It feels quite different from what Tokyo is actually all about.ĪONO It’s not like the old days, when there was a hierarchy in fashion.
Tokyo Fashion Week exists basically as a system to diffuse the products of Paris Fashion Week, and as such, it’s easily disconnected with reality. NAKASHIMA People working in the world of fashion aren’t connected with one another.
In this way, the various groups of people who make clothing have been drifting apart from one another. In comparison, brands presented during Tokyo Fashion Week tend to show only limited overlap between the commercial and artistic, although they aren’t strictly one or the other. You know, there are still small brands out there involved in interesting, individual work that unites the essence of fashion with art and music. Any designers or retailers outside that framework have to find a different path. For the majority of people today, commercialized fashion is fashion. In 2010 he published a collection of works entitled Meikyū yuki (Headed for the Labyrinth).ĪONO That’s the way it has to be, if you think of it as a place that attracts businesses. In addition to working as director of Beams Records, he is active as a DJ and magazine columnist.
Creative director for the specialty store Beams, which operates a chain of 100 shops in Japan and abroad. Then it gets pretty boring, I think.īorn in Tokyo in 1968. But the shops that aren’t major chains will tend to be left out of that kind of big fashion building. The stores that set up shop there are responding directly to customer demand, and they see satisfactory performance since they attract so many shoppers. Both Lumine and the individual shops in the complex seem to have really done their homework to provide what the majority of today’s Japanese consumers want. The selection of items in the “volume zone”-the price range most attractive to average shoppers-is tremendous. NAKASHIMA In that regard, the Lumine complex in Tokyo’s Yūrakucho district, which opened at the end of October 2011, has all the bases covered. I think that’s the hard thing for specialty shops right now. At a specialty store, even if you bring in a variety of brands, they have to have a similar thread of some kind basically, nothing can stick out too much. It’s quite a difficult time now to promote something as individualistic. They go through life trying not to get singled out.ĪONO Speaking from the perspective of the seller, we have to treat that kind of quiet customer carefully. NAKASHIMA Everyone is afraid of being picked on, right? It’s better not to stand out. Attracting attention as Yūrakucho’s newest hotspot, the facility racked up sales of ¥450 million and welcomed roughly 200,000 customers during its opening three days. The shopping center, aimed at consumers in their late twenties and thirties, houses 107 shops selling clothing, cosmetics, miscellaneous items, and foodstuffs. Opened on October 28, 2011, inside Yūrakucho Marion, a large-scale shopping and entertainment complex. They want to be part of the silent majority. They don’t have any desire to look better than the person next to them.ĪONO KEN’ICHI That’s right. They stop themselves from having any sort of competitive spirit. What I think after teaching at university for six years is that young people today don’t want to express their individuality or present themselves as different in any way. The creative side of dress seems limited to things like cosplay. Today thoughts that support a love of clothes are few and far between, and people only think of clothing as a minimal form of personal maintainance or something that’s sufficient if they look like most other people. YUYAMA REIKO At one time, fashion was certainly something that anyone who followed the art world had to be in touch with, wasn’t it? In the new-wave era of the 1980s, fashion, music, and culture were all closely connected, but since the 1990s, fashion has diverged. While I can’t deny having felt that Japanese fashion magazines are only relevant within the fashion industry, at Ginza I’d like to present fashion as one aspect of the world to women who want to follow the latest happenings in various fields and who have an interest in topics like music, art, film, and design. NAKASHIMA TOSHIKO Most of my work until now has been for magazines with a strong cultural slant, but my first direct experience with Japanese women’s fashion came when I started working for Ginza, which was renewed in April 2011. She has proven herself a formidable force in creating fashion magazines whose scope includes art and subculture. Became editor-in-chief of the renewed Ginza magazine in April 2011, following posts as editor-in-chief of the culture and lifetyle magazine Brutus and as assistant editor-in-chief of Relax.
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