A Shaded View on Fashion: Hiroki Nakamura of Visvim

A Shaded View on Fashion’s Diane Pernet once again interviews Hiroki Nakamura of visvim through some short and candid interviews. Taking place at visvim’s recent Paris showroom exhibition, some of the highlights include Nakamura’s desire to reinvent nylon materials as well as the process of tanning and dyeing.

Hiroki Nakamura on the 18th century and dyes

Wacko Maria Interview | LN-CC

LN-CC have compiled this great read by interviewing highly coveted Japanese label Wacko Maria.

Founded in 2004 by retired Japanese soccer players Keiji Ishizuka and Atsuhiko Mori, Wacko Maria has quickly established itself as a major player in Japanese contemporary menswear. Their sharp tailoring, 50's and 60's inspired patterns and appreciation for American popular culture are all filtered through Ishizuka and Mori’s understated humour and aesthetics to produce a unique final product.

LN-CC: I guess first of all we’d like to know how you guys met and how you started the brand.

Mori: My partner Ishizuka and I were both football players - we played together in the Japan team and in the J-League together and have been friends since then. I opened a bar in what is now our showroom and we used to hang out here alot. We got talking and decided to start a brand together. We then got other friends involved and this makes up the team we have now.

LN-CC: And how old is the brand now?

Mori: It's in its 7th year now. So, since 2004.

LN-CC: Is the inspiration for Wacko Maria collections always sourced from similar places, or do you change it up each time?

Mori: We have a general theme that runs through every collection – basically we make clothes that reflect a love for girls, music, alcohol and hats. Individual collections often take inspiration from particular movies and photographers. Music is also a big source of inspiration.. often I’ll get the inspiration for a collection from listening to a record.



LN-CC: We have been really impressed by the quality of your tailoring, can you tell us a bit about this?

Mori: We are really focussing on this element of our collection in recent seasons. We are working with a 50 year old pattern cutter who is collaborating with us on all the tailoring.

LN-CC: Do you regard the casual and tailored as almost like two 2 separate lines?

Mori: At the moment we are thinking about if we should separate it into two lines or not.. to be honest we like the idea of mixing it up though.. slacks with a casual t-shirt and M1 Jacket.. personally that is the kind of thing that I like, and generally speaking we make them both elements in a way that allows them to work with each other.

LN-CC: The whole thing flows as one, and makes sense together though. You use a lot of Aloha and Hawaiian style shirts, is this something that you do every season?

Mori: Yes, we try to bring this into each season.. I’ve always loved these shirts, especially worn with tailoring.

LN-CC: Have you guys always been into tailoring since you were football players?

Mori: Yes… I’ve always been into it.. l’m obsessed with the “Blues Brothers” film.





LN-CC: Obviously the brand is very well executed but in its own flavour, who do you like to be positioned next to in shops?

Mori: Generally I’m not too interested in this, but I do think that in terms of tailoring, Tom Ford is really good at the moment..

LN-CC: Clearly music plays an important part in what you do, what kind of music influences Wacko Maria most?

Mori: I listen to all kinds of music but I am really into Jamaican music from the 60s and 70s, and American music from the 50s and 60s.. that is pretty much across the board in terms of genre.. from Jazz, Blues and Rock.. If its good I listen to everything… African, Latin… in reality I like music more than clothes!

LN-CC: You can really see that in the collection… the American and Jamaican influences really come through. By the way, were did you get the soundsystem downstairs?

Mori: It was bought in a vintage shop in Yoyogi, but its pretty expensive… they cost about 5,000,000 yen! They are the first ever Altec speakers, produced 1939. They were used in cinema halls, radio shows, this kind of stuff. The amp is Western Electrics – the brand is older than Altec. That model is from the 40's but the brand has been around from the 20's…





LN-CC: Are there any particular records that stand out as important to you?

Mori: So many… lots of 7inches.. I love Miles Davis's “Kind Of Blue” and “Something Else” as all time classics.. too difficult to pick out anything in particular though!

LN-CC: Where does the “Pussy Hole Gang” slogan that you used for AW10 come from?

Mori: Do you know Butch Cassidy and the Sundance Kid? There is a gang in that film called The Hole in The Wall gang. We took that as inspiration and changed it around a bit…

LN-CC: What do your wives think of it!?

Mori: They think we are pretty stupid!

LN-CC: Hats are also a big thing for Wacko Maria… we've noticed that a lot of people in Japan seem to wear these panama style hats… more than in the UK. What is it about these hats that you love so much?

Mori: A lot of influence comes from films… and also actors and musicians like Tom Waits, musicians from the 50's and 60's, a lot of them wore hats. I like the idea of an old guy in a dirty suit but with a sharp hat…

Masamichi Katayama Interview | AnOther Magazine

Masamichi Katayama, Wonderwall office Photography by Shoichi Kajino

Tokyo-based interior designer Masamichi Katayama, head of the Japanese firm Wonderwall, is one of the word’s foremost architects of innovative retail environments, bars, restaurants, offices and showroom spaces. Over the past ten years, Katayama and his team have created spaces for A Bathing Ape, Original Fake, renowned Tokyo pastry boutique Pierre Hermé and Nike and are currently working on a private studio in Brooklyn for graffiti artist KAWS. To celebrate Wonderwall's 10th anniversary, projects completed since 1998 have been included in a new book entitled Archive 01 and an accompanying exhibition is currently travelling throughout Japan. Whilst he might not consider himself an artist in the strict and often overwrought definition of that appellation, many fashion and design observers beg to disagree. AnOther recently spoke with Katayama to get his thoughts on the matter. This interview with Masamichi Katayama of Wonderwall is for a must read.

What is your aesthetic?

It is not a physical thing, but it’s more about using design as a tool to reach the subconscious.

What are the themes that you are trying to communicate through your design?

To me, the purpose of interior design is to interpret the client’s brand or corporate identity and their attributes through the space and the environment. I very much value the voice of the client and other people involved in that organisation; I do a lot of research and analysis and try to create a space that would project their strengths and a sensibility that they may not be able to capture in words. My aim is to design a communication conduit where one can sense and experience the client’s philosophy through the overall space. I don’t know if you can call it a philosophy, but I am a designer and not an artist so my role is about creating spaces that are an extension and an enhancement of what the client wishes to convey.

You’ve worked on over 60 projects for A Bathing Ape. What was that collaborative process like?

It is a very simple process. Once Nigo [founder of A Bathing Ape] finds a location, we meet almost immediately. He advises me of the overall direction and we usually present him with an idea along with a scale model within several weeks. We usually do not meet again until the handover or sometimes until the opening reception. Since we’ve worked together for many years, we will meet as little as once or as much as three times per project before its completion. It's a very intuitive experience.

What materials are essential to your design philosophy?

I am not sure if this would be considered a material but lighting is very important to me. Not just artificial lighting, but natural lighting; the reflection from the products or merchandise or even the people that come in and so forth.

How did the idea for the Archives 01 exhibition and book come about?

Parco, which has a publishing department that specialises in art and design books, approached us and proposed a book to celebrate Wonderwall’s 10th anniversary. There have previously been two Wonderwall monographs which have been published through Frame in the Netherlands. I thought that through a project like this, a domestic publisher might be able to publish a book that was more accessible and possibly more affordable for students and a younger audience. They also offered to do an exhibition of our scale models. I use scale models not just for the client, but also to clarify my ideas and imagery. I thought it would be interesting for a wider audience to them help understand the working process.

Could you talk a little about a few of the project models that are on display in the exhibition?

Nowhere in Harajuku was the first project I worked on with Nigo in 1998. This particular store has been remodelled and relocated since, but I consider this my milestone project. I designed this store as if I was designing some sort of large vehicle. I really broke all the rules in retail design such as not having a display window, incorporating stairs inside the selling area and so forth, but it drew a lot of attention and will always be a very memorable project for me. Our Wonderwall office was completed in 2009. Since it is an office, it is not open for the public, although I do hope that people will come and visit virtually! I designed both the interior as well as the architectural direction. The most difficult part was the space composition — it is five storeys with two levels below ground and three floors above ground. I decided to focus on the verticality, giving the main conference room on the ground floor a two-storey high ceiling and adding skylights in the stairway.

Are your projects works of art?

I am definitely a designer and not an artist. I don’t create things on my own based on my personal feelings. I design based on a proposal or request.

What do you enjoy most about interior design?

Whether it be a store or a restaurant, I enjoy going back to the location I designed as a customer.

How is your sense of what is modern reflected in your work?

I try not to judge or categorise the information or knowledge I have or receive. I try to create new things everyday by combining and using the knowledge I have as logistically as possible.

What projects do have coming up?

The Mackintosh London store is opening its first flagship on Mount Street in Mayfair; they had a soft opening in November 2010. Also, a bar lounge called OZONE in the brand new Ritz-Carlton Hotel in Hong Kong is opening in March 2011. It will be on the 118th floor so it will be the world’s highest bar.

Shinsuke Takizawa: The Inspirations of a NEIGHBORHOOD

One of the heavyweights to emerge from the Ura-Hara era of Japanese streetwear in the mid-90s, NEIGHBORHOOD founder Shinsuke Takizawa has remained mostly in the background in regards to the Western world. Without a well-publicized background to both himself and the brand, NEIGHBORHOOD has seen itself move outwards over the last few years through both global retail points and more visible campaigns and projects.
Inspired by motorcycles and its rebellious lifestyle, throughout the last 16 years, NEIGHBORHOOD has maintained a certain bad boy image throughout streetwear. With powerful graphics and the usage of visuals sometimes construed as culturally insensitive, Takizawa’s recent launch with Hong Kong brand izzue enabled us to sit down with the figurehead while promoting the capsule’s launch. Some European counterparts have taken issue with NEIGHBORHOOD’s usage of icons in the past and that topic among the brand’s motives and inspirations all factor in to this feature.



Interview with Shinsuke Takizawa

It’s been said before that the movie Easy Rider was a big inspiration for you to get into motorcycle culture. But of all the potential creative outlets, was there a particular reason you chose fashion?

The movie’s storyline and the culture that it represented was something that I really related to. The image was something I was extremely interested in and I felt that the best way to represent this was through fashion.

While some people feel that NEIGHBORHOOD’s design is rooted in Americana, you’ve derived a great deal of inspiration from British fashion as well. Why do you feel that NEIGHBORHOOD is sometimes seen more on the American-side of style?

I was deeply influenced by British fashion in the beginnings. However I do have a great appreciation for American heritage and the previous styles. I didn’t have a specific influence or side I wanted to lean towards. I think that fans of the brand made this assumption more so on their own.

With the subcultures that have been so influential in the 20th century such as punk and skate, has there been anything in your eyes that will replace these cultures as major forms of inspiration down the road in the present day?

Once we hit the 1990s, there really hasn’t been any great or noteworthy subcultures. It’s unfortunate but this will undoubtedly ensure that the previous movements you’ve mentioned will continue to live on for years to come.

As I follow your blog on honeyee, there’s quite a few images you post from your Land Snail Racing outings. Could you explain what it’s all about?

We’re essentially a team of racers. We deliberately picked a snail for our mascot given that it’s a slow animal not associated with speed. We race over both drag and road races.




With the nature of racing required upgraded garments and leathers, would you ever enter into full-body leather designs?

It hasn’t crossed my mind right now but you never know.

With your racing and riding background, this seems to enhance the authenticity of the brand. How important is this to the brand itself?

While I never really created fashion explicitly for racing itself, I do want to reflect the culture through fashion and I think living in the world of motorcycles helps me convey this goal.

In your late teens, early 20s, you purchased your first Harley-Davidson. Did you ever keep that bike?

I didn’t keep it but I did pass it along to WTAPS’ TET and I haven’t gotten it back [laugh].

NEIGHBORHOOD has often created classic aesthetics with new-age and contemporary materials. What’s your philosophy on this?

When it comes to vintage apparel, unfortunately it’s sometimes lacking in some details. However, with these new developments in fabrics, you’re able to update the piece and offer a new and well-rounded package.



Looking back to NEIGHBORHOOD’s icons used throughout the brand, it elicits a lot of controversy. What’s the role of these icons in the brand’s identity?

I feel it’s all part of the story-telling of the brand with the slogans and visuals we use.

If I go further on this topic, some are referencing sensitive World War II details. What’s the purpose behind this?

I don’t want to avoid these events as they’ve happened. Despite the sensitive nature of it, the use of the symbols are more of a reflection of history.

What are your favorite parts of the collection to design?

I would say denim and jackets are probably my favorite to design.

Denim has been a popular aspect of the brand for some time. How does the design process work for NEIGHBORHOOD’s denim design?

We definitely look at old worn and vintage styles. However each year, we will research and update our finishing processes and techniques to hopefully create some different looks and washes.



On a personal note, the incense holders have been some of my favorite releases. Any particular stories behind the holders?

A lot of the incense holders we make take on inspirations from traditional Japanese styles and I wanted to carry on this design and representation.

NEIGHBORHOOD has enjoyed a great deal of success both within China and in select markets without any discernible motorcycle culture, what do you equate this popularity to?

NEIGHBORHOOD is unique in its aesthetic and this is largely the strength of the brand. NEIGHBORHOOD possess qualities that other brands don’t have on the same level.

Over the 16 year history of the brand, I’m sure you’ve experienced big changes in the way you run the brand. Do you still maintain the same attitude and DIY-style that was perhaps more prominent in the brand’s infancy?

I’ve taken an approach where I don’t really divide it into both business and DIY. The company is at its heart a humble one and we can decide direction whenever it is necessary. If something requires a more business-minded approach or DIY-approach, both are achievable. I have no specific desires or a need to grow the company far beyond what I’ve achieved now.

This season’s izzue x NEIGHBORHOOD collection is different than the previous one, what was the direction this time around?

Last year’s collection was very small, more so for a pop-up store. This time around we made something a lot more comprehensive and we pushed a more visible military theme.

As you enter this collaboration as well as other collaborations, do you take into account your demographic and then add NEIGHBORHOOD’s own twist?

We don’t really worry so much about the demographics involved. We hope to maintain our own creative vision without really taking into account who the consumer may be, however that does mean that we are aware of what sort of parties we may partner up with.

Interview: Eugene Kan
Direction: Edward Chiu
Photography: Louis Lau

01 Magazine: Hiroki Nakamura of Visvim Interview

In the most recent issue of 01 Magazine, Laura Vignale interviews Hiroki Nakamura of the cult Japanese label, visvim. Touching more so on the conceptual aspect of visvim and Nakamura’s personality, an unwavering sense of pride and passion run through the founder’s insights. The interview in its entirety can be seen here.

Why did you decide to create visvim anyways?

I always wanted to make my own product. I wanted to create something authentic. I have been studying what other brands had produced and I felt the need to produce my own.

Did working at Burton make you a businessman? Did your experience influence your work ethic?

My family has a manufacturing business so I always wanted to start my own business. I knew I couldn’t have anyone else run my business for me. For me it’s important to drive the business and the creative. It’s a delicate balance.

Do you believe that it is important for your products to last and age well with time?

That’s happiness to me! I love a product that lives with me, follows my life, and looks better with time. Every individual creates a unique experience in his or her shoe. That way you have “Laura’s shoes” and then there “Hiroki’s shoes”. Over the years the two shoes will look completely different. The condition of the product was the same in the store. That was just the starting point.

Do you have any secrets you would like to reveal on how you produce these great quality products?

I want to tell you a story. I work with these two Italian textile designers. They are largely unknown but they supply fabrics to some of the best high-end fashion designers. One day they came to my shop and saw my products and told me
they wanted to show me something. The asked me to please come to Italy. So I went to their factory in Como and they showed me their archives. There was a 1meter sample of fabric of everything they have produced in the last 150 years. It was amazing!

Now they are using a new technology in their factory but they still keep the same level of quality that they have maintained for all those years. There’s no question that the ones made by hand still have more feeling and personal touch, but this new machine technology was thoughtfully created so that the philosophy on how the fabric that it produces is still pure and high end. That’s how they are creating their products and that’s now exactly what I am doing too.

How important is nature in your work?

I really like natural authentic things, like leather and food, and fish! You can’t really compete with the authenticity of something from nature. To me it’s very important. I’m not necessary trying to be eco or anything, but if you eat fresh food or fresh fruit, it taste great. You can’t compare it to processed food. My focus is to make a good product with natural materials so that the organic and natural element comes out of it.

Do you think of yourself a fashion designer?

Actually no, I’m just a guy making products. I’m not that sensitive. It’s very simple. It’s not a big deal. You can call me anything you want, but I’m just a guy making products.

Is there another brand out there that you feel is especially relevant right now? Who would you want to collaborate next with?

I like people who are making good stuff. Maybe they aren’t well known. Like those guys in Italy I told you about. Just talking to them gave me so much joy. I love when people are passionate. Like this French guy I met in Mexico who had so much passion for western boots! He actually moved to Mexico and to start his own brand. No one really knows about him in the fashion industry but he’s there making great products. There are a lot of people out there like that. They inspire me. I love working and sharing ideas with people like that.

KAWS Video Interview by Nowness

Today see’s the first of Nowness.com’s first video in a series of films focussing on Art Basel Miami 2010. They probably couldn’t have started the series with anything more popular than a video interview with KAWS in his Brooklyn Studio.

A graffiti kid who started out climbing New York's billboards in the middle of the night, Brian Donnelly, a.k.a. KAWS, now garners comparisons to Takashi Murakami and Keith Haring, and his collectors include Lance Armstrong and Pharrell Williams. The artist's often candy-colored paintings and sculptures wink at pop culture, appropriating characters such as The Simpsons, The Smurfs, the Michelin Man and SpongeBob into a fantastical, offbeat world. Original Fake, the company founded by KAWS in the 90s and based out of Tokyo’s Aoyama district, releases his vinyl toys and clothing line, securing an avid fan base in Asia; recently a 16-foot sculpture featuring a pirate skull on the body of Mickey Mouse was erected in Hong Kong's Harbour City. The new career-spanning monograph KAWS—which he will be signing in the OHWOW bookstore at Miami's Standard Hotel on Friday December 3—brings the elements of his one-man empire together: "Seeing the book has given me perspective on everything I've done until now," he says. "I can now mentally move on to the next thing.” Directors Jauretsi and Crystal Moselle caught up with the 35-year-old in his Brooklyn studio as he was shipping paintings to Miami's Galerie Emmanuel Perrotin for this year’s Art Basel Miami 2010. His current shows at Galerie Perrotin, Paris, and the Aldrich Museum in Connecticut, run through December 23 and January 2, 2011, respectively.

Interview with KAWS Retrospective Curator Mónica Ramírez-Montagut

Despite years of circumventing mainstream art circles and rarely showing his work publicly, KAWS has built up a massively dedicated following of collectors who obsessively seek out his creations, from limited edition toys and clothing, to even more elusive original paintings and drawings. After eight years of absence in the U.S and five years since exhibiting internationally, 2008 marked the artists’ return to gallery walls. With three consecutive solo shows in Miami, New York and Los Angeles, KAWS unveiled entirely new bodies of work that signaled a young artist on the verge of his most productive phase to date.

His most recent display is is no exception to this trajectory. On June 27th, the Aldrich Contemporary Art Museum, Connecticut, opened the doors to KAWS’ first solo museum exhibition, providing a retrospective look at his graffiti roots, fine art, and commercial projects, as well as brand new sculptural and installation pieces that stand as his largest and most ambitious to date.

TheArtCollectors spoke with curator Mónica Ramírez-Montagut about the process of creating the landmark exhibition. Read on for the conversation, click images for larger views.



Hi, Mónica. Congratulations on such a strong opening reception. Unveiling seven new exhibitions on the same day is quite an undertaking!

Thank you for joining us on such a celebratory day for the Aldrich.

KAWS already maintains such a strong following, from kids who connect to his toys and graphic work, to seasoned blue-chip art collectors. At the same time he’s not a complete household name. Does producing a show that can simultaneously engage first-time, unfamiliar viewers, as well as such a varied and fanatical fan base, factor into developing an exhibition like this?

It is the mission of The Aldrich to advance creative thinking by connecting today’s artists with individuals and communities in unexpected and stimulating ways, and in that context KAWS is a perfect match. The Aldrich is also well known for having given many artists their first museum exhibitions, which means we are used to presenting artists that are not yet “household names.”

KAWS has an incredible body of work, including painting and sculpture, of quality and vision; he was more than ready for a museum solo exhibition. It is important to The Aldrich not only to bring new audiences to the Museum, but also to make them feel welcome so that hopefully they will start considering contemporary art museums as institutions they can visit and enjoy.



With such an eclectic body of both fine art and commercial projects to draw upon from the last 15 or so years, can you talk about the process of selecting work for the very first retrospective look at KAWS? For example, some things were absent, like the phone booth/bus stop ads that many consider the beginning of KAWS’ recognition by a public audience.

We are showing two phone booth ads, the Calvin Klein ones from 1999 with the skull, x-ed eyes and crossbones. We did want to focus on his new work, since the past work is very well known among his collectors. However, as many visitors will be looking at his work for the first time, we wanted to provide a small peek into his vast output, including design and street art, so as to show the creativity that permeates everything. KAWS has so much work that we could have organized an exhibition four times this size, so we really had to narrow it down to what would give an overall view and also look good.



The exhibition was able to provide a broad survey, drawing almost exclusively from the artist’s own collection. Was there a decision early on not to incorporate works from private collections? I imagine that could present a whole other set of challenges.

For the artwork (paintings and sculptures), we wanted to show exclusively new work. For design objects, since KAWS keeps copies of everything, we decided to consolidate our loan and have everything come from him. Borrowing objects from all over the world would have been too complicated and wasn’t necessary. We are showing work, like the collaboration with photographer David Sims, that KAWS has retained for himself because it is a unique series; it has never before been exhibited*. That is also the case with some of the ink drawings—he is the only one who owns that type of work.



The show is divided into two rooms with works spanning a multiple of distinct mediums including painting, drawing, large scale sculpture, a site-specific installation, various commercial products, and collaborative projects. What was the approach and what challenges were there to incorporating all this into the Museum and show?

We wanted to mix the disciplines somewhat, so in the gallery with the paintings and the sculptures we included the prototype toy of Pinocchio, to enter into dialogue with the large-scale work with which it has a lot in common. In the other room, where we placed more design objects, we included packaged paintings and the David Sims series that are also unique works. We tried to have them be in dialogue, showing what they have in common as opposed to what they do not.



I’m curious about the negotiation between curatorial decisions, the goals of the artist, and the practical matter of dealing with physical space available. How has that factored into this show?

We assigned the gallery space to KAWS hoping he would do a large scale intervention, like a mural or big sculpture. To our surprise he gave us both! Once we assigned the gallery, KAWS built a scale model. He made a proposal that we discussed, but the overall layout was done by him. On site, during installation, we discussed what would look better where, what would be the first impression of someone walking into the room, if the show was well paced, etc. We did some tweaks during the install—you do have to see the things in the room before you make the final decision.



Prior to your current role, you served as Assistant Curator of Architecture and Design for the Guggenheim. Has your background in these creative fields informed your role as curator of The Aldrich and this particular exhibition? For example, the newest set of exhibitions includes not only KAWS, but Rackstraw Downes and Fritz Haeg, who uniquely draw upon elements of design and architecture in their art.

Yes, my background as an architect and at the Guggenheim does indeed inform my decisions. What first caught my attention about KAWS and Fritz Haeg is that they do not really find a strict boundary between art, design, and architecture. I feel the same way. I believe all disciplines would benefit from feeding from each other, which would be a more natural and organic way of not only making new work but experiencing it as well. In my mind, it is important is to have a creative vision that is applied to many different disciplines, activities, situations.



I chatted with many fans and art world professionals that traveled from quite far distances to be at The Aldrich, even from across the country and overseas! There was a real sense that people were compelled to be there for the first look and to show their support. For you, what is it that makes KAWS so appealing?

There are several factors that come together in KAWS. His work is well done, perfect in technique, craft, and manufacture. People still appreciate something well done. Also, conceptually his work is intriguing because at first glance it is easy to understand, funny, and encourages an emotional response. On a second look, it turns out to be quite complex, not that funny, but rather bittersweet and extremely cerebral (criticizing consumer culture, while still a participant in it).



Also, KAWS makes a point of reaching out to diverse communities and being accessible; since his work spans many different disciplines, this creates a large base of followers. It is important to mention that he is extremely generous as a person, and incredibly kind. He maintains a childlike sense of humor which identifies with a lot of not-that-young adults. He has an impeccable work ethic—I would say he is a good role model for young people: work on what you like, don’t give up, and work hard. I guess the fans see that as well!

Thanks Monica!

Interview Magazine: Hiroshi Fujiwara by Fraser Cooke

Arguably one of the most influential characters in the whole global streetwear phenomenon, the so-called “Godfather of Harajuku” Hiroshi Fujiwara is the subject of an Interview Magazine. The interview conducted by another notable individual in Nike’s Fraser Cooke delves extensively into HF’s little known past which includes his time traveling, his inclusion in the International Stüssy Tribe and the start of his first label, Goodenough in 1989. Part of the interview can be found below.

Let’s begin by going back to the past for a minute to get some historical context. Many people might call you the Godfather of Harajuku—the guy who helped popularize hip-hop and DJ culture here in Japan back in the day.

When I was 18 years old, I came to Tokyo from my hometown, Ise, in the countryside. I’d always been really inspired by fashion and music, especially when punk came out in ’76 or ’77. So I guess I arrived in Tokyo in around ’81. Around that time, I visited London for about two months—it was the period just before Malcolm McLaren released his solo album Duck Rock [1983]. I’d met him when he came to Japan, so I visited him in London and spent one evening with him and his girlfriend over at his house. He told me, “London is boring right now. You should go to New York.” So he called a friend in New York, who I think was an old assistant or someone who helped him record early hip-hop stuff over there. I said okay and flew to New York. Once I got there, I saw those hip-hop things going on. The Roxy was really happening—Afrika Islam, Kool Lady Blue, that whole scene. I really got interested in the DJ side. I mean, I guess I was some kind of DJ in Japan already, but the hip-hop scene was naturally happening, and I picked up on that style, then brought back the information on records and technique to Tokyo.

Malcolm McLaren told you that London was boring. But, as someone coming from Japan, did you actually think that London was boring?

No. It was really interesting, but it was very slow. Everything closed on Saturday and Sunday. The stores closed at 6 p.m., and if you missed, even by a few minutes, they wouldn’t let you in. Even if you knew exactly what you wanted, they’d say, “No, no, come back tomorrow.”

You stayed with some pretty interesting people in London.

Yes. I was 18 years old, first time in -London, and I was introduced by a friend from Japan called Hitomi [Okawa], who is behind the label Milk, to a group of people that included [director] John Maybury, Stephen Jones, [designer] David Holah, and Boy George. They were all pretty young. Culture Club was just beginning. Marilyn [the New Romantic pop singer] and Jeremy Healy from the band Haysi Fantayzee were there. Many people were sharing one apartment with many rooms. So I was in that community.

I guess it’s fair to say that before Stüssy, streetwear was more about mixing and matching. It was about self-styling. But Stüssy managed to pull a lot of elements together and mix them up with fashion, art, and music references, etc. It was the first time that it was all presented as a package. You went on to do something similar yourself in Japan with -Goodenough.

Goodenough was definitely inspired by Stüssy, as well as the label Anarchic Adjustment from England. Shawn came from surf culture, and Nick [Philip], who founded Anarchic Adjustment, I think came from a BMX background. But I actually came from the fashion side, so maybe I knew more about fashion—and music like hip-hop because I was a DJ—so it was really successful when we mixed it all up together.

The success of Goodenough began to raise your profile in Japanese magazines. How did that happen?

In those days, people were really hungry for information—and, somehow, I had pretty good access because I had friends in London, New York, Los Angeles, everywhere. I’d been visiting many places and talking with people, so I had a constant flow of new info. I sometimes did articles for magazines and things, and people started to say, “If you want to know what’s going on, ask Hiroshi.” So that was the beginning with Goodenough. During that time, Nigo was kind of my assistant for both deejaying and styling because he has a good sense with clothing. Also around me were Jonio [Jun Takahashi], who was starting Undercover, and Shinsuke Takizawa of Neighborhood, who was a student. I put Shinsuke to work with File Records, which handled the Major Force label, since they needed staff to work and to create merchandise. So we began to connect a few things.

How do you feel about the success and rise in influence of some of your other friends and colleagues—Jun and Nigo, for example—who have achieved a certain level of recognition outside of Japan?

I think it’s amazing. I don’t feel like that kind of thing would ever happen to me, as I’m not like those kinds of designers—I don’t want to express myself in such a categorized way. I kind of want to be in the middle of the majority and the minority. I don’t really want people to know what I am.

What’s the state of the Harajuku scene right now? Do you think the people and brands we’ve been talking about are the end product of the cycle that produced them, but the scene itself is kind of over?

It’s not really finished. It just became too big—you can’t really say those are small, independent companies anymore. There should be something smaller happening, although I can’t really say I’ve found it, which doesn’t mean that it doesn’t exist. If there’s a really good thing going on now and I don’t know about it, I think that’s kind of right. If I know what’s going on, then it’s not truly new, if you know what I mean. When we started Nowhere, maybe the fashion industry recognized something was happening, but they just thought, Oh, those kids . . . whatever. They didn’t know what was actually going on with us. Now we are those people in a sense—the current establishment. So I hope there’s something happening that is new and independent that we know nothing about. Maybe it’s even being done by people who see our generation as an enemy. That can create energy as well.

New York, London, and Tokyo have provided you with inspiration for the past 20 or 30 years. But how do you feel now about the energy of those cities? How do you feel about the scene?

It has become really boring. I mean, 30 years ago, London was really happening—there was swinging London and then punk. It was really different from other cities, and so I’d always wanted to go there and see what was actually going on. After that, hip-hop was the next thing happening, so to get the records or the proper clothing, you really had to actually go to New York. But now you don’t really need to go. For example, if I see a nice photography book in New York, and I don’t want to have to carry that back to Japan with me, I just order it from Amazon when I come home. There’s no treasure-hunting anymore. It used to be like a hunt to find Air Jordans, Max 95s, and carrying them back.

At the end of last year you did this book, Personal Effects, which is a selection of 100 diverse personal items that you feel are interesting. I actually helped clean up the English on it. But how did that happen?

A few magazine publishers were interested in me doing a book, but one in particular called Magazine House, who do Brutus and Popeye [Japanese magazines]—you know those Japanese fashion-book specialists—asked me to do a version of a book that already exists, which was originally done by a stylist called Sonya Park. She has a book where she selected 101 items, which is really beautiful, and they wanted me to do something similar. I really liked her book, which was all stuff you can buy, like a catalog or shopping-manual kind of thing. But mine’s more about things that are hard to find—or alternatively, easy to get. It’s just things that belong to me or that I’m interested in. I’m also planning to do a new concept book for sneakers, which will be kind of like an encyclopedia or a sneaker history. It’ll be like those kids’ books that show a picture or a drawing of an insect or a dinosaur with an explanation next to it.

You’ve also got Honeyee.com, which you started in 2005 and which has since spawned a number of sort of copycat sites. How did that come about?

Well, we weren’t the first to do the website type of thing, but I guess we were waiting for the right timing. Me and Hirofumi from SOPH. and Hiroki from Visvim were meeting every month and kept saying maybe it’s time to do a website. There were some other fashion sites in Japan that were selling stuff, but we didn’t really get involved with them. It’s not that I didn’t like the other sites, but we felt that perhaps those shopping websites might kill the local stores. So we decided to do our thing. I guess I came up with the name. All of our initials begin with H—Hiroki, Hirofumi, and Hiroshi—and Honeyee.com sounds like “honeycomb” with many sections. It also sounds like the Japanese word that means “to hesitate,” so there were many meanings. And the “.com” at the end can sound like come, like, “Honey, come. Come to honey…”

What’s next for Hiroshi, then?

There are a few projects I’ve been working on but can’t really tell you what they are. I still feel like I’m really into fashion. I even think sneakers are a fashion item as well. I’m still into sneakers and clothes. Even though I don’t wear or buy those things, I find that I’m still like looking for them—like newer things like Cassette Playa [Carri Munden’s British streetwear label] or those kinds of things. I can’t wear it, but I still think it’s interesting when I see it.

Interview with Shinsuke Takizawa of NEIGHBORHOOD in iD Magazine

Недавно сотрудник журнала iD встретился с Shinsuke Takizawa, более известным как Shin из Neighborhood. Они говорили о работе с Major Force, совместном турне с Public Enemy и истории Neighborhood. Кроме того, конечно же коснулись тем о философии в одежде, любви к британской панк культуре и мотоциклам. Поэтому не упустите случай чтобы лучше понять человека, который стоит за созданием наиболее уважаемого японского бренда уличной одежды.

Расчистка места

Мое первое знакомство с модой было связано с тем временем, когда я стал активно интересоваться музыкой, т.е. как раз в мои студенческие годы. Лондон тогда был для меня всем. Меня интересовала панк музыка и сопровождающий ее стиль в одежде. Сразу после окончания школы я решил поступить в Токийскую Школу Моды, которую я вообще то закончил спустя 4 месяца после поступления, потому что меня оттуда выгнали за непосещаемость. Забавно слышать, когда сейчас эта школа использует мое имя как пример успешного студента, чтобы привлечь новых абитуриентов.
Британский панк повлиял на меня в наибольшей степени. Люди находят странным, что я никогда по настоящему не интересовался американской модой, хотя считают, что мой бренд как раз подвергся именно ее влиянию. В Токио на протяжении 80-х мода была завязана на Британии, Лондоне и таких дизайнерах как John Galliano и Vivienne Westwood, если быть точным. Волна из США пришла намного позднее.

Я мечтал одеваться так же как ребята, что тусовались в лондонских клубах. Я рассматривал журналы, заполненные этими панк фотографиями по несколько часов к ряду. И до сих пор слежу за тем, что происходит в Лондоне в сфере моды. Мне было 19, и аккурат после того, как меня выгнали из института, я впервые посетил Париж и Лондон. Путешествовал без каких либо планов и графиков. Перед этим Wild Bunch приезжал в Токио со своим первым туром по Японии вместе с поп-дуэтом Morgan & McVey. Я встретил Nellee Hooper в одном из клубов, поэтому когда прибыл в Лондон, я остановился на пару недель в его квартире. В то время мои панк дни были закончены, я попал в новую волну. Все время я проводил в клубах. Nellee провел меня по многим интересным местам, в том числе Africa Centre и, кроме того, представил меня Soul II Soul. Это было для меня совершенно ново, и я, наверное, до конца не понимал, что происходило вокруг, но впечатления переполняли мой разум — все это было настоящим потрясением. Я не могу объяснить что это было, но мне кажется, что именно этот опыт стал причиной моей «зависимости» от британской моды.

Подготовка почвы

После возвращения из Лондона я начал работать стилистом на непостоянной основе. Это было не слишком серьезно, я просто тусовался по разным вечеринкам и получал от этого удовольствие. В то время через своего друга я познакомился с Hiroshi Fujiwara. Hiroshi уже был своеобразной иконой андеграунда, тогда он все время твердил мне, что мне нужна нормальная работа вместо того, чтобы просто тусоваться в клубах. Он представил меня File records, которые были дистрибьюторами его лэйбла Major Force, первого японского хип-хоп лейбла. Это были одни из лучших лет моей жизни. Клубная культура в это время только пробивалась на японскую сцену и была отличной площадкой для установления связей. Студенты и известные дизайнеры встречались в клубах и ты мог чувствовать, что происходило что-то реально крупное. Именно благодаря клубной сцене я встретился с огромным числом разных людей. Я много веселился, но и усердно работал в то время.



Работать на Major Force было весело, даже если учесть, что я по настоящему так и не привязался к хип-хопу. До этого времени я рассмативал фотографии американских байкеров из 60х и был ими очарован. У меня даже был друг, живший рядом с Американской базой. Это был район где можно снять дом в американском стиле по приемлимой цене, район стал популярным местом в среде молодых артистов и студентов. Он был типичным байкером и даже ставил свой мотоцикл посреди гостиной. Это как раз совпало со временем бума американской моды, поэтому мне было очень интересно. Я работал на Major Force и был единственным, кто носил мотоциклетные ботинки и длинные волосы. Во время тура Public Enemy по Японии Flavor Flav постоянно трепал мою прическу и кричал «Что за хрень творится с твоими волосами?». В итоге я получил свой первый Harley-Davidson когда мне было 21 или 22 года. Это был Shovel Head FLH, стоил он около 8 тысяч долларов и мне пришлось брать ссуду, которую я погасил только за 48 взносов. С тех пор начался процесс доработок, который нельзя завершить. А так как у меня никогда не хватало денег, то многое приходилось делать своими руками.



Посадка семян

Меня в свое время очень впечатлил фильм «Беспечный ездок» (Easy Rider), не просто тема мотоциклов, а вся эта история вцелом, которая просто пропитана духом Америки. Меня также вдохновляли Ангелы Ада (объединение байкеров США Hells Angels, которое было описано в одноименном романе Хантера С. Томпсона) и японская легенда ювелир Горо (Goro), уроженец США. Он годами работал в своем собственном магазине в районе Хараджуку и постоянно колесил по окрестностям на своем Harley-Davidson, без шлема и с псом, который сидел на бензобаке. Я думаю, что это было очень круто, и это помогло мне понять, что такое этот самый Harley.



Я проработал в Major Force 7 лет. В это время я разбирался с тем, что представляет из себя общество. Т.к. мы были небольшим лейблом, то все приходилось делать самостоятельно, графику, промо-акции, упаковку, рекламу и т.д. Все это стало полезным опытом, благодря которому я получил представление о полном цикле производства продукта. В то же время я впервые опробовал Mac. Я помню он был маленьким, с крошечным экраном. Мне нужно было разобраться как это работает, т.к. я руководил всеми дизайнерскими работами на лэйбле. Как раз тогда в Major Force я взял на себя ответственность за производство футболок и толстовок. Это был мой первые опыт работы в дизайне одежды, и как ни странно она хорошо продавалась. Это заставило меня задуматься о бизнесе в сфере моды. Поэтому следующим шагом стало открытие своего собственного магазина. Я занял денег и открыл свой первый «Neighborhood». В последующий год я по прежнему трудился на лэйбле дизайнером, но все мои мысли были о том, чтобы заниматься тем, что мне нравится, поэтому вскоре я уволился и полностью сфокусировался на «Neighborhood».



Первые побеги

Все мои друзья находились по соседству с округом Хараюку, и обычно там же и проводили время, поэтому у меня и появилась идея назвать свой бренд, основываясь на этом. (Neigborhood, англ., — соседство, близость, окрестность). По началу наш бизнес был основан на продажах импортной одежды из магазинов США. Как я, так и TET — мой партнер и дизайнер WTAPS, были абсолютными новичками в закупках, поэтому ничего не планировалось и было приятно безответственным. Я помню, мы смотрели на карту Америки и нашли город под названием Буффало. Мы сказали друг другу «Смотри! Звучит просто отлично, может там мы найдем что-нибудь стоящее, между ним и Нью-Йрком!» Мы просто ехали по дороге между городами, останавливаясь у крупных торговых центров. Мы купили немного верхней вязаной одежды, а также других продуктов, которые плохо продавались. Кроме того приобрели много рубашек Ralph Lauren, они были достаточно популярны и их было сложно достать, но в итоге и они продавались так же паршиво, как и остальное. Про себя мы думали: «Дерьмо! Придется что-то срочно придумать, чтобы от этого избавиться!» В итоге мы решили сделать на них несколько своих принтов, и это сработало. Это заставило нас подумать о производстве своей собственной одежды.



Цветы

Моей основной идеей было производство одежды в мотоциклетном стиле. На меня повлияли образы типичных байкеров, с бородами, длинными волосами и футболками с изображениями орлов, но тогда я уже думал о своем собственном стиле, джинсах и белых рубашках, я всегда хотел отличаться от кого бы то ни было. Это было время, когда ты мог экспериментировать и делать то, что хочешь. Моему бренду уже более 15 лет, и этот период можно разделить на 2 части. Первый период был беззаботным. Я абсолютно не парился ни о чем, я просто делал что хотел, но потом я начал задумываться непосредсвенно о бизнесе, особенно это касается вопроса экономии. Когда мы запустили бренд, у нас не было даже офиса. Но это было не важно. У нас была свобода, все что мы делали продавалось немедленно. Все товары продавались так быстро, что мы никогда не нуждались в сток-центрах.

Мы совершенно отличались от других брендов, и я надеюсь выглядели более свежо для всех. Тогда по сути было мало выбора, поэтому это тоже одна из причин того, что мы стали столь успешны, и почему люди хотели чего-то нового. Мы никогда не были большой компанией, но в течение этих лет медленно разрастались. Когда находишься в бизнесе так долго как мы, взгляд со временем замыливается и свежесть и новизна уходит, поэтому мы постоянно боролись, чтобы установить и поддерживать нашу индивидуальность. Наша идентичность базируется на уличной культуре, поэтому мы являемся аутсайдерами в индустрии моды в Японии. Тот путь, что мы начали и которого придерживаемся, индустрия попросту игнорировала. Мы никогда не делаем этих обычных модных показов, и являемся очень независимым бизнесом. Я полностью понимаю выгоду показа коллекций и есть бренды, которые этим занимаются и которым я симпатизирую, но я также верю что должны быть бренды, идущие в другом направлении, к ним как раз и относится Neighborhood.



Вода и свет для роста

Мы создали свою первую модель — винтажную куртку в 1995 году. Когда я смотрю на нее сейчас, мне кажется что она ужасного качества и слишком грубая, но даже в ней вы можете уловить нашу философию. Я считаю, что едва примерив вещь, ты должен получить от нее эмоции, в этом и состоит моя философия. Это отличается от того, что делают другие бренды, и я горжусь этим. Мне нравится старая (винтажная) одежда, но идея того, что никто кроме ее владельца не может ее носить немного разачаровывает. Основываясь на этом, я хотел сделать товар с эффектом старения. Мы не были первым брендом, который начал использовтаь эти техники, но мы были определенно одними из первых. Тогда ни одна из фабрик не знала как нужно делать. Мы учились в процессе. Я разрабатывал дизайн на своем Mac все эти 15 лет. И я надеюсь, что по-прежнему буду этим заниматься. Я отвечаю как за дизайн, так и за управление самой компанией. Я пытался остановится только на управлении, но вскоре у меня пропало все желание этим заниматься, потому что мне было ужасно скучно.



Прекрасный сад

В прошлом году мы начали выпуск новой линии под названием «Luker by Neighborhood», я продолжаю разработку дизайна. То что мы делали и продлжаем делать, уже заняло свою нишу на рынке, но у нас еще есть куда расти. Мы уже создали образ своего бренда и как ни странно это тоже может стать проблемой, потому что восприятие в Хараюку слишком предвзятое, чтобы судить адекватно. Возможность демонстрировтаь наш продукт все еще немного ограничена. Мы уверены в качестве, и если бы у нас был шанс, мы бы показали это более широкой части рынка — такой возможностью для нас стал «Luker». Конечно же есть некоторые технические сложности, связанные со складами и торговлей. Для нас это как вызов так и хорошая возможность показать продукт, который был разработан в Neighborhood, но с отличиями в темах и местоположении. Это может привлечь к нам новых покупателей, которые ничего не знают о нашем главном бренде Neighborhood, который в свою очередь продолжит свое давно начатое дело. Нашу одежду можно надеть спустя несколько лет после покупки, и вы будете чувствовать себя комфортно. Наши продукты очень просты, но в этом и кроется весь смысл, с каждым сезоном мы просто добавляем новые детали и переосмысливаем наши основные идеи. В этом и есть весь Neighborhood.

Original Text:

Remove Debris

“My first exposure to fashion was around the time I started getting interested in music whilst I was still a student. London was everything for me back then. It was about the punk music and the fashion coming out of there. So I decided to go to a fashion school in Tokyo after I graduated from high school – which I actually ended up getting kicked out of four months after I started as I didn’t really attend any of the classes. It’s funny to hear that now the school uses my name as an example of a successful graduate to recruit new students!

British Punk was my biggest influence. People find it strange that I wasn’t really interested in American fashion back then because a lot of people think my brand is heavily American influenced. In Tokyo during the 80s, fashion was all about British fashion – London and designers like John Galliano and Vivienne Westwood, to be specific. The influence of American fashion came much later. I used to dream of dressing like the kids hanging out in London clubs who I saw in magazines. I used to look through those magazines that were filled with photos of punk kids for hours on end. I’m still really interested in what’s going on style-wise in London now. When I was 19, right after I got kicked out of school, I visited Paris and London for the first time. I was pretty much backpacking around with no plans or schedule. Prior to that the, Wild Bunch came to Tokyo for their first Japan tour with Morgan & McVey, [pop duo composed of Jamie Morgan and Cameron McVey, who had been integral and influential within the Buffalo movement] and I met Nellee Hooper briefly at one of the clubs, so when I got to London I contacted him and stayed at his flat for a couple of weeks. Around that time, my punk days were over; I was into new wave and rare groove and was hanging out at clubs all the time. Nellee took me around places like the Africa Centre and introduced me to Soul II Soul among others. It was all completely new to me and I probably didn’t fully understand what it was all about, but the experience blew my mind and had such a huge impact on me. I can’t explain what it was but I guess that whole experience is why I am still hooked on British fashion.”

Loosen Soil

“I started working as a freelance stylist after I returned from London. It wasn’t too serious – I was just hanging out all the time and having fun. Then I came to know Hiroshi Fujiwara through a friend of mine who lived in the same apartment back then. Hiroshi was already kind of an underground hero and was always telling me to get a proper job since I was just hanging around all the time. He introduced me to File records, who were the distributors of his label, Major Force, the first Japanese Hip-Hop label. Those were some of the best days of my life. Club culture was only just hitting the Japanese scene and it became a real platform for communication. Students and famous designers would meet at the clubs and you could feel something big was happening. I met so many people through the club scene. I was playing and working hard at the same time.

It was fun working at major Force, even though Hip-Hop was never really my thing. Before joining Major Force I was always watching American biker flicks from the 60s and was completely fascinated with them. I also had a friend who lived near an American base. It was a district where you could rent American style homes at an affordable price and it became a popular neighborhood for young artists and students. He was your stereotypical biker and even parked his chopper in his living room! It was also the start of the American fashion boom so I was interested in the fashion coming out of the States. I was at Major Force and I was the only guy wearing motorcycle boots with long hair. When I hung out on the Public Enemy Japan Tour, Flavor Flav was always pulling my hair and shouting, ‘What the fuck up is up with your hair?’. I finally got my first Harley Davidson when I was 21 or 22. I was only able to get it through a loan of 48 installments! It was a Shovel Head FLH and was around $8,000. It was also the start of a never-ending customization process. I didn’t have much money then so I had to do everything myself, and a lot of the parts I picked up from Home Depot.”

Plant Your Seeds

“I was heavily influenced by the film Easy Rider. It wasn’t just the motorcycles but the whole story, which had a very American feeling about it. Of course the Hells Angels and the Japanese legendary Native American jeweler, Goro, also inspired me. He has been working out of his own store ‘Goro’s’ in Harajuku for years and used to always ride around the neighborhood on his Harley with no helmet and his dog sitting on the fuel tank – I thought that was so cool and made me realize what a special vehicle the Harley is.

I ended up working at Major Force for seven years. It was there that I learned what society was all about. It was such a tiny label that we had to do everything on our own, from graphics to sales, promotion as well as the packaging and mailing out, etc. – all of which were useful experiences for me later on in terms of the whole process of manufacturing a product. This was also the first time I touched a Mac. I remember it was such a small little Mac with a tiny screen! I needed to learn how to use it as I was handling the whole design side of the label. It was around that time that I was given the opportunity of working on Major Force’s merchandise – making t-shirts and hoodies. Those were the first pieces of clothing that I ever designed and it all sold pretty well. That made me start thinking about the whole clothing business. So, the next obvious move was to start my own store. I borrowed money and opened the first “Neighborhood”. After about a year I was still doing graphics for the label but in the end I only wanted to do the things I liked so I became independent and focused on Neighborhood.”

Let Your Roots Grow

“All my friends were hanging out in the small neighborhood of Harajuku and I liked the idea of it so I named the brand based on that. In the beginning our business was mainly importing clothes from outlet stores in the States. Both TET, my partner and designer of WTAPS, and I were completely amateur buyers so everything wasn’t planned out and was pretty irresponsible. I remember looking at a map of America and we found a city called buffalo and said to each other, ‘Look! This city sounds pretty cool, maybe there’s something between there and New York!’ We ended up driving all the way dropping by outlet malls in between the two cities. We bought a bunch of outdoor related clothing and products all of which sold really poorly. We also bought a lot of RRL [Ralph Lauren] shirts, which were popular and hard to find back then, but they sold poorly as well. We thought to ourselves, ‘Shit we’ve got to do something to get rid of them!’ So we decided to screen print our own graphics on them and that actually worked out really well. I guess that’s what started us thinking about producing our own clothing.”

Fertilize Properly

“My basic idea was to make biker-style clothing. The typical bikers with beards, long hair and the t-shirt with an eagle print influenced me, but then I thought of my own style, which was denim jeans and white shirts and always wanted to be different from everyone else. That was the time when you could experiment and do the things you wanted to. I’ve been running this brand for 15 years now and that period could be divided into two. Back then was an innocent carefree time, and now I have to focus on the business. In the first couple of years, I never really had to care about anything – I just did whatever I wanted, but these days I have to think more about the business especially the way the economy is right now. When we started Neighborhood, we didn’t even have an office! But that didn’t really matter. We had complete freedom and everything we made sold out immediately. We never could hold in to any stock in our store because everything would sell out so fast. We were completely different from the other brands and I guess maybe looked fresh to all the kids. There wasn’t much choice around that time so that’s probably another reason why we were so successful and the kids wanted something new. We were never a big company but slowly we have been growing bigger over the years. The longer you’re in business, the market grows bigger. But when you are in this business as long as we have you may no longer look fresh, so we’ve been fighting to establish and maintain our own identity. Our identity is based on street culture we are outsiders in the fashion industry in Japan, the way we started and the way we operate, the industry has always ignored us. We never do your typical collection shows and are very independent business. I totally understand the value of showing a collection to the whole industry and there are some brands that do that whom I respect, but I also believe that there should be some brands that take another direction and that’s what Neighborhood is all about.”

Feed With Sunshine And Water

“We made our first original piece of clothing – a Vintage wash overall in 1995. When I looked at this jacket now, it may be a little poor in quality and roughly made, but you can still get a sense of our philosophy in it. Clothes that you can get a feeling from, from the first moment you put it on – that is my philosophy. It is different from what other brands are doing so I take a lot of pride in it. I like vintage clothing but the idea that there is only one piece and that nobody can wear it except the owner is a little disappointing. Based on that, I wanted to make products with the same vintage feeling but that were not one-offs. We weren’t the first brand who started to use vintage wash techniques, but we were definitely one of the first and I am proud of that. We started to produce vintage wash clothing when none of the factories even knew how to do it. We were learning as we were going along. I’m still designing everything and have been clicking away on my Mac for the last 15 years! And that won’t change I guess. I have to take care of both the design side and managing the company. I once tried to concentrate only on running the business but I couldn’t keep motivated and felt bored!”

Let Your Garden Prosper

“We started our new line ‘Luker by Neighborhood’ last year and I’ll continue to design everything. What we’ve been doing and creating is already well established within a certain market, but there is still an opportunity to do more. We have a certain image that Neighborhood is known for and that can sometimes also be a problem as the Harajuku perception is too strong to judge our products fairly. The opportunity to show our products is still somewhat limited. We have a lot of confidence in the quality of our products and if we have the chance, we would like to show this to a broader market – what we came up with was ‘Luker’. The set up is a little different to Neighborhood as we are wholesaling to completely different stockists. It’s a big challenge for us but it’s a great opportunity to show our new products designed by Neighborhood with a slightly different theme at differing locations, which in turn may lead to new customers who know nothing about our main brand, Neighborhood. Neighborhood, on the other hand will continue doing what we’ve always done. Our clothes can be worn year after you buy them and you can still feel comfortable wearing them. Our creations are very basic but that’s who we are, adding on new elements and reinterpreting our clothes each season is what Neighborhood is all about.”

Kaws Interview | Complex Magazine

Brian Donnelly has grown from street art prodigy to commercial success and art-gallery darling. We pause for the Kaws to talk about his latest projects and where he’s going next.

By Bradley Carbone; Photography by Kai Regan

Of all the artists in the Complex universe, none wields more influence than 34-year-old Brian Donnelly, a.k.a. KAWS. Starting with his street graffiti work in the ’90s, and evolving to clothing collaborations and toys, the Jersey-raised Brooklyn rep has managed to walk the line between art and commercialism and still be respected. Over the past year he’s created the cover for Kanye’s 808s & Heartbreak, debuted exhibitions at major NYC and L.A. galleries, and seen his clothing line, Original Fake, kill it globally. In short, the man is Style and Design. Check out the extended online cut of the magazine interview...

You've been ding more exhibitions recently; what motivated that move?

KAWS: As far as exhibiting work, that’s newer, but I’ve been painting nonstop since the ‘90s. I started doing commissions early on for Nigo [of A Bathing Ape], and later, for Pharrell. That made it easy, because I like to sell the work to people who know what I’m doing and to people who I respect.

So you were essentially able to skip the whole exhibition step in the art hustle and work directly with collectors from the start.

KAWS: Well, I learned to be guarded with where I exhibited my stuff. I grew up under Futura and Dondi White; CRASH was one of my best friends. They were all glamorized during the ’80s in the art scene, and then it dropped them. [The art] is kind of like a kid, or like letting someone watch your pet: You want to be careful with where it winds up.

What about Clipse? You did their new album art.

KAWS: I met Clipse through Pharrell. I’m a huge fan of theirs to start, so when they wanted to work together it was like immediately, “Yes.” I didn’t really need to know the details.
It’s funny how the blogs were labeling the single, “Clipse x Kanye x KAWS.”

KAWS: For the first Clipse song that leaked ["Kind of Like a Big Deal"], I just adjusted their logo as a fun, quick thing before I got the album art done. I had no idea how much that was going to get out there. That was kind of nuts.

Do you design all of Original Fake?

KAWS: I don’t design the shapes of the clothes, but I do all of the graphics and I design and direct the line aesthetics.

Was that a new step, moving into clothing?

KAWS: Actually, no. I’ve worked with BAPE, Undercover, Supreme—all brands that gave me insight into those worlds—since I was like 16. Designing Original Fake was the next step, and it allows me to do projects that don’t have anything specific to do with one thing. If you work with another company you kind of have to fit the product within their image.

How did you wind up in Japan initially?

KAWS: I first went there in 1997 to do some street work and billboards, and there was no graf on the street. But when I went back the next time, MQ had killed it with fill-ins, and then Barry [McGee] and other guys got over there. [Bringing graffiti to Tokyo] isn’t something I’m necessarily proud of, but it’s kind of funny. Now there is stuff in the streets like any other city. I don’t think there are any more untouched cities, or will ever be anything like that again.

Do you do street work anymore?

KAWS: A couple years ago, me and REAS were in Tokyo and did some bombing, just ’cause we were bored. The process is fun, but I’m not interested anymore. I have new challenges.


poses with his most famous creation in his Brooklyn studio.

Has the “fuck it” graffiti mentality faded?

KAWS: I think I still have the same “fuck it” mentality; the reality is that now I’m a business. My interests are other risks, like trying to put together a new studio building. To me, that’s a risk; I don’t have a safety net. If I mess up, then that’s hard.

Where’s the new studio?

KAWS: I’m working on a studio space in Brooklyn with Masamichi Katayama [of Japanese architecture firm Wonderwall]. More on that to come.

What influences the new work?

KAWS: I don’t really know where the new stuff is coming from. It’s super-colorful and friendly looking, but for me it’s really dark. When I paint identifiable pop stuff like the SpongeBob series, I’m not seeing SpongeBob at all, and it’s weird to have someone connect it to the TV show because I forget that that’s how the viewer relates. Now I’m abstracting it and making it more about color and shape. As far as artists influencing my work, when I get into another artist, I try to work with them—like Hajime Sorayama, who we did the figure with.

How did you put the piece together?

KAWS: I’ve become friends with him through traveling to Japan. I wanted to take the figure work to another level, to do something totally outside of what I did. So, in 2006, I asked him to paint a version of the Companion, which I then worked on turning into the figure. I didn’t want to compromise the project at all, so I let it take as long as it needed to, and let it get as expensive as it needed to.

Do you collect his work?

KAWS: I’ve been collecting Sorayama’s paintings for a few years, and I'll buy one or two every time I go over there. He’s 60 and was the Playboy illustrator in the ’70s and ’80s, and probably the best living illustrator in Japan—not exaggerating. He designed the Aibo robot dog for Sony.

Sorayama plays the line between art and commercial work kind of like you do, right?

KAWS: Well, it’s only recently that there even really is an art market in Japan, so his craft was about finding a way to do what he wanted to within a commercial world. But instead of doing product like I do, he painted and made money through illustration work. I think it’s awesome that he figured out a way to chill and make the paintings he wants.
That’s not so bad.

KAWS: I mean, really, that’s my goal. To know that I can just make paintings and be all set.

Hiroki Nakamura - Visvim on Kyoto store

Hiroki Nakamura, founder and designer of VISVIM

Hiroki Nakamura talking about Visvim