Vol.7

It's okay if you don't know much about kimono or the rules. I want people to feel, "I don't know why, but it's beautiful."

■Apart from the development of ideas during the production process, were there any reactions from customers who actually purchased the products, or any discoveries or realizations that you made from running the pop-up shop?

"The first thing we noticed was that people who weren't the demographic we had originally envisioned -- older people -- were showing interest. It made us realize that people who had experience with kimonos were the ones who really liked them.

At first, I had people my age, around 40 , in mind. I made my products with the image of a demographic that would want to wear or buy something interesting, unique, or different from what others have, even if it was a little more expensive. In fact -- and of course there are customers in that demographic -- people of the generation that wore kimonos, our mothers' generation, and generations a little older than that have shown a lot of interest.

I see, that's how it is. I think that people in the older generation own kimonos and have worn them before. But I think that they can't wear them anymore. There are probably a variety of reasons for this, such as their body shape changing or the hassle of putting them on. But I really felt that there are a lot of people who still want to wear kimonos."

■I actually visited the pop-up shop with my mother, who is in her late 70s , and she seemed to be having a lot of fun. Seeing and touching all the different fabrics brought back memories. She remembered things like, "I used to have this pattern," or "This was popular at the time." I was amazed at how she could read the history behind each and every product.

"We are not kimono experts, so we don't really have any desire to lecture on the history of kimono or the history of their design. For example, the kimonos I like to choose are probably from the early Showa period -- a period that is close to antique, but also modern. Probably. There are trends, after all, and I tend to choose kimono from around that period. Perhaps it would be good to convey a message somewhere about preserving the atmosphere and designs of that time, and connecting them to the future without losing them. However, if I get too involved half-heartedly, I'm afraid experts will be angry (laughs), so I'm thinking about what to do."

■I see.

"At first glance, it's stylish, or it's lovely. It's like leaving it in an artistic sense. I think it's fine to leave it as something like, 'I don't know what it is, but it's lovely.' Rather than trying to give too much away or do anything, I want people to first feel it."

■However, what I found really interesting while listening to you talk today is that even though you understand that "ethical" and "sustainable" are important, you remain consistent in your core belief that "I just love fashion." You don't need to shout out "ethical" or "sustainable" at this point, as you are taking it for granted and saying "I am me."

"What I was just saying... For example, because kimonos have a long history, there are all sorts of rules. Age, season, matching fabrics with other fabrics, matching patterns with other patterns, etc. But I want to ignore all that, honestly (laughs). Right now, what I like are 'patterns and designs,' not 'kimono rules.' Rules don't matter. In this modern age, I think it's fine to just wear beautiful fabrics however you like, and if you can find one, that's fine.

Even when it comes to "passing on culture," I think it would be impossible to pass on strict rules, because those rules don't fit with the current era. I think it would be better to make use of the good parts in a way that suits the times and doesn't go out of style.