues are no longer heard.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.
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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.
As a result, while most of the fashion students ignored it, a few understood, saying, "Oh, I get it now." Around 2003, we also created a collection with professional designers using a new fabric called outlook.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.
Frankly, I hate the word fashion. Instead, I use the term wearable. In wearable projects that I've undertaken, even if there were material experts on the team, I would have a product designer lead instead of a fashion designer. This is because I feel that the fashion designer's process is very artistic and not a rational one. Coming from an art background, I noticed that the fashion design process, with its sketches and materials, closely resembles artistic creation. In contrast, the product design process is very rational, considering functionality as well. The word fashion seems to conceal fundamental issues. Once, it meant to create, but now it represents style.Even now, when I enter a project for people with disabilities, I look at two scenarios. The first is the person's disability. The second, which is very important, is who that person is, what kind of life they've led, and what kind of job they have—things that relate to the user themselves. By examining these, I start thinking not about the disability itself but about how the disability is a major part of their life. This allows for creating interesting designs that combine human life scenarios with the scenarios requiring physical functionality.![<![CDATA[Fashion Tech News]]> (38) <![CDATA[Fashion Tech News]]> (38)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/b93d997eb4a54b2b993a00d336f9d037/image8.png?w=2400)
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.
I like the term "inclusive" because its concept is flexible. To perform a truly "inclusive" act, the responsibility lies with you, and you have to think and proceed on your own rather than being told "do this." I resonate with that point.Especially designers seem to dislike the word "universal," feeling that they must produce attractive designs to see results. Compared to that, inclusive design lacks such forced nuances. You have to think for yourself the processes, methods, and outcomes, placing responsibility on the designer. Since you are a creative designer, think of the methods yourself.![<![CDATA[Fashion Tech News]]> (39) <![CDATA[Fashion Tech News]]> (39)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/8c5a476b258d42ffbf4d4bf327c978f5/image3.png?w=2400)
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.
Aside from self-image, I am also very interested in where the stigma (discrimination and prejudice) against people with disabilities comes from and whether clothing and devices influence this. How can we reduce stigma? I believe that reducing stigma is good design, and design becomes a major part of the solution.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.
I have been working on a project related to chirimen with the weaving artisans of Kyotango for a long time, where highly advanced techniques are used in products that are more luxurious than clothing, like high-end watches. It is wonderful that traditions spanning hundreds of years continue to be preserved. Since moving to Kyoto in 2014 and getting involved with traditional industries, I became acutely aware of the precariousness of their continuation. That’s when I thought of bringing design as a tool into traditional industries. I believe this is a very close approach to inclusive design. Even if there are skills, the lack of business sense and poor external communication can be addressed by incorporating an inclusive process. Thanks to such process design, it becomes possible to protect industries, leveraging creative design tools and forming teams with people from other fields for results.![<![CDATA[Fashion Tech News]]> (40) <![CDATA[Fashion Tech News]]> (40)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/8a2a9e56ecbf42b8bd8fca8c5e32007b/image7.png?w=2400)
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.
For instance, when I went to India, I remembered that approaching the community was far more challenging than the creation of products itself. Thus, focusing on processes over products is something I can strongly empathize with.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
Somewhere in this world, there exists a crystal that generates love. It is paradoxical, achieved by discarding beauty. In a world where humans and machines merge, all material sublimity succumbs to the authority known as information technology.I
Both love and beauty are creations of humans. The technology that colors the world of body decoration is also human-made.The four nucleotide sequences ATGC that create our bodies, and the countless materials our bodies produce. Emotions like love and beauty, and the fashion created to move these emotions, can all be seen as informational phenomena.
II
The French poet Charles Baudelaire pointed out that makeup is "a method to discard the face." By processing the parts that make up our faces, such as eyes, lips, and nose, with makeup, he claimed to discard the body.For someone like me, who often felt disillusioned with the raw body, the poet's words struck a strong chord.
But let's reconsider. Does the bare body truly deserve to be discarded? Biologically, nudity originally stimulates our central nervous system. At an instinctual level, probably irrespective of gender, it has the effect of concentrating our gaze.
It is evident from the repeated treatment of nude motifs throughout history, not only in examples like Michelangelo or medieval paintings.
So, how has fashion tuned the balance between biological physicality and the rational sense of body swaying with societal norms? Or can it be tuned through technology?
III
As seen in the typical photographs of Richard Avedon, physical beauty derives from raw vividness.By the way, it's not well-known that the colors red and yellow, which stimulate animalistic instincts, originate from the so-called color of blood. Think of McDonald's signs. Red and yellow appeal to appetite. The colors that form the base of nudity are drawn from a highly animalistic sense, the colors of blood and skin. How does this relate to love and beauty?
IV
Raymond Radiguet, a prodigy, has a masterpiece titled "Le Diable au corps." The author, who greatly influenced Yukio Mishima, closely ties the notions of physical beauty and love in his works, similar to Mishima's. Both are almost inseparable "information." But what if the body is separated from the skull?V
The "Moonshot Plan" proposed by the Cabinet Office in 2020 envisions a world where our reality is separated from the body. In the "Cyborg Avatar" concept, cooperating to work through symbolic avatars in virtual reality is positioned as the near-future of labor. Considering recent endeavors by Elon Musk and the emotional manipulation via electrodes spread across the skull, it is clear that the imagery of a world divorced from the body will flow as the "great narrative" of people's subconscious in the future.VI
If the body and skull are separated, the relationship between beauty and love will inevitably change. Geometrically evolving information technology will propel this change. Will future fashion need the body? Inevitably, it will transcend the current concept of fashion.VII
Jean-Louis Bédouin pointed out that our acts of dressing up or applying makeup are attempts to "modify our existence by deforming the image existence holds" ("Les masques"). These attempts of body modification might transcend the conventional frameworks of donning materials like clothing or makeup into a new phase.Here arrives the potential for new body decorations via information concepts.
VIII
Information emerged as the third element following matter and energy. To those familiar with SF and fiction, the quantum theory world that emerged from Werner Heisenberg's uncertainty principle in the early 20th century is familiar.There are phenomena that are "observed" only when we "observe" them. Or the act of observation can influence experiments.
In essence, the concept of "information" is deeply tied to the "observation concept" and inseparable from human cognition. Emotions like beauty and love can also be seen as informational phenomena created by our observation as cognitive beings. Where in this world is the source that generates love? The answer seems clear.
IX
Why do paintings considered beautiful depict nudity? If the "ultimate beauty" tied to religious worlds lies in nudity, does the act of overwriting this nudity not lead to discarding beauty?However, there is beauty emphasized by covering with clothing. The example of wearing a low-cut dress at a ball, highlighting the skin by covering it with clothing, is characteristic ("モードの迷宮").
The effects obtained by processing the body come with risks and benefits, as do all drugs. This will be a pressing issue in future fashion cultures where technology has evolved.
X
Sonia Rykiel, who received L'Ordre des Arts et des Lettres from the French Ministry of Culture and passed away five years ago, said, "Inside-out clothes are beautiful like cathedrals."Martin Margiela, who founded the legendary brand Maison Margiela, established the grunge style by advocating "anti-fashion."
Comme des Garçons revolutionized the world of fashion shows, which had a strongly glamorous image, with a destructive style that used black as a base. The era shifted to a phase of integrating high brands and casual wear.
XI
As modern fashion transitioned to a stage where high brands and casual wear are integrated, future fashion will move to a phase bridging the body and the skull.As all scientific research suggests, bodily aspects are connected to emotions. Unconscious information arising from biological data connects to the functioning of the brain's neural system, which governs our pleasure-pain principle and emotions.
The initial cybernetics context where McCulloch and Pitts attempted to mathematically process skull signals with 0 and 1 signals is carried on in the academic trend known as the von Neumann paradigm (based on classification by F. Varela).
XII
Will there be beauty beyond the loss of the body? Will there be love? Will the world appear to our eyes as raw and exposed?The hint to the answer lies, perhaps unexpectedly, in the concerns expressed by Norbert Wiener, the founder of cybernetics and the source of modern technology. "I dedicate this book as a protest against such inhuman use of humans" ("The Human Use of Human Beings").
The legions of biological ruins that will be massively created by the demonic, inhuman use of machines—the devil of the body—as suggested by the apocalyptic revelations of classical SF. Is this truly the unavoidable future?To ensure that attempts to discard the body do not lead to discarding beauty, a new revolutionary establishment of fashion that harmonizes technology with the body is required.]]>
Gaining attention for its ability to make smells odorless through the power of essential oils is "NIOCAN." It claims to eliminate not only sweat and clothing odors but also everyday smells from pets and food waste with just one bottle.
We spoke with Eiji Takahara from DKS Co., Ltd. about the secret and the mechanism behind it.
The Relationship Between Temperature, Humidity, & Smell
Why do smells bother us more when it gets hot?
For example, when you sweat due to the heat, it mixes with sebum and bacteria break it down, producing a smell in the process. Also, food waste produces a stronger odor as it rots faster in higher temperatures. Smells are closely related to temperature and humidity. The cause of smell is related to bacteria, which become more active as the temperature rises. When humidity is high, the amount of water in the air increases, reacting with the bacteria and making us more sensitive to smells. This means that smells around us become more severe in high-temperature and high-humidity conditions where bacteria are more active. For instance, Hawaii is very hot but not humid, so you don’t notice the odor as much. The musty smell in damp laundry is also due to the reaction between remaining bacteria and moisture in the clothes.
Why do some people smell more than others?
Sweat is originally odorless, but excessive stress, known as "stress smell," or a diet high in oils can impact body odor. Commonly discussed in men, age-related smells or middle-aged odors are often more noticeable to women, while men themselves may not notice it as much.
Focusing on Existing Industrial Technology for Product Development
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What inspired you to develop NIOCAN?
Our company primarily operates BtoB and runs several ventures, including one specifically focused on deodorization.
Among these, we’ve spent years on odor control measures for industrial facilities like factories, wastewater treatment plants, and garbage sites.
You might find it surprising, but essential oils are actually used in these settings. When I moved from the cosmetics industry three years ago, I was shocked to learn essential oils were used in such places.
I expected chemical products to be used.
Yes, that’s right. But for researchers who have been involved in this field for years, it’s so routine that they wondered why I was even bringing it up.
However, I felt that it was such fascinating technology that it shouldn’t be left unnoticed. That’s why I advocated for turning it into a product, though initially there was some skepticism like, "Can something so obvious really be commercialized?" (laughs)
One Bottle for Negating All Daily Odors
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What kinds of smells can NIOCAN eliminate?
Representative examples include "food waste odor," "ammonia smell from urine," "fecal odor," and "age-related smells." Additionally, it can cancel out odors from pets, cigarettes, and other everyday smells.
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Can you explain the mechanism of odor removal?
There are mainly four types of deodorants currently available on the market.
The first is the "physical adsorption method," which uses chemical components to adsorb and eliminate odors. Placing charcoal to remove odors falls into this category. However, the odor components themselves remain, so the smell can return. There's also a concern that chemical adsorbents could be left behind in fibers or spaces.
The second is the "masking method," which covers the bad odor with a stronger fragrance. Perfumes and toilet fresheners are examples of this. However, since the bad odor itself is not eliminated, the mixed smells could turn into an unpleasant one.
The third method uses chemical components that react with bad odors to eliminate them, known as the "chemical reaction method." It's like spreading chlorine in a swimming pool. However, this method only reacts to specific odors, limiting its use. Also, since it uses chemicals, caution is required when used in confined spaces due to potential irritation to the eyes and throat.
The fourth method is the "neutralization method." This involves analyzing the bad odor chemically and blending essential oils that neutralize the odor. Imagine noise-cancelling headphones that play a sound to offset environmental noise. In the same way, neutralizing essential oils are blended to cancel out the odor.This is the method that NIOCAN uses. By analyzing daily life odors and blending nine types of essential oils that neutralize each specific odor, one bottle can eliminate a range of odors. Interestingly, products using the neutralization method are not often seen in the market.
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Why aren't other products using this method?
It is said that there are about 400,000 types of fragrance components in the world. For example, the aroma of coffee consists of over 500 fragrance components, including guaiacol, which is also found in the Japanese medicine Seirogan. However, you don't smell Seirogan when drinking coffee, right? This means that even unpleasant odors when smelled individually can be perceived as a pleasant scent when combined with other components.
Also, applying lemon to grilled fish neutralizes the fishy smell, and combining wasabi with meat reduces its gamey odor.To find these odor components that cause bad smells and neutralize them chemically, the presence of odor evaluators is essential. However, due to the highly challenging nature of this skill, it may be a reason why the neutralization method isn't widely adopted.
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What is an odor evaluator?
It's a national qualification under the jurisdiction of the Ministry of the Environment, established about 30 years ago for the purpose of combating bad odors. The written exam covers extensive knowledge on chemistry, odor analysis, statistics, and more related to bad odors. There's also a practical exam that tests the sense of smell, making it a very difficult certification to obtain. Additionally, a renewal test is conducted every five years, and failure results in the loss of the qualification. Therefore, currently, there are only around 3,000 qualified individuals nationwide.Our company has been working on odor countermeasures for many years and employs two certified odor evaluators. We believe that not only adopting the neutralization method but also having evidence of deodorization is a strength of this product.
A Product that Discloses as Many Ingredients as Possible for Peace of Mind
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Are there any other points you focused on besides the deodorization method?
Deodorants are categorized as miscellaneous goods, so there is no obligation to fully disclose all ingredients. Therefore, many commercial deodorants do not reveal what adsorption or deodorizing components they use.Since deodorants are used in households with children and pets, and by those with sensitive skin, we display as many of the blended ingredients as possible for peace of mind at NIOCAN.Additionally, the monochrome packaging that matches the interior is another point of focus.
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Did you face any challenges during the product development?
The fragrance was a challenge. It's simple enough to eliminate bad odors since we have the technology for that. However, it's also important for a deodorant to have a pleasant aroma. We created several prototypes during the product development process. Although they effectively removed bad odors, the resulting scent was not very pleasant.In wastewater treatment plants, a pleasing scent isn't necessary, so developing technology to create a good smell hasn’t been prioritized (laughs).We consulted with aroma specialists to invest time in crafting a pleasant fragrance.
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What feedback have you received from users?
We've hosted pop-up events where customers experienced our deodorant, and many were surprised that essential oils could eliminate bad odors. Other feedback includes, "It's safe to use around pets and babies," "It cancels odors instantly," and "I usually dislike chemical scents, but I can use this product."
Our research revealed that the average household has four deodorants. However, with NIOCAN, a single bottle can eliminate odors from clothes, shoes, sofas, curtains, trash, diapers, and toilets. We encourage households to try the power of essential oils.
As the heat intensifies and odors become more noticeable, it's important to tackle odor issues early.
]]>Text by Junko Hayashida
Researching Not Only Breakdancing Movements but Also Culture
Breakdancing originated in the early 1970s in the South Bronx, New York, USA. Amidst violent gang conflicts that sometimes led to fatalities, a gang leader who was also a DJ proposed "battling with music instead of violence." This led to the birth of the dance battle format known today.Breakdancing involves a DJ providing music and an MC acting as the host, while breakers (dancers) improvise their dances to the music, competing in creativity. Breakdancing can be categorized into four main elements: TOPROCK, FOOTWORK, POWER MOVE, and FREEZE.
"Toprock is dancing while standing, footwork refers to quick foot movements and steps performed while crouching, power moves are acrobatic moves like windmills done on the back and shoulders or head spins, and freeze is stopping the movement in sync with the music. We spent six years analyzing these unique breakdancing performances and studying the history and culture of breakdancing," said an EKIN (a Nike representative responsible for conveying the technology, innovation, and development stories of Nike products).
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Developed by Listening to Breakers at All Levels
Traditionally, breakers have loved classic shoes, with Nike models like "Air Force I", "Dunk", and "Blazer" being favorites. For developing shoes specifically for breakdancing, NSRL has analyzed the movements of breakers at all levels. Firstly, they listened to athletes' voices. This approach is similar to the development of Nike's running and basketball shoes."We thoroughly researched breakers' performance using motion capture to analyze movements and force plates to examine how the center of gravity shifts, while simultaneously conducting extensive surveys to understand what breakers prefer."The decision to use a cupsole (a construction method where the upper is inserted into a cup-shaped sole and stitched or glued) in the "Nike Jam" is likely influenced by the preference for classic shoes voiced by breakers.The drop-in type midsole that fits into the cupsole uses a foam material called Cushlon, known for its excellent cushioning properties and used in Nike's running and basketball shoes. To avoid hindering foot movements, the midsole has flex grooves. The outsole combines chevron and herringbone patterns to provide excellent grip for breakers.
Breakdance-specific Innovations Even in the Details!
Even the side part of the sole has breakdance-specific design elements."The convex and concave patterns on the side of the sole help breakers feel where they are grabbing the shoe during their performance. The designs differ for the heel, forefoot, and toe areas. The swoosh on the midfoot section of the sole is upside down so that it appears correctly oriented when the performer's foot is facing upwards during a freeze."
Nike's first breakdancing shoes, the "Nike Jam," can be said to be truly epoch-making shoes. We eagerly await the performances breakers will showcase this summer wearing the "Nike Jam."
]]>Text by Fumihito Kouzu
To Contribute to Every Woman's Beauty & Comfort
Please tell us about your business.
At the time of its founding, the company made ropes for whaling. However, founder Torusuke Hori believed that an era was coming where women would wear beautiful clothes and freely enjoy themselves. With a desire to "contribute to every woman's beauty and comfort," the company began developing stockings and later expanded to the production of innerwear and socks.In 2023, the company rebranded itself with the purpose "Joy for Skin and Heart, Now and Future." They aim to embody this purpose by not limiting themselves to stockings and socks but expanding their product lineup under the vision "Creating Feelwear that Inspires from Skin Feel."
Please tell us about the philosophy of the new brand, "Minnano, Minnano."
Many people have issues with innerwear, such as sensitive skin or discomfort with tightness. We believed that by addressing these issues one by one, we could help everyone feel comfortable and happy.In today's world, many people are devoted to their work or childcare. Amidst this, we wanted to convey the message that, at the very least, you shouldn't have to stress about your innerwear or socks. It's essential to live comfortably without any unnecessary hassles.By focusing on the benefits brought by the product's functionality, we arrived at the concept "Everyone's Relaxation is Everyone's Happiness." We wanted to clearly communicate that these are gentle items, suitable for everyone, which led to the brand name, "Minnano, Minnano."With the 2023 rebranding, Atsugi updated its corporate color and logo. The key visuals and logo for "Minnano, Minnano" are based on the new corporate color "Atsugi Red," designed to appeal to a broad audience.
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With an emphasis on comfort, what are the characteristics of your products?
The brand's signature items include the "Four-Way Camisole" and the "Four-Way Crew Neck T-Shirt." As the names suggest, these products can be worn any way you like—there's no front or back, and the inside can be outside. Hence, the tags are located on the sides.
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Where did you get the idea for a design with no front or back?
We advocate the concept of feelwear. Feelwear isn't just about comfort to the skin, but it's a product that pursues comfort for individuals at any given moment. Comfort differs depending on the environment and scene, but we aim to offer the optimal product each time. We don't want people to think that all ready-made products are the same, even for innerwear, and we're committed to creating truly appealing products.Therefore, considering what is needed to boost one's confidence and activity while wearing our products, we eliminated minor stress factors like front-back awareness and skin discomfort, which resulted in the current design.
It must have been a challenging task; were there any particular struggles in the design aspect?
Removing the front and back was more challenging than imagined. Even if the design was perfect on paper, wearing it would show differences that looked like front and back. We had to keep making prototypes and improving them. We also considered the design and placement of tags, and ensured the stitching was consistent to avoid noticeable differences.In terms of comfort, we finished it so the stitching parts wouldn’t touch the skin much.
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How was the internal reaction to this new challenge?
It was a new idea, so it was very well-received. Among our product developments, this one has garnered a lot of anticipation.
Especially the "Jiyusugiru Socks." While we've made underwear and tights without heels before, we never thought to do so with socks. This idea might have contributed to the positive reaction.When employees tried the prototypes, they reported feeling surprisingly comfortable and didn’t mind the lack of heels.
I heard the jojoba oil used in the fabric is not only for softness but also environmentally friendly.
We agree with the philosophy of Shimondo Corporation, so we use jojoba oil. Jojoba is a plant that grows even in deserts, and Shimondo Corporation is promoting desert greening by planting seedlings in the Egyptian desert. By using jojoba oil refined from these plants in our products, we support sustainable greening activities.
All these products are attractive, but what is your main customer base?
During pop-ups, we often see women in their 30s and older. We aim to offer a wide range of items, but we mostly resonate with the child-rearing generation. During the busy morning hours, if children can dress themselves, it also makes parents happy.Our front-open "Easy-to-Wear Bras" and "No-Poke Lace Bras" made from soft cotton-blend materials are created with care through material selection and stitching techniques. These products used to be mainly for seniors, but we've focused on cute designs and stylish colors, leading to positive feedback from many customers.
![<![CDATA[Fashion Tech News]]> (62) <![CDATA[Fashion Tech News]]> (62)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/6cbaa5553deb4238986ae770d065a6b7/96002AS%E3%80%80%E3%83%81%E3%82%AF%E3%83%81%E3%82%AF%E3%81%84%E3%81%AA%E3%81%84%E3%83%AC%E3%83%BC%E3%82%B9%E3%83%95%E3%82%99%E3%83%A9%E3%83%95%E3%82%99%E3%83%AB%E3%83%BC%E3%82%AF%E3%82%99%E3%83%AC%E3%83%BC.jpg?w=2400)
Please tell us about future products and brand developments.
While we receive high praise from customers, general recognition is still low. We aim to increase awareness of our current items while focusing on new product development, guided by daily feedback from customers.To spread brand awareness, we plan to not only hold pop-ups and fairs but also introduce products on our official Instagram account and launch online ads. We hope to gradually increase fans who resonate with our concept.]]>
Considering Fashion from "Words & Images"
Thinking About Fashion Logically
My basic concern is how logically we can perceive fashion. To establish fashion as an academic field, we need to think logically. Technology, a major theme of Fashion Tech News, is an area of engineering, so I think we can share this concern. Some people in the fashion industry may view fashion as a sensory experience, but when it comes to education, it's difficult to teach something that is purely sensory.The same applies not only to school education but also to situations where seniors train juniors or bosses develop their subordinates in companies. To teach, we need to verbalize concepts. Saying "I think this is cute" won't communicate the idea without some logic behind it. Data science, in my view, aims to provide logic and evidence for things that have been perceived sensorially until now. In that sense, the technology and data science issues covered by Fashion Tech News also relate to education and culture.This theme, "Words & Images: Data Around Fashion," is not just about technology but also necessary when considering fashion as a cultural phenomenon.The Complementarity of Words & Images
I believe that words and images are complementary. You can't explain everything with words, nor can you convey everything with images. Both words and images have their strengths. For example, it's hard to describe in words the three buttons on the jacket I'm wearing—what kind of buttons they are, their placement on the jacket, and the spacing between them. In this case, drawing a picture or showing a photo would be more effective.On the other hand, when attempting to convey concepts that engage senses other than sight—such as the softness of a fabric—communication through images becomes difficult. With words, you can simply say "soft." Words are better suited for explaining non-visual, abstract, or conceptual matters. The same goes for things related to taste or hearing. Describing a flavor with words like "sweetness" or "tartness" is more reliably communicated than using visual images. Rather than opposing each other, words and images complement each other.Words Around Fashion
"Fashion" & "Mode"
When writing my master's thesis in graduate school, I confronted the issue of how "fashion" and "mode" differ. For example, in the works of Kiyokazu Washida, who has led fashion research in Japan, and in the exhibitions by KCI (Kyoto Costume Institute), the words "mode" and "fashion" frequently appear. However, I felt that their definitions were not clearly established. In communication, if the definitions of the words used are not shared, the conversation won't make sense.The same applies to academic papers. If the writer and reader cannot communicate, the content of the paper won’t be conveyed. Therefore, I always thought it necessary to define these words, but I couldn't manage to do so effectively during my master's course. Reflecting on it, I've probably been preoccupied with defining words for the past 20 years."Fashion" & "Fashion Design"
There are two major terms: "fashion" and "fashion design." These are often confused, but calling the clothes created by designers "fashion" doesn't seem appropriate. "Fashion" has an aspect of trend, but what designers create doesn't necessarily become a trend.In fashion exhibitions, the KOBU dress by Comme des Garçons is often cited as a piece representing Japan's 1990s. However, it wasn't a major trend. In contrast, loose socks worn by Japanese schoolgirls had a far larger cultural impact. If we consider fashion in terms of trends, loose socks are more important than the KOBU dress. On the other hand, if we view "fashion design" as planned products by designers or brands, then the KOBU dress may hold significance.Loose socks may have had someone behind them orchestrating, but they were not a trend created through someone’s plan (design); hence, they are not considered "fashion design." By clearly distinguishing between "fashion" and "fashion design," various things may become more organized. This attempt is made in the book "言葉と衣服."Facing the Ambiguity of Definitions
The ambiguity of the term "fashion" stems from the fact that fashion has not been perceived as a subject of study. Without viewing it as an academic subject, it is difficult to establish a precise definition. In daily life, even if the definitions of words are not strictly adhered to, communication still appears to function (or seems to function). Sometimes, not defining them might actually facilitate smoother communication. For example, I argue that it is inappropriate to use the term "design" to mean "appearance," but saying such things in daily conversation might prevent communication from being successful. Ignoring differences and details is sometimes necessary for our daily lives to run smoothly.
This idea is probably similar to what philosopher Henri Bergson discussed regarding the role of art. According to Bergson, our daily lives are veiled, and artists are the ones who remove that veil for us. For example, traffic lights are categorized by the colors blue, red, and yellow, but each traffic light's color can vary slightly. If we started wondering whether this blue light differs from that blue light and whether it's really safe to proceed, we'd never be able to cross the street. We must disregard such differences to live our daily lives. In this sense, Bergson says that our daily world is shrouded in a veil.
According to Bergson, the role of the artist is to remove this veil. I believe academic research has a similar role. We often use terms like "fashion" and "design" casually, but these words have etymologies, their meanings have shifted over time, and sometimes new meanings have been added. Papers and critiques engage in such discussions. Fashion has not undergone this process and has only been used in everyday conversation, leading to its ambiguous use, which is one of the issues.
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Information Transmission Through Images
Fashion as a Vessel for Images
One key difference between fashion and other genres is the relatively low amount of information in a piece, or in other words, its neutrality. For example, the same outfit can convey completely different impressions depending on the model wearing it or the photographer taking the picture. When you think about fine art, if you're creating a catalog for a Picasso exhibition, ideally, the photographer should not alter the work's impression.However, in fashion, the piece itself acts as a vessel that can be imbued with various meanings and information. By adding information, new images are created which then circulate more than the clothes themselves. In that sense, it's one of the characteristics of fashion.Potential Shifts from Image-heavy Trends
I think the relationship between words and images is complementary, so one will not completely disappear. When comparing words and images, as seen with Instagram, visual images provide instant communication. With communication time getting shorter, people probably lean towards images more often now. However, over time, trends tend to fluctuate.Humans are likely inherently prone to boredom, and they can't be satisfied with the same thing forever. That's why trends change and skirt lengths vary. While images may be heavily favored now, people might eventually shift their focus back to words once they get tired of it.Perhaps YouTubers can be seen as a reaction to the instant nature of platforms like Instagram. You could say YouTubers supplement what quick images lack by using words.hom*ogenization & Differentiation Through Data
Rationalization and hom*ogenization
Not just limited to images and words, fashion in the future may head towards hom*ogenization. Although I said trends go back and forth, the fluctuations might become smaller and converge. Nowadays, extreme or radical things are often avoided, leading to more uniformity.I'm not well-versed in data science, but rationalization often leads to hom*ogenization. I’m curious about how creativity driven by data science can be possible within this context. The term 'work-life balance' has become widespread, and while once it was considered virtuous to make extremely delicious bread at the cost of one's health, now it seems more fulfilling to make reasonably good bread with a fair amount of effort.Apart from a few wealthy individuals or enthusiasts, food and fashion are likely to become hom*ogenized, with data playing a significant role. Whether rationalization or the ultimate pursuit of something makes people happier depends on the individual. However, society needs to consider if it should accept the latter as a personal choice or reject it as a social demand.Social Structures of Inequality Presupposed by Luxury Goods
For example, silk fabrics used in traditional industries like kimonos are luxury items originally made for the powerful and wealthy. Referring to Thorstein Veblen, this is for conspicuous consumption to show off one's wealth. If everyone becomes equal and there are no disparities, then there would be no one to consume such luxury goods. Creating high-quality items with significant time and money implies a social structure that tolerates the creation of inequality through exploitation—unless another method is found.When you think about it, aren't we destined to see the disappearance of the radical or the ultimate? That's what I've been pondering.Strategies for New Differentiation Achieved Through Technology
While I mentioned uniformity, there are many people who can't be satisfied with being the same as others. Therefore, using technology as a method of differentiation, distinct from structures of disparity based on exploitation, could be viable. If uniformity is promoted by data, perhaps we can take advantage of that by intentionally straying from the center.By analyzing data, it's easier than before to grasp the big trends and then take a step away from them, without having to figure out how to create something different all on your own. For example, the graphics created through the collaboration between HATRA and Synflux seem to come from a completely different approach compared to traditional methods. It seems to me that such techniques might be one way for independent designers to express their originality.![<![CDATA[Fashion Tech News]]> (64) <![CDATA[Fashion Tech News]]> (64)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/d5d36c6f7f7b434f8b0b35c496af9705/REC08739.jpeg?w=2400)
The Creation of Fashion Through Words, Images, & Data
How This Special Feature Is Structured and What Voices Were Gathered
First, we wanted to hear from a novelist who is interested in fashion and expresses their activities through words, so we interviewed Mariko Asabuki. Basically, novelists depict the entire world solely through language. Fashion designers and stylists often perceive clothes visually—and sometimes tactilely—but we wanted to ask how novelists, who rely purely on language, perceive clothes and how they describe them.We asked Souta Yamaguchi, a fashion director, for an interview because he embodies two aspects—as a stylist and as a product planner, or, for simplicity, let's call him a designer. Stylists can be either intuitive or logical, but I believe they all mentally assemble outfits. They imagine how combining this item with that one will look or how hiding or revealing certain details will make a difference. In essence, it's a combination of existing elements. On the other hand, designers create images of yet-to-be-seen items. I hope to hear how stylists and designers view clothes and what differences exist between their work.We also invited members from ZOZO Research to discuss how fashion can be perceived as data. We hope to extend this conversation to virtual fashion. When analyzing clothing images, we need to decompose the clothes into elements. In apps like "WEAR," these elements appear as tags. I'm not sure how information researchers think about the components that make up clothes, so I want to listen to their perspectives.Tetsuya Miura is a film researcher and critic, but what I want to discuss with him is actually the culinary criticism aspect present in his recent book, "LAフード・ダイアリー." I'm not sure if culinary criticism is a formal discipline, but analyzing food and taste seems to have common ground with fashion. For consumers, fashion is often judged based on feelings, like cute/not cute or cool/uncool, and I think it's the same for food, with the standard being delicious/not delicious (though I acknowledge there’s more to it). On the other hand, chefs logically create their dishes; they don't do anything without reason or waste. That's where fashion and cuisine differ. In fashion, creators rarely logically explain their creations. I think there's a lot to learn from culinary practices when it comes to fashion.![<![CDATA[Fashion Tech News]]> (65) <![CDATA[Fashion Tech News]]> (65)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/7177717ec8074679b13d174fd53e0528/REC09021.jpeg?w=2400)
]]>Photo by reckhahn
Today's Fashion Culture, & the Environment Surrounding Clothing & the Body
Fashion as Entertainment
If we interpret fashion in the sense of trendy clothing, the current state of fashion can be considered entertainment. For instance, luxury brands are now utilizing the entertainment industry, such as K-POP, as a medium, bypassing traditional consumers. The reason luxury brands provide clothing to such artists is because they expect a significant return in terms of information dissemination. This shifts fashion from being a personal matter to becoming a form of media advertising.In the past, customers purchased clothes because they were good, but now it's all about "who is wearing it." At fashion shows, Instagram posts are more about who attended rather than what they wore. The reason for purchase has changed dramatically, placing fashion in the realm of entertainment. When we talk about fashion, the meticulous process of couture has become something mysterious, overshadowed by the smell of money and the power of big capital.![<![CDATA[Fashion Tech News]]> (66) <![CDATA[Fashion Tech News]]> (66)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/3ea108f577fa4feca53686e7fb97c52f/048A0632.jpg?w=2400)
The World of Images vs. Actual Clothing Making
Fashion today is completely different from what it was 20 years ago. However, on the other hand, there are designers and craftsmen who, despite facing many challenges, are sincerely devoted to the art of clothing making. Whether these individuals are being properly recognized today is questionable. The world of fashion is increasingly becoming an image-driven industry, often at the expense of the actual craft of clothing making.However, this shift might be inevitable. In the past, clothes showcased in Western fashion shows were often expressions of the designer's or the brand's statement, like saying "I'm amazing" or "Look at this unique concept." This wasn't necessarily a bad thing, as it created trends and fueled market enthusiasm. Today, fashion is not just about that; it's about enjoying fashion and making it more accessible. But simultaneously, everything feels like a bubble, making us wonder what will be left behind. Perhaps, it's okay if nothing remains.While traditional clothing-making techniques and pure craftsmanship are fading, "fashion" itself is ever-evolving, constantly adding intangible value to essential clothing. The meaning of fashion today will likely give rise to a different phenomenon tomorrow.Creating Clothes for "People"
While working with UNIQLO, I witnessed the birth of the term "LifeWear." I thought it was amazing to create a new genre within fashion. Up until then, I had been keen on showcasing my creativity, skills, and techniques to everyone. Even though we claimed to make clothes for everyone, only a handful of people had access to them; we were essentially creating for the selected few.
However, at UNIQLO, there was no "me," only "customers." Of course, I had my unique sense of aesthetics, but the creation was done with "you" rather than "me" in mind. I realized that this was the true essence of "design." All designs stem from thinking about how to keep others as comfortable as possible from the cold or heat, and from considering what we can do for them.
This represents very essential design, the archetype of design. The partnerships with companies like Toray Industries, providing high-performance fibers grounded in advanced technology, are also crucial. It differentiates the work from what is typically considered fast fashion.
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The Spread of Cutting-edge Technology & the Situation Surrounding Clothing & the Body
Fundamental Value Beyond Astonishment
Incorporating the latest technology into clothing is fundamentally very challenging. Innovations are progressing in materials, an area where Japan excels, but when it comes to integrating sustainability, discussions about how to balance these aspects have only recently begun.Previously, the rise of technology in clothing was a response to human needs such as protection and temperature regulation, and its usage naturally expanded in daily life. However, nowadays, there are many instances where, retrospectively, we try to adapt these technologically advanced materials into fashion because they are aesthetically pleasing. This is a difficult challenge. While such innovations provide an initial wow factor, I believe we now need fashion that fundamentally astonishes us. With so much already done and great designers having repeatedly amazed people throughout history, I question what exactly constitutes amazement today.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.
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Fashion, Wearing Clothes, & Our Bodies 10 Years Later
Imagining the Future Through Dialogue with the Environment
The future of fashion can be envisioned by being honest with our feelings and sensing with our five senses. For example, after the earthquake, sneakers became acceptable even in formal jobs, reflecting how clothing changes with each natural disaster. These changes occur not so much because fashion designers create them, but rather as a response to how people think of protecting themselves and leading convenient lives in the wake of disasters. It's the same with the current COVID-19 pandemic.These situations continue to evolve. The next ten years won't suddenly change dramatically; rather, it is the current phenomena that shape our future 10 years from now. It’s not humans who make the future, but the present situations that create it. That's a hint for future clothing. Thinking about how design can exert its power within human society and the natural environment now can lead to ideas for the future, benefiting people’s lives. Reality isn’t created on a stage.![<![CDATA[Fashion Tech News]]> (69) <![CDATA[Fashion Tech News]]> (69)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/5434e7d06ddf4c2a93620c1145c57a4c/048A0613.jpg?w=2400)
Today’s Image of Designers
The thought processes, perspectives, and approaches of designers differ from person to person. However, rationality and productivity may serve as key points. By mechanizing and datifying various elements for mass production stability, a hom*ogenized "individuality" becomes visible. It’s questionable how far humans can accept products designed this way, and organizing this well may be integral to the future approach.It's uncertain what lies beyond the internet society, but currently, merging individual power with organizational power is essential for looking toward the future. In the 70s, great Japanese designers paved the way to the world with their unique sense and aesthetics as Japanese. Their successors could walk this path to reach the door to the world. However, the value of clothing has changed, as has clothing production, and now clothing must be clothed in invisible layers of branding and marketing. Whether this path still exists is questionable. Designers may need to consciously maintain a delicate balance of self-effacement and benefiting others while designing.Ideas Over Objects as Individuality
We, who wear clothes, are gradually losing the sense of boasting through objects or feeling that objects bring happiness. The use of objects to intimidate others has decreased.Instead, the question "What sort of ideas do you hold?" is becoming a form of fashion. Expressing and discussing one's thoughts, or articulating the kind of future one wants to create, has become the ultimate form of individuality. Saying, "I wear these clothes because they allow me to be myself," might signify a shift to an era where the "expression" at an intangible, conscious level becomes synonymous with fashion. Perhaps it is already happening.]]>Photo by Kazunori Ohki
Prologue
Can you easily remember what era it was and what you were passionate about just 10 years ago?In 2021, the concepts of "time," "resources," "algorithms," and "values" have become commonplace topics of reconsideration. Yet, when we look back, the scenery of 10 years ago appeared entirely different.With the debut of the first iPhone in 2007 and the introduction of Instagram in 2010 (launched in Japan in 2014), everyone could deliver their perspectives and messages to the world with just one hand. This phenomenon significantly impacted fashion, causing popular sentiment to rapidly shift aesthetic and value perceptions like never before. These waves caused intense friction at the boundaries between high-end fashion and street influenced by social media, sometimes hacking one side, other times blending harmoniously, repeatedly and simultaneously.In this series, I want to plot out the aesthetic sensibilities accumulated in fashion over the past decade from various viewpoints, instead of simply throwing them into the internet sea with excuses like "It's a niche genre" or "It's just for young people." After all, "trends" and "near-future predictions" don't pinpoint a specific starting decade but instead stroke vividly over the traces of our lives from several decades ago to recent past.The first chapter of this series will focus on the early 2010s, discussing new phenomena that arose alongside fast fashion.Since the mid-90s, independent fashion magazines like Purple, Dazed and Confused, and Fruits have emerged, bringing forward numerous fashion photographers such as David Sims, Jurgen Teller, Nick Knight, Mark Borthwick, and Wolfgang Tillmans. Select shops like Paris's "Colette," London's "The Pineal Eye," Tokyo's "CANNABIS" and "DOG," and numerous fashion parties were breeding grounds for talents who would later flourish.
Although the chaotic fervor in fashion reached a conclusive point by the late 2000s, phenomena that revived in early 2010s Japan and now in 2021 China, spreading from Europe, will be discussed in subsequent installments.
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Today’s Fashion Culture & the Environment Surrounding Clothing & the Body
The Disappearance of Enjoying Waste
The first thing I can say about fashion is that I have lost interest in it. There are very few clothes I want anymore. I feel like everything has already been done. The mix of high fashion with streetwear and workwear has advanced so much that the upheaval of order has democratized fashion, but the styles conceivable from that have essentially ended in the 2000s. Now it's more about reinterpreting or rather just reviving old archives.In this way, I feel the thrill of playing across various contexts of fashion has vanished. Currently, there is an overflow of criticism against the entire industrial structure of fashion, such as "wasteful consumption is bad," "value materials," and "take care of the Earth." However, finding new fashion in such moralistic and ethical directions is monotonous and suffocating. The leisure of enjoying "waste" in fashion has disappeared. Meanwhile, within neoliberalism, a new wealthy class boasts about just expensive collab items, leading to polarization.It's now difficult for the middle class to cultivate culture while stretching themselves, which is because Japan has become poorer. This situation wasn't as pronounced in the 2000s.The Illusion of Being Able to Become Anything
(Regarding virtual fashion and the idea of a virtual body not confined to the real self) My minority politics involves recognizing things that are beyond human control and considering play within that tension. The idea that you can become anything sounds appealing but is an illusion. There is a poignant, intriguing aspect to how one deals with various limits and impossibilities they possess in their life.Today, the illusion that one's limits can seemingly be overcome and that one's life can be reset at will is highly problematic. There is an attempt to eliminate the notion that certain things in life are beyond control. This illusion lowers the tolerance for dissatisfaction in human relationships.
In other words, there is a societal trend of being unable to endure the negativity in one's life. There's an enormous amount of capital invested in the illusion that everything can be controlled and turned favorable. This essentially denies human nature.
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The Spread of Cutting-Edge Technology & the Situation Surrounding Clothes & the Body
The "Easy to Understand" Nature for Social Media
One issue with social media is that only things that stand out are liked. This is often pointed out. For example, the recent logo boom might look like a revival of 1980s character brand designs, but it also has to do with the fact that these designs are eye-catching for social media.In short, it focuses on being able to immediately recognize status at a glance. Everything has become about standing out, and it's no longer about reading context or paying attention to subtle nuances. For instance, silhouettes should be a more intricate matter, but something like the extreme oversized silhouettes from the VETEMENTS era are ultimately easy to understand on social media.Fashion Distribution & Technology
On a personal note, I think it's good that technology can optimize distribution simply. But that's about it. Additionally, while technology-driven designs that can create more delicate patterns or new textile designs are conceivable, I don't find them very interesting. The shape of human clothing won't change dramatically; it will remain within a limited range of differences.Regarding distribution, I hope things like automatic sizing and virtual fitting work well. Sizing is the biggest issue with online shopping. Even if it can't be achieved 100%, efforts to reduce returns would be appreciated.The Ancient Nature of Clothing
What I value in the technical aspects of clothing are basic functions, like being thin and warm. Integrating clothing into an information network is a no-go for me. In an era where everything is highly digitized and we constantly have to worry about various things, having to worry about additional details just by wearing clothes would be hell. I want the act of just wearing clothes and being present to be time separated from unnecessary concerns. In that sense, clothing should still retain its timeless, almost ancient qualities.Fashion 10 Years Later, Wearing Clothes, & the Nature of the Body
How Evil Fashion is Possible
First, 10 years from now, the Earth will likely be even hotter. Therefore, people will probably wear lighter clothes, and winters will be warmer. Issues related to energy, materials, and waste will become more significant. Dealing with these issues is inevitable, so we will have to address them quietly. Since the interesting aspects of fashion design are pretty much over, we will likely see revivals and continuous small remixes of various elements. Gyaru might even make a comeback. But in the end, it will be a time when nothing feels particularly special. It feels like history has come to an end. However, battling a time when nothing feels new might be what fashion is about.The Issue of Desire
As the speed of consumption increases, there are more poor-quality products than in the past. E-commerce platforms can't sufficiently screen the quality of individual stores, so many stores just want to sell whatever they can. Nowadays, many businesses are about catching people who click on links online. I think the unscrupulousness of humans has increasingly come to the forefront from the late 2000s through the 2010s.I feel sad when I see such products. They waste fibers and require unnecessary distribution efforts for trivial purposes. Instead of saying "Don't wear fur," reducing the business of selling poor-quality products would be far more beneficial for the environment. In the end, it's capitalism that's at fault. Fur became an issue because it stopped being a rare commodity and became democratized, making everyone want it.
While there may be technical improvements to adapt to the current situation, it is more important to rethink the overall waste, excess, and negative aspects of fashion.
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]]>Photo by ANDY
Showcasing ZOZO NEXT's Efforts
What led to the decision to challenge SXSW?
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.
SXSW has been exhibiting notable overseas venture companies like Twitter in 2007, Airbnb in 2011, and Pinterest, making it quite intriguing. Our team, MATRIX, has diverse projects involving media, textiles, and XR, which I felt matched well with the vibe of SXSW, leading us to decide on this exhibition.What were your impressions of participating in the exhibition?
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.
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How's the preparation going?
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
Can you tell us about the concept and overview of the booth?
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.
![<![CDATA[Fashion Tech News]]> (75) <![CDATA[Fashion Tech News]]> (75)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/5686dff981e64e47a9a1392e3d036039/%E3%82%B7%E3%83%BC%E3%82%B1%E3%83%B3%E3%82%B9%2002.00_08_02_23.%E9%9D%99%E6%AD%A2%E7%94%BB006.jpg?w=2400)
What kind of displays are in the XR and textile booths?
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.
Are there any points or unique aspects of the booth you'd like visitors to notice?
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.
Also, the booth is designed to be a corridor you can walk through. It starts with a concept movie, followed by an XR experience, then a dark booth for smart textiles, and finally, the ZOZOSUITS, ZOZOMAT, and ZOZOGLASS for measurement, creating a full circle.We are very particular about the structure, ensuring that visitors first understand our envisioned future, experience it in various ways, and finally get a sense of the concept we are presenting.
Concept Movie Depicting the Future Lifestyle
Many of you probably can’t visit in person due to COVID-19, but the concept movie will be released as content that people in Japan can also enjoy. Can you tell us about the overview?
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.
In terms of content, it zeroes in on four key technologies: sustainability, XR, measurement, and textiles. Through the day-to-day lives of three protagonists, the video showcases how technologies currently deemed "cutting-edge" are seamlessly integrated into future lifestyles. Despite the limited production time, we managed to bring it to life.![<![CDATA[Fashion Tech News]]> (76) <![CDATA[Fashion Tech News]]> (76)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/c147b9ff50674cfba6c16d8ea27e87df/%E3%82%B7%E3%83%BC%E3%82%B1%E3%83%B3%E3%82%B9%2002.00_14_25_17.%E9%9D%99%E6%AD%A2%E7%94%BB009.jpg?w=2400)
What were everyone else's impressions after watching the video?
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.
Rather than indicating the company's eventual path, the video serves as an engaging way to showcase our thoughts as one possible answer.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.
![<![CDATA[Fashion Tech News]]> (77) <![CDATA[Fashion Tech News]]> (77)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/180627b84c4546dfa1f30e55d4a19a89/%E3%82%B7%E3%83%BC%E3%82%B1%E3%83%B3%E3%82%B9%2002.00_12_23_03.%E9%9D%99%E6%AD%A2%E7%94%BB008.jpg?w=2400)
A Catalyst for Taking the Next Step
Given your challenge at SXSW, how do you intend to move forward with your projects? What's your outlook post-exhibition?
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.
Regarding textiles, it's hard to predict if they’ll receive positive responses. Alongside developing technology to address concrete issues and objectives, we must also ask, "How would you use this technology?" Without this dual approach, it’s challenging to gain allies in this field. We hope that presenting our ideas at SXSW will help connect us with new partners who might say, "We’d like to tackle this together using our perspective or materials."Also, it’s unusual for an e-commerce company to engage in so many new ventures. The fashion tech team itself is probably rare even on a global scale. We hope this challenge conveys our corporate culture and the diversity of data we collect.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.
Also, as we continue developing, we’re always on the lookout for new partners. I hope that by the time we release this to the public, we can connect with even more partners.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.
From the reactions, we can either adjust our direction or move forward, taking the next step.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.
We have presented the future of fashion tech we envision in a concept movie, and I think this exhibition will be a valuable opportunity to add various spices to it. It’s an opportunity to reassess our roadmap and see if our thinking was correct.Our organization, ZOZO NEXT, is quite unique compared to other companies. We aim to further strengthen our various directions through dialogue with many people, gather new partners, and continue developing to deliver innovative products to our customers.![<![CDATA[Fashion Tech News]]> (78) <![CDATA[Fashion Tech News]]> (78)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/58b93e70461e4303a9c94d8de4c1fd19/%E3%82%B7%E3%83%BC%E3%82%B1%E3%83%B3%E3%82%B9%2002.00_23_11_02.%E9%9D%99%E6%AD%A2%E7%94%BB012.jpg?w=2400)
]]>*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"
What kind of works were exhibited at the XR booth at SXSW?
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.
Therefore, the vision of our team is, "How will we shop in the future?" Essentially, it would mean that while sitting at home, you can take a photo of yourself, click to wear the clothes you like, pose however you wish, and see how you look in different environments. The purpose of this exhibition is to demonstrate that we are building the technology to make this a reality. As Jack mentioned, it needs to be fun; if it's not fun, people won't use it. Additionally, it needs to be very user-friendly, easy to use, and something people will think, "I wish there was an app like this," or "What if the shopping experience was like this?" or "What if a website could show me how I would look in clothes without actually trying them on?"![<![CDATA[Fashion Tech News]]> (79) <![CDATA[Fashion Tech News]]> (79)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/fda98b6cad38410c8c191fabdc6f89e7/WhatsApp%20Image%202022-03-13%20at%204.01.48%20PM%20(1).jpeg?w=2400)
What kind of technology is being used in this piece?
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.
What is very new and unique to this project is the technology to dress any body shape in clothing. Traditionally, this process required work by game studios or production teams—basically, 3D artists were needed to create 3D clothes and dress the avatar. However, through our project, we predict how clothes will look on different body shapes using highly advanced algorithms and geometry processing techniques.There are many virtual fitting tools available today, but I believe what makes our technology unique is its overall structure. By combining many state-of-the-art technologies for real-time rendering, we achieve a more realistic expression. For instance, we have developed special shaders, materials, and rendering techniques on Unreal Engine to create more realistic expressions.The origin of developing this technology dates back to the challenge of creating ZOZO NEXT's virtual model Drip. From the beginning, we wanted to use real-time technology often employed in video games, instead of doing what others were doing. We chose real-time technology because we wanted to show scalability and explored how we could scale up and achieve more photorealistic quality from a long-term perspective. Therefore, this demo is a very important experiment for these considerations.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.
This exhibition seems like a milestone for the XR project.
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.
When I first met the ZOZO NEXT team 2-3 years ago, I asked them, "What challenges are you trying to solve?" and they replied, "We don't have physical retail stores. How can we make the online shopping experience more convenient and enjoyable than it is now?" This wasn't something that could be achieved by just saying, "Let's create an app." The technology itself didn't exist at the time, so it needed to be developed over time. Additionally, even if the technology existed, we didn't yet know how people would use it. So, what we are doing now is essentially finding the most effective way to think about how to create such products.What kind of structure and production system were in place for this development?
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
Please tell us if there are any reactions you expect or want to highlight 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.
Additionally, cultural backgrounds and age groups are significant factors. It might be the technology Millennials really want, or it might fit different generations and cultures. Hence, we want to display various features clearly. We're sure the feedback we receive will be interesting and new, and we expect to get positive responses as well.![<![CDATA[Fashion Tech News]]> (80) <![CDATA[Fashion Tech News]]> (80)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/868e27a2982c406698b1c67f4caffa79/%E5%9B%B31%20(1).png?w=2400)
Please tell us about your future plans for the project, as much as you can.
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?
The only way to optimize is to simulate how you look. For simulations, 3D clothes are necessary. As mentioned earlier, traditionally, these needed to be created by 3D artists or game development studios. We are exploring killer applications to solve this while simultaneously building all the AI necessary to digitize clothes and the people wearing them, regardless of the app. People might not care about avatars, but they absolutely need clothes. If you browse a website with the latest clothes, you would want to see how the product looks from every angle and on different models, not just in photos. Generating such content requires data. Ultimately, we aim to standardize this data and build a platform to support all these functionalities. While our roadmap focuses on specific applications, our approach is prudent as this technical backbone is essential.Jack
Whatever form the metaverse takes, technology is the key.
![<![CDATA[Fashion Tech News]]> (81) <![CDATA[Fashion Tech News]]> (81)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/aba35dadc4314c248fae84ea848a92c1/Screenshot%202022-03-16%20215339%20(1)%20(1).png?w=2400)
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
Polo Ralph Lauren is a world-renowned brand, but let’s recap some basic information.In 1967, New York native Ralph Lauren founded Polo Fashion. It started with selling ties, but by 1968, the Polo Ralph Lauren men’s brand was launched. The iconic Polo Player Logo polo shirt was released in 1972, propelling the brand into becoming a leading global apparel brand.From casual to formal wear, they cover all fashion genres, including bedding, sleepwear, and underwear.![<![CDATA[Fashion Tech News]]> (82) <![CDATA[Fashion Tech News]]> (82)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/99bf676142314de1b8319509f5a84f51/%E7%94%BB%E5%83%8F2.jpg?w=2400)
Timeless Classics: Polo Ralph Lauren Underwear
Polo Ralph Lauren sleepwear offers a wide variety of options. Let’s dive into some classic items available this season.“First, when talking about staple underwear items, we have the Crew Neck Undershirt, V-neck Undershirt, Tank Top, and Boxer Brief. These products are available year-round.”![<![CDATA[Fashion Tech News]]> (83) <![CDATA[Fashion Tech News]]> (83)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/f28a2fa193c9471e905c9b969dbbff4c/%E7%94%BB%E5%83%8F3.jpg?w=2400)
Seasonal Terry Cloth & Knit Piqué Items
With shifts in lifestyle, the needs for sleepwear have evolved. Let's explore the seasonal terry cloth collection and knit piqué collection, perfect for relaxation, with a touch of Polo Ralph Lauren sophistication.“For our spring/summer collection, we offer items made from terry cloth, a soft blend of recycled polyester and cotton that’s environmentally friendly. The fabric features excellent absorbency, quick drying, and lightweight comfort, ideal for Japanese living spaces. Both the tops and shorts feature the Polo Player logo embroidery on the lower left side.”![<![CDATA[Fashion Tech News]]> (84) <![CDATA[Fashion Tech News]]> (84)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/9f29b9a713ec40e59c25f4152bcc69d0/%E7%94%BB%E5%83%8F4.jpg?w=2400)
![<![CDATA[Fashion Tech News]]> (85) <![CDATA[Fashion Tech News]]> (85)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/ceadcdbf984a4d7595e96cc89840b8fc/%E7%94%BB%E5%83%8F5.jpg?w=2400)
![<![CDATA[Fashion Tech News]]> (86) <![CDATA[Fashion Tech News]]> (86)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/56a0f5e0ad514d5a94bde34c0ba3b306/%E7%94%BB%E5%83%8F6.jpg?w=2400)
![<![CDATA[Fashion Tech News]]> (87) <![CDATA[Fashion Tech News]]> (87)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/89b5e1f464014ba89a16c8b361c94453/%E7%94%BB%E5%83%8F7.jpg?w=2400)
![<![CDATA[Fashion Tech News]]> (88) <![CDATA[Fashion Tech News]]> (88)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/796782562a1d424e8c07d9bb1967b8dc/%E7%94%BB%E5%83%8F8.jpg?w=2400)
Polo Ralph Lauren’s Beloved Icon: The POLO Bear
Another popular icon of Polo Ralph Lauren is the POLO Bear. This season, special sleepwear items featuring newly designed POLO Bear motifs are available.“For this season, we have two POLO Bear motifs: ‘Beach Bear’ wearing sunglasses and an aloha shirt, and ‘Morning Robe Bear’ dressed in a robe and holding a coffee cup. These items are exclusive to the sleepwear category. Both motifs are printed on shirts and pants, available as matching sets. The fabric is 100% organic cotton jersey, known for its softness and comfort.”![<![CDATA[Fashion Tech News]]> (89) <![CDATA[Fashion Tech News]]> (89)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/6a31754393d447d2822145f5e61fe1e0/%E7%94%BB%E5%83%8F9.jpg?w=2400)
![<![CDATA[Fashion Tech News]]> (90) <![CDATA[Fashion Tech News]]> (90)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/ee1a8401f31d44ca900b9be84c85e6fe/%E7%94%BB%E5%83%8F10.jpg?w=2400)
![<![CDATA[Fashion Tech News]]> (91) <![CDATA[Fashion Tech News]]> (91)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/e45e23af438b4741a71e7c2ca247b6bf/%E7%94%BB%E5%83%8F11.jpg?w=2400)
![<![CDATA[Fashion Tech News]]> (92) <![CDATA[Fashion Tech News]]> (92)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/7d93ba89d3654ab4a355f07b11d19d01/%E7%94%BB%E5%83%8F12.jpg?w=2400)
![<![CDATA[Fashion Tech News]]> (93) <![CDATA[Fashion Tech News]]> (93)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/d1690cda8e5d48978b907575beca296b/%E7%94%BB%E5%83%8F13.jpg?w=2400)
![<![CDATA[Fashion Tech News]]> (94) <![CDATA[Fashion Tech News]]> (94)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/eb61292183654234a1d76fbfea697581/%E7%94%BB%E5%83%8F14.jpg?w=2400)
Two Types of Underwear from Polo Ralph Lauren
Currently, boxer briefs seem to be a popular choice for men's underwear, but among Polo Ralph Lauren fans, the classic 100% cotton trunks continue to have strong demand. Let's dive into the cotton trunks and boxer briefs among the many variations available.The classic woven trunks come in an authentic check pattern called "POLO Tartan," but as a seasonal item, the "Pin Dot" pattern is also a piece that embodies the essence of Polo Ralph Lauren.The fabric is made from organic cotton, and the subtle attention to detail, such as logo-engraved buttons and a label sewn on the front center, makes these trunks a striking item.We also introduce microfiber boxer briefs made from recycled polyester. These briefs feature a longer length for a comfortable fit that doesn't ride up, made from material offering excellent moisture-wicking and quick-drying properties, along with stretchability.The brand icon Polo player print on the left hem and the sporty design with a line on the waistband are standout points of this item.![<![CDATA[Fashion Tech News]]> (95) <![CDATA[Fashion Tech News]]> (95)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/386803d70b974183a2a027195046d54b/%E7%94%BB%E5%83%8F15.jpg?w=2400)
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The Pioneers are K-POP Idols
Since the beginning of the Reiwa era, trends have been making a comeback, with Y2K fashion becoming prominent. Recently, trends have been flowing from Korea to Japan, and "Balletcore" is one of them.Balletcore refers to "ballerina-like fashion." It is a portmanteau of "BALLET" and "CORE," and it spread globally around the latter half of 2023.The boom accelerated when Jennie from K-POP girl group BLACKPINK showcased Balletcore looks on social media at the end of 2022, spreading its charm. Now, it has become a global trend.Balletcore fashion draws inspiration from ballet, featuring satin, ribbons, tulle items, and leg warmers. It combines a fragile atmosphere with sporty elements.![<![CDATA[Fashion Tech News]]> (97) <![CDATA[Fashion Tech News]]> (97)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/a4f5462e38fa4617af73d153dcbc7532/B612_20240721_002531_955.jpg?w=2400)
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How is it Different from the Heisei Girly Boom?
The Balletcore boom of the Reiwa era is soaring, but of course, there was also a girly boom based on "girlishness" during the Heisei era.When thinking of movements with a constructed worldview like Balletcore, one might remember the launch of "LARME" in 2012.The concept of "LARME" was "a fashion picture book of sweet and cute girls.""LARME," brimming with girlishness, featured former AKB48's Mayu Watanabe and former Nogizaka46's Mai Shiraishi on its cover when it was first released, becoming a hot topic instantly.At the same time, the grown-up cute boom and fairy style boom were also trends.The grown-up cute boom, started by model Rinka, was a style that affirmed "cute things" regardless of age.The style overflowing with girlishness, with lace, frills, and miniskirts, was romantic and positive, embodying the idea of "wearing what you like no matter how old you are," and was widely supported by many women.Additionally, in Harajuku, the fairy style based on pastel colors also became popular, differing from the colorful, primary color-based Decorah style; it was a fashion brimming with fanciness and fairy-like charm.Looking back at around 2010, it is clear that, despite different vectors, girly booms based on "girlishness" or "sweetness" periodically come around.
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Even those hesitant to incorporate it into their fashion might find it easier to include through accessories, which is part of the reason.The girly boom that once prevailed in Japan ruled not just apparel but also accessories for a time. However, compared to the Heisei period, the reach of Balletcore now extends globally, marking a significant difference.It's not just the popularity of K-POP idols; the development of social media has also boosted this trend, reflecting the unique trend spread of the Reiwa era.
The Continued Popularity of Balletcore
Recently announced, in the “JC・JK First Half 2024 Trend Ranking" Mono (Thing) category[1], Balletcore ranked number one.Why has it captivated so many people?With the release of the movie "Rise (En corps)" in 2023 and the collaboration between the ballet goods brand “Chacott” and apparel brands gaining popularity, ballet itself has undoubtedly garnered attention in recent years, but the trend feels even more heated.Certainly, the continued popularity of K-POP idols plays a part, but looking back 3-4 years, casual fashion booms like Y2K and street fashion followed in succession, completely devoid of a girly boom aimed at the masses.The sweet and ephemeral world that the girly boom creates can soften the heart and bring solace just by donning such items.After overcoming the damage of the COVID-19 pandemic, the 2020s have finally started moving lightly. Considering how Balletcore continues to knock on our maiden hearts this year as well, it might be that we were yearning, just a bit, for that “sweet world.”]]>[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
Let’s start by learning the history of GUNG HO. When we asked Sasai about its roots, he conveyed a deep sense of the brand's consistent lineup."Founded in 1972 in Texas, USA, under the name ‘Earl's Manufacturing Company Inc,’ the company started its business as a factory sewing uniforms such as military pants for the U.S. military."In the 1980s, the work & military wear brand ‘GUNG HO’ was launched. Currently, the company has changed its name to ‘Earl's Apparel,’ and the second-generation representative is Larry Beard. However, the GUNG HO brand, rooted in military uniforms, remains unchanged."![<![CDATA[Fashion Tech News]]> (101) <![CDATA[Fashion Tech News]]> (101)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/9355ef12909642d187f1c9ac3f5e2654/%E7%94%BB%E5%83%8F2.jpg?w=2400)
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The Unwavering Standard “FATIGUE 4 POCKET PANTS” of the Rare Brand GUNG HO, Persisting with Made in USA
GUNG HO has maintained its commitment to Made in USA since its founding, with items produced in its headquarters factory. While various American brands are shifting production overseas, GUNG HO insists on Made in USA materials.Such brands are expected to become even more precious in the future. Let's hear more about the unwavering standard, the FATIGUE 4 POCKET PANTS, from Kitahara."First and foremost, the Made in USA FATIGUE 4 POCKET PANTS come in two silhouettes dubbed as standards. The most classic straight ‘ORIGINAL’ and the ‘TAPER-FIT’ type, which has a stronger taper towards the hem."These two silhouettes, including their specifications, have remained unchanged. The trademark front two pockets and flap-closed hip pockets, among other basic designs as military work pants, have been passed down to this day."The back satin fabric used for these pants is still Made in USA, ensuring an unchanging quality and sense of security."GUNG HO has various types of brand names, but the purple brand name attached to these pants is the one most people are familiar with."These FATIGUE 4 POCKET PANTS are often called ‘Baker Pants,’ which according to different theories, stems from them being widespread among civilians and reportedly worn by bakers, thus earning the name."In fact, the term ‘Baker Pants’ is commonly used in America too, so feel free to call them by either name. The Made in USA line cherishes American production roots and continues to faithfully produce these items."![<![CDATA[Fashion Tech News]]> (104) <![CDATA[Fashion Tech News]]> (104)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/72f502bf28c44ff883c730be73aaf12c/%E7%94%BB%E5%83%8F5.jpg?w=2400)
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GUNG HO's "6 Concepts"
GUNG HO became a major trend in America in the early 1990s, shortly after the brand's inception. This trend was quickly adopted into the military style boom in Japan as well, making the brand widely known primarily in America and Japan. GUNG HO is said to have "6 Concepts." We asked Sasai to talk about them again."The FATIGUE 4 POCKET PANTS you saw earlier, of course, fit all the concepts. Here they are:"COMFORT:With a perfect silhouette that's neither too wide nor too narrow, these pants are easy to wear and move in."STYLE:
While retaining a classical impression, the items are highly designed."DURABILITY:
Using materials developed with fiber technology by the American military to enhance the durability of uniforms and parachute fabrics. The fabric is woven with thick or multiple twisted threads in a grid pattern to prevent tearing and ripping."QUALITY:
Featuring a smooth fit when worn, a fabric with unevenness throughout, and a richly textured finish achieved through wash processing."LONG WEARING:
Using a unique military material called 'back satin,' with the shiny side of the satin fabric used inside out. The more you wear and wash them, the more the satin's unique sheen is subdued, allowing you to enjoy the aging process."EASY CARE:
Can be used with regular washing and drying machines."This 6-concept label was attached to products from the brand's early days and continues to be upheld and preserved today."
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Upgraded to Modern Utility: GUNG HO's "JAPAN EXCLUSIVE" Line
GUNG HO has a line available only in Japan called "JAPAN EXCLUSIVE." We asked Kitahara to explain the concepts and items in this line."The GUNG HO JAPAN EXCLUSIVE line carries the history and concepts of GUNG HO at its core, recreated under the supervision of Earl's Apparel using approved materials and sewing specifications. This line offers modernly upgraded, utility-centric GUNG HO items."To give an example, we've updated the 6-pocket pants from the 1980s-1990s American line. The silhouette now has more volume around the waist and tapers towards the hem, creating a wide-tapered silhouette more suited to modern tastes."Around 15 types of these carefully planned items, including standard pieces, are released every season."![<![CDATA[Fashion Tech News]]> (109) <![CDATA[Fashion Tech News]]> (109)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/61afda34864a452c983d5bc4452718da/%E7%94%BB%E5%83%8F10.jpg?w=2400)
The Fashion Icon is "Sukeban"
I saw on social media that your interest in "Showa era" started when you listened to a record at your grandmother's house in the second year of middle school. Could you tell us more about your "encounter with Showa"?
My fascination with Showa began with the record player at my grandmother's house. She taught me, "When you drop the needle, sound comes out," and I was so captivated by hearing The Checkers' "Song for U.S.A." (1986) for the first time, not understanding the meaning at all (laughs). After that, I started buying analog records with my allowance.Gradually, my interests expanded beyond music to include comics, movies, and fashion during my middle school years. This was a few years before I began my current activities.
When did you start wearing clothes with a Showa aesthetic?
It was after I entered high school. At that time, I loved "Be-Bop High School" (1983-2003) and really wanted to go to school in a long skirt like the heroine, Junko. However, the length of the skirt in my school uniform wasn't sufficient, so I ended up sewing together summer and winter skirts to create my own.My grandmother was puzzled and asked, "Why do you need to make the skirt so long?" but she helped me. I remember coming up with excuses like, "The teacher said it was still too short" (laughs).
During student years, many people might hold back from expressing their unique appearance or behavior. Did you feel any anxiety about sticking to your preferences during your student days?
Of course, I did. At that time, the trendy style at school was to wear miniskirts with short patterned socks. I was definitely scared of being bullied if I showed up in a Sukeban-like outfit.However, what was stronger was the feeling of "It's okay if I'm disliked; I want to do what I love." Seeing the protagonists in yankee manga freely doing what they wanted made me feel embarrassed. I thought, "How lame it is to only care about what others think."Yet, when I actually went to school, my classmates surprisingly found it amusing. Instead of being seen as a delinquent, I was perceived more as a "Showa otaku." So, I believe those reading this article should go ahead and pursue what they love without hesitation.However, that long skirt received a warning on the second day and was banned. I tried to resist saying, "The school rules don’t say 'don't make your skirt longer,'" but... it didn’t work (laughs).
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Where Can You Buy Bubble Suits?
Afterward, I started to enjoy Showa-style fashion outside of school.
Yes. During high school, I spent my part-time job earnings on Showa items. What I particularly love is the fashion from the 80s Bubble Era of Showa. Especially the bubble suits with large shoulder pads, paired with mini skirts and high heels.Instead of monochrome, I like outfits with sharp colors, which look incredibly beautiful when captured with a film camera. I admired figures like Momoe Yamaguchi, Akina Nakamori, and Chisato Moritaka...
The Showa era lasted 64 years, a very long period. Is it fair to say that you particularly love the Bubble Era?
That's right. However, even though I’ve looked through old magazines to see what clothes were worn back then and asked my family about it, there aren't any stores selling bubble suits now (laughs). I used to wear clothes that my family had, but I wanted to buy my own.Finally, I found them not at specialized vintage shops but at a recycling store. The first bubble suit I bought was hidden among the items in a wagon labeled “One Coin Corner” at Treasure Factory. I was so moved when I found it. I thought, “It was here all along.”Since then, the recycling store's wagons became like treasure chests for me. After school, I would separate from my friends and go straight to the recycling shop to search for clothes. I think every outfit was under 1,000 yen.
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The item that was the hardest to find was...
Shoes! It was challenging to find my size. I wanted red high heels, but it took me several years to get them.Recently, I've been using flea market apps like Mercari a lot. Just browsing the clothes on offer can make three hours fly by. There are also tips for searching on flea market apps, and the search words are essential. It's almost impossible to search by brand name (laughs). Maybe “Yves Saint Laurent” is one exception.Primarily, I search using terms like “Showa suit,” “bubble suit,” or “bodycon suit.” The term “at the time” also brings up good finds. I've developed my own way of searching like this.
Since you started embracing Showa-style fashion, how have those around you reacted?
My aunts have been very supportive (laughs). I often get comments like, “Oh, what a beautiful color!” which might remind them of the clothes they used to wear back then.As for my family... they’re not so enthusiastic. Since I buy so many Showa outfits, my room has become a “costume room,” and they say “I feel a strong presence from that room, like a grudge from the person who wore those clothes.”Once, I tried sleeping in that room and experienced sleep paralysis for the first time in my life. It felt like I saw a stranger's legs hanging from the ceiling. Since then, I haven't slept in the costume room...
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“Showa” & “Neo Showa”
Could you explain more about the “Neo Showa” that you promote?
“Neo Showa” is a coordination that mixes Showa fashion with contemporary items. Instead of fully committing to period-specific items like in cosplay, I like to mix in modern elements like wearing Air Force 1 sneakers or pairing it with trendy balloon skirts.I want to preserve Showa culture, like my beloved pure coffee shops and public baths. I believe the best way to do this is for others of my generation to enjoy Showa as well. That's why I named it “Neo Showa,” aiming to create a more approachable image of Showa. Since I started “Neo Showa,” I’ve noticed that the age range of my followers has decreased.As I share the charm of Showa taste on social media, I occasionally get feedback like “This part is different from the era” or “You need to study more about Showa.” While they are correct, I honestly wonder how critical it is to understand the context or background.
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Fashion has evolved as a culture in a sense of "wearing it wrong."
I believe that gaining knowledge is an important element of "falling in love" with something. However, if that prevents you from enjoying it in the way you want, it’s better to prioritize your feelings.I love the Showa era, but that doesn’t mean I dislike the Reiwa era. Therefore, I also have places where I enjoy Showa in my own interpretation during the Reiwa period, which I call "Neo Showa."
You've been expanding your activities, including appearances on TV and in magazines, as well as releasing your first photo book. What kind of activities would you like to pursue in the future?
The photo book "今って昭和99年ですよね?" was a dream job that allowed us to shoot on location at Hotel New Akao (a famous Showa hotel) in Atami. I’ll be placing the photo book in a coffin.I still can't believe that something like this could come from the records my grandmother played for me. I'm already more than satisfied... but I dream big! I want to appear on TV through singing. I am also active in the Neo Showa Kayo project called "The Black Candieeez"!
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Please send a message to readers who want to enjoy their favorite fashion.
The value I love about Showa is "do what you want to do now without worrying about others." I was scared when I went to school in a Sukeban outfit that morning, but I’m glad I did it.Also... there are surely people with the same interests as you! The other day, when I visited a nearby thrift shop after a long time, there was a section for "Showa Bubble Suits" (laughs).
]]>Text by GANTAN
Today's Fashion Culture & the Environment Surrounding Clothes & the Body
Delivering from "Intimacy"
As someone who delivers fashion, my priority is to communicate from a space of "intimacy." It's crucial that people are there, and for me, that's the creators. I only want to write or speak from what I think is good about this person. For instance, I thought it was great when Susan Cianciolo picked up discarded T-shirts in the 90s, re-sewed and changed their shape, creating deconstructed T-shirts. It's because there was a person named Susan behind it. I wanted to know more about it because that person was there. I want to write about things where you can see the creator was born from an intimate place, rather than something anonymous.
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.
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Designing Thoughts
I'm also thinking that fashion designers might not need to design clothes anymore. Materiality is important for fashion, but I think the idea of regarding fashion as part of the information environment, like PUGMENT does, is quite new. If you perceive fashion as part of the information environment, I feel like designers don't necessarily have to make clothes as items.Fashion, through non-verbal communication, seems to give a positive direction to people living in the same era. Until now, if you didn't make and sell clothes as items and establish them as a business, you were not considered a fashion designer. It was hard to discuss fashion separate from the business aspect of making and selling items. But through dialogues with PUGMENT, I've learned how enlivening it is to talk about clothes as a concept.Media Exists Because of its Users
I think media and social media like Instagram only exist because of the people who use them. Social media has the novelty of always being able to share the daily thoughts of creators for free. Originally, I think the fashion industry didn't do that. Designers reigned like gods, carefully controlling the media and what was communicated. But Hikaru Yamash*ta of "Tochu de yameru," who I think has always been conscious of how actively he can use tools like smartphones and the internet, and to expand their potential, he has been doing various activities like daily emailing. In the age of social media, I would say Hikaru Yamash*ta is designing a new way of communication with customers.![<![CDATA[Fashion Tech News]]> (116) <![CDATA[Fashion Tech News]]> (116)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/0d6df1c704854745ab574374bee292c9/237A5326.jpg?w=2400)
The Diffusion of Cutting-edge Technology & the Circ*mstances Surrounding Clothing & the Body
Technology for Wellbeing
A vast amount of clothing is being discarded today, and those who enjoy consuming fashion are, in many ways, a limited group. When I went to Paris Collection at the end of the 90s, there was a designer who designed clothes and buttons for people with disabilities who had a hard time buttoning up. This designer had a wonderful intention to make day-to-day actions a bit more enjoyable and let people feel the richness of fashion. For instance, if you input various physical conditions online, you can buy clothes suited to your body, which broadens choices for people who have difficulty physically get to a store, bringing them closer to fashion. I think it would be good if there were more clothing options that bring joy to the daily lives of the elderly who are noticing changes in their physical functions. I hope technology will support clothing culture by reaching people who have not yet been reached by fashion.What's important is to consider people who cannot go shopping, and to genuinely think about their actions and feelings.Coexistence with Fashion
While cutting-edge technology might be one of today's themes, fashion has always co-existed with the primitive technology that creates wool from sheep's fleece. As modern artist Nobuhiro Shimura, who I interviewed for "つくる理由," points out in his piece "Nostalgia, Amnesia," I think there's an issue with wool being rapidly replaced by acrylic. Humans have borrowed the power of other creatures such as sheep and silkworms to produce materials like wool and silk. I think that was the cloth culture. Those materials are known to have various positive effects on the human body compared to synthetic fibers. For example, silk contributes to beautiful skin, and wearing a wool sweater when sleeping improves sleep quality. However, as the wave of efficiency rolled in, intensifying price competition, we increasingly moved away from primitive technology.Globalization has drastically changed our lives, making inexpensive and convenient clothing easily available, but it’s necessary for us to constantly question whether this was the right move. I hope the debates on the quality of life, using fashion as an entrance point, will become more active.![<![CDATA[Fashion Tech News]]> (117) <![CDATA[Fashion Tech News]]> (117)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/c3e3a0ad4427432b994af14b2a20e566/237A5389.jpg?w=2400)
Fashion in 10 Years & Our Relationship with Our Bodies
Designers "Designing" Philosophies
In the 90s, for instance, Susan Cianciolo tried various things, one of which, I believe, was to revive handicrafts. BLESS also designed interior products in the same way as clothing. Seeing clothing as part of the living environment, I feel the sensibility of BLESS in the 90s may have been a precursor to the emergence of brands like PUGMENT.People like the ones I mentioned are not just designing clothes. I think they are designing the philosophies around our lives and even the direction of the industry. I feel they can see what's ahead and the important future for humans precisely because they are passionately creating things that are very close to our daily lives. Therefore, I think they can design philosophies, even without using words.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.
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]]>Photo by Mayumi Hosokura
The Origin of the "Game Change"
My first real experience of this change was during London Fashion Week 2012.At that time, I was still a student and couldn't get into the show venues. However, when I visited the main venue, "Somerset House," I was greeted with a scene of students from my generation gathering as if it were a hangout spot. Through their outfits, they naturally struck up conversations. (This was also the case at after-parties that we managed to slip into)It was the time when Kyary Pamyu Pamyu was gracing the cover of DAZED & CONFUSED. I, too, was wearing what could be dubbed "Harajuku Fashion." I was promptly approached by local peers, and we discussed our shared "TOKYO BOPPER" shoes and our knowledge of Tokyo fashion designers. They also introduced me to places like "PRIMITIVE LONDON," a select shop that carried Tokyo brands. (These individuals would later become staff members of MACHINE-A and early assistants and models for Kiko Kostadinov, steadily expanding their activities).Presentation of a New "Language"
Reflecting on my conversations at the time, I remember that London Fashion Week seemed to be in a state of decadence. There was a palpable sense of boredom as everyone awaited the arrival of new talent (in retrospect, this mood likely pervaded the entire fashion week scene, not just London).The "game change" was introduced by JW Anderson, who showcased his 2013 F/W collection in January 2013.The day after the show was presented, varying opinions sparked in each media outlet. Although the terms 'genderless' and 'unisex' were not as widespread as they are now, there were many different interpretations. By 2021, it is likely that there is no one who would resist such keywords in fashion. Of course, women wearing men's clothing and the gender mix through vintage clothing occurred, but it was rare at that time to emit a strong message from men's collections. Looking back now, as styles continue to repeat and update, it is realized that these 'language' keywords in fashion are created with the advent of 'game changers'.On the other hand, the person himself says,'I think people weren't used to a menswear designer stepping into womenswear. I always consider my brand to be androgynous.''For me, it's natural for men and men, women and women, women and men, and genders and clothes to mix. Just by wearing clothes that convey stories and emotions, gender doesn't matter much.'He spoke in an article by Business of Fashion right after the 2013 show *1. 'Androgyny' translates directly into Japanese as 'having both genders.' It is used in collections like GUCCI and Thom Browne, and seems to have been recognized gradually over 10 years in terms of style, language, and aesthetic sense. (I will talk more about the change in 'language' over these 10 years later)Visual Expression Also Speaks of the Times
In addition to "language," "game changes" occur in visual expression as well.JW Anderson repeated images by Jamie Hawkesworth as a different perspective from Jurgen Teller, where strong contrast digital photos were mainstream campaign photos, from his early collections to LOEWE.In Japan, brands rarely have the opportunity to launch campaign photos, so such phenomena are often overlooked as mere "advertising photos." However, with Harley Weir, Colin Dodgson, Zoë Ghertner, Tyrone Lebon, and others flourishing around the same time as Jamie Hawkesworth, the resurgence of film photography became certain.And not only the photographers' perspectives, but changes in the sense of beauty through models and styling happen simultaneously. (I will write in detail about the changes in fashion photography in the 2010s in another episode)この投稿をInstagramで見る
Why "Game Changers" are Born
While observing new languages and visual expressions presented by the "game changers," I remembered the Tokyo scene in the back of my mind.Why is it that new voices to the era do not end up as fresh one-hit wonders and in London, independent young brands continue to make ongoing waves?It was mysterious. After all, without continuation, new expressions won't remain in history as contexts. "Context" means "bunmyaku (文脈)" in Japanese, in other words, it means something that is spun as "pulse" and remains as a "form."The mystery rests, in the end, on the existence of a soil, and whenever I sense a rise from afar, I always consider the structure support that rise.That structure is the "platform" in the fashion industry.For example, the mystery I felt in London was later clarified when I learned about young designer support and development programs such as "FASHION EAST" and "NEWGEN," which are run by the BRITISH FASHION COUNCIL.So far, designers such as Kim Jones, Gareth Pugh, JW Anderson, Craig Green, and others have been steadily produced, followed by A-COLD-WALL*, Charles Jeffrey LOVERBOY, Kiko Kostadinov, Molly Goddard, Richard Quinn, and Stefan Cooke. These designers continuously present collections through runway shows and installations, paving the way for future directorships at major maison brands.This is what a "platform" is. It becomes the birthplace or the discovery point of young designers, cultivating them until their business can stand on its own over a certain period of time, marrying both new and traditional contexts, and becoming a source that inherits history.The power to believe in such young talent is felt not just on the basis of an educational system that is well-established like Central Saint Martins, but also because we have felt raw diamond-like creativity emerging from the working class, championed by the likes of Vivienne Westwood and Alexander McQueen. While holding onto that hypothesis, I have been watching my friends who were about to enter Central Saint Martins.Of course, not everyone can survive, and there are cases like Meadham Kirchhoff, who had cult-like popularity only to fade away. However, the designers who have survived are able to keep taking on challenges, thanks to the platform that exists.This platform functions as the industry's hardware, and the phenomena that are created by the designers function mutually as the industry's software. In the end, it's not just about having excellent hardware, but this hardware enables the software aspects to exhibit power in any way, either in heaven or in hell, without a doubt.It was a powerful experience to witness in London how the ripple effect of the artists throwing a stone into the time will affect the birth of a new "language," visual expression, and so forth, once the "game change" blossoms out of the numerous challenges that are born in this way. And perhaps someone in the world, including me, was somewhere waiting for the next moment when such phenomena would occur on a large or small scale.この投稿をInstagramで見る
Changes Starting from Scratch
The ones that dynamically illuminated that moment were, without a doubt, the uprising from the street to the mainstream by Virgil Abloh and Vetements, around 2015, a topic that has been discussed countless times from the perspective of fashion, music, and culture. Of course, they are undeniably contributing to changes in visual expression, which is something we will talk about in another article in this series.However, in terms of starting a "game change" from scratch, the fashion scene in Shanghai, which started to voice its stand to the world gradually from around 2015, seemed similar to the rapid strides made in London in 2012, to my eyes.Of course, if you look at the growth of the overall Chinese fashion scene, including Shanghai, with a cool view, the economic growth and the population size are acting as a potent stimulant, which makes it different from the rapid strides occurring in Paris at the same time.However, the fact that Chinese-origin brands like Angel Chen, Susan Fang, and Xander Zhou, despite being still in their nascent stages, have managed to make a name for themselves on a global scale is an event that took place over just roughly five years, when you look back.Next time, we will discuss how the platform in Shanghai, which gave birth to this accelerated game change, appears to be an evolved version of London's, and the hybrid environment and feelings that exist in the gap between reality and virtuality that gave birth to this evolved form.]]>*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
Whether it's fashion, interior design, or website design, the idea that something is "stylish" when it is decorated to look nice, using material, is the same. Clothing adorns the body, interior design adorns the room, and web design adorns the structure of a web page with clothes, furniture, and CSS, respectively.In such a culture where "being stylish" is valued, are there any unique features of fashion? The first answer that comes to mind would be that fashion is unique in that it decorates one's own body. The main points emphasized by this "own body" phrase are believed to be roughly divided into two.The first is that you cannot choose your body as the material for being stylish. You can move to a room with better conditions, and you can change the structure of a web page as you like (at least within the range of required features). In contrast, your body, while it allows for some degree of processing, cannot fundamentally be altered or exchanged. As a result, there is a restriction in fashion that you must use the unique material given in a non-selectable form to be stylish.The second is that it is difficult to objectively view one's own body in various ways. Regardless of the mechanism, it seems that human cognition is not designed to observe one's own appearance objectively like other objects. Judging whether the overall appearance looks good, and deciding which items match with the material, are probably much harder when it comes to your own outfit than when it comes to furniture or a web page(1).These two characteristics seem to be unique to fashion among various stylish cultures. At least for now, that seems to be a reasonable claim.Fashion in Virtual Spaces Doesn't Use Your Physical Body
However, there are cases where this characterization seems subtly incorrect. For example, fashion in virtual spaces.In particular, I'm considering a type of a virtual space called a "metaverse," a social platform. The metaverse may not exist in the real world, but the interactions that take place there (communication, shopping, events) serve as alternatives or extensions to real-world interactions (2).Examples of metaverses include the likes of Second Life and Ameba Pigg of the past, and recently, VRChat. In the midst of the pandemic, online games like "Animal Crossing: New Leaf" and "Fortnite" have increasingly functioned as quasi-metaverses.In the metaverse, dressing up your avatar is a matter of great importance. Just like in reality, unless someone is incredibly indifferent to appearances, one would usually (and sometimes with considerable effort) adorn their avatar, their virtual body. The reason why fashion items in virtual spaces (commonly just 3D model data or even 2D images!) have become merchandise is due to this desire to adorn oneself (3).Dressing an avatar seems, intuitively, like a type of fashion. However, it doesn't clearly exhibit the two unique characteristics of fashion mentioned earlier.First of all, you can choose your avatar's body. What can't be chosen is usually standardized, having no difference from the avatars of other users. This is completely different from the unique, unchangeable, and non-exchangeable physical bodies we all have in reality.Furthermore, objectively looking at your avatar's appearance is not particularly difficult. Coordinating your avatar's outfit somewhat resembles coordinating the outfit of a friend or a doll rather than oneself. In this case, while a certain level of difficulty in the form of requiring a sense of style may still exist, it lacks the distinctive challenge of figuring out what suits one's own body.Given this, one might naturally start to question whether fashion in virtual spaces should really be considered fashion. While this question in of itself may seem fruitless (4), it does help us focus on an important fact. That is, despite the significant differences between virtual space fashion and traditional fashion, we still wish to call it "fashion."A more productive question might be this: In what sense is fashion in a virtual space considered "fashion"? And in what sense can an avatar, the material for this fashion, be considered a "body"?Making the Communication Interface Pleasant
The human body in reality has various functions(5). One of these is its role as an interface for communication with others. Especially, the face may be said to play a central role in this function.For example, expressions and gestures are often used to convey and interpret emotions, and subtle bodily movements such as eye movement or nods work as a confirmation that communication is open (in other words, work as a sort of ping). Above all, the body functions as an identifier to specify who the communication partner is.However, this is simply the function that the body carries in real communication. In virtual space, the real body does not become the interface. That role is almost entirely replaced by avatars(6). Or, it might be more accurate to say that avatars are designed to simulate the function of the body as an interface in real communication.That being said, avatars are "bodies" in the sense that they carry the function as a communication interface. Viewing it this way, fashion in virtual space may be referred to as 'fashion' in the sense of 'making the body, which acts as a communication interface, pleasant'. Although it has lost the aspect of decorating an unselectable, unique material, it has nevertheless inherited part of the important function that real fashion carries.From this perspective, further questions arise. What is the purpose of making the communication interface pleasant (is it for the sake of smooth communication, or for politeness, or to show off one's taste)? Is there actually a need for the communication interface to be a body, be it in reality or in virtual space (why do we show our faces on Zoom, why are avatars graphically represented as having faces and bodies)? Is there not an important relationship between the function of the communication interface and the fact that the real body is unselectable? Because the body is unique and unselectable, there may be significance born from decorating it (like a tie to self-esteem). If that's the case, can't this significance be found in fashion in virtual space? On the contrary, is the unselectability of the material a necessary element for fashion in the first place? And so forth.It's clear that modern fashion culture incorporates the body as an important element, but within that, the body may be given a fairly complex and delicate role, carrying multiple functions simultaneously. Regardless, it's certain that fashion in virtual space, which partially inherits and partially deviates from real fashion, provides various perspectives to reconsider the status quo of traditional fashion culture, including the role of the body.]]>(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"
I am currently creating a series of works titled "The Metamorphoses of Beautiful Bodies." This involves making casts that design the body from the skeleton to the ideal form through "restraint," visualizing the aesthetic values (aesthetic values) that have been constructed in human society. I considered that beauty or aesthetic value ranks fourth following wealth, intellect, and physical strength in human society. There is a history of the body constantly changing due to aesthetic values, and by looking back at the past, it becomes clear that bodily transformations and actions towards the body have long persisted due to fluctuations in aesthetic values. I realized that these actions include "restraint" and "decoration." Both have their allure, but this work focuses on "restraint." When unraveling history, it's evident that people have voluntarily chosen things that involve pain, extreme stress, and even life-threatening situations due to the cultural, religious, and gender dynamics of the time, giving rise to "transformations of the body through restraint."![<![CDATA[Fashion Tech News]]> (120) <![CDATA[Fashion Tech News]]> (120)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/12a558d2cf604ebc9361eb4a2b86acea/K_090A8707.jpg?w=2400)
Function & Beauty
In my creations, I emphasize the shape and size of parts such as springs, bolts, and the weights of knuckle dusters. By highlighting these parts, I aim to demonstrate the impact of the cast on the body and the form the body takes as a result of these influences, allowing the audience to imagine the outcome. The form of the creation is often determined based on this thought process. Even when drawing, rather than envisioning a specific shape, I think about what needs to be attached and what functions are necessary to achieve my desired outcome.![<![CDATA[Fashion Tech News]]> (121) <![CDATA[Fashion Tech News]]> (121)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/8a3c827e5ec5411eaafbd873a1a96d49/body_2.jpg?w=2400)
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Proliferation of Cutting-edge Technology & the Situation Surrounding Clothes & The Body
Creating with data
I feel that making items that fit the body is challenging. I incorporate 3D software into my creations, and I use the scanned data of my body—I'm said to have the average body type of a Japanese woman. By incorporating 3D, I thought I could share my works and their creation process as data with anyone around the world.Recently, clothes have also adopted this approach. The idea of wearables that don't have a physical form but can be shared as data seems fascinating. I'm not producing products but rather artworks. However, if the artworks themselves can become data and cross different places and fields, I sense the potential for glimpsing new directions for my next creations.Virtual bodies & real bodies
For example, I find avatars quite interesting. Through avatars, new "characters" and "alternate spaces" are created that differ from the actual person. Seeing the gap between the character and self-image in the real world makes me realize how much less our brains recognize actual reality, which is fascinating. Encountering such virtual elements might allow us to approach universal aspects of the real world with new perspectives and values.
There might also be a desire to address the insecurities of our real bodies that can't be satisfied by the virtual alone. Once, I attended a lecture by Yuka Kubo, "盛りを研究している久保友香さん," and the guests were very proficient in "mori" (photo enhancement), yet I heard them express their genuine desire for plastic surgery. It made me think they weren't entirely content with their actual appearance. (The virtual and real bodies) might be separate after all.
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Fashion in 10 years: Wearing clothes & the State of Our Bodies
Gips to craft bodies 1000 years into the future
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AI & Aesthetics
(This might be a bit off-topic,) but the artificial intelligence (AI) that battled a professional shogi player seems to decide its next move purely to win. Each move might appear risky and difficult to understand for professional human players. Since AI’s ultimate goal is only to win, that might be acceptable. Considering that, it’s intriguing whether humans can accept the answer AI presents. I once read a book suggesting that AI lacks an equivalent to "aesthetic sense," which made sense to me. Even if the answer derived by AI is based on data collected by humans, it doesn’t mean it will be accepted.How humans interpret and utilize those results in the future interests me. Possibly new thoughts and values might emerge from that, and things once deemed impossible could become accepted. From the perspective of what factors and elements cause such changes, I think it would be wonderful if new creations were born, making human society richer.![<![CDATA[Fashion Tech News]]> (127) <![CDATA[Fashion Tech News]]> (127)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/74097bd1c3e942b6a26730a9b2341b48/K_090A8752.jpg?w=2400)
]]>Photo by Kazunori Ohki
Today's Fashion Culture & the Surrounding Environment for Clothing & the Body
What Was Lost During the Pandemic
Our approach to making things changed during the pandemic. We couldn't go to Paris to present, nor could we directly interact with manufacturers, so everything had to be done remotely. Typically, we would create toiles and conduct fittings, but all this transitioned to 3D, which in a way reduced the distance and allowed for new methods of communication that did not exist before.Certain things that never happened in the fashion world happened suddenly, and while recognizing that we were in a moment of change, there were definitely elements being lost. One such element is the physical weight of the clothes, which you could feel during physical interactions but was lost in screen-based communication. For the recently announced collection "GROUND," I wanted to create a collection that evoked what was lost during the pandemic. We transformed the space by placing the runway and audience seats on the ceiling and moving the lights typically on the ceiling to the floor, creating the impression of models walking on the ceiling.![<![CDATA[Fashion Tech News]]> (128) <![CDATA[Fashion Tech News]]> (128)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/194034aa66704c47a6bca313290fe5c5/Anrealage_21AW_hz_04.jpg?w=2400)
The Moment When Something Unfashionable Becomes Fashionable
The PITTA MASK that we collaborated on this time appeared about three years ago, and it was sponsored in the collection at that time. Back then, watching a fashion show with a mask on or walking down the street with a mask felt out of place and unusual. However, amidst the COVID-19 pandemic, it has become normal for everyone to wear masks. What was once not a fashion element at all has now become something close to an accessory, a part of styling that can express one's individuality as fashion. Walking down the runway with a mask is, I believe, an act of exploring the boundary between the ordinary and the extraordinary in today's everyday life.The moment when we start wearing something that we didn't wear before as a matter of course is not just a change in what we wear, but it also changes the scenery of the city and everyday life itself. We are now witnessing the moment when something not considered fashion turns into fashion. When something from an entirely different field enters the realm of fashion, a new function will be embraced, and the lifestyle of people will change as well. Just as wearing glasses has become an everyday fashion norm, I feel that it will change people's perceptions themselves.The Spread of Cutting-Edge Technology & the Situation Surrounding Clothes & the Body
Science & Technology for Advancing Manufacturing
I started making clothes in the early 2000s, and back then, it was normal to draw patterns by hand and experience buying clothes in stores. But then the world split into two, with the non-material world of e-commerce becoming mainstream for conveying and purchasing fashion. My interest in cutting-edge technology started when I thought about how manufacturing could evolve rapidly within that context. I felt that truly new things couldn’t be created without using tools that hadn’t been used before, so I tried to incorporate science and bio-technology from entirely different fields into clothing.Human Senses Adapt to Technology
I think our physical senses have changed from ten years ago to now. People have the ability to adapt and change their senses when new tools are created. Ten years ago, buying clothes on a small screen was unimaginable and couldn’t even be conceived, but now we can intuitively understand the texture and size of clothes by looking at that screen. I think humans have adapted to technology, and their senses have caught up.This past year, we completely stopped making sample twirls and fitting models in person. Instead, we adopted a method of creating patterns and fitting clothes virtually through 3D simulation. It was initially very awkward to pinch fabric with a mouse on screen instead of with your hands. However, after a year, I think our senses have caught up to a level where there is almost no difference between what is made in 3D and what is produced in reality. It feels like we are making clothes with a completely different sense than before.![<![CDATA[Fashion Tech News]]> (129) <![CDATA[Fashion Tech News]]> (129)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/c692b72bc4244f48bf8bf4840e8bf690/2X1A0567.jpg?w=2400)
How to Encounter Technology & Collaborate
I enjoy things that haven't yet become fashion. The further a technology is from fashion, the less likely it is to approach us, so I personally research it and knock on its door. For example, I'll ask, "Can this technology be turned into dye?" or "Is it possible to create yarn with this technology?" I take a proactive approach. About 30% of these efforts come to fruition. I research various fields to see the interesting materials being developed in other sectors.When I first start a collaboration, it usually begins as an extracurricular activity since it doesn't immediately turn into a business. During these extracurricular activities, we repeat R&D, and after five or six years, it sometimes transcends into something used by maisons like FENDI.Researchers have passion. They are actively collaborating with people from different industries, whether it be film or architecture, bringing different perspectives. Fashion is everywhere. As someone within the world of fashion, I only see it from that viewpoint, but seeing it from a different perspective changes how fashion appears. I enjoy seeing the same thing from a completely different angle, so I purposely collaborate with people outside of fashion.Wearing Clothes that Weave in Technology
Clothes incorporating technology often reveal their appeal when worn in daily life. For example, clothes that change color will alter depending on the day's weather; the same outfit in Tokyo might show a different hue in Paris. Areas not exposed to light will retain their original color, allowing you to recognize shadows, which can teach you things you might not notice in everyday life. Many people experience new changes in their scenery through their clothes.![<![CDATA[Fashion Tech News]]> (130) <![CDATA[Fashion Tech News]]> (130)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/d2a1539b27184a639464d002f25593d2/2X1A0611.jpg?w=2400)
What I Want to Challenge Next: Both Function & Decoration
I'm interested in creating genres of clothes I've never tackled before, like children's clothing. Children have no gender or body shape differences, and they see the world from a lower perspective than adults, which intrigues me.Through the recent "GROUND" collection, I've become very interested in transmitting sensations like touch and mass, which are still impossible to convey digitally. I've started trying with several projects, such as the 2018 "echo" project. "echo" allows you to wear new sensations that weren't perceivable before. For example, you could feel like you're touching something far away or sense tiny things like microorganisms or distant celestial bodies through your clothes. It would be a dream to create new sensations through clothing. Transforming the sensory experience of the human body through clothes over a long period is a significant role fashion can play.In fashion, there's also the aspect of wanting to wear certain clothes for a day or experiencing a dramatic change in the scenery when someone with striking clothes appears. This appeal of fashion, which I've been discussing, exists on a different axis. The latent desires in fashion to "change oneself" or "wear that outfit" and the long-term expansion of bodily functions are two parallel pursuits. Still, I aim to explore both.Fashion in 10 Years: Wearing Clothes & the State of Our Bodies
Fashion with Weight & Weightless Fashion
Last year, the world was divided by COVID-19, leading to the rapid emergence of fashion without physical form, such as avatars in virtual spaces or in-game outfits. There was a mix of fashion with weight and weightless fashion, and I believe weightless fashion will become a significant market.On the other hand, the inherent strengths of physical fashion, like wearing an outfit to meet someone or wanting to wear certain clothes when gathering with others, will return. Although it may seem like going back to the basics, it will feel renewed in the coming era.Clothing to Protect People
Originally, fashion existed to protect the wearer, so even masks today serve that purpose. I think the awareness of self-protection will continue even after the COVID-19 pandemic ends. Garments incorporating medical technology, which current fashion lacks, might become a daily norm. If simply wearing clothes allows us to safely go about our daily lives, there's nothing more we could ask for.At present, fashion doesn't fully protect people yet. No matter how many masks we wear, anxiety remains. I hope that from now on, attire that returns to the original point of fashion—protecting people—will emerge.![<![CDATA[Fashion Tech News]]> (131) <![CDATA[Fashion Tech News]]> (131)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/6f7e72971a14445c92ba1268c653562e/2X1A0582.jpg?w=2400)
]]>Photo by Yoshikazu Shigetomi
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What to Do in an Environment Where You Can Challenge
First, tell us about your respective roles in this project.
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.
I have been involved in the R&D of electronic devices for about ten years and have developed materials and devices using them. During my doctoral course, I conducted research embedding various recognition and expression functions into soft materials like fabrics. Hirotaka Hosoo from HOSOO Co., Ltd. and Associate Professor Yasuaki Kakehi, the project members, and I have previously developed textiles with special functions together.Tajima
I played a director-like role, selecting partners and forming alliances.
In my previous job, I worked with Nakamaru at the same company, handling semiconductor manufacturing and production processes for about six years. When taking a closer look at the structure of textiles, you find similarities with electronic devices and semiconductors. When I first visited HOSOO Co., Ltd.’s workshop, we discussed with Hosoo how "textiles are the origin of programming." In that sense, my past experience was useful.How did this project come about?
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.
We had to consider the business perspective, how to expand the technology, and how to develop it as a business.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.
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Facing the Question Unique to Textiles
How was the development process carried out in reality?
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.
Among the numerous candidates, were there any particularly interesting materials?
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.
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Could you tell us about any difficulties or innovations you experienced in developing smart textiles?
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
Through the project, did you sense any potential in smart textiles?
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.
Fashion, I think, evolves both from functional advancements and playful minds. Though recent advancements lean towards functionality, I have a faint hope that new domains will emerge from playful creations.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.
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Lastly, tell us what you'd like to challenge next.
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.
Since Foil is an initiative for textiles, we have wanted designers and creators to see it since the beginning of the project. We, as specialists in manufacturing, tend to focus on creation. However, understanding the needs of general consumers and making them want to use smart textiles is significant. So, creating textiles that emotionally resonate with designers and creators is what we should do.I also hope to meet the next project creators who respond emotionally.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.
I am very interested in seeing the public's reactions when it becomes a product. By engaging in that, I feel I can better understand smart textiles' potential.![<![CDATA[Fashion Tech News]]> (136) <![CDATA[Fashion Tech News]]> (136)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/61a92c5f505d47dfa5320dff939d4dfb/REC07801.jpeg?w=2400)
]]>Photo by reckhahn
Products That Feel Like Part of Your Daily Life
Tell us about the concept of "and us," which states that "everyone should feel freer to try new makeup and find more joy in their daily lives."
We believe that beauty items can uplift your mood, satisfy your heart, and easily add more joy to your daily life.As a beauty brand from 3COINS, which is not a specialized cosmetics shop, we aim to provide items that naturally fit into our customers' lives at an affordable price, with the hope of adding a little more joy to their daily lives.
Most items are priced between 300 and 500 yen. Could you explain the rationale behind this pricing?
We set low price ranges so that people would feel more comfortable trying trendy items they are curious about. We often hear customers say, "I bought it as a trial when purchasing an item I was interested in for the first time."Whether a beauty item suits you or not is a major point, but you often won't know until you try it. By setting easy-to-afford prices, we ensure that our products can be easily selected as a trial.
How do you achieve these low prices?
We manage to keep prices low without compromising on the ingredients or quality by cutting costs on things like containers and packaging, which often account for a large portion of the cost of beauty items, and by not using advertisem*nts. We also implement cost-saving measures in areas like transportation.
A Wide Range of Products
Can you introduce the product lineup?
Our current main lineup includes makeup items, nail items, cosmetic tools, care items like sheet masks, storage items such as pouches, and beauty appliances.Among these, the "Stick Nail Gel" series in the nail category is particularly popular with our customers.
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You mentioned that your skincare line is committed to being made in Japan.
Since our skincare items are designed to be absorbed by the skin and used continuously, we ensure Japanese quality for safe and reliable use.This line features items recognized as quasi-drugs, which have acknowledged effects and efficacy. The current lineup includes products with ingredients that have been proven to improve wrinkles, and continued use ensures that customers can genuinely feel the effects.We have also set prices to be more accessible than other quasi-drug skincare products on the market.
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Why do you emphasize "simple and basic" in your cosmetics line?
Since these items are used daily, we want them to be long-lasting without becoming tiresome. We also aim for a design that blends seamlessly into daily life and is easy to integrate.We carefully select ingredients and textures that are easy for everyone to use.We focus on developing products with good pigmentation and pleasant textures that incorporate current trends while still being easy to use for mature women.
What were the key points in developing your beauty appliance line?
We focused on making them accessible at prices more affordable than the market average. Many beauty appliances on the market are set at prices that make people hesitate to purchase, so we emphasize affordability.We also ensure that the designs are stylish enough to be kept as interior items. Instead of "cheap means poor quality," we work closely with our partner factories to manage quality checks.
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What products or ideas do you offer for "easy at-home" beauty care?
We provide items to support your daily care. Our lineup includes a wide range of items such as facial products like face shavers and hot eyelash curlers, hair products like hair irons, and pampering beauty products like facial steamers and electric brushes.
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Making "3COINS Cosmetics" a Choice for Many
Once again, what differentiates 3COINS products from other lines?
While all our products aim to make life easier or bring a little happiness, our cosmetics lineup has the added benefit of bringing an extra touch of good feeling to everyday life. This sets it apart from our other product lines.
Could you share some feedback from users?
We often hear that it’s great to be able to easily try products they were interested in, and that the quality for the price is satisfactory. It’s clear that we’re conveying the message we want to deliver.The actual buyers match closely with our target demographic. The age range of those purchasing our cosmetics and other goods is similar. The users of "and us" tend to be slightly older, but our nail items are well-received across a relatively broad age range.
Finally, could you tell us about the future vision for "and us"?
We will continue to offer items that can be useful to our customers.In the upcoming autumn and winter season, we plan to launch items for careful nighttime self-care. We will also introduce items we’ve never sold before.Not many people are aware that 3COINS offers beauty items, so we aim to continue providing good products at accessible prices. We hope many people will think of "3COINS cosmetics" as a purchase option.]]>
Unparalleled Commitment to Ultra-fine Threads
Could you tell us about the beginnings of your business and its evolution over the years?
Hideyuki "After my father returned from Manchuria after the war, he started a business in 1947, which originally produced fabric for kimono haori. We then began to make fabric for umbrellas, and yaguzabu, a type of fabric used for bedding included in dowry sets. In the case of futon fabric, we used to deliver products to local wholesalers, who would then distribute them to retailers nationally, and then to consumers. We made yaguzabu with Kai silk for a long time, but when down comforters started appearing, we thought things might change. We tried to get into the down comforter business, but it failed. I saw scarves displayed in department stores and thought I wanted to make them, which led us to start manufacturing scarves and stoles.
Then, our business started recovering, and due to the bubble economy, we received orders to manufacture scarves and stoles from high-fashion brands such as Dior, Saint Laurent, and Kenzo. However, after the bubble economy collapsed, Japanese companies relinquished all their high-brand license contracts, which drastically worsened our business conditions.
That's when we decided to start an intensive research on stoles with the aim of making the world's thinnest thread from natural fibers to compete globally. As the best raw materials were monopolized by Loro Piana, we decided to compete with the finest thread in the world."
Keisuke "The reason we focused on thin threads was because around the time of the burst of the bubble economy, fast fashion began to rise, and production bases were migrated from Japan to China en masse, which led to an improvement in China's production technologies. In order to survive, we had to create something that couldn't be replicated even in China, which led to the development of this thread.
The thinner the thread, the better the raw material needs to be in order to create it. As a result, we are able to manufacture high-quality products with an incredible touch. Another characteristic is its beautiful, silken luster. At exhibitions, high fashion and maison representatives took notice and started using our thread."
Aiming for a One-of-a-kind Brand with Attention to Detail
What prompted you to start your own brand?
Hideyuki: "I had the idea of starting my own brand from that time. After the bubble economy collapsed, our OEM (original equipment manufacturing: making products for other brands) work decreased dramatically. I should have started my own brand right away, but I didn't have that idea at all at the time. For the record, we did produce items from the remaining yarns of our OEM work and marketed them as our own. It wasn't a brand per se but was different from our OEM products. After that, I began considering how to become a unique company, and recently, I've been finding various ways to do so, including experimenting with patents."
Keisuke, you started your career in architectural design. What prompted you to move from a different industry to your current position?
Keisuke: "I used to do designs for a house maker, but I wasn't in a department where I could brainstorm floor plans with clients. Instead, my job was to make more specific designs from predetermined floor plans, and I didn't get any chance to interact with clients. I found it uninteresting to do design work in an environment where I couldn't see the clients being pleased. The idea of being able to propose fabric creations that actually please clients came to me when I returned to my home, and that's what sparked my interest in this work.
At first, I spent about three years learning about machines in the factory, how to repair them, how to weave, and other fundamental aspects of fabric creation. Recently, I've been doing direct sales to apparel companies, and I'm having fun feeling like I'm proposing good fabrics."
Your products show a strong commitment to the materials used. Can you tell us about your unique approach to craftsmanship that sets you apart from other companies?
Keisuke: "Weaving a stole with ultra-fine natural fibers is very difficult. Since the thread itself is delicate and weak, we can't weave the fabric without reinforcing it with water-soluble fiber Solvron. This reinforcement process is also done in-house. You might think that the Solvron remains in the fabric after it's woven, but it doesn't because it dissolves in water. We have a machine in-house that wraps the Solvron, and that enables us to weave stoles with this thread.
We believe that the fact we can carry out these processes internally is what allows us to create fabrics that only we can make and that others would find hard to replicate."
Hideyuki: "Normally, it takes 2-3 days to process one kilogram of thread, but it takes us over two weeks, which is quite a task. From the perspective of other companies, this kind of thread is too challenging to handle, which is exactly our opportunity. It's not a thread that professionals would want to work with. It's not just about having the right machine; you also need to adapt the machine."
Keisuke: "Originally, it was a machine for making different threads (a machine for processing strong threads), and it took about a year and a half of trial and error to adapt the machine, including changing the structure by removing parts, so we could process the threads. I think that's how important it is to face the challenge head-on.
I became familiar with machines and looms in my first three years after joining the company, and since we started processing threads in-house, I've also become quite familiar with the spinning machines. Not many weaving mills are so particular about making thin threads from raw materials and doing the warp processing themselves. Most of them outsource thread processing."
What were the challenges you faced when launching muto (Muto Stoles)?
Keisuke: "Since we had only done OEM work before, we struggled with how to present our brand and where and how to sell our own brand to the public. In this region (Nishi Katsura-cho, Yamanashi Prefecture), we were just doing OEM work, but we started reaching out to weaving mills in the area to sell products under our own name."
At that time, stores such as shawl shops, tie shops, and stores specializing in organic cotton goods were set up, and little by little, they expanded with requests from buyers, and a pop-up store was set up for a limited time at Isetan Shinjuku.
Although I can actually produce goods, I still find it difficult to figure out how to sell them. Products sell when I do a pop-up store, but it's hard to show and convey the products online, isn't it? Since it's a different field, I feel that it's better to gradually shift the way I do things. I focus on pop-up stores, including advertising, to increase awareness that you can buy as a repeat customer on EC after remembering "muto" by purchasing or touching at department stores once.
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The World Connection Spun Through the Commitment to Manufacturing
Could you tell us about the process that led you to exhibit at "Premiere Vision," a biannual world-leading textile international sample fair held in Paris?
Hideyuki: "At that time, I thought we had to exhibit at a fair to go overseas. Back then, rather than having our own brand, we were mainly focused on OEM. Initially, we went to the United States through JETRO (Japan External Trade Organization). After that, I consulted with JETRO about wanting to participate in 'Premiere Vision,' but JETRO was not involved and introduced me from a different direction. I contacted them and had them actually visit our company, and sent samples to the headquarters of 'Premiere Vision.' Then the Chairman of 'Premiere Vision' took interest in our company and came to research. At the time, we were asked questions like 'Can this fabric only be made by Muto?' But I answered, 'if it's this production area, anyone can do it.' 'So your company isn't that great?' 'Whether it's great or not, you decide, not me.' 'You don't boast about yourself at all, do you?' When I answered, 'That's what being Japanese is,' he seemed to like that attitude. That led to the exhibit. At the first exhibition, the Chairman himself searched for and visited our booth."
You promoted the entire production area rather than your own products. Why is that?
Hideyuki: "You can't manufacture without borrowing the power of various people in the production area. The power of tradition is also necessary. Technology is tradition. There's the technology and tradition of the production area, and that's why it has continued. When I explained this to the Chairman, he was very impressed, and we've been having a good relationship, eating tempura together, receiving handwritten letters, etc."
Keisuke: "Our sales are steadily increasing. As our own brand, we're considering using pop-up stores as a base, expanding sales based on the activity range of our customers, such as ecommerce and select shops, and slowly increasing our recognition. I hope that more people get to know about us.
Elevating Not Just Fashion, But Lifestyle Itself to a Higher Quality
What would you like to challenge technologically in the future, and how do you envision the future?
Hideyuki: "Personally, I feel like I've exhausted everything there is to do with extremely thin threads, so now I'm thinking it might be interesting to target a slightly niche market with extremely thick threads. We have the technical know-how and expertise in selecting materials for creating good-feeling threads, so I would like to master the weaving of thick threads. We've been slowly proposing fabrics to the interior market."
Keisuke: "As a textile maker, we feel the need to use this technology to not only serve the fashion industry but also to expand into other markets. We've been challenging ourselves with things like interior curtains and sofas. Whether as an OEM or our own brand, we want to use good materials and want people to think that Muto is creating wonderful things in their lifestyles. I want to make it a company that can propose a sophisticated lifestyle itself."
Hideyuki: "I believe that if we base on technology, the market will develop faster. If we are targeting the interior industry, I believe that creating a fabric that doesn't exist in that market would be the way to go. Our concept is "You'll know once you touch it." When we introduce our stole by actually wrapping it around like this and ask customers to touch it, we have many customers who say "I've never touched anything like this" and decide to purchase it. The fact that people will understand once they touch it is our strength, but it doesn't translate well online."
Are there any challenges in the industry?
Keisuke: "We do have the necessary equipment for each process, but if we dig deeper, there are some aspects that are specialized. For instance, before dyeing, there's a process of bundling up the yarn. The person in charge of that is already 84 years old. To install the machine in-house, we'd need at least one employee. There's also the possibility that people involved in each process could retire one after the other. If we could grow even bigger, we'd be able to hire people and invest in equipment. It's do or die from here on out. In our case, we've been collecting various looms, so I think there won't be any problems with regards to looms for about 50 - 100 years. We've also been collecting parts and such for the past 20 years, so we can also repair and reuse them."
Hideyuki: "It's really a matter of people. Since this is a technology, it's not something that can be learned immediately upon hiring someone. It takes about 10 - 20 years. There's a lot of interesting technology out there in the world, but it seems like a lot of people are getting caught up in the superficial information that's being spread on social media."
Lastly, if you have any messages you'd like to convey to our readers, please let us know.
Keisuke: "Our company's stoles and fabrics truly live up to the motto 'You'll know when you touch it,' so we'd like for you to actually experience it. I believe that making a purchase also contributes to and supports the region and the technology.
Additionally, our neighboring city, Fujiyoshida, has started an event called 'Hatafes (Hataori Machi Festival)' that showcases the greatness of the textiles in this region. It started out small, but now it's growing into a large event with a turnout of around 200,000 people. It has become one of the three major events in Fujiyoshida. We also set up a booth at Hatafes and provide opportunities for people to encounter the products of 'muto,' such as stoles, one-pieces, and bags. Please drop by if you have the chance."
]]>Text by Riko
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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.
Although seasoned fashion designers have crafted countless sophisticated designs, as a software company, we aimed to control materials through software to create valuable products and clothing.During this period, members of ZOZO Labs introduced us to Hosoo and Kakehi. We originally wanted to create clothes that would astonish people, and as a means to achieve that, we thought of leveraging our strength in software to control the materials used in making clothes. It's something no one has done yet. Recently, there have been functional clothes with fans or heating capabilities, but we wanted to make something different—cool and stylish. It was a serendipitous encounter that aligned perfectly with this foundational desire.That's why we are working with these two. The common trait between them is that the moment I met them, I thought, "We can do this." Both of them have incredibly flexible thinking. Hosoo, how many generations has it been now?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.
When I first visited the workshop at HOSOO Co., Ltd., I asked them one question: "What is the strength of the Nishijin textiles you make at HOSOO?" They instantly replied, "Pursuit of beauty. Our strength lies in the pursuit of beauty, and that is unique to us." In that moment, I felt they were the perfect partner. Because integrating technology into textiles and clothing is something many people are doing. For example, UNIQLO collaborates with Toray to create HEATTECH and Airism, which is about pursuing functionality, as I mentioned earlier.In the realm of widely recognized fashion tech and high-performance materials like Gore-Tex, the main focus is on functionality. I have always believed that fashion encompasses not only functionality but also emotion. How you want to be perceived, wanting to look cool—these emotional aspects are not often pursued alongside technology in the fashion industry.From this perspective, past endeavors have focused on functions like breathability, warmth, and waterproofing. When we wanted to update the emotional aspects with technology, we realized that beauty has always been a powerful factor in stirring human motion. This beauty is inherent in HOSOO's craftsmanship, and our desire to update fashion with our technological capabilities matched perfectly. This was the moment when we decided to collaborate with HOSOO and start this project.I've seen quite a lot of Kakehi's research. I want to say this respectfully—it was simply very cool. In a field where projects often value scientifically proven and highly reproducible results, Kakehi presents his research in a stylish manner.This aligns with the pursuit of emotion and beauty that HOSOO embodies. On top of that, they have foundational techniques and research know-how that we cannot achieve on our own. Our base is software, so having the Yasuaki Kakehi Laboratory express materials and textures through the filter of beauty makes them the perfect partner.With these two involved, our presence is kind of minimal, like Kujo green onions in Kyoto ramen. The noodles and broth are solid, and adding Kujo green onions at the end completes it. I thought partnering with these two to advance the project would be ideal.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.
To develop this once again in modern times, we must place the beauty of technology as a higher concept while evolving through ZOZO, which is at the forefront of technology, combined with our past in the form of textiles. I wondered what would happen when these elements align. As society's values change, is it truly good to continue with the same things as before?For example, in Japanese kimonos, the material comes first, and it only becomes a kimono once the material is tailored to the body. Probably, in Japan, cutting fabric to fit the body for clothing is a relatively recent development. As you mentioned earlier about materials, focusing on the material and expanding from there is fascinating. Considering technology and material first, and then thinking about what people will wear, is very interesting. That's the exciting part of this project for me.![<![CDATA[Fashion Tech News]]> (146) <![CDATA[Fashion Tech News]]> (146)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/2cdd0977c80b4b94ab8f7badaa71edfb/f02.png?w=2400)
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.
Starting from a video-based approach, we gradually realized that unless we program the substance itself, it would be difficult to bring out the relationship between digital and physical worlds. As we delved deeper, we discovered that we could create something entirely different from what had been called video, VR, or AR, and for the past decade, we have been working on creating from the material itself.As mentioned earlier, simply stating that a material or a function can be created does not connect to the experience. Connecting function and experience—what we call material experience design—will be the key from now on. This connection cannot be achieved through research alone. Design and beauty are necessary, and it requires deep exploration of how to shape it.When considering experience, we must think about emotions and explore the possibilities of connecting with demands and needs from life and society. This feedback loop is crucial for the next research. In today's world, if research remains confined to the lab, nothing will come out of it.Collaborating with these two organizations has provided us with a significant opportunity to connect materials and experience, allowing us to take on challenges at an unprecedented level. We want to continue taking on such challenges moving forward.
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.
No matter how broadband it gets, the videos we watch on YouTube won't be several terabytes. For example, the information emitted from textiles we experience here could be several terabytes if fully digitized. We can call it an experience only when we use all five senses to feel it, which then hits our brain hard and creates emotions or motivates the next action.I also believe, as Kakehi mentioned, that digital shouldn't be shut down. In the future, the physical world will also be interwoven with digital, creating an interesting and fun world. We shared that common thought without even talking about it.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.
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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.
However, I think what you two are doing is the opposite. By delving deep, you've found something that only you can make here, and have created something beautiful. You've produced something extraordinary in terms of material, and those of us at the heart of the digital industry hear about it and distribute it widely.Ordinarily, I would think it’s not advisable to collaborate with the digital and, broadly speaking, the internet industry, given these opposing directions. For example, mixing dyes, which previously only researchers could do through intuition and many iterations of trial and error, can now be done in minutes using computer algorithms. What only craftsmen could weave can now be replicated by anyone through robotics. The more we use the internet and digital tools, the more we inevitably lean towards democratization, diluting various limited, high-exclusivity items and distributing them to everyone.So, I was wondering if the fact that you haven't felt resistance or discomfort about this is the reason why you're collaborating with us.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.
That is the history of Nishijin, but it changed with the flow of the times, and the biggest turning point was the Meiji era. The shogunate families, who were our clients, disappeared, and the imperial family moved to Tokyo. There were no longer people to order expensive Nishijin textiles. At that time, the Nishijin patron group financed sending three young craftsmen to Lyon, France, which possessed the latest weaving technology at the time. They brought back the Jacquard loom, created by Joseph Marie Jacquard. Before that, weaving required people to physically lift and lower the warp threads. They brought back a program that used punched cards, which were the prototype of computers, to program human movements. That was the cutting-edge technology of that era, leading to technological innovation. What is interesting here is that typically, modern thinking equates technological innovation with mass market democratization, aiming to deliver large quantities cheaply and make them accessible to the masses, often compromising on quality.Nishijin's challenge is to deliver the same beautiful product to many people through technology. In Japan, Nishijin textiles are often associated with obi sashes, and due to the introduction of the Jacquard over the past 100 years, high-class obi ranks became accessible to the general public as a coveted item within reach if they tried hard enough.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.
It’s crucial to extract constraints and necessities. We view this collaboration itself as a constraint. This collaboration extracts the unique things that arise from this relationship. Without these constraints, we could end up making anything but end up wondering what exactly to create. These constraints, in a good sense, act as a "constraint." They serve as a driving force, leading to the creation of something new, which we then recombine and transform. Simply sticking to comfortable methods results in stagnation.If we create everything within the screen, it ends there. Physical production is incredibly challenging, far more demanding than digital programs, and physically exhausting. But overcoming these challenges leads to something greater. In that sense, entering difficult realms is essential for innovation. For us, collaboration quickly imposes constraints.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.
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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.
As a representative of a private company, I am pursuing this. How can we transform this impressive research and craftsmanship into something we can double down on in business? We need to translate it into fulfilling societal desires and solving issues, securing funds for the next venture. Once we have the funds, we reinvest and create new things, which we then show to the world. Thus, we must convert this into business value.Value here means a form that allows continuous reinvestment. Convert to value, reinvest, and push projects forward. I believe this is a mission for companies. In simple terms, our focus is on how much we can sell. We want to continue production and research alongside this, but we must also figure out how to commercialize it. Even universities today are engaging in this. Efficiently returning this value to society and reinvesting it as appreciation is our mission.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.
Considering this in a modern context, it might be related to what Kanayama mentioned. What has not changed in the 1200 years is our endeavor to realize an unprecedented beauty using various resources and to pass it on to the future. This is the only path. Therefore, I believe that the configuration of this project is one of the best in Nishijin's history. We will continue to move forward positively.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.
Possessing both the aptitude, wisdom, and ideas from both realms can lead to newness, creating entirely different alternatives through this fusion. We want to deepen this research.]]>Information about the ongoing exhibitioncan be found here
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The Official Pilot's Watch for the First Scheduled Airline in the United States
We spoke with Hamilton's PR representative. We started with the history of the brand that gave birth to the "Ventura."![<![CDATA[Fashion Tech News]]> (149) <![CDATA[Fashion Tech News]]> (149)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/ac59e0d7dc1b4cf986aa642e369ca87c/ventura.png?w=2400)
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The Design Was Handled by an Industrial Designer Known as a "Genius"
Hamilton introduced the "Ventura" in the 1950s, a period when the American Dream felt most attainable and the golden age of mid-century modern design flourished, producing numerous brilliant designs. People also sought innovative and liberating watches."Instead of a watch designer, Hamilton intentionally commissioned industrial designer Richard Arbib for their new model's design."Richard Arbib had handled many product designs, including cars for Cadillac, boats for Century Boats, and vacuum cleaners for Eureka."He believed that the watches of that time lacked creativity and followed conservative designs. His philosophy was that every part, from the dial to the band, should be coordinated so that the entire watch represented a single cohesive design."Hamilton made a bold request of him:"Design without considering practicality at all, and create what you truly desire."This statement ignited the genius's creativity, leading to hundreds of sketches and taking five years to finalize the design. In 1957, a one-of-a-kind wristwatch was born.A Unique & Asymmetrical Triangular Case
The "Ventura," with its pioneering and futuristic design featuring an asymmetrical triangular case, was met with great acclaim.![<![CDATA[Fashion Tech News]]> (151) <![CDATA[Fashion Tech News]]> (151)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/90c0300058cc449ba40cf790c051a07b/H24211732.jpg?w=2400)
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"The King of Rock 'n' Roll" Loved It Both Publicly & Privately
The "Ventura" was destined for even greater prominence through its association with a certain man.Four years after its release, in 1961, it adorned the wrist of rock and roll superstar Elvis Presley in the musical comedy film “Blue Hawaii.”![<![CDATA[Fashion Tech News]]> (154) <![CDATA[Fashion Tech News]]> (154)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/2a19d184eb5a494c859f29c74fd0402f/Hamilton%20Ambassadors_Elvis%20Presley.jpg?w=2400)
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Production Stopped After 7 Years, Revived in the 1980s
Seven years after its release, in 1964, the production of the Ventura was halted due to business circ*mstances. However, the demand for its reissue was high, and it remained popular among collectors for a long time.Subsequently, recognizing the model's value, Hamilton revived the Ventura as a quartz model after 30 years in 1988.![<![CDATA[Fashion Tech News]]> (158) <![CDATA[Fashion Tech News]]> (158)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/39300c3bddfb47d9a4c902eca3814732/H24301941_H24301141_november2023_lifestyle01.jpg?w=2400)
Featured in Popular Hollywood Films as a Prop
Hamilton's relationship with cinema, a quintessential American cultural element, is profound. Hamilton watches have been featured in more than 500 films, from action to sci-fi, and the revived "Ventura" has also appeared in numerous Hollywood films."Notably, it was featured in the 'Men in Black' series. It appeared in 'Men in Black' (1997), 'Men in Black 3' (2012), and 'Men in Black: International' (2019), worn by agents played by Will Smith, Tommy Lee Jones, and Tessa Thompson. Additionally, in this year's release, 'Dune: Part Two,' it is used as a device by the desert-dwelling Fremen."![<![CDATA[Fashion Tech News]]> (159) <![CDATA[Fashion Tech News]]> (159)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/a69d34fd34424152a6703155c443aecf/H24624330_detail_laidview_bright_print_cmyk.jpg?w=2400)
]]>Text by Ryota Osujo
Experiencing / Tasting Emotions in a Full Course
The talk began with an introduction to Suwa's previous activities. The first work presented by Suwa was in 2008, titled “Sensuous Food, Emotional Taste.” This work incorporates the concept of experiencing human emotions such as joy, anger, sadness, and pleasure through food, consisting of bite-sized portions named after tastes like "bittersweet regret," "a taste that brings up anger," "a refreshing taste," and "the taste of happiness." These were offered both at the 21st Century Museum of Contemporary Art, Kanazawa and simultaneously in the food section underground at Isetan Shinjuku, attempting to present the same concept in both an art museum and a food consumption venue. This work was also introduced globally as a "guerrilla restaurant" menu, open for only a few days in unlikely locations such as underground passages in stations, attics of former mint buildings, and construction sites for commercial buildings.![<![CDATA[Fashion Tech News]]> (160) <![CDATA[Fashion Tech News]]> (160)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/21fcd8576c4d45dba9d6c9da3a7a6563/01.jpg?w=2400)
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“Tasting” is Similar to Traveling
The next work introduced is "journey on the table," a project held over several years in five countries. The concept of experiencing tasting as if traveling on a table reflects Suwa's thought that "eating, tasting, and the sense of taste utilize various senses beyond the five basic ones, which is very much like traveling." It is a work that allows one to experience a full three-hour dinner while seated at the table, feeling as if they are moving through different places, offering a primitive sensory experience, akin to becoming an animal, pushing through the vegetation to find and eat food hidden deep within a thicket.![<![CDATA[Fashion Tech News]]> (162) <![CDATA[Fashion Tech News]]> (162)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/e4c3547635324cc1abb318d1d4fe8e37/04.jpg?w=2400)
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Contemplating the Relationship Between Nature & Man
Furthermore, the latest work is titled "Taste of Reminiscence." The exhibition held at the Shiseido Gallery in Ginza from January to March 2020 resumed after a six-month hiatus due to the COVID pandemic and was re-presented as two pieces: one representing the pre-COVID period and the other the pandemic period.While this too is an experience of savoring memory, its theme revolves around the current relationship between nature and humanity. In the pre-COVID piece, participants choose a scent that connects to their memories, experiencing their individual memories in darkness. Additionally, there's an experience of the "rituals of savoring memory," which involves sensorially sharing personal memories of individuals with strangers. However, following the resumption, due to infection control measures, the implementation of these experiences became challenging.Consequently, Suwa moved his atelier to the forest during the pandemic, updating the work to one that allows people to savor their memories of connection to nature. The gallery in Ginza was filled with an overwhelming scent of the forest, and participants could smell the scents released from branches and leaves brought from the woods through their masks. These scents, extracted from forest soil, roots, and plants, allow participants to select one that resonates with their own memory, applying a scent sticker on the outside of their masks. Thus, even after leaving the gallery, whether walking in Ginza or riding a crowded train, every breath transforms the inside of the mask into a forest, allowing each participant to savor their memories of nature.An Experience akin to Touching Another World
When he first learned about Suwa's work, Associate Professor Kakehi observed, "The act of eating, which draws out what is not present from within, and activities that mediate food, represent virtual reality itself. Perhaps it may even be a form of virtual reality that transcends our practiced definition of virtual reality." Through engagement, this led to collaboration on "journey on the tongue."In response to Suwa's attempt to "savor presence," Associate Professor Kakehi shared that "initially I had the image that presence is perceived through the skin, and I started brainstorming ideas from there, contemplating what the experience of savoring it might be like. After prototyping and experimenting, when the work finally took shape, it felt as if space was rising from within the mouth, allowing us to share the imagery and materialize the experience." He noted that the idea integrated various senses like touch and sight, exploring the concept of "savoring presence" comprehensively.Experiences that utilize various senses can provide significant immersion, even within a short duration of just four minutes. For some, it may feel like 23 hours. After such an experience, individuals might react as if they are akin to Urashima Taro. Even if 100 people choose the same scent and undergo the same experience, each outcome can be entirely different. Some may encounter deceased relatives, others might transform into unknown creatures, while some report feeling as if they drowned in their own gastric juices. Each person seems to have a dreamlike experience, touching another realm and embarking on a journey that transcends time and space.![<![CDATA[Fashion Tech News]]> (164) <![CDATA[Fashion Tech News]]> (164)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/9efafc8330824b7b889750416c289ba0/06.jpg?w=2400)
The Sharing Ease Unique to "Food"
Associate Professor Kakehi highlighted an interesting aspect of this exhibition, which included a time for discussion after the experience, where participants could talk about their sensations with their neighbors. Suwa suggested that this might be something possible precisely because it involves food.(Suwa) “For instance, when you share a table at a café with a stranger, or have a meal with someone you just met, when you eat something together that is either delicious or spicy, a kind of communication emerges that shares the same feelings not through words but through eyes and expressions. Moreover, beyond that, there exist personal sensations and experiences unique to that person, making it easier to share such things, which seems to be an inherent quality of food. If we consider this, I think there could be a future where visceral communication exists that is not confined to language.”(Associate Professor Kakehi) “We are focusing not only on the relationship between ingredients and people but also on the relationships among people. In this, various elements such as space influence everything. Different contexts of the place seamlessly integrate at entirely different timings, as though the restaurant is functioning like a medium.Rather than the act of eating itself, that information becomes a significant message that forms the heart.”
Words to Extract Commonalities
On the other hand, because this approach extracts experiences intrinsically, there will likely be discrepancies in what is intended to be conveyed due to individual and cultural differences. Here, an audience member posed the question, “I think it’s difficult to quantify emotions, but how can we determine the correspondence between each emotion and taste?” In response, Suwa stated that, because we are all living in the same era, we possess a certain level of common perception. If that perception is about emotions, there are shared understandings encapsulated by words like joy and anger, which would connect us.At this point, Associate Professor Kakehi contemplated that Suwa's work is not only based on the main experience but also on the time after the experience and the mindset before it, creating a narrative as a worldview. In other words, the act of verbalizing after the experience allows for commonalities to be extracted, and this experience might indeed be supported by language. Furthermore, this approach is intriguing and holds great potential as a technique to inspire imagination and complement human elements in the design field.”Additionally, in response to a question about how he perceives visual elements such as beautiful costumes or space decorations, Suwa remarked, “Currently, because we are in a visually oriented world, it is particularly effective. Food, in particular, is largely appreciated through visuals and information.” He noted that while taste can be created through visuals, there are also aspects that can be drawn out by tasting with one's eyes covered.![<![CDATA[Fashion Tech News]]> (165) <![CDATA[Fashion Tech News]]> (165)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/16db43cdc8d14acfb75b5f8468823e43/DSC00156%20(1).jpg?w=2400)
Exploring New Creativity from Changes During the Pandemic
Lastly, the discussion turned to Suwa's life in the forest. Suwa moved his atelier to the forest during the pandemic and shared that her life has greatly changed since then. In the mountains, with no convenience store in sight, she finds plenty of edible things when he enters the woods. She receives deer and wild boar meat from local hunters, forages for wild vegetables, and has even started beekeeping recently.Through this lifestyle, she experiences eating what she has gathered himself and feels like a part of the natural cycle. She perceives a richness and luxury that differs from the indulgent food typically consumed in urban life. Living in the forest has awakened dormant senses and instincts that she hadn’t been using.(Suwa) "When I make soup in the atelier with the window open, animals come to visit. It’s not just about us eating; it’s about how one lives as a creature that might be eaten or have food taken, in a flat relationship with nature. That experience is fascinating and thrilling."The event titled "What’s the Matter?" explored the relationship between people and things through the most everyday practice for us: food, delving into the experiences and communication that arise from it. "Even amidst uncertain times during the pandemic, how we discover new things and cultivate curiosity is where the power of art and design is needed." This message from Associate Professor Kakehi concluded the talk.![<![CDATA[Fashion Tech News]]> (166) <![CDATA[Fashion Tech News]]> (166)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/f2e6307db76b4e879efbcb7d10d283f1/T5_LzRJL.png?w=2400)
Thinking About Fashion from "Words & Images"
"Fashion," Ever Avoided as a Research Subject
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.
I think researchers in information fields probably have a different perspective from humanities researchers and designers. On the other hand, I saw similarities in Takuma's contribution to the Artificial Intelligence Society, "My Bookmark: Machine Learning for Fashion," where he wrote that even in the field of information, fashion has been avoided as a subject. Could each of you tell me why you chose fashion as a research subject?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.
Clothing is primarily about appearance, and the persuasiveness of visuals is of the utmost importance. In this sense, I think fashion is highly compatible with image processing and image recognition technology. Plus, there are various descriptions to explain the features of clothes. The concept of trends in fashion may also be well explained using time series analysis. When I see it this way, the subject of fashion seems to involve various elements of machine learning. Since I liked machine learning from the start, I thought that I wouldn't get tired of researching with fashion as a target, so I started.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.
The Compatibility between Fashion & Machine Learning
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.
While I think you can create art pieces without constraints, there are quite a few limitations to clothing because they are tools for living that people wear. These limitations are in the form and materials. To put it another way, I feel that there are not major differences between individual garments. Is that still compatible with image recognition?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.
However, if you can notice those differences when you look at it, you can provide that as additional information. As a result, the initially invisible differences will gradually stand out. I think it is vital to collect as much detailed data as possible.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
What to Focus on in "Fashion"
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?
I'm currently teaching "what is design" at a fashion department in a university, and one of the things I discuss is that when you make something, you need to understand what elements it's composed of initially. You have visible elements or elements that have a tangible form, conceptual or abstract elements like color, pattern, materials, and also elements like price or product names. The importance of these elements might differ depending on one's position, be it designer, pattern maker, or marketer.Considering all these, in your case, Hirakawa, I presumed you see "length" as an important component when it comes to outfits or hairstyles, aren't there other important ones? What about you, Nakamura?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.
First, I try to solve it by primitive methods. By looking at the results, for instance, if the combination is not very good, I might try adding the brand. I think I would add elements that I think are necessary each time.![<![CDATA[Fashion Tech News]]> (167) <![CDATA[Fashion Tech News]]> (167)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/a110c7cc01724bbf8bb2e1efa53878d7/20200820095549.png?w=2400)
The Difficulty of "Fashion" Laws
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.
What Kind of Data Can/Can't Be Analyzed?
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.
However, the representation of material varies, there are mixed materials, new materials, and they are in a non-standardized state. Handling that on a computer will require effort.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.
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Coexistence of Uniformity & Diversity
Data & the Space Between Data
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.
Such narratives, stories that can't be properly conveyed through mere list-like information—like the tags on WEAR—can slip through the cracks when we try to interpret them through data science or machine learning approaches. Isn't that so, do you think?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.
There used to be a fashion app service called "IQON" where users could register their favorite brands. Using this data, a colleague attempted to abstract and extract user preferences and visualize the kind of groups that formed. As a result, we now understand the relationships between groups of users who likely favor certain groups of brands.Ashida
So you're grouping from brands to categories, right?
Standardization Due to Recommendations
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.
However, I believe a countervailing force will eventually come into play in reality. Many recommendation engines are being developed, so I think differentiation is somewhat achievable. Model builders need to be aware of these concerns and are obligated to understand the characteristics of the models they've built as well as their real-world recommendation results and manage their implementation.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.
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To Further Potential
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.
Coexistence of Machines & Humans
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.
The impression of AI replacing fields requiring sensitivity is particularly strong, but it doesn't feel like there are many instances where it's actually used to solve real problems. It's not just about "giving it a try." How to use it and how to define the problem may be things that only humans can do, in my opinion.]]>Click here for the ZOZO Research Institute website
"rig" is one such brand. Emerged in 2019 as Japan's first recovery sandal brand, rig has since released an array of sandals and footwear. Each model incorporates footbeds designed based on the characteristics of Japanese feet, boasting high shock absorption to relieve foot and leg stress and promote quicker recovery.
We spoke with Takumi Kurihara, the director of rig at mesutta inc., to uncover the brand's inception story, the features of their products, their initiatives with athletes, and their future vision as a brand.
Designed to Fit Japanese Feet
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You launched Japan's first recovery sandal brand in 2019. Could you tell us how that came about?
After establishing the company, I used to visit the U.S. a few times a year in search of new products. On one such visit in 2015, I was introduced to a recovery sandal from a certain brand. The sample didn't fit my foot shape well and felt uncomfortable. That experience led me to start investigating the differences between Japanese and Western foot shapes.
At that time, the concept of recovery was not yet prevalent in Japan, but recovery wear was starting to make its way into the sports industry. After a few years of development, we launched the brand in 2019.
You mentioned that your sandals are designed to be the most comfortable for Japanese people. What specific features have you focused on?
Many Japanese people have relatively wide feet and high arches. When Japanese people wear Western-brand sandals, they often find regular sizes too small, and the higher instep causes their toes to protrude forward too much, leading to tripping. At rig, we pay close attention to these weaknesses and improve them step-by-step. One of the significant challenges was adjusting the hardness of "expanded EVA (ethylene-vinyl acetate)," a flexible, rubber-like material. If it's too soft, the sandals become tiring to wear; if it's too hard, they fail to absorb shocks.
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By the way, what kind of issues do you currently feel are challenges?
We use materials such as EVA, rubber, and PU (polyurethane) for the soles, but making them softer and lighter reduces their durability, while increasing durability makes them heavier and harder. This balance is difficult to achieve. The materials are evolving daily, and new formulations are being created, so we test materials every year. We are constantly studying materials and shapes that can maintain durability and strength.
What do you pay particular attention to when making sandals?
We consider functions and designs that other brands are not doing (or cannot do) but are still needed by users. We are conscious of not creating similar products to those of other companies.
Reasons Why "rig" Sandals are Supported
There are currently various recovery sandals on the market, but please tell us in detail about the unique strengths of "rig."
Many brands seem to use soles specialized for shock absorption, but rig currently uses high-resilience EVA for the sole material. By using high-resilience materials, the arch support functions as a massager for the soles of your feet, promoting the blood flow necessary for recovery.
In terms of silhouette and design, we prioritize comfort (such as fit and ease of putting on and taking off), but personally, I like simple and timeless designs, so I'm conscious of that. Additionally, although it's quite challenging, we're proactively incorporating recycled materials.
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Please tell us in detail about the popular models of rig and their features.
The popularity of models changes each year, but I think "mguu" can be said to be a representative model. The stylish slim upper design and the use of minimal parts while keeping a firm hold are points that are supported.
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Product Development Leveraging Athletes' Feedback
You support over 20 athletes, including skiers, tennis players, and trail runners. Please tell us the reason for putting effort into supporting them.
As a company, we handle products that allow people to enjoy sports comfortably. In particular, rig's concept is to reduce the burden and stress on athletes. We strongly hope to support Japanese athletes who are active globally, even if just a little.Thanks to this, we've received appreciative feedback such as "My feet feel better the day after a hard race," "Even if I injure my feet, I can walk with rig," and "They are less tiring for everyday wear."
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You mentioned developing new products based on athletes' feedback; specifically, what kind of feedback gets reflected in which products?
We receive various opinions from athletes we meet on-site every time, so it's hard to say which specific athlete gave which feedback, but we get feedback from almost everyone.
For example, when we launched the brand, we distributed the first models "FLIP FLOP" and "SLIDE" and asked for their impressions. One piece of feedback was, "Since they're made of soft materials, unnecessary muscles are used to balance, and the recovery effect is diminished." As a result, we developed a three-layer sole structure and reviewed the material hardness.
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As we're about to fully enter summer, sandals become an essential item. Could you tell us the recommended way to wear them and fashion tips from rig?
rig offers a variety of designs, so we hope you enjoy different styles depending on the occasion. Everyone's feet are different, so it's hard to generalize, but we recommend choosing sandals that are 1.0 to 1.5 cm larger than your actual size. This should be a good guideline.
Tell us about the brand's future vision (dreams and goals).
Using the knowledge we've gained from making recovery sandals, we want to create footwear that allows for comfortable activities in the future. For the 24FW season, we plan to release hiking boots and approach shoes, so we hope you'll try them out.In addition to Japan, we aim to develop footwear that fits well for people overseas and have athletes around the world wear "rig."Reflecting the opinions of top athletes, "rig" realizes friendly footwear creation. Why not consider them as a candidate for summer sandals?
]]>Text by Osawa Kei
Header Image: Haruhisa Mitsuda "ji*zai Daiari Gyoretsu - Enkan -"
Contemporary Art & Crafts, Crafts & Traditional Crafts
First, could you tell us about the overview and establishment background of "KOGEI Next"?
"KOGEI Next" is a project aimed at enhancing the value of crafts and promoting co-creation across genres. It is co-hosted by X-tech Management, Ltd. and the gallery ORIENTAL ANTIQUES KANEGAE in Kyoto.The project was established due to the gallery owner KANEGAE's sense of crisis regarding the plight of Japanese crafts. Japanese crafts first gained global recognition about 150 years ago at the Paris and Vienna Expos. Even today, they are more appreciated internationally than domestically. However, there remains a hierarchy between contemporary art and crafts, with contemporary art being far more highly valued. While there are truly remarkable works in the craft world, the art industry's evaluation of these works is starkly different. This discrepancy is also reflected in the prices of these works. For example, renowned contemporary artists' pieces can fetch billions at auctions, while even the highest-priced modern crafts seldom exceed tens of millions.
Most people associate crafts with traditional crafts. While traditional crafts are important, KANEGAE was concerned that only antique pieces from the Edo and Meiji eras and famous artists were being valued, while the exceptional skills of contemporary craft artists were not receiving due recognition."KOGEI Next" was launched to address these issues, aiming to raise awareness and enhance the value of contemporary crafts.
It seems that young artists are central to this initiative.
The age range of artists involved in "KOGEI Next" is wide, but there are many young artists in their 20s and 30s. The current craft artists often create their works in traditional studios using tools unchanged from 100 years ago, working in isolation like hermits. While it is commendable that they produce incredible works of superlative skill, advancements in technology have revolutionized fields like sports.Although technological innovation is taken for granted in sports, it has not been embraced in the craft world, leaving artists working in secluded "islands" of tradition. By integrating scientific insights and leveraging new materials and tools, the project seeks to further enhance the superlative skills of craft artists and create even more astonishing works. That’s the vision driving this project.
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X-tech Management is also involved in arts education, right?
Yes, our founding body is Uryuyama Gakuen, which operates various schools including Kyoto University of the Arts. With the motto of "social implementation of art education," we have formed a corporation with four affiliated companies based on our shared desire to actively engage in design management and new ventures stemming from arts universities.Within a university, education tends to become too specialized. To expand both education and business, we established a joint venture, which led to the foundation of our company. Currently, we support startups, coordinate co-creation partnerships, and provide human resource development. Being rooted in an education institution, our mission goes beyond merely making a profit; nurturing the next generation of talent is also a critical mission for us.
Advanced Use of Technology & Environmental Awareness
Could you explain in more detail about your vision for "KOGEI Next," which states that craft and digital merge, and that enhancement of the environment equals enhancement of craft?
As I mentioned earlier, our initiative aims to update works by incorporating digital technologies and scientific elements into crafts and the artworks themselves.
Shinya Hongo《visible01》
In the work "visible01," CT scans are utilized. Naturally, metal works only show their surface once completed, but in this piece, the entire internal structure, down to the bones, is recreated. Typically, elements that aren't visible don't hold any significance, but by using the latest CT scanning technology, it's possible to showcase the skeleton. The concept is to create a piece under the premise of revealing the interior, blending analog artwork with digital representation.The basic material is iron, but inside, I've placed a candy wrapper made of silver. This conveys an environmental message about crows eating garbage discarded by humans. Iron will deteriorate over time, causing the crow portion to decay, but silver will not, leaving behind the candy wrapper. Even without experiencing the digital expression, in a thousand years, one will be able to see the candy wrapper in reality.![<![CDATA[Fashion Tech News]]> (180) <![CDATA[Fashion Tech News]]> (180)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/4855f7cbc0224eaf92abb27660da2b4a/%E3%80%90%E6%AD%A3%E5%BC%8F%E3%80%91%E3%83%8D%E3%83%83%E3%82%BF%E3%82%A4%E3%82%B7%E3%83%9E%E3%82%AB.jpg?w=2400)
The strong focus on the natural environment is evident in this work.
When it comes to craft artists using bamboo, wood, or iron, people often get the impression that they are considering the earth and nature. Especially since there are many artists who use insects and plants as motifs. However, contrary to the popular belief that craft artists are highly environmentally conscious, contemporary crafts often lack environmental consideration. Wood artists discard massive amounts of scraps, and metal artists use considerable amounts of heat. Moreover, the extraction of metals is known to cause environmental pollution in developing countries, but artists rarely consider when or where the metals they use were mined. The reality is that artists create works without considering the environmental burden their production places.Currently, tens of thousands of species are becoming extinct each year, and the insects used as motifs in artwork are also at risk of extinction. Fine sculptures require quality wood, but Japan's reliance on cheap imported timber has caused a decline in domestic forestry, reducing the number of dealers handling high-quality timber. Additionally, the hairs of the brush considered most suitable for lacquer decoration come from the ship rat, but since no one captures ship rats anymore, lacquer craftsmen are left without brushes and cannot create detailed decorations. Consequently, today's lacquer artists are unfairly considered less skilled than those of the past, not due to a lack of technique but due to a lack of materials and tools. With this in mind, we must be aware of changes in nature and society and create works with materials and tools that align with the times, as it ultimately affects us as well.
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Building the Future of Craft
How do you support artists in incorporating such advanced technologies into their work?
The technological aspects, such as app development and CG production for AR, are areas that artists and antique galleries like KANEGAE's cannot handle on their own. Therefore, they are produced using the network of X-tech Management.Additionally, sharing the ideology behind "KOGEI Next," Goldwin Inc. has also provided sponsorship. Establishing such new connections is another responsibility of X-tech Management.
How is "KOGEI Next" planning to evolve in the future?
We do not see "KOGEI Next" as a project that ends within a single year. We consider "KOGEI Next" to be a movement rather than a mere project. We hope that in 100 or 200 years, people will look back and say that this movement was one of the turning points in Japanese and world art. Therefore, we do not want it to be perceived as a small-scale project.As a benchmark, we are working towards the 2025 Expo as a milestone. As mentioned earlier, the opportunity for Japanese crafts to gain global recognition came from the Expo in Paris and Vienna about 150 years ago. This time, we want to showcase the significantly evolved Japanese crafts to people around the world at the Expo to be held in Japan. Our goal is to highlight the excellence of Japanese crafts and technology.Beyond that, we envision increasing the intrinsic value of crafts. For example, in baseball, children start playing and the number of participants grows because they admire major league players. Currently, crafts do not have such a gateway. Therefore, we aim to make top-notch craft artists as admired as major league players. To achieve this, we would like to create opportunities for children to get acquainted with crafts, including craft classes in the community. By establishing pathways for aspiring artists, the increase in the number of people involved in crafts will enable it to function as an industry. This represents the future we envision, one that can be sustained for the next 100 to 200 years.]]>
Expanding the Use of Virtual Humans
The "Drip" project aims to integrate virtual humans and virtual clothing into the fashion industry. It is particularly expected that virtual humans will be used in brand image visuals. According to Ikegami, using virtual humans can eliminate the need for model arrangements and location shooting, reducing both costs and time. Furthermore, 3DCG technology can create image visuals that are difficult to achieve in the real world, contributing to the expression of a brand's world.While exploring such brand utilizations, this first-time collaboration with a fashion brand involved creating 3D data from 2D pattern data provided by HATRA. The team at ZOZO NEXT handled the 3D creation with advice on structure and expression from Nagami.Leading in the use of technologies such as 3D cloth simulation and AI in creative production, HATRA challenges new methods of fashion expression and production. This collaboration began with a proposal from ZOZO NEXT inspired by HATRA's initiatives, focusing on utilizing expertise in areas like the outfits of "Drip."
Unique Aspects of 3D
The 3D modeling was done by selecting three looks from the 2021 Autumn/Winter collection "Rapid Eye Movement." Given that there are designs easier and harder to convert to 3D, a range with differing levels of difficulty was chosen for this first collaboration.![<![CDATA[Fashion Tech News]]> (182) <![CDATA[Fashion Tech News]]> (182)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/02a8c8bf1d3a40c0b5f647de86bb1ebb/ZOZO_IG_076_v1.png?w=2400)
Nagami also felt the difficulty in creating photorealistic expressions. As the resolution of the outfit increased, creating super-realistic images, they had to address the misalignment between the avatar, background, and outfit, and the potential artistic disintegration. Such elements challenge their approach. He mentioned that since this type of collaboration is a new form of session, it started with discussions on mutual skill sets and the handling of mutually provided data. Pattern data is a core aspect for brands, which means proper management of easily replicable digital data will be necessary as 3D collaborations increase.
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Diversity Issues Surrounding the Use of Virtual Humans
This collaboration sought to expand the scenes where virtual humans can be used. Nagami expressed hopes that the adoption of virtual humans will become more familiar, stating, "Personally, I look forward to deepening our questions about what we perceive as human-like and intelligent as we hone the resemblance to humans." On the other hand, he is concerned about the convergence of diversity when everyone can freely choose their appearance. This is a crucial perspective as the use of virtual humans in advertisem*nts increases. "When virtual worlds with low randomness permeate our daily lives, I hope it will expand our tolerance," he added.![<![CDATA[Fashion Tech News]]> (184) <![CDATA[Fashion Tech News]]> (184)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/cdd3fccecc8e4e2aa266c9e1d10aa226/ZOZO_IG_078_v2.png?w=2400)
この投稿をInstagramで見る
]]>HATRA
Web / Instagram
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Making Virtual Humans Accessible to Everyone
ZOZO Group, which operates Japan's largest online clothing store "ZOZOTOWN," why did you decide to take on the challenge in the field of virtual fashion? Please tell us about your interest and why you consider it important for your business.
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.
One approach to this is to confront the question, "Can we connect with a virtual world?" This enthusiasm for virtual worlds is already evident in games. For example, in the popular Japanese game "Animal Crossing: New Horizons," you can dress up in the virtual world and meet friends or simply enjoy fashion.We started thinking about implementing virtual fashion, but the method was unclear, so we broadened our search for partners globally, not just in Japan. We conducted trials with several companies and finally collaborated with Pinscreen, represented by Hao, as they had the fast, realistic, and scalable technology we needed. It was a massive challenge requiring both parties to share the same vision and feelings, but together with Yuki Kanayama, the representative director and CINO of ZOZO Technologies, we decided to take on the moonshot with Hao. Scalability was a significant factor.Why is scalability important? Specifically, what are the superior points of Pinscreen's technology?
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.
Generally, creating such virtual humans involves a studio where digital artists use 3D scans. To create high-quality avatars, extremely powerful machines are needed, and it takes months of fine-tuning. This makes it impossible for general users to create avatars themselves, and it's not scalable. Above all, it is very costly.Since the founding of Pinscreen and throughout my many years of research, there have been significant advancements in developing technology for creating virtual humans using AI. I was pondering how it could be made possible for anyone to take a photo of themselves and generate a high-quality avatar. When I first spoke with ZOZO Technologies, we realized we both wanted to solve the problem of virtual fitting and allow users to experience fitting without needing to go to a physical store. The idea was to enable users to take a picture of themselves while sitting on their sofa at home and see how cool they look in the clothing.Initially, the technology was immature, but we had already started developing it. We first conducted concept validation and tests. Even at that stage, I felt there were already some synergies. For tech startups like ours, collaborating with partners that can help expand our business is crucial.For example, video games do not necessarily need to get very close to perfectly real humans, but fashion must always be realistic. I felt there was a significant opportunity there. That's why we began seriously discussing and building a relationship. We started with concept validation and transitioned to years of collaboration. We hope to democratize the virtual creation of fashion models and make virtual fitting accessible to everyone.
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Partners Sharing the Same Vision
Takahashi, why did you want to lead the technology development with Pinscreen and Hao?
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.
What was attractive about the partnership with ZOZO Technologies for Pinscreen?
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.
Before starting this project, I had only heard the name ZOZOSUIT while living in the U.S. Even though it is uncertain if everyone will use it, I believe it approaches truly important problems. The fact that you can get clothes that fit your size without having to go to a store and try them on is significant. Regardless of the method, ZOZO Technologies demonstrates their stance of trying to solve real-world problems through innovative methods, showing they are the right partner for us.Instead of waiting for someone to do something and then mimicking it, they want to do something different and be the first to do it. They are not afraid of failure. This is the same for startups, and is the only way for a startup to succeed.When Kazuma and Yuki visited Los Angeles, their attire and appearance were different from other Japanese company representatives. They were very straightforward and honest. After being asked to show a demo and doing so, they quickly responded with precise and critical questions, exhibiting a swift and efficient approach rarely seen in large corporations.Launching "Drip" on Social Media
So, the virtual human "Drip" has been launched on platforms like TikTok and Instagram. Could you tell us your thoughts on technology deployment through 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.
However, there were many challenges, such as whether this fully automated pipeline could meet our quality expectations. On the other hand, having at least an environment to create virtual humans allows us to control quality.What we wanted to showcase with the virtual model Drip was a different method of creating virtual humans. Although it looks similar to avatars that everyone has seen, the creation method is vastly different. Using our technology, you can create it very quickly. Additionally, we can enhance video content. For instance, while other companies may only have photos and a few videos, our technology allows us to create animation content nearly twice as fast as before.The next step is how fast we can proceed with creation. By delving into that, everyone can create their virtual human, fulfilling the need to see themselves wearing this T-shirt, pants, shoes, or hat, solving issues within virtual trends. For an even more realistic experience, fully customized avatars need to be generated. This is our strategic path.Why are TikTok and Instagram the places for demonstrations now?
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.
What was impressive about ZOZO Technologies was their recognition of the future importance of virtual influencers. Currently, many companies are allocating a large portion of their budgets to use AI-generated media to create virtual influencers that are 90% realistic. Instead, we are taking the lead by creating virtual models in the most efficient way and building a complete pipeline to lead the market.Let's get back to the project. What are your thoughts on the collaboration now that it is underway?
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.
However, we have specific plans to solve issues such as how to digitalize all assets in virtual fashion and how to enable customization for all users. We frequently communicate and expand teams as necessary. This unique collaboration is truly wonderful.The Vision of the Future
What do you think the technology will be like in 5 or 10 years? Ideally, where will this technology lead us?
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.
Within five years, it is unlikely that everyone will have a VR headset or VR glasses. However, this might be a reality in 10 years. In future content experiences, it might become indistinguishable from watching videos on social media platforms like Instagram or TikTok, leaving us questioning their authenticity.Users will likely become more interested in digital content over physical content because digital content is free and intangible, unlike $300 shoes. It might just be a few megabytes of data. Moreover, there could be something involving NFTs. Gucci is already doing something interesting with $17 NFT shoes. There might be some connection with us here too. The market for digital content is massive, and just as people spend hundreds or thousands of dollars on textured guns in video games like "Fortnite" and "Call of Duty," similar trends might emerge in future digital content.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
When it comes to deepfake, it's often talked about in the context of malicious uses such as swapping politicians' faces to fabricate political messages or fake p*rnography. Deepfake itself became widespread after a hacker released it as an open-source project in 2017.According to Tamura, the technology can be used for both good and evil, and in recent years, favorable uses have particularly emerged in the entertainment field. For instance, it's possible to make a movie actor appear to speak nine languages, which is expected to be useful for multilingual film productions. Utilizing this, it is possible to create a version of a movie where the actors seem to speak Japanese without subtitles.One widely recognized application is Snapchat's Face Swap feature, which lets users replace their face with someone else's in a photo. Additionally, the service "Zao," which allows users to insert their face into movie or TV footage, also garnered attention. Beyond the entertainment sector, there is anticipation for its application in areas like healthcare.Moreover, there has been development to prevent the misuse of this technology. For example, Facebook uses deepfake technology to combat the forgery of handwritten texts. The quality produced by deepfake is so lifelike that it becomes challenging to distinguish between real and fake, hence the need for initiatives by companies like Facebook.
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Creating an Environment for Diffusion
As mentioned earlier, technology that is easily misused poses challenges for future widespread adoption. Therefore, the widespread adoption of technology that can identify and prevent its misuse is essential. For example, it is expected that the technology will become more widespread if an environment is established where an error occurs when images or videos generated for malicious purposes using deep fake technology are uploaded to social media."On the other hand, when it comes to deep fakes, one of the reasons for its limited adoption is that legislation against misuse and literacy towards the technology are neither well-established nor mature. Especially regarding legislation against misuse, I believe it is essential to create a state where 'everyone can use it with peace of mind.'"Tamamura hopes to promote the diffusion of this technology through the "Drip" project to advance its use in the fashion industry."Deep fake technology requires facial data of real models to use as learning data, but there are currently no precedents besides our company. This situation makes modeling agencies and freelance models cautious about using this technology. However, I believe that understanding will become easier as its use in the fashion domain becomes more widespread, and I hope to advance the project for this reason."We look forward to seeing "Drip" becoming a pioneering example and hope that the exploration of applications for deep fake technology will continue to progress.]]>
From Concept to Image
The creation of a post image begins with deciding on the content concept. Discussions include the virtual model's pose, the type of live-action background, and the clothes to be worn. Then, artists with specialized skills in various fields (such as modeling, animation, compositing) work simultaneously.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 environment③ 3D Modeling of Clothes, Shoes, Accessories
- Using 3DCG production software like Marvelous Designer and Maya
- Specialized 3D modelers handle the production④ Compositing CG (Model) & Live-Action (Background)
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A Production System Focused on Speed & Flexibility
The production of a post takes about 2–3 days. Live-action background images, posing data of the models, and clothes, shoes, and accessories are created in advance and stocked. Moreover, by using Unreal Engine's template work data, it's unnecessary to build scenes from scratch each time, thus the compositing of the live-action background and the model is the only task needed during actual post creation. This compositing work completes in a day, followed by 1-2 days of refinement to enhance quality.A production system that prioritizes speed and flexibility enables the team to promptly respond to sudden changes or adjustments in content. The team includes not only domestic members but also international artists. Specifically, since skilled artists experienced in Unreal Engine compositing (composite work) are rare in Japan, ZOZO leverages remote work to gather members regardless of location to enhance quality.![<![CDATA[Fashion Tech News]]> (190) <![CDATA[Fashion Tech News]]> (190)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/268ad21635ed4dba93582a18fed44f90/%E3%82%B9%E3%82%AF%E3%83%AA%E3%83%BC%E3%83%B3%E3%82%B7%E3%83%A7%E3%83%83%E3%83%88%202021-05-12%2021.01.32.png?w=2400)
Commitment to Realistic Settings
In realizing virtual models that can be mistaken for real people, there is a focus not only on the technical appearance of the models but also on setting up personalities and behavior patterns similar to those of real models and influencers. They select locations, consider poses and compositions that match the avatar's personality, and ensure users can view Drip with the same feeling as real models and influencers.Since it is a virtual model provided by a fashion company, the focus is on posting content that evokes feelings like "cool," "cute," "surprising," and "exciting" through fashion. Each avatar has a profile, with clothes designed to match their favorite fashion taste. For instance, Eru prefers street fashion, while Sae likes casual girly fashion, maintaining consistency while considering real-world fashion trends and seasonal vibes for their outfits.Tamamura concluded by saying, "At this point, we are dressing our models in clothes that seem like they could exist in the real world, in line with current trends. Moving forward, we plan to take advantage of the virtual environment to propose fashion that can't be expressed in reality, such as using materials that don't exist in the real world, in order to astonish our users."]]>Check out "Drip" on Instagram here
The Lightest Racing Shoes in PUMA History
Introducing with the tagline "Lightness that Transforms into Speed," the carbon-plated racing shoes "DEVIATE NITRO ELITE 3." Despite the midsole being 4mm thicker than its predecessor, its weight is just 194g (27cm). It's the lightest racing shoes in PUMA history and supports athletes in breaking their personal bests with overwhelming speed.![<![CDATA[Fashion Tech News]]> (191) <![CDATA[Fashion Tech News]]> (191)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/eff185a8ab36476bbda4266bdb8862f1/B.jpg?w=2400)
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New Upper Material Also Used in Football Cleats
Besides the change in midsole material, improvements in the upper material also contribute to the lightweight shoes."We used ULTRAWEAVE, a lightweight and breathable woven material, for the upper. This material, which is also used in PUMA's football cleats, offers excellent support. We managed to reduce the weight by about 17g from the previous version by lightening both the midsole and upper materials."With the advent of the DEVIATE NITRO ELITE 3, PUMA now boasts two top-tier racing models along with the FAST-R NITRO ELITE 2. Runners can choose based on their preferences, style, distance, or course."The outsole features PUMAGRIP, known for its durability and grip ability. This controls instability and slipping upon landing, allowing for effortless forward momentum without energy loss.![<![CDATA[Fashion Tech News]]> (193) <![CDATA[Fashion Tech News]]> (193)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/d4657e71b9304c5291cc94814b2a130a/D.jpg?w=2400)
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“Carbon Platforms Everyone Can Wear” Also Updated
Announced simultaneously with the "Deviate Nitro Elite 3," the other carbon plate-equipped shoe is the "DEVIATE NITRO 3." As the tagline “carbon platforms everyone can wear” suggests, this model is designed to fit not only serious runners but also others. "The Deviate Nitro 3 has three significant updates. First, the drop (heel-to-toe differential) has changed from 6mm to 10mm, making it easier to move forward. Second, the carbon plate has been extended. As a result, runners can achieve greater energy return, extending their stride. "The third is the change in the upper material. Switching from engineered mesh to engineered knit provides a more comfortable fit. The DEVIATE NITRO 3 also focuses on stability, offering runners the chance to experience the speed of Puma's running shoes."The midsole of the DEVIATE NITRO 3 incorporates the top-bouncing Nitro Elite Foam on the upper layer, which is also used in top racing models, and Nitro Foam on the lower layer to enhance stability. The outsole adopts PumaGrip, which supports a stable stride.![<![CDATA[Fashion Tech News]]> (195) <![CDATA[Fashion Tech News]]> (195)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/5af578f6dc87427cb5514f4932fcd021/F.jpg?w=2400)
Comfortable Rebound with "DEVIATE NITRO 3"
This time, the author actually tried on the "DEVIATE NITRO 3." Although I could not run a long distance, I could still feel the high potential of the shoes.The first feeling when wearing them was the soft fit of the upper. The absence of hardness or tightness might indeed exemplify the “carbon platforms everyone can wear” tagline.
The midsole, combining Nitro Elite Foam and Nitro Foam, not only offers high rebound but also impressive cushioning. Despite being a carbon plate-equipped model, the stiffness of the plate was not strongly felt, allowing for a very comfortable run.
]]>Text by Fumihito Kouzu
Comfortable, Stylish Functional Shoes for Everyday Life
Can you tell us about the background behind the launch of the recovery sandal brand "TAW&TOE"?
"TAW&TOE"'s technological foundation stems from the new materials developed by Songshin New Material and Comtec Chemical, which have developed and supplied new midsole materials for global sports brands for 37 years.During that time, while developing various materials, many excellent materials unfortunately did not make it to product stage due to high costs.Therefore, we decided to introduce these directly to customers and launched "TAW&TOE" in 2008.
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What is the meaning behind the brand name?
"TAW&TOE" is a compound word combining the start point (TAW) and toe (TOE), with the meaning of "comfort beginning from the toes."Just like the saying "only when your feet are comfortable can you have a comfortable day," we aim to be a brand that reduces physical fatigue through our products so customers can focus on essential activities in their lives.Additionally, we hope to offer products that match various lifestyles and can always be worn comfortably in any situation.
I hear the brand was renewed after its initial launch as well.
Before the renewal, we focused solely on the functional aspects. However, following the renewal, we've aimed to become a "functional lifestyle shoes brand" that can be worn comfortably and stylishly in everyday life. We're still in the process of achieving this.Even after the renewal, we continue to receive inquiries about purchasing our products before the renewal, which reiterates the importance of functionality for us. To meet this demand and reach more customers, we constantly develop various materials to create better products.
Do you have any specific reasons for focusing on recovery sandals while developing functional shoes?
Initially, we developed products with various detailed functions for specific, small target groups, such as customers with foot disabilities, those who stand and work for long hours, and others who prioritize comfort.However, since 2013, we've aimed to extend our lifestyle brand to convey comfort to a broader range of customers.During this process, we naturally concentrated on recovery sandals by maintaining the DNA of "health-supporting shoes" and "people-friendly shoes," which "TAW&TOE" has had since the beginning.In development, we focus on the following three aspects:・Maximizing the absorption of physical impact from the ground in daily life to provide comfort every moment
・Allowing customers to choose appropriate shapes and materials based on their situations and preferences
・Enabling stylish wear anytime, anywhere, regardless of the situation
Recovery sandals are prevalent, so what makes your company's products stand out?
At "TAW&TOE," we start from developing our materials, allowing us to select properties that match the various situations and features required by each product.Unlike general EVA (ethylene-vinyl acetate) resin sandals, our products use TPE (Thermoplastic Elastomer) material. TPE is challenging to process but is advantageous due to being non-toxic and non-irritating to the human body.Additionally, we strive to minimize environmental impact by using eco-friendly BIO (biological) materials such as sugarcane.
You mentioned using bio-based materials. Can you elaborate on your company's environmental initiatives?
"TAW&TOE" is one of the few brands certified as vegan by V-Label. Furthermore, 25% of the bio-based material extracted from sugarcane is applied in the shoe-making process.The introduction of bio-based materials is the first step toward the sustainability goals of "TAW&TOE." Our goal is to gradually replace petrochemical materials with renewable and sustainable alternatives.
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Design is Also a Part of Functionality. The Meticulously Crafted "Flip Flop Zerovity"
I believe the "Flip Flop Zerovity" series is gaining particular popularity within "TAW&TOE." Can you tell us more about the features of this series?
Products in the "Flip Flop Zerovity" series are equipped with our proprietary ZEROVITY technology. The ZEROVITY material is soft and highly elastic. Compared to regular shoes, it effectively reduces pressure on the feet.Depending on the material properties and ground conditions, it disperses 25-50% of the pressure and absorbs shock. In other words, it can adjust the shock absorption needed in various situations, reducing physical fatigue.You should feel the shoes' support continuously, even during long walks, providing a comfortable feeling with every step.
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Do you have any design preferences?
At "TAW&TOE," we consider design as part of the product functionality. Although they are simple-looking sandals, we reinterpret the functional aspects to create a design that looks bouncy and appealing.The "Flip Flop Zerovity" line is characterized mainly by its rounded design and the "TAW&TOE" logo tag. Additionally, it uses a Wave sole pattern, which is effective in enhancing grip and reducing slipping.
You've implemented "Germ Fighter" to achieve an antibacterial and sterilization rate of 99.9%. Could you also tell us about measures against stuffiness and dirt?
ZEROVITY material has a relatively non-porous structure, providing a physical barrier that makes it difficult for bacteria and viruses to penetrate. Its excellent water resistance characteristic also helps to minimize bacterial growth.Through tests conducted by certified agencies (Fiti), we have also obtained certification for the antibacterial functionality of the materials used in "TAW&TOE."
Among the "Flip Flop Zerovity" series, which item is the most popular?
"ZEROVITY OG." This product opened a new era for "TAW&TOE" and is the most popular among people of all ages and genders.
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What age group purchases your products the most?
The customer base varies for each product. "ZEROVITY OG" is popular among young women in their 20s and 30s, while "ZEROVITY SPORT" is mostly purchased by men in their 20s and 30s.There is a lot of feedback saying it's "comfortable and easy to match for any occasion," and many customers repurchase different colors and designs.
Striving for Global Serenity
"TAW&TOE" collaborates with various Korean brands. Could you tell us about your preferences during these collaborations?
We plan collaborations with companies that advocate various concepts with the desire for as many diverse customers as possible to experience the comfort of "TAW&TOE."Generally, to make our designs accessible to more customers, we develop designs through collaborations with brands and shops consumed by the masses.Sometimes, to captivate customers who are highly engaged with fashion, we plan challenging products through collaborations with brands and shops strong in details.The biggest strength of "TAW&TOE" in collaborations is our ability to create product materials reflecting the lifestyles of the partner brand's customers. For example, in "TAW&TOE × Low Classic," we added thickness to the sole and introduced creative shapes.
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You're taking on various challenges. Lastly, could you share your future outlook?
We aim to create diverse products that provide comfort to people by utilizing various materials.I'm grateful that many people already love our products. However, to embody comfort globally, there is still much to achieve.We will continue investing generously in technology development to produce appropriate materials for the ever-changing global market.
]]>Text by Rika Okuyama
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Aiming to Popularize Virtual Technology in Fashion
This collaboration began from a proposal by ZOZO NEXT aiming to enhance not only the avatars but also the quality of clothing in the virtual fashion industry. According to Ikegami, incorporating the unique designs born from BFGU's education, in addition to simple material reproduction and detail precision, could create high-quality content.The entire production was carried out through online communication. Initially, the students created pieces during their apparel 3D CAD classes at BFGU. After a review by BFGU faculty and ZOZO NEXT members, four selected works were to be worn by "Drip." Using the 3D data created in the class, ZOZO NEXT further enhanced the realism by refining the material textures. Additionally, backgrounds were created for the online cultural festival presentation, exploring images impossible to represent in the real world.![<![CDATA[Fashion Tech News]]> (208) <![CDATA[Fashion Tech News]]> (208)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/da70525d902c413a9c835d375dd509ea/%E3%82%B9%E3%82%AF%E3%83%AA%E3%83%BC%E3%83%B3%E3%82%B7%E3%83%A7%E3%83%83%E3%83%88%202021-11-16%2015.18.59.png?w=2400)
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Providing an Experience Beyond Simulation
The BFGU members were greatly surprised by the quality of "Drip," which resembled real humans at first glance. Assistant Professor Toki, in particular, noted that the texture of the skin worked well with the clothing, feeling the potential for widespread fashionable expression. Additionally, offering students the experience of dressing a virtual human possibly provided motivation in 3DCAD education by showcasing their skills.Moreover, Associate Professor Kubo mentioned that while CLO3D production in class remained within the bounds of simulation, this collaboration highlighted the potential for further development. He expressed hope for its application in fashion shows in the future. BFGU also aims to continuously explore integrating it into the production process and contributing to sustainability.This collaboration, which presented the possibility of using virtual humans in 3D education, also suggested new potential uses for "Drip." Ikegami from ZOZO NEXT shared that by dressing "Drip" in conceptual outfits, unlike the usual everyday clothes, a new facet was revealed. Moving forward, they plan to continue collaborations in the fashion scene while exploring partnerships in diverse fields like art, gaming, and music. There's much anticipation for their future endeavors.
]]>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.
In disaster or evacuation scenarios, wear combining cold resistance and breathability is essential. With rain, snow, or sweat soaking the clothes during a disaster, the risk of hypothermia rises significantly.While we've developed various cold-resistant outerwear, including down jackets, combining cold resistance and breathability is challenging. No material truly met this need, which led us to the idea of "insulation." In other words, clothing that makes one feel less cold.Yamada
The word "insulation" is common in fields like construction, but not often heard concerning clothing.
Kawata
In spacesuits, insulation materials are sometimes used.
Humans feel most comfortable when the temperature inside their clothing is between 30 to 33 degrees Celsius, with around 50% humidity. "X Shelter" achieves this by sandwiching a specialized insulating sheet and light-absorbing, heat-generating cotton between the outer and inner layers of the clothing.The insulating sheet contains numerous air bubbles that block heat. By combining this with highly energy-storing heat-generating cotton, it prevents the intrusion of cold from outside and the dispersion of heat from within, maintaining a "comfort temperature" inside the clothing regardless of the external temperature.This results in a state where one feels less affected by heat or cold from the environment. Additionally, "X Shelter" is lightweight, compact, and contains antibacterial and deodorizing properties. In disaster scenarios where washing is often not possible, these features can be incredibly useful.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."
Actually, during the Noto Peninsula earthquake that occurred at the beginning of this year, the Red Cross used a number of Workman products, and the item that was highly rated was the "X Shelter." The reasons were because it was "warm, light, and easy to move in." It seems that it was worn by many people in shelters, and we felt that we were able to contribute in some way.We received feedback on the sample "X Shelter" products used during that time based on actual wear experiences, and we have reflected those opinions in the fall-winter 2024 product development.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.
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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.
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Kawata
The hood can be rolled up and stored in the collar.
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Kawata
The front and side pockets are equipped with waterproof zippers. The chest also has a discreet pocket with a concealed zipper.
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Kawata
There is an inner pocket on the inside of the left hem that can hold a PET bottle, ensuring ample storage capacity.
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Kawata
The sleeves are designed with ribbing to prevent cold air from entering, maximizing the insulating effect of the "X Shelter."
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Kawata
Reflective print enhances nighttime safety, subtly featuring the "X Shelter" logo.
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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.
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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.
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Kawata
This is the "Insulated Vest" (2,900 yen).
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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.
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Kawata
Moreover, we paid a lot of attention to the fit of the armholes to minimize the entry of cold air.
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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.
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Yamada
This design is nice. I wish they would release it for men as well.
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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
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Can you tell us about your background?
I became independent in 2015 as a subcontract factory for bags. The working conditions of subcontracting were not good at the time, so we raised our rates to improve salaries and working conditions. This happened in December 2016.At that time, including part-timers, we had four employees. Just as we started to hire full-time employees to grow the company, we lost our jobs. Raising our rates led to fewer jobs.I could have gone around begging for work, but we chose to sell our own products instead. This marked the true beginning of Kawanishi Kaban.
How was the initial phase of selling your own products?
We couldn’t sell much on our e-commerce site, and event sales were not great either. Then we attempted crowdfunding.In 2017, we started a crowdfunding project on Makuake and ended up selling around 50 units. After paying the fees, we made about 400,000 yen, selling each for around 8,000 yen. This was a significant experience for us.The unit price was much higher compared to subcontracting, so we saw a way forward here.
Can you tell us about your motto, "Creating Long-Loved Products"?
A salon owner once told me, "Even if you aspire to become the best bag store in Japan, women won't get excited about it." Upon listening, I realized that women value their brilliant moments over a relentless push toward the future.Many women are active in manufacturing. Considering what makes them shine led us to the conclusion that our actions themselves need to be something long-loved.Now, our staff is lively even during Instagram live sessions, and that attracts customers to visit our store to meet these staff. This creates new forms of communication.
What is important in your manufacturing process?
We have one strict policy: no sales or discounts. If something a customer bought today is 50% off three months later, it’s bound to disappoint them.Therefore, we don’t chase seasonal trends but create designs that can be used next year and beyond. This embodies our philosophy of creating long-loved products.Additionally, we offer 100% repair support for our products. Our repair costs are about half of other companies' fees.
Products with Relentless Attention to Detail
Can you tell us about the origin story of the highly functional camera bag "Lauff"?
It all started when a friend was showcasing cameras on YouTube. Knowing the influence of video content, I promised to make him the best bag he wanted and asked him to introduce it in his videos.The resulting camera bag was packed with his preferences, making it an entirely different product with no compromises.
You said there were no compromises. What sets this product apart from others?
The shape is a body bag that fits a mirrorless camera. A major feature is a diagonally attached strap, making it fit the body better. Traditional designs usually have vertically attached straps, which don’t fit as snugly.
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Despite its simple appearance, it's incredibly functional.
Another distinct feature is that it maintains its shape even when packed with items. By incorporating gussets, we designed it so that even if you put three-dimensional things like smartphones, wireless earphones, or chargers inside, the bag's surface doesn’t reveal the contents’ shapes. It offers surprising capacity despite its appearance, making it a popular choice as a secondary bag for travel.
Leather business tote bags are also incredibly popular for business use.
Although the design is very simple, we’ve put in a lot of thought. Typical business tote bags often come with numerous pockets and zippers, but those who need them usually use bag-in-bags. Therefore, we minimized the number of inner pockets as much as possible.
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The Reason for Focusing on YouTube
What prompted you to venture into YouTube?
Initially, we watched videos on YouTube to create a route for selling our products and open a Shopify store. One day, I contacted the person who posted the videos for assistance but was told that they were fully booked for months. Despite not having a large subscriber base, their influence was evident, which astonished me.That prompted me to start posting videos alone immediately. Thankfully, many viewers have now subscribed to our channel.
What do you want to convey to the viewers through YouTube?
From my experience, many people think that necessary materials are conveyed on a conveyor belt and products are quickly finished. However, leather is soft and can’t be easily cut or assembled by machines. It has to be handled manually, involving the effort of many artisans. Therefore, we hope customers grow attached to the items they buy. This is the earnest wish of the producers.Communicating this doesn’t necessarily have to revolve around our products only. That’s why we present everything with an unbiased eye, saying what’s good and what’s not.
What are your future challenges?
International sales, indeed. Not in the form of physical stores, but something different. This also applies to domestic stores, where we envision a place for people to gather beyond just selling products, where new connections may lead to something.A recent event in Osaka drew over 200 people to a small space. Although purchases were made online only, the visitors weren’t dissatisfied. On the contrary, new forms of communication emerged. Some even offered to help our staff, and the visitors themselves enjoyed their interactions, prompting me to rethink the concept of stores.
How about product development?
Currently, we are working on a bi-fold wallet. With contactless payments now being predominant, we designed it so that cards can be retrieved without opening a zipper.
Where do ideas for unprecedented products come from?
Rather than coming up with ideas on my own, I often listen to the people around me. The tote bag introduced this time was something suggested by a sewing factory, saying they were thinking of such an idea. That's how we decided to commercialize it. Moving forward, under the label "Lab Series", we plan to increase the number of products with a different vibe from the bags we've made so far. We are going to take on experimental challenges, so please stay tuned for our activities.]]>
Providing Data Operation Solutions
First, please tell us about the platform that Fashion Data offers.
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.
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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.
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It means that clients are mainly large retailers with a significant data stock.
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.
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Responding to Brand Needs, Founding the Company
Could you tell us about the background leading to the company's founding?
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.
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How has the team expanded since its founding?
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.
Were there people with a background in fashion?
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.
What kind of awareness of the issues lay behind Fashion Data's solutions?
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.
On the other hand, the fashion industry has many unique constraints. For example, the rising cost of raw materials, and in many cases, European companies rely on production in Asia, especially China and Bangladesh, causing frequent delays in product arrivals. There are also challenges in the retail industry: how to compete with giants like GAFA, how to compete with large marketplaces like Europe's Zalando, how to build relationships with customers through digital tools, and how to capture e-commerce market share. Given that the industry has many competitors from various regions and districts, we believe we must provide more specific solutions to fashion retailers.Given that different brands have different data management methods, how do you handle these variations?
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
What features can companies use when utilizing the platform?
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.
For instance, just as self-driving cars can take you to your desired destination, freeing you to do other things, our solutions aim to automate Excel sheet management, giving clients the time and freedom to think about their target markets and goals. And just as those cars need to be manually controlled in difficult situations, our automation system also emphasizes that clients should actively drive their businesses forward.![<![CDATA[Fashion Tech News]]> (244) <![CDATA[Fashion Tech News]]> (244)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/cdedcf1e113a44cd8cd7400b5c090414/image8.png?w=2400)
For example, what data does the "Buyer Persona" integrated into your platform rely on?
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.
Our "Buyer Persona" takes the opposite approach, determining the real customers based on the client's company data. Our "Buyer Persona" uses over 25 evaluation axes, including purchasing behavior (purchase frequency, number of products bought by family, average number of items purchased, return rate, consumption habits, preferences), interactions with the brand, and socio-demographic information, to identify the most representative standard profile of all the brand's customers. This understanding allows us to predict future consumer behavior, playing a decisive role in the brand's strategy.Look at a persona example: a 20-year-old woman, a student with a decent income who can spend money on clothes. This persona's data includes her past purchases and predictions on future buys. This data is not based on guesses but is calculated through rational data utilization. Importantly, we enrich persona information using both internal and external client data. While leveraging as much data as possible might seem complex, the user experience for actual clients is simplified to ensure usability.![<![CDATA[Fashion Tech News]]> (245) <![CDATA[Fashion Tech News]]> (245)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/9d483532c2704c569b8bbb380d4c49d1/image7.png?w=2400)
Have there been any feedback from companies regarding the "Buyer Persona"?
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.
Regarding other solutions, what data is your "Demand Forecasting" based on?
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.
In other words, our algorithm is powerful in terms of managing information about past products. It can calculate optimized sales data with corrections, not just actual values. By correctly and accurately analyzing information such as past products losing sales due to lack of the right size inventory in stores or sales improving due to promotions, it becomes possible to design more optimized products and adjust the stock quantities of those products in stores. The more accurate the demand prediction is, the higher the profitability of the business, and the fewer products will be wasted. This means it benefits both the planet and companies.![<![CDATA[Fashion Tech News]]> (246) <![CDATA[Fashion Tech News]]> (246)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/499c33b87cbe42be9de7df487969418a/image3.png?w=2400)
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.
Fashion Data's platform solution enables a sustainable balance of demand, supply, and promotion by accurately analyzing data. By predicting and adjusting the supply volume, it is possible to accurately meet demand and resolve issues such as discarding unsold stock after production. We are eager to see how optimizing the operations of large enterprises will transform the structure of mass production in the future.
]]>Text by Hanako Hirata
Started with the Sale of Masks During the Covid-19 Pandemic
First, could you tell us about the overview of "ZAIMA"?
"ZAIMA" is a marketplace focusing on the environmental impact of materials, offering products made from recycled materials, carbon-neutral resources, and materials with a low risk of depletion. The service began in November 2020 and has sold original products like towels made from plant-based materials and stationery and toys made from a new material primarily composed of limestone, produced by TBM and its group companies.In September 2021, we rebranded the service, expanding our range to include not only products from TBM and its group companies but also eco-friendly products from other companies. We have increased our selection of gifts, fashion, and lifestyle products.
When the service launched in 2020, it was during the Covid-19 pandemic, and you started with the sale of masks, right?
That's correct. Chronologically, it all began when we made Bioworks, a group company, a subsidiary. Bioworks is dedicated to realizing sustainability in the fashion industry, developing, manufacturing, and selling polylactic acid, which can be used as an alternative material for clothing. Polylactic acid is derived from plants, uses minimal petroleum, and reduces carbon dioxide emissions when incinerated. To develop and sell masks using this polylactic acid, we launched the e-commerce service "ZAIMA."
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How does "ZAIMA" select products?
We select and handle products that meet three main criteria: products using recycled materials (upcycling), products using renewable resources (carbon-neutral), and products using resources with a low depletion risk (reducing petroleum-derived raw materials).
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How do you convey product information when selling environmentally conscious products on an e-commerce platform?
We mark our products based on the three selection criteria mentioned earlier to make it clear for site users. For instance, in the case of "PLAGLA" sunglasses, the frame is made from upcycled plastic bottles, and the lenses are made from carbon-neutral materials. As both criteria are met, relevant marks appear on the right side of the page.
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Consumers can now easily comprehend the detailed environmental information about products. By the way, what are the popular items among them?
One of them is "Bio Towel." This towel combines soft cotton with threads of polylactic acid, which is weakly acidic and has excellent antibacterial properties, and has been a popular product since its launch. Polylactic acid is a plant-based bioplastic created through the chemical bonding of sugars extracted from sources like sugarcane. Bioworks has improved the quality and functionality of the polylactic acid fibers by combining them with a proprietary modifier they developed. The distinguishing feature of the Bio Towel is the high absorbency achieved by using threads that twist together polylactic acid and cotton in a unique blend. It offers a gentle feel on the skin and absorbency exceeding that of cotton.
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Amid the emergence of various e-commerce services, could you tell us about the role and strengths of "ZAIMA"?
We believe that our strength lies in allowing consumers to enjoy a shopping experience that considers the environment's future, rather than just buying products. It is not merely about continuous consumption but about changing the norm of "shopping" with a vision for the future. That is the role of ZAIMA.
New Material with Limestone as the Main Ingredient
Your company has also been involved in material development such as "LIMEX." Can you provide an overview of it?
"LIMEX" is a material that primarily uses limestone, allowing it to form products that can replace plastic and paper. This material contributes to addressing global issues like climate change and plastic pollution. For example, by switching the material of a box of 100 business cards from paper to LIMEX, we can save approximately 10 liters of water. LIMEX is also used for shopping bags and now in products like food containers. Moving forward, we aim to export this technology and brand from Japan and establish it as a commonly used material worldwide.
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Could you tell us about the background of its development?
It started when our founder, Nobuyoshi Yamasaki, began importing stone paper from Taiwan. To continually meet the high-quality standards of Japanese companies, we needed to enhance the quality. However, the Taiwanese manufacturers did not make improvements, so Yamasaki decided to develop it himself, which led to the founding of TBM. Additional to "LIMEX," we have developed another material called "CirculeX," which contains more than 50% recycled materials. The launch of "ZAIMA" was also driven by the desire to sell products made from these materials, forming the background for starting our e-commerce business.
Sustainability Post-COVID-19
From TBM's perspective, what do you see as the challenges to achieving sustainability in the fashion industry?
We believe there are six challenges: (1) mass production and mass waste, (2) consumption of water resources, (3) consumption of petroleum resources, (4) use of animal-based materials, (5) use of animal-based materials, and (6) the impact on global warming.
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Considering that, how do you think the market for sustainable products has changed under the COVID-19 pandemic?
I feel that the younger generation today is increasingly concerned about whether products and brands are environmentally friendly. There is a growing tendency to prefer buying sustainable products, even if they are slightly more expensive. With the onset of the COVID-19 pandemic, there has been a global movement towards valuing nature and the environment more. I believe the market for sustainable products will continue to expand. The awareness of both manufacturers and sellers, as well as consumers, particularly the younger generation, towards sustainability is expected to increase.
Lastly, could you tell us about any future plans or areas of focus for your company or "ZAIMA"?
At ZAIMA, we have three main goals: continuing to successfully sell products that have entered the eCommerce market, expanding these efforts to raise awareness among a broader audience, and creating a platform where we can offer products from brand partners focused on sustainability. In the near future, we aim to establish a system for the circulation of all our products after use.Last year, our company set an ambitious goal called the "TBM Pledge 2030." This involves achieving carbon negativity and circulating one million tons of LIMEX and plastic in 50 countries by 2030, not just in Japan but globally. We want to drive the sustainability revolution by introducing new norms through Japanese technology and circular systems.]]>
Providing Services that Accompany Women Throughout Their Lifetimes
Please tell us about the overview and features of the services offered by Flora.
Flora aims to liberate women's minds and bodies from biases, prejudices, and taboos, empowering individuals. We strive to provide tangible support for women from puberty to menopause. Accordingly, we have developed and offered multiple services.
For example, we host online events themed on sex education and gender education called FemCamp, and provide a community and support platform called Floramaternity for pregnant women and postpartum mothers. In 2022, we plan to release flora app, a next-generation menstrual, fertility, and menopause management application.
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What circ*mstances led you to enter the femtech market?
The reason I (Anna Kreshchenko) founded Flora was because my cousin developed depression during pregnancy and, consequently, lost her baby, leaving her in a state of sorrow and grief. Witnessing her suffering, I felt immense sympathy and sadness, and strongly desired to create a society where every woman could experience a safe and secure maternity life. This experience led to the development of Flora's services that support pregnant women and mothers, as well as provide menstrual, fertility, and menopausal care. Flora's team is dedicated to creating solutions that accompany women throughout their lives.
The Potential of AI & IoT in Mental Healthcare
It was mentioned that you have begun a demonstration experiment in collaboration with Toyobo Co., Ltd. Could you tell us more about the details of this experiment?
The entire experiment (including preparation and development) spans over four months, involving 20 participants. Using Flora's developed chatbot and Toyobo's smart textile, we are particularly examining the potential onset of prenatal and postpartum depression and addressing their solutions effectively. Specifically, we are paying attention to the relationship between the subjects' vital data and mental states.Pregnant women and those within one year postpartum will wear the smart textile for about a month, during which their mental state will be checked through three daily interactions with the chatbot. Throughout the experiment, the analysis will focus on the vital data obtained from the smart textile, such as heart rate, body temperature, and acceleration, alongside interactions with the chatbot. By analyzing the participants' body temperature and heart rate, we will determine if they are experiencing mental health issues, including the likelihood of developing depression.
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During the development, are there any collaborations with medical institutions or interviews with pregnant and postpartum women?
Our company places a high emphasis on hearing from stakeholders, and so far, we have conducted interviews with approximately 100 pregnant and postpartum women. Additionally, the development is overseen not just by obstetricians but also by psychologists and midwives.
In the pilot study, what roles does each party, including Toyobo Co., Ltd., play? Also, could you tell us about the research backgrounds of the team members involved?
Flora is responsible for research planning, chatbot development, and data analysis. Our CTO, Ivan Seleznov, along with the R&D team, is conducting this experiment. Ivan is a researcher in the Biophysical Data Science Group of the Graduate School of Engineering Science at Osaka University, specializing in the analysis of health-related big data and wearable IoT devices' biological information.On the other hand, Toyobo is providing smart textiles. Toyobo has a track record in research on postpartum depression, and there was a strong synergy with our company, which develops solutions for women's mental and physical well-being. They were interested in our services for pregnant and postpartum women and the app we are developing, and we are currently examining the potential for collaboration between the app and smart textiles.
Could you tell us about the background of this pilot study and any challenges or connections with existing businesses that you were aware of?
We aim to understand each individual's mental state and the potential occurrence of depression from data collected from smartphones, Fitbit, Apple Watches, and smart textiles. We want to develop easy-to-understand measurement methods, new analysis algorithms, and accompanying apps so users can manage their mental care easily in their daily lives.
What kind of feedback have you received from those who have actually used it? Could you share any successful usage examples or reactions?
Most of the feedback we have received is about how comfortable it is to wear and the desire to manage their mental state as they feel it is not stable.
To Revitalize the Image of Femtech
How do you think the femtech market will change in the future?
Currently, femtech has a strong image as a luxury item, but I believe it will become a market and product accessible to everyone in the future. Flora aims to realize this vision, making cutting-edge technology more accessible and contributing to a society where seeking help is normalized and where no one is left behind.
After the official release following the pilot study, what specific business developments are you considering?
We plan to incorporate the data related to mental health collected in this experiment and the algorithms built based on it into menstrual, fertility, and pregnancy management apps, rolling out digital healthcare that allows for daily mental care. In the future, we also plan to tackle the issues of mental health instability during menopause and develop new solutions.]]>
"Product Appeal" & "Scene Appeal"
First, please tell us about the background of starting to provide social media marketing.
Our journey began with the launch of the women's lifestyle media "Sucle," leveraging our operational know-how, which led us to start an Instagram management business. Afterward, we received more inquiries from clients about managing Twitter and TikTok, gradually expanding our offerings.
What kind of systems and processes do you employ to develop services tailored to client requests?
We don't particularly use any analysis tools; instead, our directors, who personally use social media daily, propose optimal management strategies through visual inspection. We also set validation metrics for each post and continuously test hypotheses.
Who is your main target audience?
Our primary focus is on marketing to Generation Z. We offer not only social media management but also proposal planning. The reasons we focus on Generation Z are twofold: the lifetime value generationally and the high dissemination power of Generation Z.Regarding generational lifetime value, by familiarizing Generation Z with the brand names or companies in the areas they are likely to invest in the future, the current Generation Z will be more likely to recall these brands when they need to choose in the future. For example, by recognizing 'this company for building a house' from a young age, it's expected that once they turn 30 and decide to build a house, they will choose that company exclusively. Therefore, it is crucial to gain awareness among Generation Z early on for industries where significant lifetime investments will be made.The dissemination power of Generation Z refers to the trendsetters that emerge from this generation and influence societal trends. For instance, the song "Kousui" by Eito, which featured on last year's Kohaku (Red and White Song Battle), gained attention on TikTok, with many viewers from Generation Z. It became popular among young people, leading to multiple TV appearances and culminating in exposure at Kohaku, watched by men and women of all ages. Hence, Generation Z's dissemination power is an indispensable element.
What do you focus on when appealing products?
To give a specific example, we had a case where sales doubled for a certain long-established room bra brand. A major point was switching from wearing images to laid-out images. With bras, wearing images might appear to have high engagement metrics, but they often reach men with ulterior motives. To genuinely reach our true female customers, we specifically used laid-out images taken from above, successfully changing our reach demographics. More than just "product appeal" focusing on the bra's design alone, we promoted a lifestyle that made users envision themselves wearing the room bra, thus implementing "scene appeal."Additionally, our original 4S model, which focuses on saving function strategies, and a 25-point visual check for influencer casting, are specific support measures our company offers.
The TikTok Plan Born from Trend Words
Please also explain the overview of the TikTok Promotion Plan.
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What led to the launch of this service?
The catalyst was the rapid increase in consultations from companies about TikTok management after the term "TikTok selling" ranked as a buzzword in 2021.Previously, TikTok was mostly seen as a platform for teenagers to lip-sync or dance in front of the camera, perceived merely as "selfie" videos. However, since the buzzword ranking, the correlation between consumer purchases and TikTok has been proven, and the importance of TikTok in marketing has been reevaluated. Especially with the increase in inquiries and consultations from manufacturers and companies considering expanding to Gen Z, we officially launched a TikTok promotion plan within our company.
What do you see as the differences between Instagram and TikTok?
Talking about the overall market sentiment, Instagram, as a platform, is mature, and we observe a gradual user exodus. On the other hand, TikTok is currently a rapidly growing platform, having topped the global app download rankings in 2021. With fewer players, it's easier to create explosive buzz, making TikTok more of a trendsetter than Instagram currently.However, I believe the barriers for companies to enter TikTok are high. The reasons include the difficulty in sales forecasting, lack of a clear vision for initiatives, and insufficient awareness of the importance and effectiveness of TikTok, which often hinder companies from starting.
Speaking of barriers to entry, TikTok is also one of the toughest platforms for recommendation hacks. What are your thoughts on this?
Indeed, compared to other platforms, TikTok has a stark difference between trending and non-trending posts, making it challenging to consistently increase views on posts.However, by analyzing the structure of bottleneck videos and removing obstacles one by one, we believe it’s possible to make posts go viral consistently. Our company examines general examples of user viewing behavior and aligns them with metrics to identify improvement points.1. First, consider in the first 2-3 seconds of the video whether to continue watching past the 4th second or skip the video.
2. Then, consider the video’s pace, narration or visual content, and music to determine if the entire video will be watched.
3. If the video was good till the end, users might like it or leave a comment if there is an engaging point.For example, if the viewing time is short, we consider if there's an improvement point in 1 or 2. Conversely, if the viewing time is long but engagement is low, we explore improvements for future posts under 3. Also, unlike other social media, having a high number of followers has a weaker correlation with "high views." Therefore, we focus more on creating posts that can "go viral" compared to platforms like Instagram.
Can you tell us more about the specific use of Instagram?
We pay attention to two points: "Event vs. Person" and "Targeted vs. Latent Audience." We aim to use and implement strategies appropriately for each platform based on these aspects.When it comes to "event-based or people-based," the differences stemming from the origins of each platform are significant. Instagram started as a photo editing app, so it has a lot of content focusing on object photography and videos. On the other hand, TikTok expanded by attracting younger audiences through dance content, hence it tends to have more people-centered content. Even when describing an event, it is often narrated with audio, making it subjective. The suitability for each platform depends on the product or the strategy, so we adapt our platform usage accordingly.For the "Visible Audience vs. Potential Audience" strategy, we post detailed product information or How-To introductions on Instagram, while TikTok is used for lighter introductions. TikTok's recommendation algorithm is highly advanced. Due to the ample entertainment elements and the ease of acquiring information, many users view it in their free time. Additionally, there are fewer content creators on TikTok, making it easier for posts to go viral, which is particularly effective when aiming to reach a wide potential audience.
TikTok doesn't yet have e-commerce features in Japan like Instagram, but how do you think the social commerce market will change if they are added in the future?
So far, items often sold offline such as the candy represented by "TikTok Sell," "Planet Gummi," the book "残像に口紅を," and Otsuka Pharmaceutical's "Fibe Mini" have been frequently purchased in discount stores, bookstores, and convenience stores. One factor is the lack of an e-commerce function, but another is that many of the users influencing behavioral change are young and do not have credit cards.In October 2021, it was officially announced that one in four TikTok users is a housewife, highlighting a noticeable broadening of the age group. As the age group diversifies and users who previously bought items offline transition to becoming college students and working adults, the e-commerce purchase rate is expected to increase. The introduction of e-commerce on TikTok could visualize previously unseen purchases and impact many stakeholders along with the behavioral changes of Generation Z.
TikTok: The Hottest Platform in Social Commerce
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How do you think social commerce and influencer marketing have evolved during the COVID-19 pandemic?
There has been a noticeable increase in PR activities initiated through social media, especially among large companies. Previously, social media marketing was often considered "only for young people," but since the pandemic began, it seems to have been re-recognized as a marketing channel that can approach various demographics regardless of age.We have received many consultations from brands with physical stores who find face-to-face customer service challenging, saying they want to seriously engage in social media marketing to establish new customer touchpoints.
TikTok is key to these "new touchpoints," right?
Yes, that's right. Currently, TikTok is the hottest platform in social commerce, drawing significant attention from our company as well. The business potential of TikTok in Japan is just starting to be recognized, and there aren't many examples of its utilization yet. Although its user base is still predominantly young, the content is diversifying, and it's almost certain that it will become an app with broad user appeal similar to Instagram.Influencer marketing on TikTok is also still developing, and influencers hold considerable sway on the platform. Competing social media platforms will likely introduce new features and monetization options to keep up with TikTok. In the future, the user demographics and content strengths of each social media platform may become more distinct. Companies will likely focus on different platforms based on the nature of their products and the audiences they wish to reach.We also can't take our eyes off the metaverse space announced by Meta. We interpret the metaverse as a place to "increase one's places of belonging," following social media. While the metaverse is still in development, its foundation will likely leverage existing social media communities. As a social media marketing business, we want to clearly envision how these two-dimensional communities within social media applications will be utilized in a three-dimensional metaverse.
Lastly, could you tell us about the areas you want to challenge in the future?
We are looking to fully engage in marketing aimed at Generation Z. Not only will we promote through social media targeting Generation Z, but we will also take on comprehensive marketing that incorporates content designed to go viral on social media from the product development stage. This Generation Z marketing will leverage the knowledge of our current Generation Z employees, planning, proposing, and executing strategies by those who are part of this demographic.]]>
Momotani Juntenkan's Research on Rosemary Extract Captivates the Industry
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Tell us about Momotani Juntenkan's research on rosemary extract.
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.
In 2016, we discovered that decreased activity of the desquamation enzyme kallikrein is related to the appearance of age-related skin dullness and that increasing this activity can reduce skin dullness. We presented these findings at the IFSCC Congress in Orlando (2016).Continuing our research, we found that a lotion containing rosemary extract can increase kallikrein activity in the human stratum corneum, gently reducing old keratin layers and decreasing the sensation of skin dullness and thickness. These findings were presented at the IFSCC Conference in Milan (2019).The research also confirmed that rosemary extract promotes the proliferation of epidermal keratinocytes. Thus, it suggests that a lotion with rosemary extract can supply epidermal cells while facilitating desquamation. We expect it to properly regulate epidermal turnover, reducing both skin dullness and thickening sensations.Our presentations at IFSCC and publications in industry journals have garnered significant attention, leading other companies to conduct follow-up research. We believe producing such foundational research results stems from our 139-year commitment to research and our ability to constantly adapt to societal changes with our technical prowess.Were there any other plant candidates besides rosemary in your research?
Noriko Nogami (hereafter, Nogami)
At Momotani Juntenkan, our research is driven not by material inspiration but by the desire to enhance our customers' beauty.
This ethos is rooted in our founder's wish to cure his wife's acne, leading him to travel from Wakayama to what is now the University of Tokyo, where he continued his research and developed "Bigansui" (currently "Meishoku Facial Water Medicated Lotion [明色美顔水 薬用化粧水]").Even 139 years since our establishment, we remain dedicated to addressing beauty and health concerns. We adhere to the founding research principles of our first lab director, focusing on uncovering the truth with unconventional ideas and providing scientifically grounded products.In our research on rosemary extract, we started by scientifically verifying the conditions of beautiful skin, targeting smoothness, and lack of dullness. We screened over 200 potential ingredients, including single components like vitamin C and various traditional herbal plants, eventually identifying rosemary extract.The Potential of Rosemary Extract & Product Development
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Besides improving epidermal turnover and dullness, does rosemary extract have any other anticipated effects?
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.
Moreover, even in high concentrations, rosemary extract is generally non-irritating to healthy skin, making it a convenient ingredient for inclusion in cosmetics.Could the effectiveness of rosemary extract vary based on its origin and extraction method?
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.
Generally, water or ethanol is used for extracting common extracts. However, it's recommended to choose different solvents based on the desired effectiveness, and design products with a defined content and quantity of beneficial ingredients.Rosemary extract is included in Meishoku's skincare and makeup products. What are the specific purposes for its inclusion?
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.
"MEDI SHOT" series is one of our most repeated series. Customers experience moisturized, brightened, and firm skin.Future Prospects for Utilizing & Researching Rosemary Extract
Will research on rosemary extract continue? What are the future prospects?
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.
In this context, should new functionalities be discovered in rosemary extract, we aim to enhance the power of the "MEDI SHOT" series and potentially develop new products based on those functionalities.Beyond rosemary extract, our research has shown that the balance of resident bacteria on the skin’s surface and the accumulation of daily inflammation impact the perceived effectiveness of skin smoothness and condition.In recent years, our research has not been limited to cosmetics. We are also exploring medicative formulations, acne care, and products for international markets, providing wide-ranging value. We aim to continue our research to benefit society at large.Continuing the founder's vision, Momotani Juntenkan strives to enhance user beauty and contribute to society through its research. Interest lies not only in rosemary extract but also in their future research advancements.]]>Traditional Leather Crafting Unique to Himeji: A History of Leather in the Region
Tell us about the beginnings of your company.
Toda: "First, in 1905, "Himeji Leather Factory (姫路製革所)" was established. At that time, Japan was promoting national policies of strengthening the country and encouraging industrial growth, and the purpose of this leather factory was to conduct modern leather making as a national policy.
Given that Himeji City had a long history of leather production, it was established there. Later, in 1911, 'Sanyo Hikaku Co., Ltd. (山陽皮革株式会社)' was founded as a private company.
Initially, it was established to produce leather goods for military use domestically, as part of a national policy. However, after the war, the focus shifted to creating products that met civilian needs, such as bags and shoes.
The company name was changed to 'Sanyo Leather Co., Ltd. (株式会社山陽, although the Japanese name no longer retains the word hikaku meaning 'leather')' in 1977. With changing societal trends and the end of the high-growth economic period, we wanted to embrace various possibilities and challenges, which prompted the name change."
What methods are used to produce leather at your company?
Toda: "Our company produces leather using three methods: 'vegetable tannin tanning,' 'chrome tanning,' and 'white leather tanning.' Tanning is the process of turning hide into leather, preventing it from rotting. Let's have Shiota explain the details."
Shiota: "For vegetable tannin tanning, we use 'tannin,' a polyphenol compound found in trees. For chrome tanning, we use a chemical agent called 'chrome tanning agent.'
Globally, only about 20-30% of leather is tanned using vegetable tannin. Moreover, our company conducts vegetable tannin tanning using pits known as pit tanks. Only a few companies in Japan are still using this method.
Our white leather originated from 'Himeji white tanning leather,' a traditional method unique to Himeji, known for its history of leather crafting. It is a very precious tanning method, making it difficult to produce in large quantities. Currently, we perform white tanning only upon customer request."
Is it difficult to perform vegetable tannin tanning using pit tanks?
Shiota: "It takes about a month for the tannin to penetrate the hide. It varies depending on the breed of cattle as well as individual differences.
Additionally, the penetration varies with the temperature and water temperature, so in winter, we have to employ techniques like warming the liquid in the pit tank while tanning."
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Is there a difference in the resulting leather between vegetable tannin tanning and chrome tanning?
Shiota: "The more actions you take on the hide, the more the fibers loosen and the softer it becomes. Conversely, leather tanned in a pit tank without much action is thick, less stretchable, and quite sturdy.
In the past, this type of leather was used for horse reins and saddles, but nowadays it is often used for belts and bag handles.
On the other hand, chrome-tanned leather is characterized by its excellent heat resistance and adaptability for thickness adjustments. At our company, chrome-tanned leather is frequently used for shoes, so we make sure to produce leather that does not easily lose its shape.
We adjust the tanning method based on what we plan to make."
You mentioned white tanning as a traditional method. Could you explain the specific process?
Shiota: "There are several methods for white tanning. The original method practiced during the Heian period involves soaking the hide in the Ichikawa River and exposing it to bacteria while kneading it with salt and rapeseed oil.
The raw hide is originally white and has no particular color. The salt and rapeseed oil are only used to enhance the texture, so if you don't use anything else, the hide retains its original whiteness.
Although I've heard this method was temporarily discontinued, some people have managed to recreate it in this region. It seems to be quite rare and has aspects of being a cultural property.
At our company, we use special tanning agents to produce our unique white leather."
Are there any challenging processes in tanning?
Shiota: "'Even if you make leather the same way, you won't get the same results. It's often said that you can't get the same outcome because you don't make adjustments to suit the hide's characteristics carefully enough.
Therefore, in vegetable tannin tanning, we periodically cut a small piece of the hide to check how far the tannin has penetrated while it is soaking in the pit tank until it is finished.
Our company has 24 pit tanks, and we adjust the tannin concentration in each."
Can you tell us about the advantages of handling the entire process from procuring the hides to producing the leather in-house?
Shiota: "Many of our clients are very particular about the physical strength of the leather.
While the finishing methods and painting techniques vary depending on what our clients are making, we can easily control the entire process from start to finish, which is one of our company's strengths."
Conveying the Charm of Leather & Contributing to the Community through "TAANNERR"
Please tell us about the background of launching your own brand "TAANNERR"
Toda: "The decision to launch was motivated by the desire to share more about the charm of leather, including the background of leather product manufacturing.
Compared to the past, I think opportunities to interact with leather products have decreased. New materials have emerged, and some have replaced leather.
In the past, there weren't as many materials available as there are now, so the use of leather was more common.
However, not many people know that leather products have been made by utilizing hides produced during the meat processing process, rather than discarding them.
In recent years, the focus has been on SDGs and environmental and eco-friendly initiatives. From the perspective of us tanners, leather products are attractive materials, especially considering the SDGs aspect.
Companies like ours are B2B material manufacturers, so we rarely have direct interaction with consumers. To convey the manufacturing background and charms of leather products directly to consumers, we decided to launch our brand."
What type of leather is used in "TAANNERR"?
Toda: "We use the finest full-grain 'Pit Nume tannin leather' (ピットヌメ・タァンネリル) and high-quality waterproof leather 'Waterproof tannin leather' (防水・タァンネリル). Since we are tanners offering the brand, we are confident in the quality of our leather.
We make leather tailored to each item within the company, and the staff involved in 'TAANNERR' are all leather enthusiasts. It's a brand filled 100% with dedication to leather."
How are the customers reacting?
Toda: "At pop-up stores in department stores, I personally stand in the sales area, and customers often say 'This leather is incredibly beautiful.'
Handling real leather is difficult, and as brands grow larger, they tend to use easier-to-manufacture leather. That's why our products look fresh to them.
It is also said that general consumers have fewer opportunities to touch good leather, so I want them to experience it firsthand.
Recently, a young student casually stopped by our pop-up store, and after explaining the leather, they were very interested and bought a wallet despite the price not being particularly low.
I thought young people wouldn't purchase expensive items, but when they realize the value, they are willing to buy them. Standing in the sales area, I’ve learned a lot of new things."
Morimoto: "I hear that today's young people are different from when we were young; many consider the resale value when they buy things. Therefore, they might be discerning the value of items."
Toda: "I've been using 'TAANNERR' business bags almost every day since launching the brand, and a department store staff once said, 'I thought it was brand new,' indicating that the leather retains its look without losing its charm.
Genuine, well-made leather can be used for a long time and develops character over the years. While the initial price may seem high, it becomes relatively inexpensive when considering how long it can be used. Many people resonate with this idea.
Long-term use is championed within the SDGs, so I hope the sense of using good items for a long time instead of buying products repeatedly within a short span will spread.
Customers who understand our company and purchase our products leave with a very happy smile. Watching these satisfied customers makes me realize we need to continue providing valuable items for people and society, motivating me to create materials that resonate with people.
For us, it’s essential to have many people learn about us. Running our brand is extremely meaningful."
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Did you face any challenges when starting the business?
Toda: "Our company is a small to medium-sized enterprise, so we don't have a lot of capital or personnel. Additionally, having only produced leather materials for over 100 years since our founding, creating final products as a brand was challenging.
It took us two years as a preparation period to make the brand a reality. We started by inviting leather enthusiasts within the company, asking, 'We're thinking of doing this, would you like to join?' We launched it as an in-house project and began from the basics like 'What is a brand?'
The brand name 'TAANNERR' is a coined term, imbued with the idea of 'something that transcends time.'
We proceeded by consulting with craftsmen from planning to design, but it was tough since we did it with inexperienced staff within the company."
How would you like to see "TAANNERR" grow as a brand?
Toda: "It's been less than two years since the launch, so we are starting by raising awareness.
We aim to gradually expand from staple products and eventually grow the range of our products to the extent that people can say, 'I didn't know you could buy such leather goods at TAANNERR.'"
Morimoto: "Himeji has been involved in the leather industry for a long time. Even now, Himeji City and the neighboring Tatsuno City produce over 70% of Japan's cowhide. While establishing our brand, we want to convey the charm of leather, including SDGs, and contribute to the community as the holy land of the leather industry.
Toda: "Himeji doesn't have many tourist resources. Many visitors to Himeji only see Himeji Castle and then move on to other regions.
The long-standing challenge for Himeji City is how to encourage visitors to stay longer and invigorate the local area through tourism. That's why we're considering whether we can turn the local leather industry into a tourist resource. Moving forward, we aim to grow with the goal of becoming a regional brand."
Your company has obtained the LWG (Leather Working Group) environmental certification. Could you please explain what this certification entails?
Toda: "LWG is the name of an organization founded in the UK in 2005. This organization certifies to create environmentally friendly leather worldwide.
The certification standards have four categories: tanners, traders, subcontractors, and commissioned processors, each with different evaluation criteria. For instance, tanner evaluation includes wastewater treatment methods, material traceability, proper chemical management, and the use of prohibited substances."
Shiota: "LWG conducts certifications based on its unique environmental audit standards. It is extremely challenging to gather data such as safety measures for factory workers and methods for checking wastewater components until the certification is obtained.
However, since we handle everything in-house, including wastewater treatment, it was easier for us to control these aspects.
In the future, companies not focusing on environmental measures will be left behind, so we are putting significant effort into these initiatives."
It seems like this could also serve as a good appeal point to consumers.
Morimoto: "We are engaging in PR activities, but putting a certification mark on product tags for bags or shoes is difficult. This is because, according to the operational rules, tags can only be attached if the company selling the bag is a member and has obtained the certification.
However, some major companies that are members only deal with companies that have obtained LWG certification. Globally, the scrutiny towards environmental initiatives is becoming stricter.
As a company, we continue our efforts to make our activities visible to as many people as possible, such as displaying pop-ups at exhibitions."
Are there any challenges in the leather industry that your company is concerned about?
Toda: "Like many in the industry, our company has faced the rapid development of social media over the last few years, which has flooded the world with information.
In this environment, misunderstandings and incorrect information about leather have also spread, leading to a vicious cycle where people believe and further spread these inaccuracies.
To dispel these misconceptions and spread accurate information, the Japan Leather and Leather Goods Industries Association has initiated an information dissemination project called 'Thinking Leather Action' (TLA)."
What kind of misinformation is prevalent?
Toda: "According to a survey by the Japan Leather and Leather Goods Industries Association, only about 39% of people recognize that leather is a by-product. This means that more than half of the respondents do not realize that 'leather is made from the hides of beef cattle.'
Everyone eats meat, right? After extracting the meat for consumption, hides inevitably remain. Disposing of these without using them requires energy and costs. It's wasteful not to use them.
One of the reasons leather products have fallen out of use recently is due to these misconceptions. The belief that using leather is environmentally harmful or ethically wrong is exactly what TLA aims to correct.
Furthermore, when influential individuals disseminate one-sided, incorrect information, it spreads quickly. We don't want people to be misled by such fragmented data."
Morimoto: "Our workshops and factory tours aim to give people a better understanding of us, but they also contain our desire to clear up misunderstandings about the leather industry and deepen people's comprehension."
What challenges do you want to take on for the industry and regional activation?
Morimoto: "I want to engage in activities that make leather products feel more familiar. Currently, we hold a factory tour event called 'Sanyo Leather Day' once a month. (For more details, click here)
This project started about two and a half years ago to let people who are even slightly interested in leather see the production site and learn about it directly.
We've also recently started workshops that use leather. For Father's Day, we collaborated with a shoe store in front of Himeji Station to make belts for fathers.
By learning about or touching leather products firsthand, we hope to dispel ethical misunderstandings and foster a sense of attachment to them.
Leather products are often thought of as inaccessible and high-end. However, that is not the case. They have been used for ages and are highly durable and versatile.
We will continue to share information and hope that many people will use and appreciate leather products through their own senses. It would be wonderful to attract attention from people all around the world."
Shiota: "Since I joined our company, I've always said, 'Leather making is work that revives the life we were given one more time.' We create from this perspective, and I hope everyone recognizes how we treat the lives we use with such care."
Toda: "I believe fashion trends cycle over time. Nowadays, many materials are recycled and reborn into new forms.
Leather, which has been used for a long time, is precisely such a recycled material and a very valuable one. We hope people will rediscover this quality. If people could perceive this through fashion, it would make us very happy."
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]]>Text by Rika Okuyama
Photorealistic Digital Fashion
First, could you tell us about Joyfa's business?
Joyfa is developing a photorealistic digital fashion ecosystem utilizing cutting-edge CG technology. We focus primarily on three areas: first, the creation of digital fashion in collaboration with designers inside and outside our company. Second, we issue the created digital fashion as NFTs on the blockchain and sell them. Third, we experiment with combining the issued digital fashion with users' photos. In other words, we merge digital fashion into users' existing photos to make it look as if they are actually wearing the items.
Please tell us about the background of Joyfa's establishment.
Originally, I was involved in the NFT industry, responsible for business development using NFTs and listing cryptocurrencies at Enjin, a company specializing in NFT × Entertainment. I had the opportunity to see various use cases for NFTs there and pondered on what would become interesting in the future. It was then that Enjin was collaborating with The Fabricant and DRESS X to create use cases for digital fashion, which made me strongly feel the potential of digital fashion. The fashion field, where new forms of self-expression are possible in digital space, and with the added element of NFTs to utilize digital assets, is bound to thrive next. That's why I attended a fashion vocational school called TFL and started my business this May.
How is the merging process carried out?
Initially, we intended to use AI image synthesis technology to fully automate the wearability. However, testing revealed that the quality was not yet sufficient for sharing on social media, thus further development was needed.Currently, we manually merge the users' photos and digital fashion. Since manual work makes repeated corrections and synthesis difficult, we are handling it on a one-time basis in our latest project. However, manual synthesis allows for finer expressions, enabling high-quality integration. Concurrently, we are developing a fully automated AI, aiming for a system that allows multiple changes of clothes in the future.
Could you explain more about the manual merging process?
In manual merging, simply overlaying clothes in Photoshop doesn't work well. Our team includes members with a background in video production who reflect light positions in the clothes to cast shadows and shape the product to fit the person's physique optimally. Specifically, we incorporate some existing technologies like Marvelous Designer for simulation, but it's not enough, so we achieve the final adjustments of shadows and corrections through a composite approach.Additionally, individuals proficient in image and video processing are involved in AI development. Developing AI requires thinking about how to express a genuine "wearing feel". By involving experienced image and video processors in AI development, we aim for a superior AI.
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How is the number of data sold in the same model determined?
Determining whether to sell as unique items or in multiple pieces is crucial when selling NFTs, including digital fashion. We decide on a case-by-case basis. For example, it's natural to sell dresses as unique pieces, but depending on the brand's intention, creating about 100 pieces is also considered.While issuing many identical NFTs could pose issues under Japanese regulations, a moderate number of pieces is generally acceptable. We discuss with the brand to decide on the level of exclusivity.
Enjoying Extraordinary Moments with Digital Fashion
What kind of users does Joyfa have?
There are several reasons why people choose to wear digital fashion. First, it allows you to wear dresses that would be impossible in the real world. It caters to the desire for new forms of self-expression unique to the digital medium. Additionally, many real-world dresses, especially those seen in collections, can be difficult to wear in everyday settings. Our aim is to create opportunities to enjoy such fashion in the digital space.Currently, we focus on digital fashion and NFTs, attracting users who regularly engage with NFTs and have a strong interest in fashion. We've received various feedback from users, many expressing a desire to try unique digital fashion. Fashion-savvy individuals often post on platforms like Instagram, while more general users express interest in wearing digital fashion for special events like weddings, coming-of-age ceremonies, and baby showers.
How did the collaboration with Coincheck and TOMO KOIZUMI come about?
I had a very supportive relationship with Coincheck in my previous job. Through this connection, we discussed collaboration in digital fashion, which led to an introduction to TOMO KOIZUMI, resulting in our current collaboration.
TOMO KOIZUMI's dresses are stunning, and making them easy to wear digitally would only broaden their appeal. That's why I believe this collaboration is a perfect fit.
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Popularizing Through AI Development
How do you view the current state of digital and virtual fashion in Japan?
When focusing solely on models like ours and DRESS X, which involve dressing up in photos, the discourse may differ somewhat from the metaverse.Firstly, digital fashion is still in its infancy, including overseas markets. As various companies and approaches emerge, the challenge for Japan will likely stem most from NFTs.Technically, the major hurdle is composition. Currently, achieving a realistic look requires manual effort, which drives up production costs and, subsequently, sales prices. This creates a challenge in making it widely accessible.The key to overcoming this is AI development. Advances in AI will usher in an era where fashion can be easily enjoyed in the digital realm. The specific technical challenges involve accurately identifying humans in photos and seamlessly compositing clothing data onto them. For the latter, incorporating wrinkle textures, shadows, and other details is crucial.
What are some areas or topics you aim to tackle in the future?
Currently, we're engaged in businesses related to NFTs and digital fashion. Looking ahead, we aim to explore digital fashion through smartphone apps and methods not involving NFTs. It may take a few years, but we are also interested in the potential of AR glasses for digital fashion. Imagine a world where, through AR glasses, it appears you’re wearing different clothes, and others see you in varied outfits. Given the significant strides AR glasses have made in recent years, I believe this dream is attainable and hope to pursue this in the future.
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"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.
Simply put, about 100 types of cells are required within the body for hair to grow. In our labs, by creating similar conditions, we aim to simulate this process and allow hair to grow similarly. We mimic the internal environments of human and animal bodies to nurture hair follicles and hair growth.Maria
Thus, what we aim to achieve is not merely fur created in a petri dish, but cultivating what we call "Cultivated Fur."
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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.
Compared to polyester products, the greatest advantage of our development is the absence of microplastics. This implies it is animal-friendly, which is already a significant improvement. However, we are still in the research and development phase and it's too early to expand the discussion to functionality. Once we have a prototype, we can start addressing its practicality and functionality. Regarding functionality, we aim to develop according to needs, comparing it to traditional fur.![<![CDATA[Fashion Tech News]]> (273) <![CDATA[Fashion Tech News]]> (273)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/55f24cf6857f4112a72a6c4468eb6c93/%E5%9B%B32.png?w=2400)
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.
We are currently creating a prototype. Once completed, it will offer greater scalability and cost-efficiency towards sustainability. Moreover, it is essential that the chemicals we use, and everything involved, do not harm the environment. That's why the polymers we are developing are engineered to be 100% compostable. Everything is designed to be biodegradable, environmentally friendly, and gentle on nature.![<![CDATA[Fashion Tech News]]> (274) <![CDATA[Fashion Tech News]]> (274)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/9d53d060d83945269f7fb0d4e9e81e7a/%E5%9B%B33.png?w=2400)
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.
For instance, some products claim sustainability by ticking off just one out of five criteria required for certification. However, we aim to cover all such criteria. One of our ideas involves obtaining production licenses in different countries to reduce the need for transportation and its associated impacts. Transportation across continents and oceans is often required. By considering all these aspects from the beginning, we aim to eliminate the risks of falsely asserting that it's completely sustainable just because it grows in a petri dish.Our products are not vegan, but they rely on a simple process of creating fur or wool from cells extracted from animals without causing them any suffering or death. This approach is beneficial for animals; however, environmental changes inevitably affect animals too. We ensure it is environmentally considerate. Invisible harms, such as microplastics infiltrating waterways and soil, also concern us, so we pay close attention to chemicals involved in our development processes.![<![CDATA[Fashion Tech News]]> (275) <![CDATA[Fashion Tech News]]> (275)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/75b9f8c5059a4a9a8828a68e81e979d1/%E5%9B%B34.png?w=2400)
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.
I'm from Russia, where wearing fur is quite common. In Russia, there's still a fascination with fur products, admired and accepted for their beauty. As a fashion model, I enjoyed working with people in the fashion industry. In fact, I even traveled to Japan for modeling work. With these pieces falling into place, we decided to apply the technique of using human hair follicles to create fur in petri dishes, leading to the birth of Furoid™.![<![CDATA[Fashion Tech News]]> (276) <![CDATA[Fashion Tech News]]> (276)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/5c5af2df8c1e40998700df858f649987/%E5%9B%B35.jpg?w=2400)
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.
However, during my modeling career, I realized that working with industry colleagues was enjoyable but not enough to create change. Therefore, significantly contributing to the fashion industry became a personal priority for me. With fashion facing many challenges, I was always looking for ways to contribute.Even though our technological innovations might not revolutionize fashion, there are many better alternative ideas, like leather made in petri dishes, that don't rely on traditional production methods, and fur is just one part of it. Upon reflection, it seems that no single innovation can change the entire industry at present.However, we believe that our technology can positively impact at least some species or animals, especially from an animal welfare perspective, which is also our ultimate goal. If we can take a step forward and spur other companies to develop alternatives, the fashion industry might change, reducing its negative perception.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.
We also plan to expand our research beyond mink to various animal types, aiming to save them from harm and slaughter. We will optimize protocols and processes to provide fully functional prototypes and consider scaling up to a larger level.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.
A positive sign is that we've been recognized and inquired by big names and brands in the industry, and we hope to work with them in the future. In 2017, when we started, people thought we were dreaming, and fashion brands didn't pay much attention. But some believed in our idea and invested. Now, five years later, we can talk to industry people. Moreover, with the reports of mass mink culling during the COVID-19 pandemic, our recognition has increased. We have many plans, but our immediate goal is to produce cultured fur at a sufficient scale and quantity.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.
What we seek is not change itself, but progress toward positive change. Take employment, for example. We can't just fire everyone and say sorry because everything is being greened and made sustainable. It's not just about stopping fur farming; we need to provide farmers with new options for what they can still do. For instance, though it’s a distant future, we might repurpose countries or regions that had fur farms into facilities for fur cultivation or facilities to support scientists. I hope what we are doing will yield truly good results. Even if it is slower and smaller than our expectations of changing the world, we want to proceed.I believe the fashion industry is incredibly beautiful. Having spent about 10 years in this industry, I have met wonderful people, seen beautiful things, and worked on creative projects that require imagination every day. That’s why it breaks my heart to know that clothes, materials, and packaging are being discarded in the background. Simply producing environmentally friendly products that do not emit greenhouse gases is not enough.All of this affects animals. I love animals, but I also believe that if you care about animals, you must care about humans. Humans need to take care of the surrounding environment and the Earth. So, our initiative is not just an animal welfare issue. You cannot love animals without loving humans. We must protect animals while coexisting and also protecting ourselves. Therefore, I believe in involving everyone: animals, producers, the Earth, and all people. Considering people, animals, and the climate, and thinking about how to make things better. It's about asking how we can get people to join us, not fight against them. That’s the approach I want to take.*All images were taken by Furoid™ in the research facility district.
]]>Text by Hanako Hirata
Creating Digital Fabric Data from Existing Scanners
Tell us about Frontier’s innovative technology, "3D Fabric Creator."
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.
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Though designed to be very simple, what kind of problem awareness underpins these ideas?
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.
How can the created data be utilized?
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?"
Can you tell us about the proposed "4D-Ready Smart Material"?
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.
What do designers and brands need to do if they want to place actual fabric orders?
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.
So, you can track all the processes.
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
How did Frontier start?
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.
Currently, our Frontier platform generates more than 2,000 digital materials every month. Over the past six months, the number of views on shared digital fabrics has exceeded 550,000. We've achieved significant growth, earning several prestigious awards along the way. For instance, we ranked third out of 300 companies in the highly competitive E-commerce category at America's tech pitch event.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.
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Is the core idea behind "3D Fabric Creator" to streamline workflows?
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.
How do you perceive the current space surrounding the Metaverse and fashion?
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"
Tell us your thoughts behind the development of 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.
As mentioned earlier about the fashion metaverse, this metaverse requires a digital twin, or digital counterpart, to represent virtual clothing, and digital fabric that can link to 3D software for virtual wear. Our "Fabric Meta Chip" uses AI to convert physical materials into digital twins, achieving a seamless and harmonious collaboration between actual supply chains and virtual costume design. Honestly, when I was made aware of working on this idea, I was astounded by how advanced current edge computing has become.By installing "Fabric Meta Chip" in fiber and garment factories or manufacturers, everything can be accelerated, integration with design tools can be facilitated, and everything can be done in real-time. Also, given our location in Taiwan, which has many factories, we are geographically ideal and already possess extensive knowledge about the supply chain. At Frontier, we don't just make the metaverse immediately usable for everyone, but also support and guide traditional factories, brands, and the entire supply chain. This wave may be seen as a huge leap for some but can sometimes appear terrifying. Therefore, by lending a hand, paying attention, and assisting, we make this incredible technology accessible to everyone and support the entire ecosystem.![<![CDATA[Fashion Tech News]]> (279) <![CDATA[Fashion Tech News]]> (279)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/50c8ae1384b3428eacb24020c05fec50/image3.png?w=2400)
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.
What kind of response have you received since CES?
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.
How will Frontier expand in the future?
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.
Furthermore, our overall vision is to create a global textile industry where everyone has equal access to digital workflows to improve productivity, regardless of geographical conditions, enabling infinite and seamless communication and collaboration worldwide. We aim to contribute to a more environmentally friendly planet. Therefore, we aim for the entire industry to transition to digital workflows, eliminating waste, reducing time, and being completely open and accessible to everyone.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
First, could you tell us about the business initiatives of MERY?
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.
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You also run the "MERY Gen Z Kenkyujo." What kind of initiatives does this involve?
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.
What are some specific factors that have attracted attention to Generation Z?
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.
In researching Generation Z for business purposes, we made several fascinating discoveries. The structural generational theory passed down as "young generations are like this" has always existed, but Generation Z seems to mark a generational shift. Significant differences in values from conventional ones are becoming more apparent, which may explain why Generation Z is a focal point globally.Additionally, as a generation that has grown up with social media natively, their information behaviors differ significantly from older generations. Because of these considerable differences in information consumption and marketing consumption, we believe close investigation is necessary.Specifically, what were some of the characteristics observed?
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.
People in their 30s and 40s tend to be career-oriented. They often aim for career advancement while considering work-life balance in married life. For Gen Z, however, work is merely a means of skill development. They focus on themselves and don't put primary emphasis on external things like work. This lack of interest in others is likely why they can embrace diversity easily. Because there are so many "selves" out there, it's easier to accept each person being their own individual. That's the major difference, I think.The development of social media has also strongly connected with this focus on self.
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.
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Turning Passions & "Oshi" into Work
What led to the inception of the "MERY Life Creator" initiative?
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.
When reviewing the surveys conducted on Gen Z, it appears that "oshi" now encompasses various genres. It's not just limited to idols like in the past; people are passionate about oysters, theme parks like USJ, and more. They collectively refer to their dedicated activities and interests as "oshi-katsu," investing readily in them.The Life Creator project aligns perfectly with MERY's concept while also catering to the contemporary notion of "oshi" cherished by Gen Z.
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.
Currently, our Life Creators, comprising around 30 men and women mainly in their 20s and 30s from diverse regions, produce content primarily through Reels videos. With just a smartphone, anyone can participate as a creator.Are there auditions for selecting Life Creators?
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.
Why did you decide to focus on Instagram for spreading content?
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.
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The Reels videos you create span genres like fitness, beauty, food, and life hacks. How do you decide on these genres?
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.
What do you think motivates life creators?
Okumatsu
Many people want to increase their followers and become famous so “being featured on MERY and getting recognized” serves as a motivation.
We also conduct seminars providing information on videos and offer feedback from our reel team to support creators. Many creators participate to learn, aiming to strengthen their social media skills or build a career using social media. We, as a company, want as many people as possible to get to know MERY and support creators in becoming famous, which is why we actively promote them.It sounds like you are discovering new creators who are not yet well-known and making them famous through MERY. What kind of presence do you envision for life creators in the future?
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.
As MERY, we want to evolve into a media that values perspectives. We have male life creators, and the style of participation regardless of gender, motivated by our concept, is impressive.MERY's Concept of "Influensumer"
How do you think influencer marketing has changed during the COVID-19 pandemic?
Okumatsu
During the COVID-19 pandemic, content offering a virtual shopping experience online has become more valuable.
With difficulties in physically handling products, content such as review posts stating "I actually bought this" allows users to have a virtual experience as if they visited. This type of content has concentrated on social media video platforms. The influence of such content sharing by influencers and media like ours has grown significantly.Additionally, individuals' influence through word-of-mouth has increased. At MERY, we have started releasing products through live commerce assigned to influencers and items sold through our own EC platform, "MERY shop" using Instagram and reels. This shift in consumption experience is tangible.Saita
We consider the concept of 'influensumer' to be crucial. This is a coined term used at MERY, combining 'influencer' and 'consumer.'
Originally, the term 'prosumer', meaning those who produce and consume simultaneously, existed. We have evolved this to 'influensumer', indicating 'people who consume while spreading information'. These individuals have become increasingly important, possessing the power to spread what they love. This concept signifies that users and brand fans, along with influencers and micro-influencers who create and share content, are merging into a unified entity.This ties directly into the concept of life creators. Is this an area MERY plans to explore further in the future?
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.
In the short term, with the development of social media, it's essential to nurture the next form of media for MERY as a whole. In the solutions domain, we'll engage in strategic discussions about marketing and business itself with clients. As for the D2C business, I want to expand "MERY shop."![<![CDATA[Fashion Tech News]]> (284) <![CDATA[Fashion Tech News]]> (284)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/cbb22fd1cdf549f3a68fbe30afbe1db7/d29212-46-0e7e0be966a496fa32d4-4.jpeg?w=2400)
]]>Text by Aya Hino
Rebranding & Restart Based on a Son’s Question
Designer Tomotaka Onozaki founded "ARTYZ" in 2003 when he was 23 years old. As the brand approached its 10th anniversary, he decided to rename it to "Tomo&Co." Entering the 11th year, Onozaki shared his emotions from that time:"The days when brand designers can just be 'designers' are few. There are fabrics to select, pattern meetings, and various tasks that differ from my imagined 'designer role.' When playing with my son in the park, he asked, 'What do you do for work, Dad?' I couldn’t immediately answer 'clothes designer.'
"While finalizing the 11th-year plans, I felt uncertain about the next decade. Thus, I decided to focus on my strengths (hats, shirts, shoes) and rebranded in 2014. That’s how 'Tomo&Co.' began."
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"I also design for Okinawa-based 'Aloha Blossom' specializing in Aloha shirts, so I’m honestly unsure of our exact specialization. Generally, we position ourselves as makers of shoes and shirts. Compared to managing 'ARTYZ,' I feel more streamlined now."
Crafting Midway Between Leather Shoes & Sneakers
Since the "ARTYZ" days, Tomo&Co. has been renowned for its shoes. Onozaki attributes their realization to partnering with great factories but sheds light on their crafting concept and dedication.![<![CDATA[Fashion Tech News]]> (286) <![CDATA[Fashion Tech News]]> (286)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/62807e4071dc4e50812c88bc9b180f11/02.jpg?w=2400)
The German trainer with air soles, a signature of "Tomo&Co.," is indispensable. Onozaki discusses the inspiration behind this idea.
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Nick Wooster, the international fashionista, posted these German trainers on Instagram after purchasing them in Japan, boosting their popularity both domestically and abroad, even leading to increased foreign offers.
Following this breakthrough, the brand leaned more towards leather shoes, reducing sneaker-type releases. However, the 2024 collection will include more sneaker types, and we asked about recommended items among them.
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10th Anniversary & Restarting Shirt Making: A True Return to Roots
This year marks the 10th anniversary of the restarted "Tomo&Co." brand. We asked Onozaki about his future plans."Because of COVID-19, I feel like I've warped three years, so to be honest, the 10th anniversary doesn't quite resonate with me (laughs). However, we've continued holding exhibitions overseas, and I intend to keep that going."
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"For the 2025 Spring/Summer collection, we made shirts again under 'Tomo&Co.' for the first time in a while. I had quit apparel because I didn't know what I was doing, but the 10th anniversary made me want to try again."Also, one of the reasons I want to expand overseas is that it makes me happy to think that people in countries I've never been to might wear the clothes I've made. I'm a designer who can't draft patterns or sew by machine, but it’s exciting to think that the clothes I've worked on might travel the world."
Onozaki laughs.
Taking the restart of shirt making at the 10th anniversary despite having reorganized under a new brand name, "Tomo&Co.," truly represents a return to its essence. As Onozaki says, 'Going with the flow and doing things in an unconstrained manner' is precisely the true essence of "Tomo&Co." This is what makes it attractive and probably what has allowed the brand to continue for 20 years. "Tomo&Co." is definitely a brand to watch for its future moves.
]]>Text by Yasuyuki Ushijima (NO-TECH)
Refreshing Existing Business Models
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Could you tell us what led to the project's launch?
The motivation behind it can be divided into two main concerns.First is the fear of losing advanced technology. Japanese material development technology holds a quality that cannot be imitated worldwide.However, as the trend of prioritizing price strengthens, these technologies often don't get the recognition they deserve. Is it acceptable for such brilliant technology to vanish without having permeated society? This was an unacceptable situation as an engineer.The second concern was questioning the nature of the fashion business. A production model that only prioritizes price and presupposes holding inventory to clear at sales. There is a suspicion that this approach may be fostering a "mass production and waste" environment.We thought that if we could build a system that controls everything from materials to sewing, those involved in the fashion business could operate without excessive inventory, conducting business more lightly and pleasantly.
Is it possible to control inventory in such an uncertain sales climate?
Our system challenges inventory control without relying on sales on both the production and sales fronts.On the production side, we develop high-durability advanced materials, stock them at our own risk, and achieve ultra-fast production within 1-2 months through collaboration with domestic sewing factories. We aim to produce the required amount when needed.Additionally, on the sales side, we combine regular inventory-held sales via EC and physical stores with made-to-order production through crowdfunding.Those who want the product immediately can purchase it at retail price in-store. In contrast, buying through crowdfunding gives you a discount though the delivery is 2-3 months later. It’s like getting ahead of the sales.Thus, if general sales do poorly, we can shift to the pre-ordered crowdfunding amount, and if general sales are strong, it allows us to do additional production for both.This thought process applies when creating collaboration products too—we suggest selling them under a double name. In case the partner has excess inventory, they can return it to us, and we can sell it here. Conversely, if sales are good, we can provide our stock to the partner to further drive sales.
This is a new approach to sustainability, different from recycling.
Of course, the recycling perspective is important, and we are actively progressing in that direction.We are considering collecting our own products, making them with single materials for easier recycling, and utilizing recycled or bio-based materials starting this year. However, we feel that focusing solely on recycling is inadequate.Our goal is to leverage technology to balance a low environmental impact with a rich human life.To achieve this, we believe evolution as an industry (FBX = Fashion Business Transformation) is necessary, and we feel that vision is gradually becoming clearer.
Maximizing the Power of Materials
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Tell us about the features of the "MOON-TECH®" T-shirt, especially regarding the use of advanced materials.
The general public may not be aware, but not all functional materials and products currently available on the market possess the highest level of functionality. This is due to the balance with price.In recent years, while the rapid evolution of technology in fiber materials has advanced, the trend towards prioritizing prices due to deflation has made it even more difficult for top-tier technologies to be circulated publicly.However, we are determined to fully utilize these remarkable technologies and functionalities to their maximum potential, and we are confident that there are people who seek such products. Because, in reality, these technologies are truly amazing.
Specifically, what kinds of functions are provided?
"MOON-TECH®" incorporates as many as 12 functions, including space technology, which makes it an "excessively functional" product. Particularly noteworthy is the "space technology." Specifically, this refers to the deodorizing and anti-fouling functions jointly developed by JAXA and Toray.In fact, the people most troubled by sweat in the world are astronauts. They cannot use water for laundry during long-term stays in the zero-gravity space station. Additionally, due to transportation costs, they cannot bring large amounts of clothing, so they wear limited clothes for extended periods.To withstand the gravity when they return to Earth, they must also endure rigorous exercises for two hours daily, getting drenched in sweat but being unable to change clothes. This led to the development of a powerful deodorizing function.It covers the main components of sweat odor: ammonia, isovaleric acid, and acetic acid. Particularly, ammonia odor, the strongest element, has data showing a 99% reduction in initial measured values, with slight variations by lot.Moreover, the anti-fouling function includes a powerful anti-fouling technology that allows even "the most persistent stain" like sebum to be easily released during washing.When wearing a white T-shirt for a long time, the collar might turn yellow. This is due to "sebum," which cannot be fully removed by washing, changing to yellow stains."MOON-TECH®" has a function to inhibit the adhesion of "sebum," which is the most persistent stain, so even two years after its release, numerous users have commented, "It really doesn't yellow, it's invincible."Also, its strong anti-fouling processing allows most common stains like mud, wine, coffee, and tomato ketchup to be easily washed away without detergents. I hope you can experience the surprising functionality by comparing it with a typical T-shirt.
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Does it also have sweat-absorbing, quick-drying, and UV-cut features?
Yes. The UV-cut function, even in white, is at the highest level with UPF50+, and the sweat-absorbing and quick-drying properties reach an unbelievable level where it's half dry after dehydration.Also, pay attention to its resistance to sweat stains and stickiness. Through advanced technology that blurs the refraction of light that detects moisture by optical camouflage effect scattering light, sweat stains become very difficult to see.Additionally, with a special knitting structure that dramatically changes the density of the material on the front and back, it forces sweat from the inside to the outside through a capillary effect. As a result, even when drenched in sweat, there is almost no moisture left on the inside, and the surface against the skin remains smooth.
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Despite having such functions, were there any challenges in product commercialization?
In manufacturing, there were unique challenges in commercializing a product that had never existed before. However, not only Toray but also the technological companies Japan is proud of, who agreed with the concept, provided full cooperation, resulting in an unexpectedly smooth process.Although there were slight delays in delivery deadlines for commercialization, many users understood the project's purpose and supported us, which I consider very fortunate for the project.Conversely, the dilemma was which product to make since, using Japan's proud technological advancements, there were limitless possibilities. There was some difficulty with the product concept.However, when we were unsure, we eventually reflected the voices of users, which seems to have become a new form of user communication.
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Which parts reflect the opinions of the users?
For instance, when the short-sleeve "MOON-TECH®" sold extremely well last summer, a few customers requested a V-neck version.Since it was a summer request, I thought it was for the next spring-summer collection. However, they said, "I want it as an inner layer for winter, so please make it available as soon as possible."Honestly, I wondered if a T-shirt would sell well in October or November. But when we quickly released it following the users' voices, we were surprised to receive orders for over 3,000 items in just a month, totaling around 17 million yen.It made me realize how essential it is to directly incorporate the voices of customers who actually wear the products. Those voices become the best "compass" for us, often muddled fashion business professionals.Besides product planning, we also aim to set prices at levels that are easy for users to use and purchase.Originally, the "MOON-TECH®" T-shirt was sold for about 8,000 yen. Since many people purchased it, production efficiency improved, allowing us to reduce the price to 5,940 yen (including tax) last fall to give back to our users.Additionally, the catchphrases for our products are also based on user feedback. I feel they resonate with users 100 times more than the ones we come up with.Catchphrases like "Before you know it, you're always wearing this." or "The invincible T-shirt" for the "MOON-TECH®" products are directly from users. These have received a significant response from the users.
It’s surprising that you can lower the price despite all these features.
Of course, there are the efforts from the company, but our goal isn’t to maximize profit. It’s more about getting people to know and experience the fantastic nature of cutting-edge materials.Japanese people have a craftsmanship spirit, and we used to think that "if it's good, someone will notice." But times have changed, and now we feel it's necessary to create a system where we proactively communicate the goodness of our products.While discussing with the production side to ensure they also make a profit, we strive to set prices that are as affordable as possible for users. Although it's not a simple task, by transparently disclosing these processes, we want to find a price range that satisfies everyone involved, from the creators to the users.As mentioned repeatedly, through the transparent activities of "MOONRAKERS," we hope people realize that Japan possesses such amazing technology. To achieve this, it’s crucial to connect the creators and users, finding a balance that everybody can agree on.
Toward Establishing a New Fashion Business Model
What are your future plans in terms of reaching more people?
I think there are mainly three directions. The first is overseas expansion. Last year, when we sold our "MOON-TECH®" T-shirts on Taiwan's crowdfunding site "嘖嘖zeczec", we achieved nearly 20 million yen in sales within a month.This amount is the highest ever for any "MOONRAKERS" project, even including Japan. Given that Taiwan's population is about one-fifth that of Japan, this is an incredible number.The Taiwanese users embraced the products with great enthusiasm, and this wasn't just a one-time event. Even now, we receive tens of thousands of yen in purchases every month through cross-border e-commerce and inbound demand.The fact that cutting-edge products have been accepted by Taiwanese users has been a big encouragement.This year, we plan to execute multiple projects as a gesture of gratitude to Taiwanese users and offer them the same experiences as our Japanese users. From Taiwan, we are considering expanding into other parts of Asia.
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Targeting Men Under 168cm Based on Personal Experience
Please tell us about the brand's overview and the background of its launch.
UNITED ANTS is a brand launched in January 2021 that manufactures fashion items targeting short men under 168cm tall.In October 2020, we conducted a crowdfunding campaign through CAMPFIRE, and our flare pants for short men became a hot topic, leading to customer acquisition. After that, we launched our official online site in January last year.
Can you tell us why you targeted men under 168cm in height?
I have been short since childhood and am currently 162cm tall. When I became interested in clothes as a high school and university student and went shopping, I often found it difficult to find clothes that fit me. That experience was one of the factors that led to launching the brand.The general standard for men's apparel size S is often for those under 170cm, but about 30% of Japanese men are under 168cm. Considering that if the market size is too small or too large, it lacks brand appeal, we ultimately settled on 168cm.Of course, men who are 170cm tall but have short legs also purchase our items. It's not strictly that those over 168cm can't buy, but we set this target because it represents a reasonable market size.
Are there any particular considerations when designing products for men under 168cm?
Basically, we strive to create designs that fit our customers' body types and make their legs look longer. The most representative item is the flare pants, which were our first release. For example, setting the knee position a few centimeters higher for short men increases the leg-lengthening effect compared to standard items.Additionally, since there are also slimmer individuals and those with larger waists, we use elastic at the back and insert strings in the waistband to allow for adjustment, accommodating both body types. As our first product, we included various considerations. Even though our customers are shorter, we ensure our designs suit a variety of body shapes and weights as much as possible.
Is this based on your own experience?
Yes, definitely. I rarely found my legs looking longer when wearing clothes myself. I already have short legs, but I noticed that women of similar height to me could look good with well-fitted pants, leading to the thought that adjusting pants size might enhance the appearance.Recently, flare pants have been trending among men and some brands are offering them, but they are not as common as in women's fashion. On the other hand, women's fashion offers many items like flare denim and slacks that make legs look beautiful, which inspired me to incorporate these into men's fashion—a key reason for starting the brand. Although UNITED ANTS is a men's brand, we sometimes draw inspiration from women's designs and adapt them into men's items.
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What kind of reactions have you received from people who actually use UNITED ANTS items?
I've received comments saying, "My girlfriend complimented me," or "When I wore them to university, I got praised for my nice pants." Since it’s a brand for shorter men, the items we currently offer are mostly simple, without any logos, yet the compliments were about the silhouette and how the clothing fits smaller men. I am very pleased to see these aspects being appreciated.Recently, we received a message from a customer who bought a set-up, saying, "I wore it at my graduation ceremony." Although the brand has just started, I am honored that someone wore our clothes on such a special day.
Using Real Customer Coordinates on Social Media
We've heard that you're putting a lot of effort into social media activities. Can you tell us specifically what kind of activities you're doing?
This ties into the story of when we started the brand. About 3-4 months before launching our crowdfunding campaign, I ran an account solely focused on reposting outfit coordinates of shorter men.Since I was just a regular company employee and not an influencer, unlike influencers who can start with an existing customer base, starting a brand as an ordinary person is like starting in the middle of a desert with no customers at all.What I came up with was reposting posts of shorter men showing their height, weight, and outfits. At that time, I posted three times a day and continued this for about three months with permission, eventually gaining around 500 followers, after which we launched the crowdfunding campaign.Initially, I used social media as a cost-effective way to acquire customers. Now, I continue to repost outfit posts from those who tag UNITED ANTS with permission.Running this company alone means I can't hire various models or employees to create outfits like a large company. So when I thought about how to propose outfits by myself, featuring the coordinates of actual customers who purchased our items felt like the most straightforward and realistic approach.Additionally, I use social media to gather opinions for product planning. By creating products based on customer feedback, we produce items that cater to our customers' needs, something unique to a D2C brand that I actively pursue.Also, I aim to change the image of shorter men, so I regularly ask followers questions such as, "What are the good things about being a shorter man?" or "What challenges have you faced?" As the follower count increases, I try to keep a close relationship with our fans, which is a significant strength of a D2C brand. I want to build a passionate brand, so I am mindful of managing our social media with that in mind.
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Please tell us something you noticed through these social media activities.
I am mindful of having customers participate as planners themselves. When creating flared pants, I sent DMs asking for opinions from minim influencer men who post their coordinates. I constantly pay attention to listening to customer voices.
Can you tell us the reason for focusing on the web instead of physical stores?
Since I started alone, financial and human resources were limited, so I started with a web-based approach. The web allows us to deliver to customers nationwide. I aim to start online and eventually hold pop-ups nationwide for customers to try on items and then make purchases online.
Glad to Be Petite
There are still many who struggle with their height. Do you have any advice for them?
Even if there was something I really wanted, there were times when I saw it in person, tried it on, and it just didn’t look right because I was wearing it.Clothes can look different depending on who's wearing them. If you feel like there's nothing that suits you, fashion can become unenjoyable, and some might lose interest in clothes entirely. I hope my brand, among others, can become a gateway for making fashion enjoyable.Being a petite man is still not seen positively in society. Generally speaking, taller men are perceived as more attractive, so they have a favorable image. Although it may take time, I hope petite men can start feeling good about their height and gain more confidence.
What kind of challenges does UNITED ANTS want to take on in the future?
As the brand is still in its growth phase, there are parts of the future that are not yet decided. But our biggest goal is to expand overseas.Considering the average heights in the U.S. and Europe are quite high, we aim to expand in Asia, including countries like Thailand, the Philippines, and Korea. In Korea, local brands are thriving because the S sizes of American and European global brands like ZARA and H&M are still too large by world standards. I believe the Asian market holds potential.In addition to our main clothing line, we are also making items like the HOSOMI BELT. Since childhood, I struggled with the belt holes. Standard men's belts have a minimum adjustment of around 70 cm, so I used to wear cut-off belts. This experience led me to create a belt with smaller holes from the start, resulting in the HOSOMI BELT for waists starting at 60 cm.The HOSOMI BELT is well-received not only by petite men but also by slim men who’ve had trouble with belt sizes. A friend of mine, who is around 175 cm tall but weighs only 52-53 kg, had given up on belts. This also helped inspire the HOSOMI BELT.Similarly, I’m thinking about making not just clothes, but also belts, shoes, and hats for those with smaller faces. For example, with bucket hats, if the brim length is the same for both tall and short people, shorter individuals might get comments like, "You look like Snufkin." So we receive requests to create hats with shorter brims for a more stylish look. We plan to create more such accessories in the future, not just apparel.
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Comprehensive Support Focused on Dialogue
First, please tell us about your current activities and work.
I take a stance of accepting consultation on almost anything. For example, I support the realistic challenges of making clothes that take time and space by using 3D.In the collections designed by Morinaga from ANREALAGE, we used 3D from the stage before deciding the concept and design direction. Once the collection's direction became clear, we brushed up and created 3D samples, and also supported other areas using 3DCG technology.Additionally, I am involved in designing headpieces and accessories and setting up models' pathways and placements in 3D space for recent virtual shows. Not only do we create the images, but sometimes we also prepare data that can serve as a base for creating actual items based on 3D patterns.
Can you briefly tell us about your background?
I was born in Korea and came to Japan to study abroad at the end of 2009, just before the earthquake disaster. From 2011, I enrolled in Bunka Fashion College's Advanced Specialist Course for four years and immediately after graduation, I worked as a teacher at Bunka Fashion College. I worked as a teacher for about five years and taught students how to make clothes, how to draw patterns, and sewing.During this time, there was a contest for students using the 3DCAD tool CLO, but Bunka Fashion College was not in an environment where CLO was introduced, and the teachers couldn't use it. I was interested in it, and by chance, CLO was developed by a Korean company, which motivated me to start learning.After resigning from Bunka Fashion College, I aimed to pursue a career in 3DCG. I spent about a year studying CG and job hunting, eventually joining VRC Inc. During my 3D studies, I received various collaboration requests from brands, working on projects together, but it was Morinaga who gave me the genuine opportunity to use 3DCG.When the first state of emergency was declared during the COVID-19, we couldn't go out, had no location, and couldn't gather people. Morinaga asked if we could prepare a collection using 3D. Although he had previous experience creating clothes with 3D, it was challenging because it was done in collaboration with a 3D specialist who lacked knowledge of clothing. Since I had more knowledge of clothes than 3D, I got the chance to discuss with Morinaga and prepare the collection.
What roles did you take on in your collaboration with Morinaga?
I provide overall support while preparing the collection. I receive the collection theme from Morinaga and use the 3D-created image to decide the collection's direction together with him. At this stage, we check variations in silhouettes, colors, and other elements.Afterwards, using the data provided by the pattern maker, I added details and created 3D samples. I also made adjustments for styling, detail tweaking, silhouette modifications, and texture adjustments.During the preparation, everything was mostly done online, working almost live through the screen. In this way, I frequently communicated directly with Morinaga and took on a consulting role rather than being deeply involved in the team's collection preparation.
Ultimately, It's About "Making Things"
What kind of efforts were necessary to express the brand's worldview and the designer's intentions?
Creating things in 3D and turning them into images is important, but the most crucial aspect is "making things." I am particularly conscious of this. In other words, it is meaningless if the items created in 3D do not match the real-life clothes.Morinaga often creates collections with eccentric ideas. Three seasons ago, in the collection "HOME," the theme was to create cube-shaped clothes that resembled houses and make them wearable.It's obvious, but clothes are subject to gravity and are hung on shoulders. While this can certainly be expressed with traditional tools, the challenge was to maintain a cube shape and still portray the details of the clothing.
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Could you tell us about the challenges or synergistic effects you experienced while balancing creativity and technology?
Morinaga often adapted to my approach. For parts difficult to express in 3D, we used different methods, and when 3D shapes were possible, we would delve deeper into design development from there. We expanded our design ideas from what each of us could do.I focused on expressing Morinaga's vision in 3D as much as possible. My goal was to quickly deliver what Morinaga wanted to see.
Could you share any changes or overall impressions you’ve had from working repeatedly with Morinaga?
Initially, we modeled everything in 3D, including the collection items. However, as we continued, we realized that some aspects were faster to do in real life rather than in 3D. Over time, we learned to distinguish between what to do in 3D and what to handle in real life.CLO is fast and efficient in creating clothing shapes and making color adjustments, but for aspects like rolling up jacket sleeves or styling, it's easier to do in real life. We have learned how to utilize both methods effectively through repeated experiences.
It was surprising to learn that there are parts where 3DCG technology isn't necessarily required.
Yes, indeed. Personally, I believe that being able to express everything in 3D would be ideal. However, considering efficiency, that’s not always practical.
Overcoming Specialization and Educational Challenges
What do you think the role of 3D modeling in the fashion industry will be in the future?
In my personal opinion, the nature of work involving 3DCG used for making clothes might split into tasks focused on creating garments and tasks oriented towards visual production or utilization in the metaverse and NFTs.
Will the content of the jobs and the required skills differ in these contexts?
Yes, indeed. For production, knowledge of clothing, such as sewing, garment specifications, and pattern reading, is necessary. In contrast, for visual production or creating data for the metaverse, knowledge of 3DCG tends to be more important than clothing knowledge.
Could you share your thoughts on the current state of 3D modeling education?
There are very few educational institutions that train individuals who can thrive in the fashion industry. Recently, institutions like TFL (Tokyo Fashion Technology Lab), Bunka Fashion College, and Mode Gakuen have started offering classes using CLO, but the environment still seems underdeveloped.This is partly because there are few instructors and it's a new profession, so there aren't many experienced individuals in the educational field. Companies are keen to recruit talent, but due to inadequate education, securing such personnel remains challenging.On the corporate side, software like CLO and BLOWZWEAR are priced around 1 million yen per unit, making mass adoption difficult. For example, if a company's scale is small and it can only introduce one unit, only one person can interact with it, so one person must handle everything.Even larger companies are limited by the number of units they can introduce, which restricts the number of users. Naturally, over time, more people will become proficient with 3D software, and the prices will drop, leading to a better balance. When 2D CAD first appeared, the software cost over 1 million yen, but as CAD became standard in the industry, the price stabilized. I think 3D software will undergo a similar evolution.
What are your future expectations for virtual fashion, and are there any personal challenges you would like to take on?
Currently, some companies are introducing CLO and utilizing cloth simulation software, creating expectations that virtual fashion will become more established. Additionally, there is hope for the increase of virtual fashion content that end-users can experience in the metaverse. Besides the development done at my company, I personally want to express my unique vision in NFT works, alongside showcasing the concepts envisioned by designers and brands I've worked with.
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Using a Rejected Material from History
What inspired you to start Human Material Loop?
I have a background in conceptual design, focusing on changing perspectives and perceptions of specific materials. During my research, I was deeply fascinated by hair and recognized its role in the cultures of various regions worldwide. Yet, we have consistently rejected hair as a material.
It led me to rethink how to get the textile industry to accept hair as a material. The more I researched, the more it made sense to create a company focused on using hair to tackle textile industry pollution.
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What initially fascinated you about hair?
My fascination stemmed from the cultural significance of human hair and how we cherish it. However, once hair is cut at salons, it becomes waste on the floor. So, I started considering how we could change the perception of cut hair.Moreover, I grew up in Hungary, a former Soviet country where women are judged based on beauty and cuteness standards, and having long, beautiful hair is essential for being recognized as a woman. I began to question and challenge this notion, which sparked my journey.
Last year, you unveiled the concept model of a knit product. Can you explain the manufacturing process?
It’s quite similar to wool. First, we wash the material, spin it into yarn, and then have designers knit it into sweaters.
This year, you released a second prototype. What specific improvements have been made?
Compared to last year’s model, which had a rough texture like Icelandic wool, this new version has a softer feel. Additionally, although it wasn’t our primary goal, the color is more uniform, resulting in a different overall appearance.
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You founded the company during the COVID-19 pandemic. What challenges did you face?
Many hair salons were closed, preventing us from collecting hair and conducting experiments. However, this also allowed us to dedicate a significant amount of time to research and build a strong foundation.So, when pandemic restrictions eased, we could start experiments based on our research findings. I believe there are pros and cons in any situation, but the pandemic enabled us to conduct extensive research.
Utilizing Well-Cared-For Hair
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How is human hair different from other existing materials?
Both existing wool and human hair are keratin protein fibers, and there are few differences in their properties. Hair can be spun thin or thick depending on the method.For example, hair has a thicker diameter compared to wool, appears a bit coarse like small hairs sticking out, and feels slightly rougher than soft alpaca. We are currently developing methods to soften hair. One significant difference between wool and hair is that wool has centuries of tradition and industry that have supported its development, whereas hair does not.
Are there any conditions regarding the state or type of hair for it to be reused as a material?
Not particularly. However, as we start to use discarded hair from the Asian market, we might notice some differences in the processing and cleaning of Asian hair compared to European hair, requiring minor adjustments. But overall, they are quite similar.Regarding color, the process involves structurally changing the color of proteins. Usually, the hair's color is protected by the outer layer, and to change the color, we need to penetrate beneath that layer.
Can you tell us about the advantages of using hair?
The carbon dioxide emissions of the textile industry are due to cultivation, harvesting, and soil use, but using hair eliminates all these factors. Thus, utilizing hair eliminates the need for pesticides, doesn't degrade the soil, doesn't pollute water, and is maintained by individuals until it is cut. In total, this can reduce approximately 70% of the pollution and energy used in the material processes of the textile industry.
Additionally, hair is almost immediately available as a material compared to wool, which requires extensive washing processes that cause pollution after shearing. This isn't necessary for hair.
Often, I get asked, "Is hair clean?" This reflects how distanced we have become from all materials, much like how we completely forget about the process of making a good wool sweater. For instance, when we think of sheep, we often imagine fluffy sheep running energetically in the fields, but they spend most of their lives in cages, covered in dirt and feces. Moreover, shearing is not a pleasant process for sheep.
In this regard, hair doesn't require cruel processing. If someone goes to a salon and gets a stylish haircut, we can create a win-win situation by utilizing the waste as textile products.
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Can you tell us about the test models currently being conducted?
Currently, we have pilot models deployed in 15 salons while management has handed over database management to a management company. Moreover, continuous testing and development are underway at factories. It's progressing slowly but steadily.
What has been the response of the factories in your collaborations?
Communicating with factories to get them to agree to work with us has been one of the biggest challenges. The textile industry is very traditional and conservative, and traditional factories do not readily embrace change or attempt new things.In hindsight, finding people with the same vision and commitment to experimentation and innovation was challenging. We were turned down by factories numerous times, but now we feel we have found our place, and we are quite satisfied. From this experience, I encourage anyone trying to innovate to keep pushing forward. Eventually, the walls will break down, and you will succeed.
Can you tell us about the envisioned closed-loop regional recycling system?
Currently, we are building infrastructure with all salons in the Netherlands. In the future, we plan to expand to other countries. Carbon-neutral bicycles are used to collect raw materials, and once collected, they are processed into textiles through the same production process as other textiles.
There is waste hair generated during production, but we have already found ways to utilize this. In other words, we envision a completely waste-free process starting from waste.
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The Pandemic that Brought About a Change in Awareness
What can be considered the catalyst for the discontinuation of using human hair?
Before the Industrial Revolution, it was quite common to use human hair in order not to waste resources. For example, socks and ropes to tether horses were made from human hair. In other words, it was actually used, but as more materials emerged, people gradually forgot to utilize specific materials or what was available around them.Among the stories that indicate the actual use of human hair is one from around the 1800s, where it was believed that collecting hair would bring good fortune. People walked from village to village collecting hair that accumulated in gutters and sewers. Around the same time, there were efforts to make a mantle for the Pope, and village women cut their hair hoping it would be used for the mantle, but it was actually used as hair extensions for Parisian aristocrats and bourgeoisie. In short, hair was indeed being used.However, the Industrial Revolution significantly changed perceptions of materials. The production of cotton became mainstream, with more outsourcing to Asia and Southeast Asia, and people began to consider exploiting pure materials such as animals and sheep.
So, it was a change brought about by human-centric values?
I believe the more we think we stand above everything on this planet, the more we forget that we are part of nature and need to cooperate with it. Even if technology advances, it doesn't change the fact that we are part of this ecosystem.Therefore, at Human Material Loop, we uphold the motto that we humans are part of the ecosystem, not above it. Because this is one planet, one ecosystem, and we cannot deny that we are part of it.
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What do you think is the key to changing people's awareness about hair in the future?
If people realize that we don't know when the world we live in may break, they will likely change their awareness to realize that we need a local economy based on local materials to avoid relying on distant transportation in any industry. And since hair can be locally sourced anywhere, I think it will be accepted as a material.
Furthermore, the more the population increases, the more food will be needed to feed the entire population of the Earth. For example, land used for raising sheep and cotton fields would need to be repurposed for food production to sustain future generations. If we could cover 20% of the world's wool production with human hair, we could produce much more food, and it's needless to say how much we could reduce carbon emissions by not planting cotton or producing wool.
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Please tell us about your vision for the future.
In three years, we want to establish several international facilities and set up a system to produce textiles from human hair. Furthermore, within five years, we aim to make it normal for people to wear clothing made from human hair just like any other product. To achieve this, our goal is to make significant progress toward this target in three years.
We are also planning further collaborations, with many initiatives scheduled to come to fruition by the end of 2022. On the other hand, we are also engaged in educational activities, offering lessons on the history of hair and the industry as a whole, and working on documentary production.
Our ultimate goal is to innovate and revolutionize the textile industry while simultaneously educating people. Most people don't even think about what their clothes are made of as long as they feel good, look cute, are reasonably priced, and have a cool label or logo.
That's why shedding light on who makes our clothes, how they are made, the realities of overseas sweatshops, and waste can be a catalyst to make people reflect on the way we live and the consequences of our actions.
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]]>Text by Hanako Hirata
Driving Digital Transformation
Dongsoo had been engaged in 3D simulation research even before founding z-emotion. At his first startup, ZelusFX, he developed the avatar system Zelus Engine, applying his 3D simulation expertise and laying the groundwork for z-emotion's core avatar technology. During his tenure at AMD, he also discovered the similarities between the movement of threads in 3D space and hair strands, recognizing the relevance between garment simulation and hair movement.Inspired by these insights, he saw the potential for 3D technology to dramatically transform the fashion industry. Transitioning from the gaming industry, he founded z-emotion, focusing on serving fashion companies.![<![CDATA[Fashion Tech News]]> (310) <![CDATA[Fashion Tech News]]> (310)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/9ca66ed5a4ca421baaf84a84213650e6/CEO_Dongsoo%20Han.png?w=2400)
"Fashion technology has existed for more than 20 years. However, its explosive popularity has only occurred in the past two to three years, and COVID-19 was undoubtedly the catalyst for this. As you know, the pandemic caused factories to halt operations and limited travel. This situation forced the industry to reconsider and accelerate digital strategies. This shift not only pushed the apparel business to find new solutions, but also encouraged fashion-tech companies like z-emotion to explore new methods.
In the past decade, fashion technology has focused on 2D CAD and 3D CAD for design and product development, with online shopping considered a completely separate concept falling under e-commerce and internet categories. However, the pandemic has highlighted pre-existing challenges, making them more urgent. In return, it laid a foundation for the industry and consumers to more widely accept and respond to new 3D solutions. Digital transformation is like a one-way ticket. In other words, even when the pandemic ends (or people become accustomed to it), it will last. The digital lifestyle is a significant change that cannot be reverted."
Realizing Seamless Workflows
The solutions offered by z-emotion seamlessly integrate the 3D clothing simulation engine, consumer-facing virtual fit engine, digital marketing, interactive experiences, and real-time rendering while following the actual garment manufacturing process, providing compatibility and flexibility to streamline existing processes.Through the company's solutions, brands can easily connect existing workflows with functionalities such as virtual sampling and product development like traditional CAD, creating digital tech-packs using "z:one," pre-production marketing with pre-rendering, and enhancing customer engagement in e-commerce with the virtual fitting app "z-fit.""Until now, most 3D CADs have been primarily aimed at virtual sampling, with the standard for realistic appearance based on reality. In other words, virtual garments needed to look exactly like real ones. However, as fashion moves closer to the metaverse, a different form of realism and aesthetics has developed, bringing a wide range of flexibility and subjectivity to the 3D creation process. Thus, the possibilities in 3D space are limitless, and as fashion extends into the metaverse realm, I believe those possibilities are infinite."![<![CDATA[Fashion Tech News]]> (311) <![CDATA[Fashion Tech News]]> (311)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/d5d76a4d25834306862f0a0299152836/Metaverse%20avatar%20in%20z-weave.png?w=2400)
Additionally, in "z-fit," the hyper-real avatar system utilizing the Zelus engine, which Dongsoo previously worked on, allows detailed adjustments of an avatar's appearance, posture, size, and animation. This, combined with the aforementioned technologies, enables unique digital experiences like 360-degree avatar views and real-time virtual fitting."In our offering 'z-fit,' when users upload their photos, the application automatically detects their faces and creates custom avatars based on that. Furthermore, users can adjust the body shape of their avatars and edit hairstyles, accessories, shoes, and clothing."
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Unlocking the Potential of 3D Fashion
The company's service was introduced last year to the Korean streetwear brand COVERNAT and received positive feedback. Due to the global pandemic shifting consumer behavior online, enhancing online store performance has become a crucial strategy for brands.In COVERNAT's case study, the web store, which previously limited product images to 2D or pre-rendered .obj files, was updated to allow customers to see the exact fit by setting main dimensions like height, weight, and body shape. This has led to increased product exposure and a significant reduction in return rates."This essentially exemplifies improving consumer engagement using a digitally native approach. It's important to let customers experience real-time avatar size adjustments and preview the final look. Such interactivity was previously managed behind the scenes by brands, but in this case, it was integrated to maximize customer confidence in their purchase decisions."Brands do not need to create new assets. By expanding the technology ecosystem, new audiences can interact with existing assets. Similarly, when digitized, existing assets can be used to dress digital garments. In either scenario, creatively enhancing the technology ecosystem enables seamless connection."![<![CDATA[Fashion Tech News]]> (313) <![CDATA[Fashion Tech News]]> (313)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/11d2df218d7b44b79466fdd3036603e2/Covernat.jpg?w=2400)
]]>Text by Hanako Hirata
An innovative cosmetic brand that responds to such troubles is "fillwith." It is gaining attention as a "membrane structure cosmetic" that conditions the skin by creating a comprehensive barrier.
The brand is launched by DIC CORPORATION. DIC is a comprehensive chemical manufacturer with the world's top share in fields like printing inks, organic pigments for ink ingredients, and PPS compounds, a type of synthetic resin. Despite being a chemical company, which seems unrelated to cosmetics, why did they create a cosmetic brand?We interviewed DIC to learn about its effects, formulations, development episodes, and user reactions. There, we found fillwith's challenge of ingredient development, utilizing natural-derived components to maximize the potential of makeup.
Cosmetics that Envelop Sensitivity with "Membranes"
Tell us about fillwith.
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."
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The packaging of each item is beautiful. What are the features of these products?
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.
"N Wrap Mask" is an emulsion-type balm serum. It provides moisture to skin that is prone to dryness and discomfort, particularly during seasonal changes, and prevents moisture from escaping. It is an intensive care serum mask for use during sleep. The balm contains 42.7% water, and melts when applied to the skin. It is available in two scents: bergamot and rose.
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?
As the term "creates a membrane" suggests, the products not only wrap the skin in a smooth texture and prevent makeup from melting but also enhance the fit of foundation and powder. Could you tell us about the main ingredients?
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.
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Does that mean the substance produced by the algae is used as a "membrane" in cosmetics?
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.
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I never knew that a species of algae from Japan was so suitable for cosmetics.
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.
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Does that mean you started from the development of the raw materials?
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
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It is indeed surprising that DIC, a comprehensive chemical manufacturer known for its world-leading market share in printing inks and pigments, has launched a cosmetics brand. The DIC Color Guide, a color sample book, is indispensable in the fields of interior design and fashion. Recently, your innovative technologies in epoxy resin recycling have also been gaining attention.
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.
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It is a common ingredient found in supplements.
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.
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Impact that Transcends Gender & Generations
How has the feedback from fillwith users been?
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.
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It certainly has an excellent, gender-neutral visual appeal.
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.
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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
Could you share the origins of AIRism?
The birth of AIRism is deeply linked with two types of inner wear: "Sarafine" and "SilkDry."Also referred to as "air-conditioned inner wear," Sarafine is a women's inner wear that maintains a comfortable interior garment environment by quickly absorbing and spreading sweat and moisture. Using delicate Bemberg[1] yarns, it achieved a reduction in friction against the skin and realized a silky smooth wearing experience.On the other hand, SilkDry was a men's inner wear aimed at achieving "zero discomfort." By micro-sizing the fibers, it reduced skin friction, achieved a softer touch, and when compared to conventional products, it improved breathability by about 1.8 times and drying functions by about 1.2 times.
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So, these two inner wears served as the basis for AIRism?
Yes. From 2007 to 2011, Sarafine and SilkDry achieved cumulative sales of over 54 million items, making them representative inner wear for the spring and summer seasons. In 2012, UNIQLO positioned these two items as global strategic products and unified them under the single, universal brand of AIRism.Since then, it has been updated almost every year, adding various features such as improved breathability, lightweight design, and antibacterial and deodorizing functions.
Focus on the Discomfort Caused by the Disruption of the Inner Garment Environment
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What kind of features does AIRism have?
When people wear clothes, an "inner garment environment" consisting of temperature, humidity, and airflow is created between the skin and the garment. AIRism's function is to eliminate the discomfort caused by disruptions in this inner garment environment.- Quick absorption and drying of sweat: "Wicking and Drying"
- Special fibers absorb and neutralize odors: "Deodorization"
- Inhibition of bacterial growth: "Antibacterial and Deodorizing"
- Venting water vapor between clothing and skin to alleviate humidity: "Moisture Absorption and Release"
- Smooth wearing experience: "Skin Surface Smoothness"
- Chilly sensation when touched: "Cool Touch"
- Remarkable expandability: "Stretch"The above seven are the main features of the current AIRism.[2]
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What kind of material is used in AIRism?
Different materials are used for men's and women's inner wear. For men's inner wear, a special type of polyester is mainly used.In the past, the typical materials for men's inner wear were 100% cotton or mixed synthetic materials combining cotton and polyester. However, while 100% cotton excels in water absorption, it has the disadvantage of being slow to dry. On the other hand, mixed synthetic materials have quick-drying properties, but they had issues with texture.Therefore, UNIQLO developed a polyester material in collaboration with Toray Industries. The highlight is the extreme fineness of the fibers, which are only about one-twelfth the thickness of human hair. These super-fine fibers create an unprecedented light and smooth wearing experience, and also achieve rapid sweat absorption and drying capabilities.
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So, synthetic fibers like polyester are not originally highly absorbent. How can they absorb a lot of sweat?
This is due to the capillary phenomenon, which allows liquids to rise in narrow tubes or gaps regardless of gravity.This polyester material is woven from threads that bundle nearly 100 polyester filaments together, with microscopic gaps between each thread. Sweat, through the capillary phenomenon, passes through these gaps, diffuses, and evaporates while moving from the skin side of the fabric to the outside. Therefore, despite being synthetic fibers, they can absorb a large amount of sweat.
What kind of materials are used for women's innerwear?
The representative material is "Cupro." Women, who often layer their innerwear, tend to have slightly higher temperatures inside their clothing than men, making them prone to stuffiness and cold sweat. This led to Cupro, which makes it difficult to cause stuffiness and cold sweat thanks to its excellent absorbency and diffusivity (water discharge).In addition, this regenerated fiber, which uses cotton linter as a raw material, has a high water content comparable to silk, and a unique moist and supple texture. In women's AIRism, this unique Cupro, which takes advantage of these material features and supplements the strength and functions required of innerwear by mixing in nylon, is used.
Thorough UNIQLO Quality, Right Down to the Details & Sewing
There's said to be a serious attention to detail in AIRism, one of UNIQLO's flagship products, beyond the material itself.
In order to appreciate 100% of the comfort of the material, we have gone to elaborate lengths in the details. For example, we realized tagless design by directly imprinting the laundry label tag, which touches the skin, on the body.[3]
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The very thin and light fabric seems difficult to sew.
High technical skill is required for sewing with a sewing machine. Therefore, in our factories, we have set up a dedicated production line where artisans sew each piece by hand. By using soft woolly thread[4] for the yarn, we reduce the stress of the skin rubbing against the seam.
What kind of quality checks do you perform?
Among all UNIQLO products, AIRism, which has various functions, especially has many inspection items. Every season, we repeat the manufacture of samples dozens of times, and we also conduct monitor tests, durability tests assuming the use of washing machines abroad, verification of color fading and deformation due to sweat, etc. Also, just before the sale in the store, we conduct spot inspections.It is because it touches the customer's skin directly that it needs to clear strict quality standards.
Expanding Beyond Innerwear into Apparel & Goods
I want to know about the new products for the Spring/Summer 2024 season.
From women's, we have a new design tube top made with AIRism that has a cotton-like texture, a crew neck t-shirt with UV cut function, and from men's, a high-function boxer brief with antibacterial, deodorizing and deodorizing functions.
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Is it better to wear AIRism even in the hot summer when sometimes you don't wear innerwear?
There is a tendency not to wear innerwear under tops in the summer, but this does not free you from the discomfort of sweat stickiness and internal clothing stuffiness. On the contrary, if you wear functional inner wear under your top, you can control the humidity inside your clothes, so you can spend the hot and humid Japanese summer comfortably.However, AIRism is not just for summer. Sweat stickiness and stuffiness occur even in winter when layering clothes, so we want you to use it all year round, regardless of the season.With this in mind, AIRism has innerwear as its main product. The lineup of innerwear is particularly extensive, including AIRism (ribbed type), AIRism UV cut (silk blend), AIRism cotton for women, and AIRism (ribbed type), AIRism deodorant mesh, AIRism cotton for men.However, the functionality of AIRism is also demonstrated outside the innerwear, and it is now expanding to tops, pants, loungewear, dresses, kids & baby products, and other apparel and items.
How will it evolve in the future?
Our bodies are exposed to various discomforts, such as stuffiness and stickiness from sweat, odor, stiffness from layering clothes, and prickliness from friction. In addition to this, the environment around us is also changing, with increasing global warming and abnormal weather conditions. AIRism will continue to evolve to respond to these various uncomfortable factors and environmental changes, and to support a comfortable life.Turning everyday "discomfort" into "comfort". That's the mission of AIRism, the "LifeWear."
《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
First, could you tell us the overview and features of the virtual space "XANA" and the next-generation NFT marketplace "XANALIA"?
"XANA" is a metaverse (virtual space) we are developing. It aims to be a platform where users can create whatever they like as avatars and offer various services to build a lifestyle and economic zone.In these virtual spaces, creating digital assets is crucial, so avatars' clothing, owned houses, and land are all utilizing NFTs. That's why we created a marketplace called "XANALIA," where NFTs could be bought and sold.
What motivated you to enter this virtual industry?
It relates to my background, which is not in IT but in entertainment, specifically music. Our company's name, "NOBORDER.z," means "those who cross all boundaries," and originally, it was the name of a multicultural DJ group I created when I was touring the world as a DJ. Our sole aim was to create entertainment that united the world, crossing borders, but back then, we thought the way to do that was through global festivals, so we organized tours and events repeatedly.One day, during a tour in China, I encountered blockchain technology by chance, and it was a huge shock. It felt like the era of “NOBORDER.z” had truly arrived, and it was going to be realized through technology! I realized that by combining technology and entertainment, I could do what I had always wanted, so I invested all my assets, gathered my friends, and started the company.
Are there already users and companies participating?
We are planning a full release from this fall to winter, and we started test releases gradually since late last year. In XANA, we have also been assisting with virtual events for companies. Due to the impact of the pandemic, companies and local governments preparing for the Olympics have had to switch from real events to virtual ones, so we helped out this May.For example, as an initiative in Koto Ward, Tokyo, there was a plan for an art exhibition created by people with disabilities to promote the Olympics and Paralympics. We were approached to see if this could be realized in a virtual space. Although the schedule was tight, we developed a feature where various artworks could be viewed virtually, with creators and judges explaining the pieces.Such efforts have been highly regarded, and currently, we are in communication with various industries both domestically and internationally for potential collaborations.
Do you have any strengths or unique features of "XANA"?
I personally liked and researched VR chat. The communication is innovative, and seeing users, mainly from the US, enjoying themselves so lively was entertaining.However, turning this into a business area for general companies is difficult, except for some pioneering tech companies. The target devices for companies that focus on general consumers are smartphones since VR equipment is too high a barrier regarding preparation.From that flow, we prioritized developing services for smartphone users. XANA's significant advantage is that it can be experienced on VR, PC, and smartphones, but we started by providing a virtual space for smartphone users. Those with VR equipment can enjoy it as an enhanced experience.Particularly, I believe what sets us apart from existing metaverses like VR Chat is our integration with NFTs. Until now, no matter how much you played in virtual spaces or dressed up your avatar, it didn't translate into business or profit. However, I foresee a future where playing in virtual spaces, creating the spaces themselves, and designing outfits for avatars will become economic activities. Currently, there are very few such ventures globally, so we aim to advance with the speed characteristic of a startup.
Are your organizational and developmental bases overseas?
Our corporate entities are in Dubai, the United States, India, and Pakistan. I live in Dubai, and many of our engineers are based in India and Pakistan, with additional engineers from countries like the UK. Our expansion into Japan began through introductions from companies and government agencies exploring business development through virtualization. Until then, we had little connection with Japanese companies, but fortunately, our network of Japanese clients has been rapidly expanding.
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Could you tell us about the outline of the virtual fashion show that was held using the technology of "XANA"?
Unicorn Fashion Award (UFA) had already decided to hold a show using volumetric technology, but they needed a team that could direct the production and creative aspects to showcase the world and possibilities of the show. They approached our company, and when we showed them the world of virtual humans and 3D virtual spaces we were working on, they saw great potential. Initially, the ideas were similar to what one might see in a real-world show, but we decided to create a fantastic space unique to VR since we had the opportunity.The completed show can be viewed using AR glasses made by KDDI or viewed in a VR virtual space using "XANA" technology.
What specific effects are unique to the virtual space?
The world was divided by the COVID-19 pandemic, but we decided to make this fashion show a way to positively reflect on oneself and re-discover oneself, as well as a means of new self-expression and communication in the virtual world.We chose the keyword "rebirth" as the theme for this show, with images such as the sea and amniotic fluid as sources of life, and the image of the sea at dawn. Models walked on water, which is something that can only be achieved virtually. The camera work was also unique; unlike traditional fashion shows, the camera moved freely in a 360-degree space, capturing shots from angles that are difficult to achieve in real life, like hovering above the sea surface, creating a visually extraordinary experience that hadn't been seen in fashion shows before.
Considering this production, how do you think fashion shows will evolve by utilizing virtual technology?
I predict that fashion shows will become more diverse by integrating real and virtual elements, like XR. Until now, only selected individuals could directly view the fashion shows, and most people could only see flat images. However, in the future, new shows can be viewed as if you are in the show space from the comfort of your home or even from a cafe or workplace.Moreover, you will be able to complete the purchase instantly. There is another crucial process: clothes are ultimately something you wear. With one click, you will be able to see your avatar trying on clothes that fit your body shape perfectly.In this way, from discovering new designs and trends at shows to trying them on and purchasing, the process will become a novel experience and create a stronger connection between users and creators. I believe the fusion of fashion and virtual technology is full of possibilities.
The show is planned to be released as an NFT on "XANALIA," how do you plan to publish it?
This event aimed at technical trials, so we are not selling NFTs at this stage. We are discussing how to turn the product by the designer who will be exhibited at the final award into NFTs.Our company is skilled in creating NFTs that utilize 3D and virtual forms, not just simple still images or videos. We aim to offer designers new frameworks and monetization methods that the fashion industry had not seen before, such as virtual assetization of designs, limited ownership, and items for avatars in addition to physical sales. As the project involves many companies and brands across regions, we think it's important to start small with trial runs and build successful examples to move forward.
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The Future of Fashion & NFTs
How do you foresee expanding the NFT business in the fashion domain?
I think the NFTization of shows is just a starting point. Primarily, I want to create NFTs for brand items that avatars will wear in the metaverse. The items showcased in shows are limited editions and are seldom worn daily, but avatars can wear them endlessly. More people will likely find value in buying a collection of 10 limited items and taking photos with their avatars.It took around ten years for everyone to set their icons on LINE or Facebook and share selfies on Instagram. The next ten years will be a time when everyone will interact through avatars with their preferred appearance and style, replacing icons, selfies, and bubble chats.Just as it's hard to find someone without a social media account today, it will be just as hard to find someone without an avatar ten years from now. By then, the necessity of fashion for avatars will be equivalent to that for humans in the real world. That's an immensely significant change. In the finance world, where investing in stocks was the only option, cryptocurrencies suddenly appeared and are now a daily topic. In the art world, where only physical items had value, the advent of NFTs suddenly gave digital items asset value, and within just six months, everyone in the art industry was aware of NFTs. Similarly, digital fashion will bring about a monumental transformation in fashion history.
Do you notice any regional differences in the adoption and spread of virtual and NFT technologies?
The pandemic significantly accelerated the wave of virtualization that was bound to come eventually. Without the pandemic, not as many companies would have rushed into the virtual business. To meet this demand, players around the world have rapidly boosted their efforts. The United States and South Korea are undeniably leading the charge, and in a different arena, China is experiencing tremendous growth. China's digitalization is fast and is entering with significant capital, making it impossible to overlook. From my personal perspective, creativity and aesthetics are led by the United States and South Korea, while business scale, financial strength, and monetization capabilities are strongly driven by China.Japan has an abundance of incredible creativity in areas like anime and manga, but the global market mainly captures a segment like anime and games. Many things still haven't reached the world, so I believe there is room for unique avatar and virtual fashion developments only Japan can achieve. Our company is unique, with only a few Japanese employees, including myself, while the majority are from overseas. This diversity allows us to refine Japanese-specific creative ideas into a globally viable format.
What do you aim to challenge and achieve as NOBORDER.z in the future?
Looking at popular content overseas, it's often user-generated quirky characters and games, rather than meticulously crafted ones, that catch on. One reason for this is the virtuous cycle where many creative users gather to provide interesting content to other users, leading to profits for the creators themselves. To foster this cycle, we prioritize developing a platform where users can freely create and purchase clothes and items driven by user creation.Additionally, we aim to collaborate with companies, brands, and creators, currently expanding their businesses based on the real world, to lead the forefront of virtual business. This initiative is literally about creating a new era, making it a very exciting endeavor. We welcome collaboration inquiries from various parties.
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The Collaboration that Began Online
Lobke specialized in textile and surface design, and Johanna specialized in fashion design at Berlin Weißensee Academy of Art’s graduate school. The two, who were in different departments, met during a graduate project that moved online last year. "I met Johanna about a year ago in an online graduate project. We shared similar thoughts and visions, so we began a project together. For a while, we proceeded online, and it felt very new to meet offline for the first time around June 2020 when the situation improved."![<![CDATA[Fashion Tech News]]> (335) <![CDATA[Fashion Tech News]]> (335)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/42cf64ad56d84703a6150f4d99e57db5/image6.jpg?w=2400)
Utilization of Waste Materials
"When we started the collaboration, I was pursuing what could be done with the materials I researched. As a textile designer, I wanted to collaborate with a fashion designer and create products together from ideas." said Lobke. The fabric used in "Sonnet 155" is made by combining cellulose-based production waste from the fiber industry and pectin, a plant polysaccharide extracted from fruit skins, a by-product of juice. Looking at the actual photos, it appears leathery while also semi-transparent with a palpable fiber texture. Johanna was impressed by the prototypes created by Lobke, leading to their collaboration.![<![CDATA[Fashion Tech News]]> (336) <![CDATA[Fashion Tech News]]> (336)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/ad4eb33e1b5641cfb416b789fe4c5d80/image3.png?w=2400)
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Sustainability as a Reward, Not a Burden
The bags from "Sonnet 155" can be placed in compost after use and returned to the biological cycle. The reason they are designed for short-term use is because "there is an imbalance in the use and usage stage of the materials.""For example, a study conducted in Sweden reported that T-shirts in Europe are discarded after an average of 122 uses. This is not a lot. Why do products that are only worn for one season need to be used forever? Through 'Sonnet 155,' we addressed this imbalance. The bags are just one possibility, but we want to show consumers and people ways to consume fashion products in short cycles and to offer alternatives for products designed for long-term use but end up being discarded."![<![CDATA[Fashion Tech News]]> (339) <![CDATA[Fashion Tech News]]> (339)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/e49d9ee8bbdd4c979204f58a8eeb83df/image2.jpg?w=2400)
]]>Text by Hanako Hirata
A Platform Connecting Products, Sales Points, & Production
Please tell us about your PlatformE services.
The most attractive aspect of our service is that we can sell something that doesn't exist yet. For example, when selling shoes, the physical shoes do not exist during the sale. They are produced only after they are purchased. In other words, there is no inventory at the point of purchase.
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When I see products being sold below production and logistics costs or being discarded as unsold inventory, it makes me very sad. To improve such facts, we need to find a smarter business model for the fashion industry and a smarter industry model as well.
So, what kind of communication is conducted when using it in practice?
Digitized products are created using unique logic on our platform.
What users see on the platform is a layer called the visual layer. Here, users can try different customizations like changing colors and materials or adding names.Internally, there are two layers: retail logic and production logic. The retail logic layer handles changes such as the pricing and regional response when a user changes materials. The production logic layer adjusts the recipes and notifies the factory based on changes in dimensions, materials, and colors. This ensures that factories can produce the exact products as ordered.To break down the features into three main points, the first is that it’s not just 3D data but also connects retail and production functions. I like to refer to our service as e-fashion, drawing an analogy with the term e-commerce, which emerged about 25 years ago to mean electronic online sales. This is because we sell fashion electronically, and the items don’t exist at the time of sale. The second point is that it can be implemented both in stores and on websites. Lastly, it's about how we interact with factories. They can produce the product exactly as ordered by the customer.
If a brand wants to use the platform service "Ripe," how can they utilize it?
We have various software modules. Some are tailored for front-end use, while others are suited for the back-end or industry-specific needs. Brands can either use a portion or the whole set of functions. For instance, some brands use the function to create digital products, provide a customization experience to engrave the customer's name, or leverage the collaboration function with factories. This flexibility allows brands to select services based on their needs, making it a Suite of services. The name "Ripe" was chosen because we felt it was time for disruption in the fashion industry and aimed to tackle inefficiencies in the fashion sector.
A Business Model that Mitigates Inventory Risks
Could you explain the reason behind starting the business?
Originally, I was an industrial engineer. I studied industrial engineering and business administration and worked in various businesses ranging from logistics to factories. Around 2008, I started a 3D studio producing visual effects for electronics, fashion, movies, and advertising. Utilizing this expertise, my team and I began creating digital twins specifically for fashion.PlatformE started in 2015 when my best friend and Farfetch.com founder José Neves approached me. He was then contemplating whether to continue his sneaker business. At that time, I was running a 3D agency producing animations for movies and advertisem*nts. I suggested to him to begin digitalizing various processes of production and distribution and test a new business model through digital twins and digital collections. In other words, I proposed a business model that showcases products digitally. This model fundamentally differs from the existing cycle.In the typical fashion industry model, items are produced in advance and sold from stores or warehouses once stocked. However, we identified many challenges with this model, the biggest being the risk of holding massive inventory. The new model I proposed had the potential to significantly reduce overproduction. It transforms the push-model, where inventory is pushed into the market, into a pull-model, where customers trigger production by their actual demands.This conversation sparked the initial engagement, leading us to collaborate on several pilot projects with brands and brand partners. Our first brands were Nicholas Kirkwood from LVMH and Karl Lagerfeld. Within just two years, we realized that this model was feasible and scalable.Currently, we collaborate with many luxury brands as well as mid-sized brands. While we initially started with luxury brands, our technology functions perfectly for any brand of any size, as it is completely neutral.
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What was the perception of fashion and digital tools back in 2015?
Indeed, around 2015, 3D tools and digitalization were not very popular themes in fashion. In fact, the software we were using back then was not meant for fashion. Even now, we are applying tools used in other fields like animation and movie production. However, I find it remarkable how, in the past few years, there has been a growing interest in 3D spaces within the fashion industry.
In 2019, you launched the digital consultancy service DDIGITT for fashion brands. What enabled you to make this early shift to digitalization?
We are a tech company, deeply knowledgeable in technology and digital aspects. Thus, we have team members who are interested in future tech and software, things that may not be in use now but could be in the future. On the other hand, I myself have had many encounters with brands, retailers, and factories. So perhaps I realized the gap between both sides. I felt the fashion industry was not very sophisticated technically and often thought, "There are tools not used in fashion that might add value if adopted". This was what I thought five years ago and also when we started the digital and 3D consultancy service three years ago, and even when considering entering the metaverse space, the reasoning was the same.What underpins these initiatives is not just reflexively providing services, but a desire to take root in the industry and make an impact. The biggest challenge in this industry is undoubtedly the lack of a sustainable model. The ratio of losses, inventory not sold at full price, and inventory not sold at all are significant issues. Every brand struggles with inventory, and it's probably one of the most unoptimized elements of the industry. That is precisely why we want to tackle it and make an impact.
Lessons Learned from Toyota's Model
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Were there any existing models referenced in constructing this model?
We learned from many books, especially regarding the transformation of Japan's automotive industry. One of the things engineers are not trying to do is reinvent the wheel. Post-war Japan was socially and economically devastated and couldn't enter the automotive race for 10-20 years. Previous models were push-based, producing large volumes of cars and pushing them into the market, making it impossible to compete with American and German manufacturers. However, the Toyota Group in Japan built a new business model, the on-demand model, from the early 70s, a model still carried on today. While there are some stocks made for test drives, they are minimal. Other cars are assembled after the customer selects the model, adds options, and confirms it digitally. Since the production process of a car is far more complex than that of a dress, this on-demand production demonstrates feasibility and scalability.In other words, if Toyota, Japanese industries, and Japanese society could solve the significant problems the automotive industry faced from the 60s to the 70s, I believe humanity can improve the current broken, economically and environmentally unsustainable fashion model. It's not arrogance; we believe we can contribute to this.The only question we have is the timeframe for realization. Will it take 2 years or 20? Honestly, if it takes 20 years, it may not be my generation but another. Still, we need to push forward and do not intend to stop. This is our major goal; we want to find actual solutions to this huge problem, not just think of new ideas or software.
In a previously posted blog, "industry 5.0" hinted at its potential. What specific systems are being referred to?
Industry 4.0 referred to connecting machines, especially the Internet of Things (IoT), including linking with factories. On the other hand, Industry 5.0 relates to hyper-personalization and large-scale customization, allowing the creation of millions or tens of millions of unique products within the same process.For instance, imagine buying a dress from your favorite brand. Under Industry 5.0, the brand understands your body size, preferences, and favorite colors through interaction, modifies the design accordingly, directly communicates with the factory, and the factory adjusts its machines and manufacturing processes. It is not just about contacting factories like Industry 4.0 but going a step further to incorporate the ability to cater to the individual demands and preferences of the ordering customer.
In this ideal and utopian scenario of mass customization, there would never be any waste. Because if the product is optimal for oneself, there would be no issues with size or color, making it perfect. However, there remains significant room for development between the dream scenario and reality, and bridging that gap is necessary.
As a catalyst for the future, we aim to contribute to thoroughly reducing overproduction. Having a better business model for fashion, relying on regular prices rather than discounts or disposal, will significantly reduce overproduction. Just as Toyota and Japan were the players transforming the automotive industry 40-50 years ago, we aim to become the software company transforming fashion. Under the vision of leading this change and evolution, we intend to guide the business model of fashion towards something more sustainable for both business and the environment.
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]]>Text by Hanako Hirata
Offering a Fusion of Platforms & Sales Personnel
What kind of skills do the personnel of the newly formed "Tig LIVER" possess? Could you tell us about the background and overview of its formation?
Nakamura
"Tig LIVER" is a team of salespeople who can seamlessly demonstrate advanced customer service skills in live streaming and social media utilization.
So far, iDA has been engaged in the business of temporary staffing and personnel introduction mainly for salespeople in the fashion and beauty industries. However, during last year's COVID-19 pandemic, nearly 90% of our close to 5,000 temporary staff were forced to take leave, and they were unable to work.In addition, with the advancing digitalization of consumer trends, we realized that new skills utilizing live streaming and social media are required in addition to the face-to-face customer service that we have been specializing in.
To protect the places where salespeople can thrive, we launched the online customer service division last June. We are working on discovering and training personnel to supply OMO (Online Merges with Offline) salespeople who can work seamlessly between online and offline environments. Up to now, we have especially conducted training in cooperation with business and partner companies, handling Instagram, video customer service, and chat customer service. "Tig LIVER" was born as part of this initiative. Among staff with sales experience, we recruit those with influence, specialized knowledge, or visuals that match the brand image, and supply personnel according to requests.While progressing with initiatives related to live streaming with Paronym, we felt that many companies conduct live streaming with their own resources. However, there are needs for companies without live streaming know-how or those who want to use staff already accustomed to it at first. Consumers are also getting used to online streaming under various brand initiatives, but the effects are mixed. Overall, online customer service seems to be still developing.Therefore, we want to connect these initiatives with specialized skills and support to future in-house operations at each company. It seems suitable as a startup at the initial stage of live streaming or used spot-wise for continuous operation.
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.
Initially, we considered having the staff of the major shoe retail company appear, but many hesitated due to lack of experience, so we ended up assigning an influencer. After such experiences, we got the opportunity to talk with iDA, receiving a proposal from Nakamura, and started to provide services combined with our systems and software.![<![CDATA[Fashion Tech News]]> (347) <![CDATA[Fashion Tech News]]> (347)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/024792b6f71f44bdb76d71eb1b96ce8f/image1.png?w=2400)
You plan to offer packaged plans using this "Tig LIVER." Could you tell us about the outline of that?
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.
First, the plan decides what content to deliver and which products to introduce in live streaming. Next is the casting, where iDA assigns cast members that match the content, and we have contracted staff participate. Based on these decisions, our company mainly handles on-site direction and post-streaming analysis.What does the post-streaming analysis specifically entail?
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
What are the challenges associated with live 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.
The main reason we recommend live commerce is that it complements the challenges of both in-store and e-commerce shopping. Previously, people could only buy from stores or e-commerce sites, but the pandemic has highlighted challenges in both areas. Many consumers couldn’t go to stores due to COVID-19, and not everyone can rely solely on e-commerce, as it has its limitations.These limitations include interactivity, product detail precision, and the intensity of communication. Live commerce helps to address these issues.However, traditional live commerce does not always meet users' needs effectively. This is often questioned by, "What makes it different from TV shopping?"
In traditional live commerce, the products are explained according to a script, and the assortment is limited to about 10-20 items in an hour-long stream. This may not cater to the customers' preferences. Many companies recognize this problem.To address these issues, it's crucial to assign appropriate staff and enhance the presentation to maximize the appeal of the products and the entertainment value of the content.
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.
If this changes, the scope of live streaming could expand significantly.Are there any notable changes in the industry with the adoption and utilization of live commerce?
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.
The difference lies in the ability to keep streaming regularly. Many attempts are short-lived and end after a single try. Companies seeing results are consistently streaming, highlighting the importance of continual effort.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.
In the past, live commerce often featured standalone sessions introducing SS products. However, now there are brands achieving success through regular streaming. We expect such cases to increase in the future. Our company also aims to support fixed streaming through offerings like subscription plans.![<![CDATA[Fashion Tech News]]> (348) <![CDATA[Fashion Tech News]]> (348)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/23f7ab6a55d04d4d847726e7e2109d86/Tig%20Live%20image.png?w=2400)
Influencers × Commerce
How will the required skills for shop staff and influencers evolve in the future?
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.
I believe online initiatives have yielded excellent results as a means to encourage store visits. By showcasing the appeal of the sales staff in videos or through their online interactions, expectations for visiting the store increase. Especially in the fashion and beauty sectors, there's a strong demand to try products in person, so utilizing both e-commerce and physical stores can be very effective.For example, on e-commerce sites, we often see features like live chat with staff. Such tools allow sales staff to interact with customers virtually, helping them with things like size and coordination advice, much like they would in a physical store. Broadcasting on live streams or social media is similar to in-store customer service as both involve engaging with the customers, making both increasingly important.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.
Although the roles may differ, we hope that continuing as a commerser can eventually lead one to become both an influencer and a commerser. We aspire to see this future come to fruition.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.
The number of people aspiring to sales positions has been decreasing every year, and for various reasons such as changing life stages and salary concerns, some are leaving the sales field. In this scenario, by supporting diverse ways of working for sales staff, we aim to invigorate the industry and elevate the status of sales positions.Finally, can you share your future outlook?
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.
Furthermore, the visualization of sales shouldn't be limited to just the staff but should also be available to the customers. For example, customers can scan a QR code shown in live commerce and receive a 10% discount at the store. This way, both the store's sales and the number of purchasing customers would be visible. Introducing an element of entertainment, where product prices decrease based on the number of buyers, could also be considered. In China, a similar concept known as 'collective buying' has taken root. We aim to introduce these entertaining shopping experiences.Visiting stores and interacting with sales staff should be a fun experience. Beyond merely watching entertaining live streams, we want to design purchasing systems that are enjoyable and engaging.]]>Set to compete in the Paris Olympics, Izumiya uses the "NIKE MAXFLY 2" as his race spikes and the "NIKE PEGASUS 41" for training. What functions does Izumiya seek in his spikes and training shoes?
Revolutionary Resilience of the "Nike Maxfly"
Izumiya has been using the new model "Nike Maxfly 2" this year. What differences does he notice compared to conventional spikes?"Like the previous Maxfly, it provides significant propulsion. I take 7 steps to reach the first hurdle, but before using Maxfly, I would take long strides."With Maxfly, the gap narrows if I run the same way, so instead of long strides, I now focus on landing directly below and propelling forward."With Maxfly 2, it feels more stable than the first version, and I can move to the next step more smoothly."
If you run the same way as with conventional spikes, the distance to the hurdle narrows. That’s how superior the resilience of the "Nike Maxfly" is. While adjustments are necessary, Izumiya says he wants to capitalize on its features.
"When I first wore Maxfly, I was amazed by its resilience and thought it was revolutionary. When you push down on the ground during landing, it reliably returns that energy."Also, its thick sole makes me feel taller, and combined with its resilience, it makes hurdles feel lower. It's a shoe with many benefits, so I want to master it in sync with my technique."
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"Nike Pegasus" is an All-Mighty Shoe
This season, with a new coach and revamped training menu, Shunsuke Izumiya has increased his weight training and sprint practices."Percentage-wise, weight training is about 30%, sprints are 40-50%, and the rest is hurdle practice and additional training. Last year's international competitions and the World Championships finals have boosted my confidence."For this season, I aim to minimize fluctuations and elevate my performance to the next level. Increasing weight training is not only for physical enhancement but also to maintain consistent training without injuries."
As Izumiya prepares for the Paris Olympics and the World Championships in Tokyo in 2025, the shoe he relies on for training is the "Nike Pegasus 41."
"I love how the Pegasus is truly versatile and can be used for any training. From warm-up jogs to hurdle drills, and even sprint practices, I use it for everything. When in doubt, I just wear the Pegasus (laughs)."
Although Izumiya likes to try various shoes, he often ends up wearing the "Nike Pegasus." What makes them so appealing to him?
"It's the perfect balance of cushioning and responsiveness. The high cushioning reduces impact on the legs, and the responsiveness makes it suitable for bounding exercises and sprints."
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"Until then, I always wore shoes with thin soles, and I ended up with shin splints (inflammation of the periosteum around the tibia). I chose the Pegasus, which has high cushioning, to reduce leg damage during practice."I still prioritize cushioning in my training shoes, and I think it's especially important for young athletes whose bodies are still developing and whose form isn't yet perfected to be mindful of their shoe choices during practice."
What are his thoughts on the new "Nike Pegasus 41"?
"I heard it got thicker, and it feels like both the cushioning and responsiveness have improved. The rebound when pressing down is better than ever. Even though the sole is thick, it doesn't feel bulky and remains stylish.
"I often wear flashy colors during practice, so I'm glad they offer the 'Volt' color. It boosts my motivation, and it's easier to see my foot trajectory when checking my form on video."
For the Paris Olympics, Izumiya aims to "finish in the top 3 and win a medal." Although there are still areas to improve, he feels closer to a medal than last year. We look forward to his great performance on the big stage!
]]>Text by Fumihito Kouzu
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The Vintage T-shirt Boom Started About 5 Years Ago
When exactly did the recent vintage T-shirt boom start? Many people might also have the impression that just hearing 'vintage T-shirts' means they cost hundreds of thousands of yen. However, the vintage T-shirts we will introduce today fall in the 10,000 to 20,000 yen price range, which is enough to get good quality items."This recent trend probably started around five years ago, gradually gaining popularity. The prices of band T-shirts like Nirvana and Red Hot Chili Peppers, movie T-shirts like STAR WARS, and anime T-shirts like AKIRA have been incrementally rising."This boom is not limited to Japan but is also seen in the procurement scenes in the United States, creating a similar atmosphere to the vintage denim craze of yesteryear."The Beatles 1990's T-Shirt
Let's take a look at some vintage T-shirts."First, we have a T-shirt from The Beatles, dating back to the 1990s. It's a T-shirt for the album 'LET IT BE,' which was released in 1970. Various T-shirts with this motif have been made since then. This one is made in the USA from the 1990s body, and it's rare to see the track listings of the album printed on the back."![<![CDATA[Fashion Tech News]]> (355) <![CDATA[Fashion Tech News]]> (355)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/cf732c6972c34015b5276e77621444c6/%E7%94%BB%E5%83%8F3.jpg?w=2400)
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THE ROLLING STONES 1990's T-Shirt
"Another band T-shirt I'd like to introduce is THE ROLLING STONES T-shirt from their 1997-1998 world tour. The body of the T-shirt also dates back to the 1990s, so it's from the same era as The Beatles T-shirt."![<![CDATA[Fashion Tech News]]> (357) <![CDATA[Fashion Tech News]]> (357)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/49925d2698724f5c830063e7c747a384/%E7%94%BB%E5%83%8F5.jpg?w=2400)
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HARLEY-DAVIDSON 1980's T-Shirt
"Next is a T-shirt from HARLEY-DAVIDSON. HARLEY-DAVIDSON has always had a steady fan base, and the design of this T-shirt includes a copyright © with the year '1987' next to it. While copyright does not equate to the year of manufacture, it is a good indicator."HARLEY-DAVIDSON T-shirts usually have prints on both the front and the back, but this one is simple with only a front print."![<![CDATA[Fashion Tech News]]> (359) <![CDATA[Fashion Tech News]]> (359)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/a3cedc5a4f1a473f9b9ccc9a33ab3040/%E7%94%BB%E5%83%8F7.jpg?w=2400)
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Corporate T-shirts & Art T-shirts
Now let's look at some corporate and art T-shirts. Items like novelties from historical companies or those created for promotional campaigns are produced in smaller quantities compared to commercial products. Similarly, art T-shirts from renowned artists' foundations exhibited worldwide in museum shops have gained popularity and value."As an interesting corporate T-shirt, we have this HOOTERS T-shirt. While T-shirts featuring the trademark owl motif on a black background can be found in many second-hand stores, this design is quite rare. From the copyright and body specifications, it's assumed to be from the 1990s. The name tag is also HOOTERS' and made in the USA."![<![CDATA[Fashion Tech News]]> (361) <![CDATA[Fashion Tech News]]> (361)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/0409b2c3be864307ab164bf42e43df96/%E7%94%BB%E5%83%8F9.jpg?w=2400)
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Details to Identify the Era of Vintage T-shirts
When judging the era of vintage T-shirts, vintage buyers often rely on knowledge such as the name design of the brand or T-shirt body manufacturer, as well as the year next to the copyright previously mentioned. A significant point of difference between the 1990s and the 2000s is the specifications of the T-shirts, such as the stitching on the sleeves and hem.Up until the mid-1990s, most T-shirts had single stitching on the sleeves and hem. From the late 1990s, they transitioned to double stitching, and currently, T-shirts with double stitching are the mainstream.![<![CDATA[Fashion Tech News]]> (364) <![CDATA[Fashion Tech News]]> (364)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/caf5ee29c2c24351ba87bc21521e252a/%E7%94%BB%E5%83%8F12.jpg?w=2400)
In America, It's Becoming Harder to Gather Vintage Items, but We Want to Stick to American Vintage Clothing
JUMPIN' JAP FLASH opened in 2001. Since then, it has primarily focused on buying from America. While it’s becoming increasingly difficult to collect vintage clothing, not just T-shirts, we asked them about the future of the current vintage T-shirt boom."Predicting the future is quite challenging. However, since American casual fashion is the essence of our selection, we make sure not to be swayed too much by trends. Not limiting ourselves to just vintage, we categorize T-shirts into various genres and procure diverse items."As mentioned earlier, we have a broad selection, including HARLEY-DAVIDSON, sports brands like NIKE and UMBRO, and Disney items, among others. We hope you find something you like."*Please note that each T-shirt is a one-of-a-kind item and may have already been sold out.![<![CDATA[Fashion Tech News]]> (365) <![CDATA[Fashion Tech News]]> (365)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/edb9744dab674d8c95aec0f5a4522d1a/%E7%94%BB%E5%83%8F13.jpg?w=2400)
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Bringing the Issue of AI Surveillance Closer to Home
First, please tell us about the development history of "Camouflage to Escape AI Labeling" and the project structure behind it.
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.
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This time, please explain in detail the process of transitioning from previous prototypes to products available to the general public. Particularly, what is the intent behind the term "pilot testing"?
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.
Originally, we had planned to exhibit in Shanghai, but due to the COVID-19 pandemic, those plans were shelved, and we shifted to domestic development. In doing so, we began looking for partners to make this into a product. Until now, we had been working with inner members such as those from SFC (Keio University Shonan Fujisawa Campus), but we thought it might be interesting to collaborate with external partners to create new chemical reactions. NEXUSVII., a brand proposing fashion based on street culture, resonated with our ideas, and we decided to work together. I called it a demonstration experiment because I believe the significance lies in actually wearing and trying it out to see what kind of reactions it generates.The reason we started making this camouflage was because I felt uncomfortable when I saw an advertisem*nt display in a taxi which had a note saying, "We analyze your gender and age via camera to display the optimal commercial." In this era where diversity is often discussed, it's ironic that only perceived gender exists within the machine.Upon researching, I found out that overseas, this issue has progressed much further with large companies exiting the surveillance camera business, protests occurring in London, and state laws being revised in San Francisco. On the other hand, in Japan, possibly due to the national character, it's not a topic of much debate. However, as creators or artists, rather than protesting as activists, we wanted to spread awareness in a fun way, so we started creating this. This time, we plan to scale it up a bit and toss a pebble into society.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.
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So, how does this camouflage "evade AI"? Please explain the mechanism behind it.
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.
Specifically, we start by overlaying noise on human images. Initially, it's just noise, so the AI naturally recognizes it as a person. But we gradually update the image so that this recognition as a person lowers. By repeating this process, we create a special kind of noise that makes it difficult to be recognized as a person. This technique is called Adversarial Example or Adversarial Patch.Originally, Adversarial Example or Adversarial Patch were considered bugs that lead to misrecognition in AI systems. If not corrected, the recognition accuracy declines, posing a danger to technologies used in various situations such as autonomous driving. So, discussions on how to suppress the effects of Adversarial Examples were centered on AI security perspectives. This work can be said to flip that perspective.In the prototype stage, it was a coat covering the entire body. This time it's printed on the chest area. Does this affect the recognition accuracy?
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.
Interestingly, high-resolution cameras are easier to deceive. Even if the camouflage part is small, the patterns are clearly captured, making it easier for the AI to be fooled.This time, you've included skateboards. What was the reason for focusing on street fashion and skateboarding in particular? In Japan especially, skaters seem to be one of the most regulated groups in urban areas.
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.
Moreover, holding the exhibition at Shibuya Parco was because it's one of the most urban places in Tokyo and a hub of street culture. The overlap of these two factors makes it a highly symbolic location.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.
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The Necessary Dialogue for Fostering the Right Relationship Between Technology & Humanity
In the past, face jewelry that made it difficult for AI to recognize got a lot of attention. When items like hoodies are included, they become easier to integrate into everyday life. Is there a concern that such clothes could be misused for crimes, or be perceived as a risk? How should creators address these concerns?
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.
Our aim is to spark discussions to ensure the correct updates to technology, humanity, and society. If we proceed without any debate, there’s a risk of technologies being hacked by criminals, which could lead to serious dangers, especially in areas like autonomous driving. For proper technological development, it's essential to have discussions from diverse perspectives. By showing that AI's recognition can be fooled with little techniques, we hope to foster the right relationship between humans and technology, ultimately aiding in crime prevention in the future.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.
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With more AI applications in daily life, many people might find it intimidating or have a sense of resistance. Though it’s a broad question, how do you envision the ideal relationship between AI and humanity, and the role of technology in society?
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.
I always perceive AI, not as Artificial Intelligence but as "Alternative Intelligence," a form of intelligence distinct from human intelligence. This perspective makes our interaction with AI far more intriguing.There is frequent debate on whether AI will take away human jobs. I firmly believe it will. Tasks that can be optimized will indeed be replaced by AI. However, new jobs and roles will emerge in the realms of creating new ideas—areas where humans have not ventured before, leading to co-creation with AI.Relating to this project, if we delve deeply into optimization, AI's systems tend to reinforce existing prejudices and biases. Therefore, I believe it is crucial to stay conscious of this issue.
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.
However, considering society as a whole, while the clothing in this project might serve as one solution, I believe it's imperative to ensure that humans retain the right to choose. I want people to realize whether we have the right to say NO to the relentless integration of surveillance cameras into society without any debate or dialogue. This applies not only to AI but to all sciences and technologies. At some point, it seems that rules, morals, and ethics—those aspects pertaining to human well-being—are being left behind.Especially with highly technical fields like AI, which are constantly updated within academia, there remains a significant gap in the public's understanding required for societal adoption. I believe this gap fuels anxiety toward technology. Therefore, it's vital to have in-depth discussions about sensible relationships, distances, and the right to choose—elements we should prioritize. Without these conversations, AI will only become increasingly disliked. While I do see AI as necessary, fostering these dialogues is crucial.Lastly, as the exhibition is about to open, do you have any future plans or challenges you'd like to tackle next?
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.
Additionally, in conversations with Tokui, we've developed an interest in addressing the massive power consumption problem associated with AI. We'd like to approach this issue in our uniquely creative way.![<![CDATA[Fashion Tech News]]> (373) <![CDATA[Fashion Tech News]]> (373)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/e106ceb9f4fb404a9d9d6777861a531d/image5.jpg?w=2400)
]]>"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
First, tell us about KOGADO.
KOGADO is an incense shop located in Azabu, Minato-ku, Tokyo. The first floor is the store, selling tools used in Kodo and fragrant woods for scent appreciation. We also handle stick-type incense and fragrance bags that are easy to use in daily life.
You have collaborated with various companies, such as supervising the fragrances for the cosmetic brand SUQQU, creating a buzz. Could you tell us about the background and your thoughts about this?
I started KOGADO about 10 years ago, but one significant trigger was the near-complete scarcity of the resource "Koboku" (fragrant wood) over the past 20-30 years.Until then, the business would essentially work if we acquired high-quality Koboku and sold it. However, due to the current economic conditions, this model has become unsustainable. So, we are re-exploring the role that incense and Japanese fragrances can play in society, collaborating with people from various industries.
How is fragrant wood harvested?
There are several types of fragrant wood, the most valuable and prominent being "Jinkoh" (agarwood). When a single tree is growing, not the entire tree is fragrant. Instead, parts of the tree get damaged, and resin gathers there as the tree tries to protect or heal the wound. That part transforms into Jinkoh.The mechanism of this transformation is still unknown, and it cannot be artificially created. So, when high-quality Jinkoh is discovered, local fragrant wood hunters acquire it, and once they have accumulated a certain amount, a small market opens up where it can be sourced. This hasn't happened for around 30 years.
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Yamada, you once got a job before taking over the family business. Can you tell us if you feel any connection between your background leading up to this decision and your current activities?
I was born into a family that has been handling aromatic wood since the Edo period. However, my parents never asked me to take over KOGADO. When I was a fourth-year university student, I found a job and decided to see how the family business operated. So, I helped out part-time during my free time. After getting a job and starting work in the IT sector, I gradually found helping at the shop to be enjoyable, and that’s how I got deeply involved.As for whether my IT experience has been useful, I think it has in some ways. In the IT industry, the term open source was often used at the time, and I liked the philosophy of "let's improve it together" and "let's have fair discussions."The incense industry is the exact opposite of the IT industry. It’s not about being good or bad, but there’s a unique charm in the secretive nature of the incense world. When I started helping out at the shop, I was surprised by the packaging of some incense.If it were food, the ingredients would be listed, and you would choose based on comparisons like, "I prefer this one" or "This one seems healthier." But when I looked at the incense packaging, it only said, "refreshing forest scent," and I thought, "Is that it?" I felt that if there was more information, after purchasing the incense, you could understand, "I liked it because it used this ingredient," and there's a potential for development.With that background, the incense we develop now lists all ingredients and proportions whenever possible. Looking back, I feel my experience working at the IT company is reflected in this approach.
Do you feel that the environment surrounding incense has changed due to the COVID-19 pandemic?
Since the spread of COVID-19, I think the demand for incense has increased significantly. With the promotion of remote work and spending more time working from home, people seem to want a change of pace. Trying things like making coffee, cleaning, or lighting aromatherapy. In such times, the option of "incense" has emerged.The process of lighting incense, watching the smoke rise, and the scent wafting in the air creates a switch to an extraordinary world. Depending on the type of incense, the scents are ones you typically don’t experience in daily life, and this combination likely leads to a change of pace.
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Providing Incense by Subscription
What is OKO LIFE?
OKO LIFE is a subscription service that delivers incense tailored to each month for 12 months. We create our incense based on themes like seasons and historical episodes, aiming to offer a service where people can easily enjoy not just the scents but also the joy of living in Japan.
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Where did you get the idea to offer incense through a subscription service?
Basically, the idea came from customer feedback. Among them, many people felt that incense shops were "intimidating" or "scary." There are very few stores, so they are not easily accessible, and even if there are, they are often perceived as specialty stores, making them difficult to enter.As I mentioned earlier, many people didn't know what materials were used in incense or how to ask about it, which I noticed while working in the shop. At the same time, I sensed that a lot of people inherently liked the scent of incense. When I thought about how to connect these dots, I came up with the idea of a subscription service.With a regular delivery, you can receive incense every month without having to visit a shop, and you can also gain knowledge about the scent and incense itself. The leaflet explains what is used in the incense and categorizes it as traditional, kodo (the art of appreciating incense), or modern. Therefore, if customers continue for 12 months, they will be able to grasp the overall picture when enjoying incense.Additionally, I hope customers will use it as an entry point into the world of incense. After a year, they will be able to talk to other incense shops, not just KOGADO, saying things like, "I like this type of incense; do you have something similar?" Thus, providing incense through a subscription service starts to make sense.
What criteria are used to select the scents sent every month?
While we use the word "select" for convenience on the web, we actually "create" the scents every month. So, it's not about choosing from existing scents but creating something new, like making an incense themed around the open sea in April.The reason for the open sea theme in April is inspired by a classic waka poem often recited in spring: "わたの原 漕ぎ出でて見れば 久かたの 雲ゐにまがふ 沖つ白波." We start with this theme for April's incense and try to craft a scene of the "vast ocean" (cottonfield) through scent. We even incorporate shellfish, which evoke the smell of the sea, as an ingredient. This is how April's scent is completed.
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Incense as a "Crossroad"
What do you think incense will become in the future?
It's a very difficult question, but I believe it will become something that reflects the problems of each era. For example, during COVID-19, we suggested using incense for a change of pace. When there are societal issues, we think about the role of incense as our approach.Collaborating with various people also ties into this. As mentioned at the beginning, the world of incense has been very closed, cherishing the beauty of being closed. By opening it up and crossing knowledge with different people, I think we can discover new values and see how it fits with the times.
Please tell us about any businesses you want to challenge in order to open up the world of incense further in the future.
First of all, whether for better or worse, I am not the type of person who is obsessively passionate about incense. Rather, I'm the type who takes a step back and looks at a broad range of things. Because of this, when we receive requests from cosmetics companies or "Touken Ranbu," I think there are certainly many possibilities, and I would like to discover these as we work together.So, if I were to describe our existence in one word, I think we are like the "crossroads" of incense, and that’s how we want to be. We use the term OKO CROSSING, as we aspire to be an intersection of various things. Our shop is in Tokyo, making this quite feasible.The birthplace of incense and traditional arts is undoubtedly Kyoto. We truly respect the meaningful and well-kept branding that can only be done in the historically rich Kyoto.In contrast, Tokyo is also international when it comes to business. Making use of our location in Azabu, Tokyo, we want to discover new value by intersecting with various things with incense at the center. I think this is a role that only we, who have roots in Kyoto for about 200 years and still operate in Tokyo, can fulfill.Specifically, what we are doing is the "Kodogu Fund (香道具ファンド)." The practice of Kodo (the art of incense) has extremely declined and is trending downward. Since we claim to be a specialty store for Kodogu (incense tools) and incense, we feel it is our responsibility to continue creating Kodogu, which are essential tools for practicing Kodo.Continuing to create Kodogu as a business is quite challenging or rather difficult. Nevertheless, we want to continue making Kodogu through the Kodogu Fund and various other mechanisms, even if only modestly.
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As a Denim Consultant
Please tell us about how you encountered denim and your journey to becoming a denim consultant.
I encountered denim during a project that was part of my education. Inspired by the compatibility between denim fabric and washing processes, I immediately felt an affinity for denim. After graduation, I worked as a denim designer in factories and garment manufacturing departments, collaborating with excellent factories, manufacturing units, and brands. In these roles, I gained in-depth knowledge about denim products, washing, and sewing. A few years later, I started working as a denim consultant.
What exactly does a denim consultant do?
As a denim specialist, I am always involved in multiple projects. The work we undertake at Second Space can be broadly divided into three categories: providing 3D digital solutions such as 3D digital consulting and virtual sampling, consulting for brands, companies, and factories, and creating advertising materials. So far, I have been involved in designing seasonal collections and brand presentations, as well as laundry projects for denim manufacturers.In consultancy, I mainly design denim items for fashion brands based in India. Most of the time, brands do not have an in-house denim designer, and they often do not know how to handle denim. Therefore, we receive orders from such brands to select fabrics that match the brand's image and provide various denim-related services. When we receive an order for product design, the first thing we do is select the fabric, then solidify the mood board and design concept. After that, we adjust the silhouette and design the actual product. As a denim designer, I place great importance on washing processes and product stitching, so we often send detailed instructions to factories. In this way, we also design and deliver optimal products from a marketing perspective.
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Combining Digital Tools & Denim
How did you learn digital tools?
I self-taught digital tools by navigating through various digital platforms on the internet. It took time, but I was consistent and driven by my desire to express photo-realistic designs virtually. As I learned the tools, I realized that creating virtual samples requires a pipeline design that utilizes multiple tools rather than a single one. Today, I frequently use various 2D and 3D software tools, including CLO3D, Substance, Cinema4D, and Marvelous Designer.
How is 3D design done?
In my 3D design process, including clothing design, I think it is quite similar to traditional design processes. In my personal projects, I always look for inspiration and check extensive trend and market research before I start working. In client projects, I modify the design process according to the client's requirements and details. At the core of my design process are research, innovation, and uniqueness.On the other hand, the 3D design process is actually complex as it involves creating materials, textures, and models. In most cases, after designing the clothing in the cloth simulation software CLO3D, I import the exported file into SUBSTANCE DESIGNER to add fabric designs, effects, embroidery details, and embellishments. Then, I add washing and fading effects on top of these in SUBSTANCE PAINTER and render them. Although this is a lengthy process, I pay close attention to ensure that everyone can capture the characteristics of denim, understanding how crucial the details in denim design are.
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What do you keep in mind when designing fabrics digitally?
I believe the key to hyper-realistic digital products lies in the material itself. Therefore, when digitizing fabrics, I focus on maintaining the closest possible color, texture, characteristics, and appearance to the actual fabric. The color hue is crucial because the dyeing process of denim is very important, and the texture should be as close as possible to the original swatch sample. For example, denim dyeing involves a specific process, and it's essential to recreate that process in 3D without skipping any steps to design the fabric. By designing fabrics in this manner, I believe it becomes possible to create realistic digital fabric materials, laying the groundwork for excellent products.
How do you perceive the challenges of 3D technology in the denim industry?
The irregular characteristics of denim fabric are unique, and generally, when designing with 3D software, the premise is to create something perfect. This makes it difficult for industry people to adopt software. However, if we can embrace the imperfections and incorporate them into the workflow, I believe it can bring a significant change to the final product.
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How do you overcome this issue when working as a denim consultant?
From my experience in the denim industry, when I look at a swatch, I can imagine the processes used to create that fabric. In other words, it is like knowing the recipe for denim. Because I know the process, I understand how it should be reproduced, and I overcome this by recreating the process in 3D. For example, I construct dry processes used in denim, like whisker processing and washing processing, in 3D and reflect them in the workflow.In this way, as a 3D digital consultant, I solve this problem by creating denim models using appropriate and photorealistic fabric materials. I believe that small details make all the difference and make the product stand out. From my experience in the denim industry, I understand the fine details in actual denim production and strive to incorporate all these into the digital world. I am not doing something magical; I am simply faithfully constructing and reproducing the 3D process based on the real-world process.
What other issues do you think there are?
When creating digital garments, numerous issues need to be addressed. I think it's incredibly important to create digital clothing that mimics physical garments. There are still significant challenges that need to be overcome using various techniques and details.First, I think we need to change the mindset and promote adoption. This is impossible unless 3D and real fabrics match, but it is necessary to show that it is possible to visualize how it will actually look. The second issue is capturing the specific characteristics of denim. This means expressing in 3D the seams and the randomness and ambiguity of dyeing that appears during the washing process, just as everyone imagines denim. I think making it very random like a product in 3D is difficult. For fabrics other than denim, partial replication is possible, but for denim, it is not feasible.Additionally, when creating 3D clothing, the mindset of graphic designers and game artists is different, so they cannot be hired for 3D representation of clothing. This is because, for photorealism, you need to have a thorough understanding of the fabric and clothing.
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Towards the Application of Digital Tools
Are there any benefits seen through efforts in 3D visualization?
First of all, the biggest point of using 3D is the reduction of environmental impact. As is often discussed, denim has a characteristic of using a lot of water to produce a single product. Therefore, I believe that we need to explore the sustainability aspect of denim going forward. Through efforts like mine, by eliminating the sampling and washing processes and visualizing them through 3D, we can consider the 3D conversion of the initial process as a small solution. Additionally, creating a full sample in 3D significantly reduces costs and material usage.For instance, I am currently partnering with a blazer designer in America. We aim to develop various styles of blazers using about 1000 pieces of fabric he holds. By incorporating the 3D process, we can shorten the sampling time, deliver the final look to customers, and make it easy for them to find the look they want. By designing in 3D just like the actual product, customers can get the desired items from the brand.From a consultancy perspective, for example, previously, to produce and sell a few items from one piece of fabric, we created about 10 sets of samples and made multiple revised samples, wasting around 10 sets. However, I scan the fabric swatch and create 3D garments. By doing so, we can visualize and provide a clear product direction without wasting much fabric and resources. Secondly, collection look photos can be replaced with 3D rendered photos. This allows creating clothes that look like actual garments in 3D, releasing them online, and enabling customers to pre-order collection items.
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Denim Industry's Future Prospects - Combining Digital Tools and Physical Machines
Denim tends to go through cyclical trends every few years or decades, so I believe the industry will continue to be sustained. On the other hand, to keep the denim industry going, sustainability needs to be addressed, such as reducing water usage and carbon footprint. Especially in recent years, consumers have also been paying attention to sustainability, so concrete efforts must be made. Therefore, in my opinion, the combination of digital tools and physical machines holds the potential to be a significant step towards manifesting sustainability in the denim industry. By guiding the use of digital tools, we can establish a more sustainable foundation for denim production, and by incorporating 3D tools into the workflow, we can create a cleaner and brighter future for denim.Focusing specifically on digital tools, I think the combination of denim and digital tools is going to be revolutionary. 3D clothing technology is still in its early stages, but I believe that in the future, it will dramatically change the shopping experience and consumer purchasing behavior. Technological innovation and sustainability will be essential elements for consumers when purchasing products. Using 3D tools can meet all these demands, create a sustainable experience for the future, and provide easy access not only for consumers but also for manufacturers.After the interview, Gupta passionately discussed the charm of Japanese denim. His practice of applying his experience and actual processing methods to visualize the different textures of each product and fabric can be seen as a clever alignment of translating between digital language and the language on the ground.
]]>Text by Hanako Hirata
Japan holds a deep respect for crafts and the artisans who continue traditions and I think that’s great. Japanese crafts are amazing: refined, beautiful, expressive and varied. It is something Japan should be proud of. My business, AiAii, grows indigo from seed to leaf, through drying and fermentation to make artworks and products. Indigo dyeing in Japanese is called “aizome”. As someone from the outside (UK) who has gone deep into a Japanese craft culture, “aizome”, I’d like to share a few thoughts and impressions.
At the heart of it I really appreciate the connection of traditional Japanese crafts with nature and the raw materials. From handmade washi paper, bamboo basket making, to ceramics or woodwork, high quality raw materials found in nature are the vital starting points. For me, growing our indigo from seed is really special, and because the farming and fermentation process is hard work and time consuming, when it comes to dyeing it really helps us value the indigo in a way that buying it for any sum wouldn't do.
Fast fashion has warped people's minds into thinking that clothes can be fast and cheap, but if you do that it is bad for the planet, the workers, and you risk losing beauty, craftsmanship and culture along the way. Fashion is a vital human form of expression, it can be so joyful and meaningful to our sense of identity. Global problems like climate change and over-consumerism need to be taken seriously, but I think it is possible to do that while finding solutions in traditional crafts or ways of living, and importantly, to still have fun when we get dressed.
Like in previous generations, At AiAii we promote re-dyeing old clothes and mending, instead of throwing away. We also make an indigo-sashiko darning kit to help people slow down, appreciate their worn out clothes and fix them with stitching. I'm sure darning culture has existed everywhere on earth, but as it got lost for a generation or two, we need to teach ourselves again. In Japan, sashiko, ‘boro’ and kintsugi can be ways of mending clothes and ceramics that add beauty to the item. These crafts are gaining in popularity around the world too as the internet brings these habits which used to be so localized, to anyone who can get online. Incidentally, both shibori and kintsugi were added to the Oxford English dictionary in 2024.
Kimonos are beautiful and impressive but impractical for everyday wear. I like when elements of traditional Japanese textiles or crafts can be incorporated into our modern lives. With natural indigo you can carry history and culture around on any garment, and it blends in easily with our 21st century lives. Humans have been dyeing with indigo for at least 6000 years and there is no reason we should stop now.
Traditional crafts also often have very practical benefits that were developed over thousands of years, and it's foolish for us to dismiss them. For example, natural plaster “shikui” and tatami mats used in Japanese homes, when made the traditional way, can absorb moisture from the high humidity summers and keep people cool. They can also decompose back to nature at the end of their useful lives.
There are many crafts that are distinctly Japanese that are a lot more accessible for people around the world to try too. No fancy equipment or years of study is necessary to try the art of origami, or to make kumihimo cords. The accessibility is really appealing to me, as people of all ages can really benefit from fiddling with bits of paper and string. It may be surprising to some that applications in STEM from knotted cords and paper folding go from cancer treatments to space travel.
Some Japanese people are unaware that around the world there are different places like in west africa and central america that have their own wonderful methods of growing and dying with indigo and their own styles of shibori. I find it heartening that humans discovered and developed these cultures independently. Indigo is different from other natural dyes in the way it bonds to the surface of fibers, meaning that concealed parts of the fabric don’t absorb dye. The spectrum of indigo from pale blue to almost black also lends itse beautifully to shibori. Japanese shibori is highly developed and incredibly intricate, there are so many techniques within stitch-resist (“nui-shibori”) as well as wood-sandwiched “itajime”, rice-paste resist drawn “tsutsugaki” and stenciled “katazome”. Japan's world of Aizome is so vast that it gives me endless inspiration.
There is a story from Tokushima during the 2nd world war; the Japanese government made rules that forbade growing indigo because farmland and labor was needed for growing food to eat. However, some indigo farmers kept growing indigo in secret on the mountain, as seeds need to be replanted annually, or they won't sprout. Maybe they were just thinking about their future livelihoods, but I like to think that the farmers also just knew the value of their skills and craft and didn’t want it to get lost. From abroad Japanese people are sometimes stereotyped as being obedient, but this story shows a rebellious spirit and dedication to what is right. I feel privileged that I can join this heritage and I am glad that Japanese craftspeople are continuing their techniques; I hope we can tap into their knowledge to build a more sustainable future.
]]>indigo studio, AiAii
Kaigandori 2-3-19,
Sumoto city,
Hyogo,
656-0022
Shop open Fridays and Saturdays 10:00-17:00
Official Site
Culture as National Security
In 1961, John F. Kennedy in his inaugural speech said: “ask not what your country can do for you — ask what you can do for your country.” I believe this is an appropriate question to pose today to the Japanese people in regard to both the protection and revitalization of Japanese cultural properties and practices.
Protection and revitalization of Japanese cultural assets and rituals are matters of national security. While that might sound a bit alarmist, I truly believe that we need a reevaluation of the importance of Japan’s unique history, art, food culture, and etiquette. Not only is this important for the economic benefits tourism brings, but also for the sense of national identity, pride, and joy that a strong and robust culture brings to the Japanese populace.
Japan’s history, art, and culture are inseparable from the national identity and the identity of the Japanese people. Not only physical cultural assets, shrines, temples, and castles, arts, and crafts but also mannerisms, ways of speaking, gestures, and the humility that permeates Japanese communication are all essential elements of the Japanese cultural identity.
My Life-Long Love and Respect for Japanese Culture
From the moment I was first exposed to Japanese culture in my teenage years growing up in America, I was drawn to understand more about it. That passion has only grown in my 30 years living in Japan.
I have made it my life’s work to collaborate with Japanese and international artists and brands to shine a spotlight on some of Japan’s incredible artists and craftspeople.
As an artist and novice historian, over the past 30 years I have traveled all over Japan to hold exhibitions and feel very lucky to be able to visit shrines, temples, and artists’ studios from Kyushu to Hokkaido. I am in awe of the vast array of crafts in Japan and the dedication and discipline these craftspeople bring to their work. I am inspired by my fellow artists in Japan and hope to be a better artist myself for having been able to spend time with so many amazing creators over the past 30 years.
Last year, I was commissioned by Dekanta, the world’s largest online seller of Japanese whisky, to create an art piece to celebrate the sale of 20-year-old Karuizawa Whisky. I collaborated with the Taya Studio in Wajima to make the Acclaim Whisky stage, bringing together lacquer craftsmen and the team at Sakai Glass in Osaka to showcase an offering of three bottles of the famed Karuizawa Whisky. We made 50 sets of the stage which were auctioned in New York in March of 2023.
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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.
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In 2022, I was asked by Puma to design shoes for the Tokyo Fashion Show. The show was attended by people from around the world. I used Kanazawa gold leaf to make the shoes. Every part of the shoe, the box, the laces, and of course the gold leaf were all made in Japan.
Collaborations like these are truly a great way to highlight Japanese craftsmanship while still evolving and remaining relevant to a younger audience.
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Three Ways Forward
Social, economic, technical, and environmental shifts are shaping every aspect of society and calling Japanese leaders in all sectors to consciously decide how to steward Japanese culture forward. I respectfully offer three strategies to respond to this great time of change for the benefit of Japanese culture for centuries to come:
1.Respond to Tourism in Ways that Preserve the Depth of Japanese Culture
I recently visited Kyoto for a meeting at the Ministry of Cultural Affairs. During that visit, I was able to speak to many people running businesses in the city about the current wave of foreign visitors to Kyoto. While everyone I spoke to was thankful for the economic benefits that tourism brings to Japan, they were all severely worried about the impact that tourism will have on the city’s way of life and cultural assets.
Over-tourism brings with it a myriad of problems including strain on infrastructure, environmental degradation, wear on cultural assets, interruptions to sacred rituals, and a diminished experience for visitors due to overcrowding.
However, for me, the greatest risk of this over-commoditization of Japanese cultural properties and rituals is that it will lead to only a superficial understanding of Japanese culture. If huge numbers of tourists lead to a reduced level of depth of understanding of the cultural traditions of Japan, then there is a real risk that the attractiveness of those cultural assets in the minds of tourists will go down and create a sort of cultural misinformation cycle which benefits no one. More national resources will go toward “meeting the market” rather than enriching and advancing traditional and modern cultural ways.
I am in no way suggesting that tourism is bad, or that we should discourage visitors from coming to Japan. I am only trying to say that there needs to be well-thought-out collaboration between government, local communities, and industry to arrive at a long-term sustainable approach to tourism that strikes a balance between economic targets and cultural preservation goals.
2.Utilize Cultural Ambassadors on the Global Stage
History and the preservation of Japan’s cultural assets are not merely exercises in nostalgia but essential parts of creating and maintaining a sense of national identity and social cohesion. History and culture are a nation’s living collective memory. I believe it is the responsibility of all citizens of Japan and immigrants like me, to do our best to contribute to both the maintenance of traditions and cultural assets and to actively participate in the evolution of these traditions. We must become cultural ambassadors both to visitors and to each other, sharing what we know and have experienced in a sincere way.
As I look at the demographics of Japan, I am more and more convinced that to a large degree the survival of traditional Japanese culture including food culture and arts and crafts lies at least in part in the education of foreigners. Bringing undiluted Japanese culture to international centers of art and culture is going to be vital to creating customers for Japanese artists, craftspeople, and chefs.
Earlier this year, we celebrated the opening of Sushi Sho New York. Sushi Sho’s New York restaurant is an amazing place filled with the work of Living National Treasures, potters, and woodworkers from Japan. I was honored to create two paintings for Sushi Sho in New York. The interior is like a museum of Japanese craftsmanship and art. The guests who are lucky enough to have dinner at Sushi Sho are experiencing the unfiltered best of Japan and will certainly share their experience with their friends and family. It is through experiences like this that Japanese culture will continue to thrive and grow.
In March of this year, I was honored to hold a joint exhibition in New York with the Living National Treasure, Inoue Manji, at the Onishi Gallery in Chelsea. The gallery expected to have 80 people at the opening reception. We were overjoyed and pleasantly surprised to have over 500 people come to the opening. I was so encouraged by the high level of interest that New Yorkers had in all things Japanese. Many of the visitors were experts on one facet or another of Japanese culture, from whisky to kimonos to tea and pottery.
During the exhibition, I was able to share with visitors information about Kanazawa gold leaf and the history of gold leaf in Japan, the National Living Treasure title and what it meant in Japan, and the story of Inoue Manji’s life and pottery. Visitors were fascinated, and I am sure at least a few will now visit Japan for the first time.
It is this sort of cultural ‘outreach’ that I think will become increasingly important to the survival of Japanese artists and craftspeople in the future. Exhibitions of Japanese art at museums are wonderful and vital, but if the living artists cannot sell their works, they cannot continue to pursue their artistic dreams and certainly won’t attract apprentices to continue their practices in the future.
Creating a global network of people who are interested in and participating in Japanese arts and culture is indeed the best way to maintain positive relationships with other countries and bring continued much-needed economic support to Japanese artists and craftspeople.
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3.Develop Young Artists in The Business of Art
Connected closely to this conversation is another topic I have found myself discussing with various people lately: economic security for Japanese artists and craftspeople. When I visit craftspeople in Japan, I often hear stories of economic hardship. Japanese art schools rarely, if ever, teach business skills to their students. The young artists graduate without an understanding of how to market themselves to galleries, create budgets, and decide the pricing of their artworks. Many, no, most, artists I encounter don’t have a website or art catalog. They are creating incredible art and crafts but have not developed a way to sell their work. This invariably leads to a situation where artists end up working in a company and pursuing their artistic dreams at night and on the weekends.
The art universities would do a great service for their students to begin teaching basic business and presentation skills. The era of ‘being discovered’ as an artist where an art gallery would visit an artist’s studio and then sign a contract to represent them is over. Artists must be creators, marketers, accountants, and social media wizards. This is particularly difficult in Japan where humility is greatly valued, and artists tend to be quite self-effacing about their work.
My first exhibition in Japan was at a small gallery in Kichijoji. I think I approached 40 galleries over 6 months with my set of slides and a resume that was mostly blank before the Kichijoji gallery agreed to do an exhibition. It was hard to take so much rejection at 23 years old, but I was determined. I exhibited 19 paintings in that first exhibition and sold 17. My confidence was given a huge boost, but it was hard work.
There is a view that young artists must suffer to be good. I think this is nonsense. Being connected to your process, being authentic and truthful are essential to being a good artist in my opinion, but struggling financially never led me to paint a better painting or make a more beautiful tea bowl.
In conclusion, the preservation and revitalization of Japanese culture and arts are collective responsibilities. We cannot ask the government to do everything, though they certainly have a large role to play. We, the citizens of Japan, both Japanese and foreign immigrants, have a shared responsibility to do everything we can to support the arts, share what we know with others, and work together as a team to make our shared cultural life thrive and survive.
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My name is Jeff. I have been a lantern maker in Ibaraki for the past seven years.
My job is to make what we call the fire bag. I specialize in making big lanterns. In short, I just make the shell of the lantern. Once my job is completed it is sent off to a wholesaler where the painting and final touches are put on the lantern and then sold. I don’t do any direct sales.
How did I get into this line work? My father-in-law was making lanterns for over 40 years until his retirement two years ago. Around 2016 he was starting to talk about retirement and as we got talking, he spoke about how less and less people are doing this kind of work. I have always been interested in working with my hands and enjoyed diy work and my hobby was making stained glass. So, this was a good chance for me to do something that would be interesting. The more we talked, the more appealing it became to me and in 2017 I took the plunge and started in this new life.
The lantern making process
I’ll walk you through the process of my job.
The first step is to cut bamboo into the necessary length and then I splice it into strips.
The next step is to remove the nodes that stick out and at the same time fix the required thickness of the strips. Originally this was done by hand but my father-in-law bought a machine many years ago to do this part.
Once that is done I need to cut the strips into the necessary width. This is determined by the size of the lantern. The bigger the lantern, the wider the strips need to be to offer better support. When I started this was done by hand which was a long and painstaking process. To reduce our workload and improved time efficiency we commissioned a machine to do this process. It has been a wonderful addition to the workshop!
The final step is to take the skin off the bamboo strips using a kanna. If this isn’t done the glue won’t stick to the bamboo.
Now I can start making the lantern. The cut bamboo strips are joined together using small washi strips and then using my hands I bend them into a circle as cleanly as possible. It’s important for the bamboo to be as clean a circle as possible so the lantern isn’t deko boko.
Next the bamboo is put onto the frame, tightened and then string is attached to hold it all together. The last step is glue the washi onto the bamboo. Once it is dried overnight, the mould can be removed and the lantern folded ready for shipping. And that’s it.
The actual process of making lanterns is not difficult but doing it well is difficult. I think this is the same for any kind of craft.
I often get asked how long it takes to make a lantern. From making getting the bamboo ready to shipping the lantern it depends on the size of the lantern. The smallest one takes 2 days and the biggest one takes at least a week.
The learning curve
As with everything new, learning to make lanterns was a long and arduous journey. Each step of the process has its difficulties that I had to overcome. The first was splitting the bamboo evenly. If the bamboo is split evenly, it is easier to use because each lantern needs a different width. So if I split it into ten but not evenly I will have 7 very large strips and 3 very thin ones instead of them all being about the same. After lots of trial and error it clicked together. I often compare it to learning to drive a manual car. Clutch control is the most difficult part but once get how to do it the rest is easy!
One more challenge for me was aligning the bamboo strips on the frame. A well-made lantern evenly spaced bamboo strips. Some of our moulds have markers to help with this but some of the moulds are a bit old and the markers don’t match so we have to space the strips by eye coordination. When I’m walking around and see lanterns, this is the first thing I look at to see whether it is well made or not.
The challenge with this is that bamboo is a natural material. Each bamboo has its own characteristics. For example, one bamboo will be harder than another so less malleable. Anther bamboo won’t be straight so needs adjusting as I am putting the string on. For me this is what makes my job so fun. Each lantern I make is unique because each bamboo has a different feel. So, although I may make each type of lantern many times, each one still feels different and I never get bored.
Another interesting challenge for me was learning about Japanese forms of measurement. Coming from Europe I had always centimetres to measure things. Now I had to learn about 尺(Shaku), 寸(Sun) and so on. It took some getting used to but I think I have the hang of it now.
I am lucky to be able to do this for a living. One of the many things I enjoy about this job is that I can see my progress and get a sense of accomplishment after each lantern I finish. Each lantern I make is a challenge for me to improve on the next lantern. I think that I will be always chasing that perfect lantern! As a non-Japanese person doing this job I do feel that each lantern I make needs to be made to the best of my ability. As I work alone, using my time efficiently is very important to keep things running smoothly. On a typical day I listen to music or history podcasts as I work. Just the other day I was making a big lantern, the cool breeze was flowing through my workshop and I could see the lantern coming together and I thought to myself, this is a really wonderful job!
Toyo Department Store: Leading Shimokitazawa's Vintage Culture
Born and raised in Shimokitazawa, Koshimizu is now at the forefront of its development as both the head of local real estate management company "Toyo Kogyo" and Vice Chairman of the Shimokita Shotengai Shinko Kumiai.The "Toyo Department Store," operated by Toyo Kogyo, is indispensable when discussing Japan’s vintage clothing culture.![<![CDATA[Fashion Tech News]]> (397) <![CDATA[Fashion Tech News]]> (397)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/018e9b905a3f498e95a696993240899b/IMG_1723.jpeg?w=2400)
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From Black Market to Subculture Hub
After the war, Shimokitazawa had neither vintage clothing stores nor curry shops. Next to the station, goods and food from all over gathered, forming a market."Originally, Shimokitazawa was a quiet residential area in Setagaya, home to officers and their families. After the war, a black market established itself here, which later evolved into the 'Shimokitazawa Ekimae Shokuhin Ichiba’ adjacent to the station. For a long time, it was a shopping spot for housewives."![<![CDATA[Fashion Tech News]]> (400) <![CDATA[Fashion Tech News]]> (400)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/b7136dc17f8f4facbecef76fccaea724/IMG_2126.jpeg?w=2400)
Harajuku & Shimokitazawa
"Vintage clothing" is a genre that has continued to develop in a highly complex manner. During the bubble era of the 80s, high-sensitivity shops like Harajuku's "Fake α" and "Banana Boat" introduced "vintage denim," making vintage clothing a kind of symbol of uniqueness.In fashion, the 90s gave rise to "Ura-Harajuku" and "Kawaii" culture. By the late 2000s, street snaps had reignited interest in vintage clothes. For example, the charismatic reader model "Oshare King" from the magazine "CHOKiCHOKi" spawned the "Oji-boy" vintage mix style, featuring intentionally old-fashioned items like brown suits, bolo ties, and leather shoes.![<![CDATA[Fashion Tech News]]> (401) <![CDATA[Fashion Tech News]]> (401)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/6f4305df34d94f4a83bae4d4b7de167d/24219999_m.jpg?w=2400)
The Vintage Clothing Boom of the 2020s
Entering the 2010s, a new wave of vintage stores began to emerge in Shimokitazawa. The former bathhouse site opened "NEW YORK JOE," and vintage shops like "VELVET" and "KALMA" followed. In parallel, chain stores like "DESERTSNOW" and "GRIZZLY" played a significant role.With the proliferation of flea market apps and the increasing number of reuse shops, the rapidly accessible secondary market has likely fostered people's interest in vintage clothes.![<![CDATA[Fashion Tech News]]> (402) <![CDATA[Fashion Tech News]]> (402)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/901f705204bd49c6930de4c5de2bc974/IMG_1727.jpeg?w=2400)
Redevelopment & "Shimokitazawa's Uniqueness"
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]]>Text by GANTAN
Oliver Peoples Born in West Hollywood
Oliver Peoples was founded in 1987 on Sunset Boulevard in the heart of West Hollywood, California.Its design sources stem from elements such as fashion, film, art, and the lifestyle of Southern California that still form the unique culture of Los Angeles.Early Oliver Peoples was influenced by numerous vintage frames purchased by the brand's founder in the late 1980s. This vintage aesthetic, inspired by these frames, remains at its core even today.![<![CDATA[Fashion Tech News]]> (405) <![CDATA[Fashion Tech News]]> (405)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/0c2d472367f743eeb2d4d5c534ce3ca6/%E7%94%BB%E5%83%8F2.jpg?w=2400)
How Sophisticated Design Work is Created
Let's take a closer look at the design work of Oliver Peoples. Where does the sophisticated sense of luxury exuded by each item come from? Let's unravel it.Vintage elegant design, fashion, film, art, music, and the lifestyle of Southern California that is unique to Los Angeles are still indispensable elements of the brand's DNA, inspiring designs that captivate fans worldwide.Moreover, depending on the item, there's a unique technique known as the "breath logo," where the trademark appears when the lens fogs. This is one example of the minimalistic design championed by the brand.Oliver Peoples is also famous for the beauty of its engraving. The finely crafted engraving on the metal parts visible through the temple is extremely delicate.![<![CDATA[Fashion Tech News]]> (406) <![CDATA[Fashion Tech News]]> (406)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/c56f8a5f3f3c40e3aa9cf826e235a747/%E7%94%BB%E5%83%8F3.jpg?w=2400)
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Japanese Craftsmanship in Titanium Engraving
Having touched on the beauty of engraving, let's talk about titanium frames. Titanium is considered very hard and difficult to process as a metal. The delicate designs of Oliver Peoples are brought to life with Japanese technology.Currently, eyewear brands worldwide are paying attention to MADE IN JAPAN. Many Oliver Peoples models are also MADE IN JAPAN.![<![CDATA[Fashion Tech News]]> (415) <![CDATA[Fashion Tech News]]> (415)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/c737d3a9b46f4e90bf1acee6ae0f7598/%E7%94%BB%E5%83%8F12.jpg?w=2400)
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The Beauty of Minimalist Design and the "0NLY" Japanese Collection
Introducing a collection named "0NLY" that seamlessly blends the beauty of minimalist design with the timeless style characteristic of Oliver Peoples.Spelled as "0NLY," with the number "0 (zero)" interpreted as the letter "O," this collection celebrates the aesthetics of "nothingness" symbolized by the eternal circle of the numeral zero. The 0NLY collection, designed in Los Angeles, California, is crafted with exceptional craftsmanship in Sabae, f*ckui Prefecture, a renowned production area for eyeglasses in Japan.The new collection not only involves the manufacturing process in Japan but also uses high-quality Japanese acetate materials.A distinctive feature is the sleek outer design, while the inside is shaped with a rounded design to feel comfortable against the skin. The technology to achieve different acetates carving between the outside and inside is quite difficult, and it’s the Japanese craftsmanship that makes it possible.Started from last fall-winter, this collection continues to release new works this season, showing the brand’s strong focus. The visuals feature Hidetoshi Nakata, known as a "reformer" in the traditional industries of Japan.![<![CDATA[Fashion Tech News]]> (420) <![CDATA[Fashion Tech News]]> (420)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/9887eba111d9452fafcf578ef9e2989b/%E7%94%BB%E5%83%8F17.jpg?w=2400)
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The Inspiration for Starting a Business: Biohazard-Free Compost
First, please tell us how you went from university research to establishing your company.
Kanazawa Bio was founded by my microbiologist father as a result of a university project. My father has been dedicated to soil microbiology research for over a quarter of a century, and during his time at Kyushu University, a project called "Campus Zero-Emission System" was launched. This involved collaboration between the medical and agricultural departments to recycle waste within the campus. As part of the "Kyushu University Projects Research Development," the idea of actually producing something came up. Typically, manufacturing is often outsourced, but following my father's hands-on principle, an organic fertilizer production facility was set up at the university’s affiliated farm, and they began making "biohazard-free compost." Alongside his research, my father would get completely covered in black soil while meticulously crafting the fertilizer (laughs). This later evolved into the herbal organic fertilizer called "Soil Yakuzen."The name "biohazard-free compost" is pretty striking, but as the name suggests, it’s compost without any dangerous elements. Biohazards include high-risk microbial communities like E. coli, pathogens, pests, and antibiotic-resistant bacteria. When we distributed this compost to the public, it received rave reviews, which led to the idea of starting a university-originated venture, thus the company was founded. We handle everything from raw material procurement to manufacturing and sales. This holistic approach to production has remained unchanged since 2003.
What kinds of projects have you handled so far?
In addition to the agricultural sector, we have worked with the medical department on waste disposal from the medical school and hospitals. Depending on the project, we also collaborate with various departments like the Faculty of Engineering and the Faculty of Pharmaceutical Sciences. For instance, in joint research with companies, we collaborated with Suntory as researchers of “Natural Water Sanctuaries” for soil surveys, were requested by Shikoku Electric Power to decompose shells adhering to nuclear plant cooling pipes, worked with Calbee, Inc. to establish methods to sterilize and remove potato scab, and handled a range of matters involving microorganisms for cosmetics businesses and animal feed. Surprisingly, microorganisms have a wide range of applications and are useful in daily life, so we respond to client requests in different industries through research.
Efforts Towards Decomposable Clothing
Your work with clothing started with decomposable protective suits. Could you tell us how this development began?
Originally, we weren't actively involved in apparel or clothing manufacturing. The trigger for diving into clothing was JAXA. Around 2007, JAXA researchers visited our lab. They wanted to explore the possibility of conducting agriculture on Mars. At that time, my father told them, “We are busy with Earth’s issues right now,” and initially declined. However, it seemed interesting and worth trying, so we started the joint research. In 2011, the Great East Japan Earthquake occurred. At the time, JAXA staff in f*ckushima asked if our microorganisms could help decompose a large number of discarded protective suits. We collaborated with Toray Industries, Inc. to develop this. The notable feature of these protective suits is that not only do they decompose back into the soil, but they can also be quickly melted down using a microorganism-based incinerator on-site, negating the need for transport or incineration to dispose of high-risk used protective gear.
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You mentioned that you are developing a product "DOC" for town use, derived from this protective clothing. Could you tell us the background behind creating clothing for general users?
Despite creating high-risk protective clothing for nuclear and COVID-19 measures, it was not well recognized. We approached the Ministry of the Environment and the Ministry of Defense, but it was not reaching the field. Seeing our frustration from not activating our developments, my former editing colleague, Kana Yoshioka, suggested creating a garment that coexists more than fully protects, leading to the launch of "DOC." The idea began with creating something to coexist with viruses, even amidst the COVID-19 pandemic. The brand name "DOC" was derived from Yoshioka saying my father's visuals and punk spirit resemble Professor Doc of the Reiwa era.While I had left the editing field, my former colleague remained active in the heart of fashion and culture, so the development progressed smoothly. The design was handled by Yuji Okamoto from "CYDERHOUSE," and the logo by Shuhei Abe. It was smoothly completed in about six months.
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How is the design for town use considered?
Because it's for town use and not for high-risk areas with high radiation or viruses, it's not designed to dissolve immediately upon wearing. It's intended to be worn casually when shopping or going out, and to be worn like a raincoat. When put into a machine, it decomposes quickly, but when buried in the ground, it takes about three years to decompose.
What are the challenges or difficulties unique to developing "DOC" from protective clothing?
The challenge in manufacturing is that ordinarily, fabrics can be cut in bulk by machines, but for this material, each piece must be cut by hand, which is a difficult task. In Japan, there's very little manufacturing that supports this, and it's costly. Also, since pins cannot be used when sewing, it was difficult.Because we are not apparel specialists, producing in units of 10,000 pieces is difficult, and the issue of small production runs is significant. Although the development of the high-risk site "Bio Kappogi (Cooking Wear)" was completed in six months, starting with small production runs in reality resulted in high costs. The issue of production runs and manufacturing remains a challenge moving forward.
In the fashion domain, products using biodegradable materials are increasing both domestically and internationally. From your perspective at Kanazawa Bio, specializing in decomposition, what do you see as the challenges in widespread adoption?
Biodegradable fabrics are still costly, particularly domestically produced biodegradable fabrics. It would be great to ensure a stable supply. Additionally, as companies tackling biodegradation increase, there are more requests for microbial combustion. We've even been asking them to cultivate healthy soil, grow plants, and produce fabrics. One of our dreams is a stable production of biodegradable fabrics from soil we are particular about.
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Utilizing Microbial Degradation
When we think of biodegradation, it can vaguely seem like it has inherent benefits. Can you explain the actual impact on the environmental load once again?
From the perspective of waste disposal, landfill and incineration are common and energy-consuming methods, but composting prevents waste from just being waste. Microorganisms generate natural heat, eliminating the need for gasoline or electricity. They also undergo high-temperature fermentation, allowing the process to complete quickly and produce high-quality organic fertilizer. Currently, many organic fertilizers are made from livestock manure, which can be contaminated with E. coli, pathogens, and antibiotic-resistant bacteria due to drug-treated livestock. However, ultra-high-temperature fermentation bacteria can reach 80-90 degrees Celsius, killing pathogens and ensuring safety. Thus, waste can be transformed into fully-matured organic fertilizer, disposed of quickly, and yield good plants as a byproduct, presenting numerous benefits.Furthermore, it has been found that dioxins and residual pesticides can also be decomposed cleanly. For instance, Calbee, Inc. approached us with a request to compost "potato skins contaminated with a virus." Typically, viruses in the soil would propagate and spread. However, through high-temperature fermentation, the virus was decomposed to elemental levels and destroyed. The ability to handle viral contaminants using only the heat from microorganisms, without electricity or petroleum, offers significant advantages for humans. It's fascinating to observe how much invisible microorganisms contribute.
What challenges lie ahead?
I feel that these immensely helpful microorganisms, which benefit "food, clothing, and shelter," should be utilized more appropriately in various fields. Issues such as soil contamination, food safety, high-risk viral threats, and even radioactive substances could be addressed without relying on fossil fuels.During the earthquake, I brought in a compost toilet, but it was turned away because there was no precedent. Looking back now, I realize it was too sudden for an emergency situation. While we consider it common sense, I believe the potential of microorganisms still isn't widely communicated, so we need to promote this more.
Is cost performance an issue in terms of popularization?
It's possible. In the agricultural field, it is certainly more expensive as an agricultural material. However, unlike chemical fertilizers, microorganisms stay alive in the soil under the right conditions, so it's not just a one-time application and done. Within about three years, microorganisms spread widely, and in the long term, the quality and yield of the produce improve, making it ultimately more cost-effective than chemical fertilizers. However, visitors to the factory are often surprised by the hands-on approach similar to that of a sake brewery or a miso plant because we combine natural materials and handcraft the fermentation process with bacteria. It's a fusion fertilizer of high-tech and analog.
Creating a Structure that Circulates Over a Long Span
As more biodegradable products become popular in daily life, how will our relationship with things change?
I think we haven't been very conscious of microorganisms in our daily lives until now, but as household composting spreads, people start thinking about what happens when it returns to the soil, and when they begin growing plants in home gardens, lifestyles surprisingly change. At the time of the nuclear power plant incident, the idea of "decomposing clothing" was quite radical, but now we are in an era where "clothing decomposition" is becoming the norm, which makes me happy. As awareness of clothing decomposition spreads, people might start feeling the life in fabrics born from the soil and think a bit more before discarding clothes.
When you dispose of things, you tend to think of them as disconnected from yourself, but knowing the decomposition process might change that.
Lately, I've had many opportunities to hear about and see the issue of large-scale disposal of fabric scraps and clothing. I was contacted by someone in the leather tanning industry who said that some companies are going out of business because of the heavy burden of disposal. When it comes to leather, it feels like you're discarding a living being. The person from that company was considering some form of reuse because they didn't want to waste the life of a cow. I was shown a warehouse full of leather waste with bumps that couldn't be commercialized, and seeing the piles made me think deeply. Born, killed, turned into leather, and then discarded without being used; if the cows had eaten properly and had smooth skin, perhaps this wouldn't have happened. With the power of microorganisms, decomposing discarded leather is easy. From the soil created by that process, we could potentially grow healthy pasture and use it to feed healthy cows.Additionally, my friend who runs a linen brand and I decided to try growing plants together using organic soil, with the ultimate goal of returning everything back to the earth. We have been growing plants from seeds to use as indigo dyeing materials. The other day, I met someone who makes fabric through the painstaking task of turning the invasive kudzu plant from a field into fibers and weaving them. The resulting fabric has a glossy finish, distinct from silk. I used to see kudzu as a nuisance in our tea fields, but now it looks like a treasure when it's turned into fabric (laughs). By embracing a long-term perspective and creating a structure that circulates the life of fabric, not only do we contribute positively to the environment, but it also leads to fascinating discoveries. We've been planning to bury various materials and dig them up like a time capsule. Artists, each in their own way, have been responding to the theme of "microbial decomposition" with their unique expressions, which has been quite enjoyable recently.
Are there any changes in the reactions or trends around you?
When we presented "DOC" at an exhibition, it drew interest simply because it decomposes back into the soil. It started as a strict theme involving joint research between a university and JAXA, funded by the Cabinet Office, but effective communication made it relatable and a prompt for people to think about fabrics and the environment. A craftsman from a shoe brand came to visit our factory. He, who handles leather—an entrusted life—has always been conscious of the environment and has intentionally used discarded leather sections called Nibe in his products. He has also started a new project related to industrial waste and is now responsible for decomposition. By ensuring that we communicate clearly, new methods of manufacturing emerge. It's essential to convey information properly.
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Hoping a Full-Scale Pilot Project Can Be Realized Soon
Could you tell us about the areas or topics you want to tackle in the future?
Regarding "DOC," the cost of the coats is still high, making them unaffordable for many people. So, I want to develop a product that can be used more casually.Apart from clothing, we have the technology to improve soil and water contaminated by radioactive substances, and I've always wanted to see it implemented on-site. We're already in a position where we've developed technology for completely self-sufficient areas, like capsules, in collaboration with several companies, and we're waiting for the pilot testing. I hope a large-scale pilot project, like for a village, can be realized soon.
Given your broad involvement in areas such as housing and disaster response, what position does the fashion industry hold for Kanazawa Bio?
Soil and fashion may seem like unrelated fields at first glance, but presenting "soil" each season during spring/summer and fall/winter apparel exhibitions has shown that the world of "microorganisms" can be conveyed quite naturally through fashion. Apart from my personal interest, the things I'm doing in gardening and agriculture might be too unconventional for the industry, making it hard to gain recognition or understanding. However, I feel that conveying these ideas through fashion has been effective in solving the expression and communication aspects.Moreover, in fashion projects, many collaborators have sharp instincts and a sensibility that isn't bound by common sense, creating chemical reactions with diverse ideas from which new things emerge. It's fascinating. There are several ongoing talks with artists regarding installations. For example, the window display themed around "The World of the Subterranean Root Zone (地下根圏の世界)" at GINZA SIX this year was brought to life by a designer who visited our soil factory a few years ago and recreated the "world within the soil" that my father talked about. I was present back then, listening to the discussion, and was amazed at how that conversation inspired such a detailed world, including animation.Reflecting on the past few months, I've been contacted by brands and manufacturers of various types of biodegradable fabrics, such as denim, fur, ramie, Japanese paper, linen, cotton, knits, leather, and sheets. What was interesting was that when discussing decomposition, they asked questions like, "If we care about the environment, is it okay to collaborate with other brands or manufacturers?" and everyone answered "yes." I feel a good trend is emerging with cross-industry cooperation instead of rivalry or competition. I hope "microbial decomposition" can become a hub for various industries to facilitate decomposition work.In the world of soil microorganisms, having a variety of microorganisms, rather than just a single type, is a condition for good soil. Even if harmful pathogens enter, a balanced state means those pathogens become a food source that benefits others. It's profound to think that even the villains serve a purpose as a food source for other microorganisms. I sometimes feel like we're playing the role of a biological hub (buffer) by connecting with diverse industries and creating interesting chemical reactions. From a cosmic perspective, it seems that everyone has some role to play, making significant contributions to the Earth. It may sound unclear, but personally, having been born into a family of microbiologists and engaging in a lot of trial and error, I feel I'm moving forward while creating fascinating chemical reactions through connections with diverse people.In the fashion industry, taking a free-spirited and varied approach to enjoying sustainability might actually be a shortcut to improving the environment. This is something I've felt from my own experience. The intricate fabrics handled by designers and creators, as well as the enjoyment consumers find in wearing them, may ultimately help protect Earth's resources.
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Convenience Within a 3km Radius
First, could you give an overview of the OMO app FACY?
We are considering how to make shopping at physical stores more convenient through digitalization. Our mission is not just to make it convenient to buy things from around the world, but to enable a good experience purchasing good items within a 3km radius for each user.So, when you open FACY, you can see what items are in stock around you. If you have any questions about the stock, you can send a message to inquire, for example, about size, material, or coordination.In this way, we visualize in-store items and lead to in-store sales. We provide services such as reserving inventory in stores to pick up or ordering inventory to be shipped.
What led you to start working on this kind of OMO and digitalization of in-store inventory?
I personally like e-commerce a lot. After my career in the financial industry, I joined Amazon, but from both the user's perspective and market statistics, there is a significant bias between items that are easy to distribute via e-commerce and those that are difficult.Of course, one direction is to strengthen functions to solve this by handling such items through e-commerce. That is also good, but on the other hand, it is difficult to make everything e-commerce. Especially according to statistics, it is clear that many daily commodities are distributed through physical stores, such as food, clothing, furniture, and cosmetics. When we interviewed users about why they do not buy these items through e-commerce, there were various answers. For example, there are issues like size or color and texture; daily commodities have many variables. While price is an important variable, users have to choose from countless options.E-commerce is suitable for buying things you already know and are less significant decisions, making it an easy market for distribution, but in-store purchases show the opposite trend. I think this is the general image of the typical user now who uses stores and e-commerce interchangeably.But does that mean there are no problems with store sales? Certainly not. It's hard to make a profit in stores, and from the user's perspective, it's not easy to know where what is. The traditional means of inquiring about physical stores have been to make phone calls or exchange LINE with a familiar clerk, which is a high barrier for ordinary customers.If we can visualize in-store inventory, it can be reserved in advance and picked up in-store, or the store inventory can be shipped. These services have spread overseas with the popularization of smartphones. We felt the necessity of such a marketplace app in Japan and created FACY.
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What kind of products does "FACY" currently handle?
Generally speaking, the average price of products increases as stores grow, but FACY handles mid-priced brands with physical stores or higher. For example, we have started partnering with the Baycrews Group.In terms of the number of shops, we have about 400 mainly around Shibuya. The number of users is currently expanding as the users were reset when we revamped in April this year. Our first goal is to reach 1.5 million monthly users, which was the figure in the previous version.
You mentioned that automatic synchronization with in-store inventory has newly started. Can you tell us about the process leading up to its realization?
Automatic synchronization is extremely important. Information such as word-of-mouth reviews, business hours, and new arrivals are now centralized on smartphones. When we observe in-store users, it's common for them to have checked some information on their phones in advance before visiting. So, from the user's perspective, visualizing what’s available in-store is crucial.However, the difficult part is creating a data infrastructure that aligns with each brand. In successful overseas cases, the government contributes to digitalization, or major platforms provide ecosystems for businesses. In Japan, for various reasons, this is not the case, and non-IT industries make separate investments. Visualizing in-store inventories is done separately in many cases, or sometimes not at all.
By collaborating with us, we aimed to make visualizing store-specific inventories more efficient than making separate IT investments.
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Trends in Marketplace Apps
Marketplace apps are common overseas. Could you tell us more in detail?
Since around 2015, the platformization of apps that aggregate stores has been progressing. Famous examples include China's "Meituan," Singapore’s "Grab," which operates throughout Southeast Asia, and Colombia’s "Rappi," which operates throughout Latin America."Meituan" has been offering services similar to "Groupon" since 2010. "Grab" started as a ride-hailing service like Uber. Although these two companies originally had different businesses, they began partnering with local restaurants to handle discount tickets, and by understanding store inventories, they enabled reservations for store stock. Rather than moving users, these companies expanded into systems that deliver products.
This is a different approach than EC sites, isn’t it?
With enhanced EC functionalities, market share is increasing, especially among major platforms, but growth rates tend to gradually decline at a certain point. Users switch between stores and platforms according to their needs. One of the features of services that aggregate stores is speed. If it’s within a 3-kilometer radius, services like Uber Eats can deliver within 30 minutes.A mid-range player is Korea’s "Coupang." Despite being an EC, it developed a system called Rocket Delivery for instant delivery. Traditional large EC platforms have centrally located large warehouses in rural areas, taking 1-3 days to deliver. By delivering from small urban warehouses, products can be delivered in 30 minutes to 2 hours. Recently in Japan, there are services like Yodobashi Extreme, and Kakuyasu has followed this model for a long time.
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The Future Perception of Physical Stores
Considering the acceleration of e-commerce due to store closures during the pandemic, how do you view the state of physical apparel stores post-pandemic?
The pandemic dealt a significant shock to the economy, and it acted as a sort of flash-forward, pushing us to face the future sooner than expected.One aspect of this is the blend of e-commerce and physical retail. During the first state of emergency last year, store sales plummeted. Previously, the growth rate of e-commerce had been slowing, but it became evident that there was still room for growth. However, the increase in e-commerce didn't fully compensate for the decrease in store sales. On average, e-commerce markets across various countries increased by about 20%. Physical stores still remain a significant distribution channel, holding items that e-commerce couldn't fully capture. Interestingly, during the second state of emergency, store sales rebounded. Brands that had maintained robust sales saw recovery around December of last year, demonstrating the trend towards the digitalization of stores.Indeed, the role of stores is undoubtedly changing. While events similar to the pandemic may occur in the future, the trend of users gathering information online before visiting stores is irreversible. Thus, I believe the metrics for operating stores need to be redefined.Previously, the measure of store performance was sales per store. As real estate and labor costs rose, unprofitable stores increased. The pandemic exacerbated this trend.
Conversely, particularly overseas, brands that engage with customers primarily online don't emphasize store profitability. They focus conversion points on the internet. For example, suppose a brand spends 10 million yen per month to open a store. Even if customers purchase through an app or e-commerce after visiting the store, if 10,000 users download the app monthly, the customer acquisition cost is 1,000 yen. Knowing the lifetime value of in-store customers, if these users generate a lifetime value of 3,000 yen, the investment is sound.Traditional retail, bypassing the web, relied on methods like point cards and email registrations, leading to fragmented data between stores and e-commerce. Consequently, stores could only be evaluated by sales, impeding new openings. However, if the LTV (lifetime value) from stores is high, stores can be assessed using different metrics. Overseas D2C (Direct-to-Consumer) brands and China's new retail ventures employ such KPI designs.
What unique roles do stores play?
Observing D2C brands without stores, sales often plateau at some point. While leveraging social media is effective, smartphone displays are inherently small. Strong data-driven customer engagement requires substantial ad spending, raising customer acquisition costs. As a result, customer acquisition from social media saturates, impeding top-line growth. With top-line growth stagnating, D2C brands must explore alternatives, which proves challenging without real-world experience. This embodies a significant challenge faced by many D2C brands today.From now on, to achieve profitability, it will likely be necessary for D2C to use physical stores to monitor LTV (Customer Lifetime Value) and CAC (Customer Acquisition Cost). Additionally, as I mentioned earlier, legacy brands that only operate their stores based on checkout transactions will become unprofitable stores, so these metrics will become increasingly important. I’m not sure how many people can currently design such systems, but it will definitely become more crucial in the future. Finally, please tell us about the future updates of "FACY" and your company's outlook. We plan to expand along three axes. Firstly, expanding the range of items we handle. As I introduced earlier, our mission and the issues we aim to solve focus on shopping experiences within a 3km radius, which are more suited to in-store distribution rather than e-commerce. Users can choose whether to buy online or in-store, but the importance of the in-store channel when selecting products is increasing. There is a growing need for in-store distribution and digitalization of stores, especially for lifestyle products such as miscellaneous goods, clothing, and cosmetics. Although "FACY" began with clothing, we aim to accommodate a broader range of lifestyle goods beyond just apparel.
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"FACY"'s interface
]]>Social Material Focused on Secondary Distribution
First, could you tell us about the "Consumer Cotton Project"?
The "Consumer Cotton Project" is a social material project that promotes circular economy in the apparel industry.Specifically, the "Consumer Cotton Project" handles the "collection and sorting" of old cotton clothes when users are ready to dispose of them. It creates a platform that allows consumers to participate in the circular route by selecting and reusing the items.For brands, it manufactures sustainable cotton derived from recycled old cotton clothes collected from consumers. When these clothes are re-manufactured into products, NFC chips are embedded in the material. These chips provide care and repair methods for long-term use and collection methods when disposing of clothes, enabling interaction between the products and their users. Currently, we are in the stage of implementing the aforementioned initiatives after establishing the project.There are three main goals of this project: first, social innovation by each consumer; second, expanding the options for sustainable cotton by creating new recycled cotton; and finally, offering value to customers through utilization experiences with IoT products by integrating technology. This project aims to create a closed-loop industrial ecosystem.
Why did you focus on the material cotton?
First, there are human rights issues involved. Cotton is mainly produced in places like India, Egypt, and the United States. For example, the average lifespan of cotton farmers in India is said to be around 35 years.Organic cotton only constitutes about 1% of the market share, so most cotton uses pesticides. Farmers do not have the money to buy pesticides, so they have to borrow money. Since they cannot borrow from public institutions, they often borrow from loan sharks. When they can't repay the money, many end up committing suicide by drinking pesticides, leading to a situation where it is said that one cotton farmer commits suicide every 30 minutes. This industry has such a dark side and significant human rights issues.Additionally, cotton uses a large amount of water. Ninety percent of the water used in the fashion industry is for cotton. In the primary industry stage, there is a focus on how to use fewer resources, and there are movements to improve conventional cotton, such as organic cotton. However, I believe the secondary distribution should be done more. Cotton is a material that warrants significant attention in this regard.Lastly, cotton does not yet have an established route for secondary distribution. Although other companies' recycling projects have been gaining attention recently, cotton ideally needs its own collection route.Extracting only specific materials doesn't create a proper cycle. Therefore, having routes for each material, such as other materials handled by other companies and cotton handled by the "Consumer Cotton Project," is crucial. Faced with this situation, I thought it would be beneficial to have a circular system for each material, which is one reason why I chose cotton.
What inspired you to start the project?
To briefly talk about my background, after graduating from university, I joined a textile trading company. That's where my career started, but standing between the manufacturing at factories and the apparel sales in the trading company, I noticed the distorted structure of the industry. When I thought about what apparel should ideally be, I realized that trading companies don't necessarily take the initiative, so I wanted to switch to retail.That led me to transfer to FABRIC TOKYO. While I provided fair trade cotton shirts and traceable suits, I faced a dilemma: even if I tried to communicate the message, it wouldn't get through.There's a famous quote by Dr. Martin Luther King Jr., "Power without love is reckless and abusive, and love without power is sentimental and anemic." Wanting to gain strength to do the right thing, I enrolled in the graduate school at Musashino Art University. There, I joined a program called the Institute of Innovation, which studies innovation through design and art thinking. This project is part of my research at Musashino Art University. I'm learning to leverage business, psychology, and more while tapping into the sources of design and art to create innovation. In this journey, I came upon the concept of social innovation starting from individuals. We've shifted from "design for people," where someone powerful leads a project and people benefit from it, to "design with people," which involves co-creation, and now we're moving towards "design by people," an era of democratization where everyone designs.In order to change the apparel industry, I believe the key lies not in one big power but in the small powers of everyone involved.
Issues in the Industrial Structure
What is the process and flow of “collection and selection” when consumers part with old clothes?
Here's a diagram I created regarding the industrial structure of fashion. The aim of my project is to complete this cycle.
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To explain from the premise, the fashion industry involves sourcing raw materials, spinning, twisting yarns, and then manufacturing and shipping. From there, the goods reach manufacturers, who then sell them, and users buy them. This linear economy descends vertically. Alongside that, the goal is to circulate discarded items at each phase. I conducted research and designed this diagram to grasp the whole picture.
As for the user flow, I'm thinking of creating a fan community where everyone collects clothes. The motivation here is not financial benefits, but connecting to society and the community.
We provide regenerated cotton to brands as raw materials, and when we do so, technology is incorporated to allow interactive communication between brands and users. At that time, through smartphones and other means, users can engage in communication to use the products longer. After that, when the item becomes unusable, we aim to offer UX for the final collection phase, suggesting the means for collection.
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Is the intended use of the NFC chip, to be included during regeneration, for communication between the brand and the user?
Exactly, the technology used here aims to extend the product's life through brand-user communication. This includes proposing care, repair, and eventually collection. Currently, even though brands are advocating sustainability, they face a contradiction because they can only monetize by selling products. The inability to monetize except at the point of sale highlights an issue where we can't escape a consumption-heavy society.Incorporating technology to encourage longer use not only delays disposal, thereby slowing down consumption, but also connects to transforming current retail into a service industry. If we can monetize not just through sales but also through the user experience of care and repair, we can move away from the model of "selling goods for profit." Hence, the integration of technology is a crucial key.
Are there any other technologies you plan to introduce?
It's vital to integrate technology from the UX of purchasing an item to the experience of using it and finally disposing of it. To achieve this, we're considering not just NFC but also Bluetooth.Additionally, we're considering technologies to utilize unused apparel. In Japan, approximately 800,000 tons of apparel are supplied to the market yearly, with about 500,000 tons being incinerated. Simultaneously, around 1.4 million tons of unused clothes lie dormant in closets. If we can increase the utilization rate of these unused clothes, we can deviate from the mass consumption and mass production typical of fast fashion. Therefore, we're also considering ways to utilize such unused apparel.Cars and houses are iconic, but the 20th-century consumption driven by the desire for ownership is problematic in today's supply-demand imbalance. For instance, the vacant house problem has seen increased utilization through technologies like Airbnb. Apparel should also focus on increasing the utilization rate of unused items, with technology playing a key role.
What technologies are needed to turn various cotton products into sustainable cotton?
In producing regenerated cotton, a process called remelting is necessary. This involves cutting garments into small fragments and using a finely-needled machine to turn them back into cotton. While this is an old technology, the key issue lies in the distribution routes.Currently, the structure doesn't favor remelting. When users dispose of old clothes, local governments or neighborhood associations collect them. Then, collection cooperatives or old paper dealers receive them, and rag sorting companies buy them in bulk for storage.These rag sorting companies reportedly buy large quantities of clothes at 3 to 5 yen per kilogram. The clothes are then sorted by hand and eye, often outsourced to countries like Malaysia, Korea, and the Philippines. The result is either rag production or second-hand clothing, which may then be reimported to Japan as rags or sold as second-hand clothing overseas.Currently, this cycle is limited. About 20-30% is sorted domestically, with the same result: either reuse or domestic rag production.Why isn't remelting an option? After the rag sorters buy large quantities of clothes, human labor is required for sorting, but the selling price of remelted cotton is about 8 yen per kilogram.Only Okazaki in Aichi has remelting machines, and transportation costs are shouldered by the company, making profits almost zero. Despite the necessity of remelting for regenerated cotton, it's not profitable.Why reify remelting despite these conditions? If clothes sorted domestically get wet, they're unrecyclable. About 20% falls into this category, and burning them costs around 13 yen per kilogram. This economic pressure pushes companies to choose remelting.To change this, I'm aiming to eliminate the middle distribution, have consumers sort and collect clothes, and streamline the domestic circulation route to remelting.The technology to make cotton itself doesn't need to be new; what’s essential is industry restructuring. Eliminating the middle distribution and delivering at a fair price is necessary for a sustainable cycle. This is a systemic design approach, focusing on where improvements can foster good circulation.
Specifically, what criteria are used when sorting by hand?
The criterion for sorting is based on the buyer. For example, when sorting, we primarily divide for reuse, but the people sorting know what secondhand clothing buyers want. In Africa, they want cotton clothes for spring and summer, not warm clothing, or they might only want denim.So, the priority is what the buyers are looking for. If the secondhand clothes don't sell, they become rags. Rags generally need to absorb oil or moisture, so cotton is suitable, and anything with over 51% cotton becomes rags. This leads to qualitative sorting without clear criteria.
Therefore, it must be done manually.
That's right. The standards vary depending on the situation. In the metropolitan area, NPOs may collect and sort clothes, and they might sell them at charity shops in town. There, clothes that suit elderly people sell well, so the sorting targets are different. Sorting is done to meet these various demands.
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Sustainable Practices Beyond Ethics
Are there any aspects of the "コンシューマーコットンプロジェクト" that you want to develop further or new initiatives you want to undertake?
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
First, could you briefly explain the overview and characteristics of the services offered by I-ne?
Our company, founded in 2007, primarily handles daily necessities and beauty appliances. Key brands include the botanical lifestyle brand "BOTANIST" and the minimal beauty appliance brand "SALONIA," among 19 other brands.
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What background or awareness of issues led you to focus on the femtech domain this time around?
The idea for absorbent underwear came from a proposal by new graduates. We wanted to create something that made "those days" more comfortable.The menstrual product market is said to be worth around 97 billion yen, with over 60% share by napkins (reference: "Syukan Syogyo" Latest Trends in Sanitary Products in 2020). Recently, the term "period poverty" has been highlighted in news, where economic reasons prevent continuous purchase of napkins, along with waste issues from napkins.We decided to enter the femtech market by focusing on absorbent underwear that addresses such societal issues, aligning with our company's business philosophy.Before hearing the new graduates' proposal, I was not very familiar with absorbent underwear. However, the younger generation is always keen on new information, so I believed in the growing demand for absorbent underwear.
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Resolving such concerns can change everyday life.
Absolutely. While developing this product, we held discussions internally to gather concerns. The majority were about stuffiness and leakage. Especially with the upcoming summer season, stuffiness of underwear becomes a concern, and absorbent underwear is highly recommended for such times.
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Your company offers many self-care products besides ALDY, but what do you think is crucial when practicing self-care?
In this diverse era, I believe that understanding oneself and choosing what feels comfortable is connected to self-care. For instance, if someone feels stressed by moisture, absorbent shorts can be one option. By engaging in such daily practices, valuing time to reflect on oneself is also linked to self-care.
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.]]>
It is the skincare brand "Environ," established in 1987, that has been researching this vitamin A for over 30 years.
Hence, we asked Yasuko Ohnishi, the brand manager of Environ at Protea Japan Co., Ltd., to explain the surprising strength of vitamin A that many might not know.
Concept: "Photoaging Countermeasure Skincare Products"
Could you tell us what inspired Environ to focus on vitamin A?
Environ was founded by South African plastic surgeon Dr. Des Fernandes after losing two young patients to skin cancer (melanoma).Dr. Des later studied numerous documents on skin and photo damage, discovering that vitamin A and antioxidants are beneficial for preventing photoaging. This led to the creation of a skincare brand centered around a concept of "not only looking beautiful but transforming the skin itself to be healthy and beautiful." Thus, a vitamin A-infused skincare brand was born.
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What is Retinyl Ester, Which Accounts for About 91% of Vitamin A in the Skin?
What types of vitamin A exist?
There are various types of vitamin A, but the four main types used in cosmetics are as follows:① Retinyl Palmitate
② Retinyl Propionate
③ Retinyl Acetate
④ Retinol (pure retinol)These four types of vitamin A are broadly categorized into two forms: "retinyl esters (retinol derivatives)" and "retinol." Incidentally, the fourth one, retinol, is referred to as "pure retinol" in cosmetics.Although retinol is a highly regarded ingredient, approximately 91% of the vitamin A stored in the skin is in the form of retinyl esters, with only around 3% being retinol. Dr. Des believes it is essential to store large amounts of retinyl esters within the skin.
![<![CDATA[Fashion Tech News]]> (442) <![CDATA[Fashion Tech News]]> (442)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/fc5e8d98755948f08001a9c7126ebeb3/%E3%83%92%E3%82%99%E3%82%BF%E3%83%9F%E3%83%B3%EF%BC%A1%E3%81%AE%E7%A8%AE%E9%A1%9E.png?w=2400)
What are the differences among the four types of vitamin A?
The differences lie in factors such as skin irritation, penetration, and stability. For example, retinyl propionate has high stability and is less likely to break down even when exposed to sunlight. On the other hand, retinol has lower stability but higher penetration.Additionally, retinyl palmitate has UV protection effects, among other unique characteristics. Therefore, Environ believes that combining various types of vitamin A is beneficial for the skin.
How does vitamin A work on the skin?
Vitamin A provides the following benefits for the skin:・Maintains skin firmness, moisture, and elasticity
・Supports skin balance function
・Cares for dullness and uneven skin tone
・Regulates skin turnover
・Helps repair damage such as dryness
・Leads to smooth, well-textured skinHowever, vitamin A is not only essential for the skin but also for maintaining overall health. While it can be obtained from diet, most of it is consumed within the body. To have an effect on the skin, it is necessary to apply vitamin A through skincare products.When applied to the skin, whether in the form of retinol or retinyl palmitate, vitamin A is instantly stored in skin cells in the form of retinyl esters via vitamin A receptors. These stored retinyl esters decrease due to factors such as UV rays, which is why consistently having a supply of vitamin A in the skin is ideal.
Reasons for Redness & Peeling with Vitamin A
At what age does Vitamin A start to decrease?
From the moment we are born, the skin's Vitamin A gradually decreases due to ultraviolet rays, and for Japanese people, this significantly progresses around the age of 25. However, it's not that the effects of ultraviolet rays appear immediately; for example, those who played outside daily as children or frequently sunbathed at the beach tend to have lower Vitamin A reserves.However, Dr. Des says, "It's never too late or too early to start Vitamin A skincare." Regardless of when you start, as long as you firmly incorporate Vitamin A through skincare, there is plenty of room for beautiful skin. There's no need to give up thinking it's too late or hesitate because you think you're too young.That said, you should incorporate it before you experience chronic deficiency and also make sure to take measures against UV rays like using sunscreen and carrying an umbrella.
I've often heard that "It's better to use Retinol at night" and "Retinol caused my skin to get irritated." Does this happen with other types of Vitamin A as well?
First of all, pure Retinol becomes unstable when exposed to ultraviolet rays and tends to cause irritation. This is why many products recommend night-only use.On the other hand, Retinyl Palmitate and Retinyl Propionate are more stable and less irritating to the skin, allowing them to be used in both morning and night routines. Environ also uses these more stable forms of Vitamin A (Retinyl Esters) in their products.
![<![CDATA[Fashion Tech News]]> (443) <![CDATA[Fashion Tech News]]> (443)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/d8000ee34bc94acda9adeaf2e24ddb97/%E3%83%A2%E3%82%A4%E3%82%B9%E3%83%81%E3%83%A3%E3%83%BC1%E3%82%BB%E3%83%83%E3%83%88.png?w=2400)
Therefore, Environ advocates a "Step-Up System" where you gradually increase the concentration from a low level. By adjusting the concentration according to the skin's condition and minimizing the burden on the skin, it guides you to healthy and beautiful skin.
Environ's best-selling "Moisture Series" moisture creams come in four steps of Vitamin A concentration, making it easy to try Vitamin A skincare for the first time.
![<![CDATA[Fashion Tech News]]> (444) <![CDATA[Fashion Tech News]]> (444)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/819cf1e3e58d43dfa138c06ec25daf61/%E3%82%B9%E3%83%86%E3%83%83%E3%83%95%E3%82%9A%E3%82%A2%E3%83%83%E3%83%95%E3%82%9A%E3%82%B7%E3%82%B9%E3%83%86%E3%83%A0%EF%BC%88%E3%83%A2%E3%82%A4%E3%82%B9%E3%83%81%E3%83%A3%E3%83%BC%E3%82%B7%E3%83%AA%E3%83%BC%E3%82%B9%E3%82%99%EF%BC%89.png?w=2400)
Please tell us about your future plans.
As an advanced item for Vitamin A users, we plan to launch high-concentration "A-Boost Serum" and "A-Boost Serum Intense." These will contain potent antioxidants in addition to high concentrations of Vitamin A. However, for those new to Vitamin A, we do not recommend starting with these products; please start with the Moisture Series first.
![<![CDATA[Fashion Tech News]]> (445) <![CDATA[Fashion Tech News]]> (445)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/c538445343c947768305e24bd44bb29f/A%E2%88%92%E3%83%95%E3%82%99%E3%83%BC%E3%82%B9%E3%83%88%E3%82%BB%E3%83%A9%E3%83%A0.png?w=2400)
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
In 1873, the Sanders brothers, William and Thomas, established Sanders & Sanders Ltd. in Rushden, Northampton, UK, the holy land of shoemaking, with just five craftsmen.With the development of the Goodyear welt construction[1] and a contract to supply military shoes to the British Army in the 1910s, the brand grew significantly. Continuing a family management for five generations, it is now known worldwide as a long-established shoemaker with clients globally.![<![CDATA[Fashion Tech News]]> (446) <![CDATA[Fashion Tech News]]> (446)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/8c6cebfe57134715b2ac3647b7a3646c/%E7%94%BB%E5%83%8F2.jpg?w=2400)
Inheriting Craftsmanship that Sustains the Quality of SANDERS
The high quality of SANDERS is maintained thanks to the indispensable presence of its craftsmen. By passing down the skills from one craftsman to another, the quality is preserved. Let's take a closer look at the craftsmen who support SANDERS.The traditional Goodyear welt construction inherited through generations of craftsmen is SANDERS' specialty. Since the contract to supply military shoes to the British army, this technique has been passed down, with each shoe sewn together by skilled craftsmen.There are benefits such as the shoes conform to the shape of the wearer's feet over time, making them less tiring to wear for long periods, and the ability to replace only the outsole, allowing the shoes to be worn for a long time through repairs.Additionally, by using carefully selected natural materials for most parts, the sturdy and robust shoemaking process is maintained to this day. As proof, SANDERS has obtained the ISO[2]9001 Assurance certification, which is given to only a few manufacturers in the UK footwear industry.Moreover, with a background of supplying products to military and police forces worldwide, including the UK Ministry of Defence (M.O.D.), SANDERS has established an efficient management system that allows for mass production.Therefore, even when compared to other shoemakers in Northampton using similar materials and methods, SANDERS can keep manufacturing costs down, producing high-cost-performance traditional Made in England shoes.![<![CDATA[Fashion Tech News]]> (447) <![CDATA[Fashion Tech News]]> (447)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/5fcd99b282c5476bbab075d8951498ca/%E7%94%BB%E5%83%8F3.jpg?w=2400)
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"DERBY SHOE" & "OFFICER SHOE"
Let's introduce two representative items from the SANDERS MILITARY COLLECTION.The iconic model, the "DERBY SHOE," is also known as "G.P SHOES (General Purpose Service Shoes)" and was made for versatile use. The shoes issued to the British Army by the Ministry of Defence inspired them, featuring a cap toe with what is known as "Puritan Stitch" (triple stitch) on the quarter part.It has a history of being adopted as military shoes because the triple stitch can be sewn simultaneously, increasing production efficiency and durability.![<![CDATA[Fashion Tech News]]> (450) <![CDATA[Fashion Tech News]]> (450)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/77fd06d6fe294d6bbf975278462cfaae/%E7%94%BB%E5%83%8F6.jpg?w=2400)
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Elegant "MILITARY SANDAL"
Here, I would like to introduce another item. When you think of military items, you might imagine something rugged, but SANDERS' "MILITARY SANDAL" even exudes elegance. It is indeed a masterpiece.Featuring a characteristic T-strap, it not only firmly holds the entire foot but also creates a mature coordination that isn't too casual even when paired with shorts in the summer. Moreover, its versatility extends through fall and winter when worn with socks. It combines the best attributes of leather shoes and sandals. Its unique design is eye-catching, unlike ordinary sandals.![<![CDATA[Fashion Tech News]]> (454) <![CDATA[Fashion Tech News]]> (454)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/8f30f31aefd14e89af514dd2f7d73cf7/%E7%94%BB%E5%83%8F10.jpg?w=2400)
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Upper Leather & "Studded Rubber Sole"
We've looked at three items from the SANDERS Military Collection, but we should also know about the leather used and the characteristic sole.The upper leather is polished leather, which has a special coating and a resin film on the surface. Therefore, it maintains a unique gloss and is relatively water-resistant, making it a versatile leather that is less affected by weather conditions.The sole is called the "Studded Rubber Sole," combining elegance and durability.The spike-like protrusions firmly grip the ground, exhibiting superior traction on wet surfaces and rough roads. These advantages explain why they have been adopted for multipurpose use in military shoes.![<![CDATA[Fashion Tech News]]> (456) <![CDATA[Fashion Tech News]]> (456)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/2dc0fcef4a37431ab9f69b0118fe6fac/%E7%94%BB%E5%83%8F12.jpg?w=2400)
]]>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
First, could you tell us about the background of COHINA's establishment and why you decided to target women under 155cm?
As someone who is 148cm tall, I struggled with clothing myself. That led me to think there might be a demand for an apparel brand aimed at women under 155cm. While "under 155cm" might sound niche, market research before starting revealed that roughly 30% of Japanese women fell into this target range.When I interviewed petite women around me, they all unanimously said that they struggled with clothing. For example, when they go shopping, it becomes a "task" to find clothes that fit rather than finding cute clothes to wear. Fashion is meant to be enjoyed, but being restricted just because of short height is something not only I but many petite women felt. Realizing we all shared the same struggle, I decided to create clothes myself and that's the background behind the idea.
![<![CDATA[Fashion Tech News]]> (457) <![CDATA[Fashion Tech News]]> (457)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/2d8c1d31c2ed406ab5832bf098c91afb/%E3%83%95%E3%82%99%E3%83%A9%E3%83%B3%E3%83%88%E3%82%99%E3%83%95%E3%82%9A%E3%83%AD%E3%83%95%E3%82%A3%E3%83%BC%E3%83%AB2.png?w=2400)
COHINA has been expanding its brand using the D2C model, but why did you choose a web-based approach instead of physical stores?
When I started the company as a university student, we didn't have the know-how or financial resources to open a physical store, so we naturally leaned towards the web due to cost, skills, and knowledge considerations. At that time, the domestic e-commerce market wasn't as developed as it is now, but internationally, the e-commerce rate was on the rise. It wasn't mainstream in Japan yet, but considering the lower risks, I believed that the web offered more potential than physical store expansion.
Usage increased even more during the COVID-19 pandemic, right?
That's right. It's often said that "clothing sales declined because people stopped going out" during the pandemic, but we learned that "people still buy clothes." The fact that we were selling online was significant, but we operated under the premise that "people would still need clothing during the pandemic."Additionally, the ongoing 365-day live streams on Instagram, which we have continued as part of our brand's identity, strengthened our connection with customers during the pandemic. We used to stream from our office, but when we switched to remote work, we started streaming from each staff member's home. This was a source of concern. Streaming from the office meant we had all the coordinating clothes and accessories ready, but when streaming from home, we had to scatter and send samples to each staff member’s home, which meant we couldn't always have all the items on hand. We were worried that this would lower the quality of our live streams.However, once we actually tried it, creating coordination with items available at home brought us closer to our customers' perspective and allowed us to make more realistic suggestions. Matching newly bought clothes with items you already have at home is something we all do frequently in our daily lives. By delivering such real and relatable content, we received positive feedback like "I felt more confident in my purchases." This realization that we didn't have to obsess over just neatly selling products also prompted us to reevaluate the content of our live streams.
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Proposing Clothes Through Real Voices
You've been focusing on live commerce from an early stage, what prompted you to do so?
The main reason was that I wanted to directly hear the voices of our customers. I wanted to find out what kind of clothes they wanted, what kind of coordination they were interested in, and what kind of purchasing behavior they exhibited through live streaming. Typically, companies commission market research from research firms, but as I was a student at the time, I didn't have the funds. However, without hearing the voice of the user, product development wouldn't progress. So, I thought Instagram Live would be a good way to easily and quickly hear those voices, and I started it casually.As I continued daily broadcasts, the number of comments and familiar viewers increased, and it started to feel fun, as if I was making more friends. This made me want to share various things. I'd say things like, "Everyone, the samples have arrived! Here's what was inside the box!" The process of showing the tangible steps of product development led people to feel attached to the brand and become supportive. This feeling was gratifying for us, and it kept us going.
When did you decide to continue daily broadcasts?
At first, it was just like, "Oh, we've been broadcasting daily." But as it continued past a month, it became, "We've come this far, might as well keep going," and now it's been over 900 days. By continuing daily live streams, it feels like I could enter everyone's daily life. When people start to think, "Oh, they're live again today," it becomes a normal part of their routine, which I believe contributes to the long-term attachment to the brand.There are live streams that don't lead to sales, but I consider it essential to continue for the long-term relationship-building with customers who watch every day. By doing Instagram Live daily, it feels like I'm saying, "Our shop is open today too."
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Were there any challenges in broadcasting daily?
In the beginning, I struggled with running out of content ideas. At that time, COHINA only released one product per month, so discussing just that product for 30 consecutive days ran out of content quickly. During those times, I talked about anything other than clothes. For example, I discussed other brands or items that I, as a petite woman, found great, shared common experiences related to being petite, and even talked about love stories with other streamers. Once I shifted my focus to communicating with customers, regardless of the topic, I never ran out of content. In fact, those topics often excited the customers more. Since the audience loves the brand anyway, there were times when I decided to share more personal information about the streamers through casual chats.
How do you share live-streaming skills and know-how among the streamers?
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.
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To Be Purchased as a Special Piece
You've opened a dedicated fitting store, "COHINA Limited Fitting Store," from May to October this year. What was the background behind attempting such a physical store expansion?
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I heard that sales at these try-on stores were very strong. What are your thoughts on that?
I attribute the success of the try-on stores to both sales and operational perspectives. Given that offline locations were risky during the pandemic, we minimized the staff. Having stores solely for trying on clothes eliminated the need for inventory management, allowing the limited staff to focus solely on customer service. This operational smoothness likely contributed to customer satisfaction. From a sales standpoint, allowing customers to physically hold and try on products significantly increased purchases and repeat rates, especially among petite women who often have negative online shopping experiences. We saw many such customers visit our stores.
The support from heavy users also made me very happy. We refer to our customers as "Cohinas" during our Instagram Lives, and many of these Cohinas visited our stores. On the last day, there were even tears as customers said farewell to the store staff, who they had gotten to know through live streaming. This deepened engagement with our Cohinas and made me feel the impact of having a physical store.
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Having ventured into physical stores, what are your future plans?
After six months of running a store, we realized the unique value of offline engagement. We intend to keep this in mind moving forward. At the same time, we recognize the excellent compatibility of COHINA with online platforms, so we'll continue to value our web sales.As an apparel brand for petite women, there are still many who haven't discovered us yet. We want COHINA to be the brand where petite women can always find something they want. To achieve this, we'll keep focusing on expanding our product lineup, enhancing our taste in fashion, and improving product quality.
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]]>Text by Aya Hino
Re-Offering Preferred Enhancements Through Individual Recognition: The Purikura Machine of the Future
Since entering the purikura machine business in 1997, your company has developed various purikura machines. Recently, there have been mentions of a "future purikura machine" that utilizes technology. Could you please provide more details about this?
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.
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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."
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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.
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How does the individual recognition system work?
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.
An event was also held where people could experience this "future purikura machine," right?
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.
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It seems this is the second phase of your joint Proof of Concept (PoC) experiment. You conducted an experiment using 5G communication in the first phase, could you tell us more about what it entailed?
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.
How did you come to co-develop a Proof of Concept (PoC) with NTT Docomo in the first place?
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
You have conducted continuous research on "Mori" enhancements favorite alongside technology development. Specifically, what kind of activities do you engage in?
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.
Since when have you been conducting these hearings with high school girls?
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.
Our planners are inherently good at following cute things and trends, but by conversing with high school girls once a week, they get even closer to current high school girls' feelings. They gradually understand what high school girls like and start predicting "what will be popular next." Internally, we call these planners "Mind JK." Since it takes about a year to develop a purikura machine, they are always predicting trends a year ahead. As a result, they can create products that resonate with high school girls even as they grow up, and I think this is an amazing talent.In your constant anticipation of the latest trends, have you noticed any changes in the concept of "Mori" enhancements or the evolution of trends over different eras?
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.
By 2013, skin tones began to change. Until then, the preference was for yellowish skin tones which made it easier to enhance, but around this time, a bluish or so-called blue-based skin tone became popular.![<![CDATA[Fashion Tech News]]> (469) <![CDATA[Fashion Tech News]]> (469)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/410f493684914306869d43fef4d4f382/%E3%82%B9%E3%82%AF%E3%83%AA%E3%83%BC%E3%83%B3%E3%82%B7%E3%83%A7%E3%83%83%E3%83%88%202021-11-03%200.52.02.png?w=2400)
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.
By 2016-17, there was a trend towards making facial features like eyes and nose distinct, while keeping the overall texture soft. Recently, this has evolved further to include more detailed areas like tear bags and a moist look in the eyes.![<![CDATA[Fashion Tech News]]> (470) <![CDATA[Fashion Tech News]]> (470)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/c8adf719c2be42bfbb07d1d1b9d5e508/%E3%82%B9%E3%82%AF%E3%83%AA%E3%83%BC%E3%83%B3%E3%82%B7%E3%83%A7%E3%83%83%E3%83%88%202021-11-03%201.42.51.png?w=2400)
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.
With the advancements in camera apps and social media filter functions, are the expectations for purikura machines and apps different?
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.
Have any features in purikura machines been influenced by editing apps?
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.
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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.
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Exploring the Potential of Purikura Machines
I've heard that the uses of purikura machines have expanded recently to include taking ID photos.
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.
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Just like how you offer different levels of enhancement even with proof prints, it seems you place a strong emphasis on the enhancement level across all your services.
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.
For instance, in the past, we received feedback from high school girls that the lipstick feature in the makeup function would be misaligned. Because the function uses automatic facial recognition to apply lipstick, there were cases a few years ago where the lipstick would be misplaced if the face was slightly turned to the side. Thanks to the efforts of our team researching AI image recognition, the misalignment has basically been eliminated, allowing for beautifully applied lipstick. We've been incorporating makeup features like colored contacts and eyebrows since the 2000s, and they continue to evolve, offering a seamless look that mimics real makeup.You mentioned makeup features; currently, AR-based makeup functions are increasingly being used in cosmetic sales. Given this trend, it seems like expanding into e-commerce collaborations would be a natural fit. Are there any plans for such service expansions?
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.
Lastly, could you share your future prospects?
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.
For the practical application of "future purikura," expanding 5G coverage and ensuring stable communication are essential. Moreover, as 5G smartphones become more ubiquitous, the relationship between print seal machines and users will evolve. Observing this expansion, we believe it is necessary to continue conducting pilot experiments to broaden possibilities and be ready to launch services at any time.]]>Text by Aya Hino
Collaboration with GHOSTCLUB
First, could you tell us about the background and overview of the collaboration with GHOSTCLUB?
The collaboration started when 0b4k3, the organizer of GHOSTCLUB, visited chloma's Virtual Store held last year. GHOSTCLUB hosts club events that hint at the future of VR, attracting many creative individuals and forming a community. I also wanted to propose a collaboration someday, so when 0b4k3 reached out on social media suggesting, "Why not open a chloma store within the GHOSTCLUB world?" I wholeheartedly agreed.GHOSTCLUB is both the name of the club event and the collective's name. In the GHOSTCLUB world, there is an abandoned apartment building, with a club room set up in one of the rooms on the seventh floor. A passageway to chloma's store is also on the same floor. Currently, we open the store irregularly when GHOSTCLUB events are not happening.
How is this different from the previous standalone chloma VR store?
The creation of the store space was handled by the core members of GHOSTCLUB. They assigned a suitable team member from GHOSTCLUB, and about ten people were involved in the production. The quality of the space, as well as the fitting system, has significantly evolved from the previous Virtual Store. This time, since the store is located within the GHOSTCLUB world, we needed to reduce data size as much as possible, but they optimized it without degrading the visuals, allowing it to function smoothly.
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Community & User Image in Virtual Spaces
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Many people may not be able to concretely imagine the scale of the community or the user image when it comes to virtual fashion. From the various initiatives by chloma, please tell us about the user image of those who enjoy fashion in the virtual space.
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Japanese users on VRChat often have avatars and outfits strongly influenced by anime and its derivative cultures.
On the other hand, possibly due to the impact of COVID-19, VR club events have become very popular over the past year or two, leading to an increase in users who dress in styles different from those derived from anime culture. These people tend to be interested in fashion linked with real-world trends. Rather than seeking clothing that can only be worn virtually, casual outfits based on street fashion are popular. From the hype around club events, I notice an increase in such users.
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What are the common paths for people to start? I feel there are still high entry barriers regarding devices.
To overcome these constraints, you need financial resources, curiosity, and persistence, so there are many sensitive early adopters. Regarding the entry barriers with devices, I feel a breakthrough is necessary. Starting VRChat in VR currently requires expenses of around 150,000 yen for a PC and VR headset. It takes courage to make such a purchase suddenly, so having real friends who already enjoy VR can be a helpful trigger. Once you start, people you meet in VR can teach you a lot of information, making it a beginner-friendly culture.
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What does chloma's entry mean to users also highly interested in fashion?
As a fashion style existing in the virtual space, chloma's entry isn't revolutionary. Clubgoers tend to like tech-related fashion, and many people wear clothes that wouldn't seem out of place in real life. So, even before chloma's entry, there were various evolutions in VRChat fashion. Knowing that such people exist, we propose to them how about trying chloma's clothes?
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The Significance of Continuing with Virtual Fashion
What do you think about the trends in the fashion industry with VR since the announcement of the VR store last year?
Regarding fashion in social VR, there were few new entries from fashion brands, and even those that did enter weren't very successful, which was a bit disappointing. With the spread of CLO, more and more brands are using 3D models for visual representation, but these are clothes that customers can't "wear." There were almost no brands suggesting 3D clothes for the purpose of "wearing," which makes me wonder, why?
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As a brand, there has been an increasing focus thanks to our efforts in virtual realms.
That's definitely the case. From the beginning, the worldview of the clothes we create has been with an eye on the upcoming metaverse and social VR era. I feel that the consistency between the concepts we've presented as a real clothing brand and our virtual activities has earned us a level of trust.On the other hand, as I mentioned earlier, there aren’t many brands joining in, so it is important for us to achieve results in business as well. We want to reach the point where what we are doing is no longer considered special but is seen as normal. Although I can't be too optimistic about the possibility of our virtual initiatives reversing our real-world revenue at this point, sales of virtual items have grown significantly compared to last year.
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I believe this initiative has gained global attention. While operating from Japan, it seems like it could serve as a gateway to the world.
Trying on clothes in a Virtual Store offers a much stronger "experience" compared to simply looking at clothes on an online store. For overseas fans who rarely have the chance to touch chloma's outfits in real life, it provides an excellent opportunity to deeply connect with the brand. There have been several instances where the Virtual Store experience convinced customers to order real clothes. As a gateway to the world, the Virtual Store is functioning well.Currently, Japan accounts for about 70% of chloma's real clothing sales, while overseas sales make up about 30%. For virtual items, Japan accounts for 60% and overseas 40%. Although our creations are mainly tailored to Japanese users, they are being well-received by people abroad.
What kind of challenges do you want to take on in the future?
Recently, major IT companies like Facebook have been announcing their metaverse plans. However, I often feel a disconnect with how fashion is perceived in the social VR spaces they propose; specifically, the lack of freedom in fashion and avatars. If the metaverse is realized in this direction, it will be a complete fashion dystopia. I want to prevent such a future and advocate for a metaverse where fashion is a utopia, emphasizing that fashion's infinite freedom is crucial, and a metaverse without free fashion is impossible.Thus, a major challenge is to ensure that the virtual space becomes a utopia for fashion and to work toward that future. I want the world to see how important and fun fashion is, both in society and the metaverse.Moreover, chloma wants to continue expressing the stance that "the physical world and the virtual world can share values and are connected." Of course, we are considering taking on something more revolutionary, but we believe we are now at a phase where it is more important to make what we are currently working on be recognized as a given.Even at this point, many people attend both chloma's real-world and virtual events. We wish to continue being a bridge between these two worlds.
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Please tell us if you have any plans for the next Virtual Store development.
Until now, the Virtual Store initiatives focused on bringing real-world value into the virtual space, but we are also planning initiatives in the opposite direction. Please look forward to it.Regarding the items, we aim to increase the variety of clothes and diversify the styles to make them more enjoyable. We anticipate a demand for dresses that look good on avatars since they have great figures. Bags are also a good idea. In the virtual space, carrying a bag seems stylish, perhaps because they serve no real function in a space where you don't need to carry things. We want to continue to explore these unique aspects of virtual fashion.
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The "610" Developed for Outdoor Activities
New Balance models like "2002," "1906," and "860" are loved across generations, but the model to watch now is the "610." This model debuted in 2011 as an entry-level trail running shoe and has seen recent collaborations with the likes of Comme des Garçons Homme and Joe Freshgoods. Kunii shares the history of this model.![<![CDATA[Fashion Tech News]]> (487) <![CDATA[Fashion Tech News]]> (487)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/e15d0fd80c56468a885983b13dbec7fd/01.jpg?w=2400)
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Expert Approach Characteristic of "New Balance" Enhances Its Popularity
Observing the current sneaker market, trail running releases like "Salomon" are booming. Kunii explains why the "610" is currently popular: "Certainly, the influence of collaboration models with various brands and the 'gorp core' trend exists, but the '610' does not just ride those coattails. Because 'New Balance' values the '610' model so deeply, their sophisticated marketing approach stands out.![<![CDATA[Fashion Tech News]]> (491) <![CDATA[Fashion Tech News]]> (491)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/b6332e623797423baf99f01d92147985/05.jpg?w=2400)
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The "610" Solidifies Its Place as a New Staple with Its Variety
Kunii, who has tried the "610," praises it for its blend of fashion and functionality. Regarding future developments, he states: "The '610' will continue to evolve with various creative methods. Since its debut in 2011, we've seen variations like slip-ons, which broaden its user base over time.![<![CDATA[Fashion Tech News]]> (493) <![CDATA[Fashion Tech News]]> (493)](https://i0.wp.com/images.microcms-assets.io/assets/1775a3633c8b428d9f011c6a758a8a5c/372dc9662d5d463b8e2747af7db47f90/07.jpg?w=2400)
"Of course, offering color variations of the same model is more efficient, but even when displayed alongside other brands in select shops like 'Herringbone Footwear,' it can be proposed as if it's a different model each season, giving sellers peace of mind. I think that's the strength of 'New Balance.'"
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(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
You raised about $17 million in funding this year. What changes have come about as a result?
We raised significant funding to further develop the game. We've always wanted to challenge commerce from the perspectives of shopping, collection, and gaming. Simply put, the idea was: what if major brands like Nike, Adidas, New Balance, Atmos, Bape hired game developers and designers to design their commerce?As mentioned in our previous interview, our initial team didn't include anyone who had previously created a game. However, we understood the culture of gaming and had played numerous games. Because of this, we focused on bringing in talent to create an ideal game. For example, we brought in the head of design from Riot Games and hired someone who had worked on famous games like "Command & Conquer" at the major game studio Scopely as the head of product. Additionally, we brought in experts in areas like systems economy. This allows us to evolve the current simple mechanism of walking around and collecting "Aglet Coins" into a more complex game. To achieve this, we needed talented individuals well-versed in gaming, so we expanded our team, which now comprises over 20 staff members worldwide.The product itself is also evolving into something more like a game. Currently, the game is quite simple and only supports iOS, yet we already have 100,000 active players. There is a core group of players who support the game because it's fun despite its simplicity. Additionally, we plan to release an Android version of the app soon, and with the funding, new features will be added to the product, making it deeper and more engaging. Beyond just checking in on the map to repair virtual sneakers, we're thinking of ways to overlay reality onto the game, allowing players to play on the map.
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Also this year, a secondary marketplace was opened within the game where players can buy and sell sneakers directly with each other. What was the response to this?
The marketplace was our biggest release yet. It was the first time players connected within the app. Some people are expanding their businesses by combining our Discord with this new marketplace, creating a new economic sphere. We've previously used Discord to announce new releases, leading to dedicated players who have collected all the limited items. Following the establishment of the marketplace, phenomena where players announce in Discord, like "I'm selling this at this time on the marketplace," have been observed, making it a starting point for new users who recently downloaded the app.
We consistently prioritize staying close to the community and players. Our Discord is particularly active, and we receive numerous messages daily, such as "How about this?" and "While playing the game, I thought this would be a cool feature, so I'd like you to implement it." Based on such comments, new features that enhance the gaming experience are gradually being added.
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Additionally, this year, you've started a partnership with the sneaker brand Axel Arigato. What kind of initiative is this?
This partnership is themed around enabling players to experience Axel Arigato's brand world and products through in-game features. Axel Arigato is not a major brand like Nike, Adidas, or Supreme, but an emerging brand. They understand what's happening with "Roblox," "Fortnite," "Pokemon Go" and so on, but felt they lacked a means to enter. So, they approached us to envision a way to merge virtual assets with physical assets together.We created a collection from Axel Arigato within the game, and once the players complete this collection, Axel Arigato's virtual store appears on the map. Additionally, we built a system where players in the relevant area can check-in at the actual store location, rewarding them with Axel Arigato socks, sneaker cleaner, jackets, etc., within the app. Essentially, for us, this partnership is a test to experience the brand's world within the game. For users, we hope what we propose is stylish and something they can't wait to show to their friends.The partnership with Axel Arigato is about designing an experience that fuses the physical and digital, not just an experience viewed on a screen. In the game, users can wear Axel Arigato products and complete the Axel Arigato collection, allowing them to have such an experience. Unlike watching videos on Tik Tok or viewing photos on Instagram, this refers to immersing oneself in the brand's experience while actually moving through the app. In other words, "Aglet" is a platform to play out your favorite culture. When players participate in brand challenges like Axel Arigato's challenge or Adidas's challenge, it's a reaffirmation of love for the brand. At the same time, brands can envision the world as a game board, offering new experiences and reaching out to new fans. I believe it is really cool for brands to talk about virtual experiences for the next phase in this way.
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Besides Axel Arigato, currently on the "Aglet" app, products from major brands and young designers are listed together. Can you tell us the intention behind this?
We believe that the current big trend in sneakers is retro, and whenever we look at sneaker news sites like sneaker news.com, kicksonfire, and nice kicks, we just see the same familiar sneakers coming out in different colors again and again, which feels stagnant. In order to break this cycle and bring in new innovations, it seems major brands lack the incentive. If they are not the ones to create new design languages and new styles, it will certainly come from the creative community. This is likely to arise from a slightly different perspective on how shoes could be, particularly in the digital space.When recruiting new designers, we are always exploring Instagram, Twitter, Discord, sneaker community servers, design community servers, and NFT platforms like "OpenSea." Following the trends of these cultures, we reach out directly to those who seem capable of doing something interesting, using a somewhat old-fashioned method. We then invite them to participate in the design challenge we set, and upload the designs they submit to the game. We also have a revenue-sharing model to ensure they receive funding. Through this initiative, we aim to support lesser-known designers, eventually creating a production line and a system that allows their designs to be wearable not just by avatars in apps or games but in reality.The goal here is for us to scale up and be able to say a few years down the line, "We have launched and succeeded with 150 or even 1,000 new brands. And the designers of those brands have physically created the shoes that gained popularity in the game." As our company name Onlife suggests, we aspire to establish a model that integrates virtual digital assets and physical assets, surpassing the online-offline divide.Virgil Abloh is certainly a designer with various opinions surrounding him. However, what is most significant to me is that he symbolizes for many people who did not follow the standard route into the fashion world. He was an engineer, an architecture student, a DJ, and an active graphic artist. Now, he is the Creative Director at Louis Vuitton and the CEO and Creative Director at Off-White. So people without a design background can look at him and think, "If I can build an audience, create a brand, and design what I love, there is a path." His career shows that one can reach the pinnacle of design, high fashion, and luxury design without following a typical design route. Therefore, I feel that more people might start doing what he did, using NFTs as a stepping stone.Currently, many NFTs lack practicality, like digital art, but if they start having more utility and more items that avatars can wear in-game appear, young people might begin to see digital assets as opportunities for brand building and revenue. Our platform's appeal to young designers lies in the fact that they can establish their own brands, test their designs, grow their audience, and eventually take their designs into the real world.In the future, I consider this could even represent a new form of retail. As for our app's features, there are signs in the ability to place virtual pop-up shops anywhere on the map. Walking down the street, discovering a new brand at a virtual pop-up shop that appears on the app’s map, and experiencing their products. This means there is no need for physical stores, as this experience can be enabled within a game map. We also envision creating a commerce experience tied to the purchase of virtual sneakers and physical sneakers.
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How will the integration of real-world geographical information and in-app functionalities manifest new ways of enjoying urban spaces?
For example, I recently found out in a conversation with my nephew that he gets his daily news through Twitch instead of reading newspapers like The New York Times or the LA Times. This mode of discovery, learning, and exploration differs from mine, and if our younger players operate this way, our game needs to be in tune with their language and behavior.With features like virtual pop-up shops and special spots, storytelling, and content centered around brand characteristics, vision, and mission are added, incorporating commerce within those stories. Visiting a virtual pop-up shop location and checking in there allows you to view information about the designer. For instance, you might find out, "Oh, this designer lives in Tokyo and is influenced by such and such." If you like the design, you can purchase it through the app and adorn your avatar. Checking into these spots offers not just shopping but a novel media experience as well.This idea provides an avenue for unknown designers and creators to engage the audience with branded stories, encouraging interest in products beyond simply viewing a product feed. The consumer's growing interest lies in understanding the brand's mission and efforts, such as environmental sustainability, addressing social issues that the buyers care about, aligning with the buyers' values, and being gender-neutral. Through our game, brands can express and share their values spatially rather than just in a 2D feed.Because the game unfolds based on the player's current location, it also offers opportunities to learn about the culture, history, and significant backgrounds inherent to those places. This aligns with a new kind of exploration and learning, making players gradually aware of their surroundings, resulting in experiences that intertwine real-world and virtual space collection cultures.
The next update will be significant. What features will be added?
The major upcoming addition is avatars. In the existing game, the number of Aglet Coins earned varies depending on the sneaker rank. Now, avatar ranking will also influence the number of Aglet Coins earned. Your total coordination, such as what jeans and hoodie you're wearing, will affect the earning rate. The current app includes a weather feature, which will continue. For instance, if you wear a T-shirt, sandals, and shorts on a rainy day, you won't earn many coins. Conversely, wearing a raincoat, umbrella, and waterproof shoes will allow for higher earnings, necessitating strategic gameplay. Moreover, avatars will have an element akin to Tamagotchi, becoming unhealthy if the game is not played frequently.As a social game, a new feature allowing players to form teams and acquire territories in the game will be added, reminiscent of Monopoly. For example, if you and I are in Tokyo, forming a team and owning Harajuku, we will receive rewards when others enter our territory and check in at a station. This feature will be a large-scale, multiplayer function grounded in the real world. Additionally, next year, a land sale feature will allow the purchase of land within the game, and NFT drops are also planned.
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.
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Enriching Experiences Merging with the Real World
How do you view recent trends in the metaverse?
"Aglet" is interesting because when you download and play the app, it has a cute feel to it. It offers the fun of digital sneakers, akin to the enjoyment found in "Pokemon Go"—walking around, earning coins, and buying sneakers. At the same time, our ambition is to respond to the macro trends that humanity is heading towards. While there are various concepts like NFTs, the metaverse, and virtual worlds, these are just signals. For example, Facebook is currently hiring thousands to build their metaverse, restructuring the company for this purpose. Initiatives towards the metaverse are increasing in such a manner.It sometimes feels like a huge bubble. Similar things happened before with Second Life and MMOs. What's different this time is the imaginative leap about what the next stage of the Internet will be. I call this the metaverse spectrum. One part of this spectrum is the gaming industry's vision of the metaverse—immersing yourself in a virtual world akin to Fortnite or Minecraft. You might recall concerts by artists like Travis Scott, Lil Nas X, Ariana Grande, and The Weeknd within these worlds.
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.
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Finally, please tell us about your future vision.
We have been thinking about how to create experiences that encourage people to get outside and explore the world around them. It's about making reality as interesting as the imaginary virtual worlds that unfold daily in games. Currently, the system involves walking around to collect coins, and using those coins to collect sneakers, but this is just the beginning. To me, it's like how Tesla started as a car company and grew into a major energy and spatial computing giant, or how Amazon started with books and what was then the novel web to become an everything store. I want to start with sneakers. If you aim to create the next Amazon or an influential company of our era, you might wonder whether to start with a virtual world platform or a reality-focused platform. We chose sneakers. What I am trying to build is a magical, enjoyable experience where you can play with culture. Starting with sneakers, I want to expand into a platform where people can enjoy all aspects of culture, including sports, music, events, and the art scene.
]]>Text by Hanako Hirata