The Private (Public) Collection includes three types of clothing created by Kaneta Orimono, AUBETT, and our store CASANOVA&CO.
AUBETT, which we handle on a daily basis, has served as a bridge for making clothes like this.
The brand's director, Mr. Yoshimura, the designer, Mr. Sugihara, and I had a conversation in the form of an interview.
Nowadays, I think we do things like this on Instagram Live, and it's good to convey it in audio, but I think it remains in a more tangible form, and I think it's important to do it in words that I cherish very much. ``I would like to tell you all about it.
This is the second time I've done something like this, having done it with Mr. Yamauchi exactly one year ago.
This is a super long post, but I hope you enjoy reading it.
The following is a three-way conversation.
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<Fukuda>: Well then, Mr. Yoshimura and Mr. Sugihara, thank you very much.
<Yoshimura/Sugihara>: Thank you.
<Fukuda>: First of all, I'm going to start this interview with the premise that you've written a lot on your blog and are posting it here, but in the first place, could you please tell me what AUBETT thinks of "drapes"?
This really moved me.
Until now, I had thought of drapes as things like wide-legged pants that are made large so that the hem sways due to the bulk, or long coats and other items that sway due to gravity. you know.
If you heard that from Mr. Sugihara, wouldn't it be completely different?
<Sugihara>: Generally speaking, the word "drape" is used to refer to the folds that are created when a piece of cloth is hung.
I think this is especially true in Japan.
When I went to France, I was surprised to see a drapery technique that was completely different from the concept of drapery that I had learned in Japan.
In particular, in the European maisons where I worked, the meaning of draping was completely different, and I was impressed by how deeply ingrained it was as a technique.
I think the only time in Japan where the nuances were similar was when I was in Bunka (Bunka Fashion College), and there was a special feature on something like Jonetsu Tairiku, where Yoji-san (Yoji Yamamoto) However, there was a photo book by August Sander called ``Men of the 20th Century,'' and in it he held up a photo of a person wearing a shirt and talked about it. He said something like, "I can fantasize about making clothes for 24 hours just by looking at the drape of the shirt I'm wearing."
<Fukuda>: What about Youji?
<Sugihara>: Mr. Yohji.
So, when I heard that, I was wondering if you were talking about the scent of the working man who was the subject being projected onto the clothes, or the size, or the pattern, or the cutting. I guess so. That's what I was thinking.
However, when I went to Europe, I found the answer in my own way, and what really matters is the slope of that "pattern."
For example, if it's your shoulders, how far do they fall from your neck?
So, when you create that slope in 3D, don't you make it 3D by looking at it with your eyes?
<Fukuda>: Yes, yes.
<Sugihara>:The drape is then dropped, and in Japanese clothing making there is something called a "prototype," and that is the basis.
Having worked at various companies so far, I have felt that Japanese clothing making is rooted in the DNA of "archetypes" and in terms of education.
Once you do that, the slope of your shoulders will almost be determined.
Of course, I think that domestic brands and other brands that make their own patterns from the ground up decide the slope themselves and look at things with their own eyes. The idea of making clothes has not really caught on.
<Fukuda>: Hoho.
<Sugihara>: In Europe, there is a technology called "Ys".
<Fukuda>: "Ys"?
<Sugihara>:"Ys".
If it's a flat pattern, the drape will fall straight against gravity.
However, "Ys" does not mean that, it is something like "Ys" that aims to remove the wrinkles of the bulge from the shoulders to the side, or hide the seams of the armpits deep inside the bulge of the "Ys". , How many centimeters of drape will be produced?
<Fukuda>: Ah, I see. To make the side seams invisible.
<Sugihara>: That's right.
It's not just the shoulder slope, it's about how and at what angle the side lines should be attached to connect the desired drape (ys), and which direction the armholes should face.
"Clothes" are the complete system that combines all the millimeters.
But I've never seen clothing that feels like it's made with such a three-dimensional object in mind.
As far as I know, the only person who does that is Stefano Pilati.
<Fukuda>: Huh, is that so?
<Sugihara>:That was originally a technique for women.
To make their breasts look beautiful, or to make their broken bodies look more elegant, women would use the Ys model to connect all the parts together.
In this way, you can create structured, three-dimensional clothes that are not influenced by the body shape of the person wearing them.
That's what I think of as luxury expressed through technology.
Of course, the word luxury also has a strong ideology attached to it.
But that's not all.
<Fukuda>: I see.
<Sugihara>: Clothes made with such three-dimensional shapes are probably clothes you won't want to part with.
No matter when I wear it, when I stand in front of the mirror, I look good.
Looks beautiful.
<Fukuda>: That's right.
<Sugihara>: But in order to do that, we'll need the "materials" to bring out Ys.
<Fukuda>: Ah, is that what you mean?
<Sugihara>: That's right. If the material and cut don't match, it won't work, and just like with design, if you just do it with easily made materials without thinking about it, the clothes won't have any charm.
It's only when the material and the pattern that creates the drape come together that it becomes what we call ``clothes that you won't want to part with.''
And we want our whole closet to be like that, right?
<Yoshimura>: lol
<Sugihara>: That's what I'm aiming for, so I create everything with that in mind.
This jacket, coat, and pants are all made with this aim in mind.
To put it specifically,
<Sugihara>: This coat.
There are two drapes starting from the shoulders. This is Ys.
Instead of following gravity and letting it fall straight down, the sleeve side drapes toward the inside of the elbow, and the body side drapes from the shoulder toward the side, and then disappears at the side.
<Fukuda>: That's right. I guess a V-shape is better. It looks like those two bulges.
There are drapes that intersect and disappear from two places, the sleeves and the body, and the shoulders, or rather, they face each other.
<Sugihara>: That's right.
The Ys body has a drape that bulges out from the shoulders to the sides, but the seams on the sides are not visible, and the chest area is flat.
Of course, this is one of each, but you can also put out two or three. Pilati often does that.
<Fukuda>: Three! ?
<Sugihara>: That's right. Take out three and erase them.
However, the truth is that the sloping ys (bulging drape) is "three-dimensional," and the clothing as a collection is very beautiful.
<Fukuda>: Yes. yes. yes. That's right.
<Sugihara>: However, the material is essential, and the power is demonstrated when the material and three-dimensionality are combined.
<Fukuda>: I see.
<Sugihara>: That's right.
It's a little difficult to explain in words, but that's why I tell people to wear AUBETT clothes.
When you wear it, I think you can get a sense of its three-dimensionality.
<Fukuda>: It's hard to find clothes that use Japanese prototypes.
<Sugihara>: That's right. I don't think it's easy to find.
<Fukuda>: Mr. Sugihara doesn't use the prototype.
You said "3D cutting". That's why I'm bringing out Ys.
<Sugihara>: That's right.
The word "3D cutting" is being thrown around a lot these days, but normally, it's difficult to imagine that it's simply a flat surface, but it's a matter of looking at it with your eyes and cutting it onto the body yourself. It is said that it is made by placing a metal object on the door and cutting it with scissors, but there are actually several doors behind it.
<Fukuda>: Yes.
<Sugihara>: It's the same as sculpture.
The work involved looking 360 degrees and connecting the drapes with seams that look beautiful, but I don't know what to say.
<Fukuda>: Hahaha.
Eh, then what kind of work is "3D cutting" exactly?
<Sugihara>: For 3D cutting, place the fabric on the torso and cut in with scissors at the fulcrum point, which would be the shoulder for a top, and if you use that as the fulcrum point and cut at that point, the fabric will fall off, so what do you do from there? Shall we connect?
<Fukuda>:Do you mean to put a notch in the shoulder?
<Yoshimura>: The process involves applying cloth and making incisions.
<Sugihara>: Yes, that's right.
I fasten a pin to the fulcrum, insert scissors there, and start cutting away from there.
<Fukuda>: Ah, ha, ha, ha.
<Sugihara>: So in the end, I decided to add armholes and sleeves.
Everything becomes a fulcrum.
In my case, the starting point is my shoulder. largely.
<Fukuda>: I don't really understand, but that's right.
<Sugihara>: First, decide on a face, and then think about what to do with the armholes.
<Fukuda>: Shoulder start?
<Sugihara>:In my case, I often start from the shoulders.
Because it's a fight against gravity.
By doing this, you can create three-dimensional clothing.
<Fukuda>: It's true that AUBETT's shoulders are very distinctive.
<Sugihara>: I like the shoulders.
<Fukuda>: But that's true.
I also think that the shoulders are the most important point when it comes to tops.
<Sugihara>: Clothes with flat patterns really depend on the wearer's body type.
If someone with really big shoulders wears it, that crazy drape will just show up, or the drape will disappear.
The reason I don't make it two-dimensionally is because I think it's difficult to appeal to everyone, but I do it because I want it to cover a certain amount, and it's oversized, but I don't do it because I want it to look bulky.
I just want to put in the quantity.
<Fukuda>: Yeah, yeah.
<Yoshimura>: It's voluminous, but it fits where it fits. It's something you do because you have a purposeful space.
<Sugihara>:It's similar to sculpture.
Draped with wrinkles to create a three-dimensional effect.
Well, it's not a wrinkle.
Create space within your clothes. That's the brand name.
<Yoshimura>: AUBETT is a ``small room'' that considers the space between your body and your clothes as your own private room.
<Sugihara>: It means ``a small room,'' and it's about creating that space between yourself and your body.
In short, this is AUBETT's idea of drapery.
<Yoshimura>: In the end, each piece of clothing is made up of a variety of detailed techniques, such as draping.
The materials made by Mr. Ota (Mr. Ota of Kaneta Orimono) are indispensable to AUBETT.
I usually try not to say much in situations like this.
I think it's disgusting to say too much and end up having to explain things in a strange way, or end up sounding like poop.
But I think it's good because we have an opportunity like this.
<Fukuda>: But since I'm usually at the store, there are quite a lot of people who want to know things like that.
That's why I was able to work with him on this project, and Mr. Ota was very open about it, which made me think a lot.
<Yoshimura>: Really.
Because, for example, it was extremely difficult to dye this fabric.
<Fukuda>: That's right. This rusty red color.
<Sugihara>:The production background is a kind of brand value and asset.
I think the way of thinking up until now has been to hide it and protect it, but our biggest fear is that our valuable technologies and industries will decline, and we won't be able to make what we want to make or that we won't be able to communicate it. I think.
I want to convey things like this that I haven't been able to convey until now, including the story.
<Yoshimura>: AUBETT's goal is to become more and more open.
I would like to create a situation where we can share more information about how products are made, such as materials, stitching, and ideas, all the way to the final seller.
<Fukuda>: That's right. If we can do that, I think we will be able to deliver clothes with extremely high concentrations to customers.
<Yoshimura>: I'm currently thinking about creating a system for that.
I wondered what I should do.
whatever. It has nothing to do with drapes.
<Sugihara/Fukuda>: LOL LOL
<Fukuda>:Next, please tell us about Kaneta Orimono, who we talked about earlier about materials and who wove the fabric for this time.
What does AUBETT think is Kaneta's charm? Why do you use Kaneta's fabrics for AUBETT's clothes?
<Yoshimura>: Mr. Kaneta has written extensively on his website, but the characteristic of Kaneta Orimono's fabric is that it has a coexistence of firmness and looseness.
Using highly twisted yarn increases the density and gives it firmness, but using highly twisted yarn also increases the amount of yarn, which also adds weight.
<Sugihara>: LOL
Mr. Kaneta, why are you explaining your company? lol
Mr. Fukuda, this time we are learning more about Mr. Kaneta. lol
<Fukuda>: Hahahahaha. Thanks to you.
<Yoshimura>: Bitter smile.
It perfectly meets the material requirements that we want.
Since my first collection, I've placed great importance on the firmness of materials to create space within clothes.
Kaneta's materials use techniques to coexist the seemingly contradictory elements of ``firmness'' and ``drape.''
We greedily sought these two elements in one material.
<Sugihara>: Also, durability.
<Yoshimura>: Yes, durability too.
<Fukuda>: Ah, so that I don't get thrown away.
<Sugihara>: Even if you buy good clothes, if they aren't durable, the shape may change completely from the first time you wear them and end up worn out.
It would be sad if that happened.
<Yoshimura>: I think these characteristics are very suitable for "space creation".
However, at first I had a hard time because it was too firm.
On the other hand, it's proof that Kaneta's fabrics are amazing, and that they're not very common.
That's why I think Kaneta's fabrics go well with the clothes that AUBETT is aiming for.
The other choice is Mr. Ota of Kaneta Orimono.
I really appreciate Mr. Ota's willingness to listen to what AUBETT has to say, communicate with us many times, and try to create something new together.
<Sugihara>: That's true.
Depending on the weaver, making original fabrics may seem like a hassle, but with Kaneta-san, he is willing to take on the challenge together.
Mr. Ota, from the beginning, he never mentioned the price of the fabric or that it would be expensive.
<Yoshimura>: Yeah, yeah. I agree.
<Fukuda>: Huh, is that so?
<Sugihara>: I would like to try this material. When I told him that, Mr. Kaneta said, ``We'd like to try it too.''
<Yoshimura>: That's why Kaneta-san also typed in "mohair" for the first time this time.
<Sugihara>: Indeed. It's my first time.
<Yoshimura>: I'll never forget it. When the three of us went to Kaneta-san for the first time, Ota-san said, ``Is it mohair? Is it triple weave?''
<Sugihara>: Strong twist triple weave is something that only Kaneta can create, and even Kaneta has tried it in the past but was unable to commercialize it.
What's more, there's mohair, the first material.
<Yoshimura>: As expected, he looked sour.
Then Mr. Kaneta's president (Mr. Ota's father) walked up to us without saying a word and just said, ``We can do it.''
<Sugihara>: That's what you said. lol
<Fukuda>: Everything was new to me, so I thought it was something like that. lol
<Yoshimura>: I don't think Mr. Ota would have been able to say that he could easily do something he had no experience with, but I think he is an amazing weaver because he was willing to take on the challenge.
<Sugihara>:Also, if we weren't customers of CASANOVA&CO, we might not have thought to try this kind of fabric.
After all, there are some people who think that it is a defective product if the texture is not uniform, such as the twist of the mohair compared to the strong twist yarn, or the uneven texture of the fabric.
If you look closely at the fabric, it looks uneven. So, this time I would like you to enjoy all of the goodness of this fabric.
<Fukuda>: That's right. This triple-weave fabric intentionally leaves some unevenness to emphasize its texture, so if you get the fabric that has that texture even more, you'll win! That's what I want you to think.
<Yoshimura>: It's a fabric that is an industrial product, but Mr. Kaneta is always trying to do the best he can while operating rapiers and shuttles.
<Sugihara>: Yeah. That's why I think "blood" runs through them. I think Kaneta's fabrics have a lot of soul.
<Yoshimura>: When I look at the scene, I get the feeling that they are doing things that are really on the edge of their limits.
<Sugihara>: What's more, what really appeals to me is the fact that Kaneta's last-minute fabrics don't have easy-to-understand looks such as patterns or unevenness, but are made in the world of "plain colors" that look basic at first glance. You can do it.
<Fukuda>: That's right. surely. surely.
<Sugihara>: Mr. Ota told me earlier that in 10, 30, 50, or 100 years, the fabric you made will be discovered at a second-hand clothing store, and it will have added value. It seems like he wants it.
So, although it is a very special fabric, it is woven with settings that give it durability.
<Fukuda>: Ah, I see. That's right.
<Sugihara>: The quality of the fabric is also very high over time.
In fact, I've been wearing fabrics woven by Kaneta for years, and it's definitely a nice change.
Even when my makeup comes off, it still shines because the raw cotton is of high quality, and it doesn't loosen at all because it's so twisted.
Kaneta's fabrics are very important to AUBETT because they are of high quality, and I like them very much.Although they are not flashy, they convey a feeling when you wear them.
<Fukuda>: I see.
<Sugihara>: But I was surprised when Mr. Fukuda told me at first, ``I want to make it from fabric,'' and ``I want to go to Mr. Kaneta.''
<Fukuda>: Hahaha.
<Sugihara>: But I felt great determination.
<Yoshimura>: First, Sugihara said to me, ``Mr. Fukuda wants to make it from fabric, but I wonder if that's okay.'' lol
<Fukuda>: Lol. You've made something amazing!
<Fukuda>: Lastly, I have already introduced this on the blog several times, but could you tell me about the three types of clothes in this Private (Public) Collection?
Now, please start with FOURTEEN DARTS TAPERED TROUSERS.
<Sugihara>: These pants are also filled with the "Ys" that I talked about earlier.
I believe that I made the most of the "Ys" techniques I learned from Pilati.
These pants have a really deep rise in the front.
However, when you wear it, the rise is hidden by the ys around your thighs.
<Fukuda>: Oh, I see. Indeed, when you wear it, you can see that it has a unique amount around the inner thigh.
<Sugihara>: That's right.
When these pants are laid flat and opened, they look like they have a large wavy part.
However, it makes it easier to move around and doesn't cling to your body. It creates space.
So, going back to the topic of the fulcrum, I use the end of the zipper as the fulcrum to insert the Ys.
<Fukuda>: From the opening of the front opening, use it as a fulcrum,
<Sugihara>: The opening is the fulcrum, and the drapes cover the rise to create a three-dimensional effect.
However, if you want to add this much amount around the thighs, you'll probably need tucks or darts, so this time Mr. Fukuda wanted to express the three-dimensional effect in a way that wasn't tucks, so he used 14 darts. These pants were created by making full use of many darts.
At first glance, hearing this many darts conjures up a strong image, but I was able to go for it this time because I felt that the structure of Mr. Kaneta's fabric was very complex, and that the darts were integrated with the surface of the fabric. is.
<Fukuda>: That's right.
I also wanted to include something that wasn't tacky, but not too bizarre, so this dart method was perfect for me.
<Sugihara>: So, to eliminate this amount of hem, darts are hidden in the center press or hidden inside.
<Fukuda>: That's what it means.
<Sugihara>: Pilati had very thin legs and had a complex about that.
That's why I often make pants that have this type of drape so that they don't emphasize the slenderness of the legs.
In addition to that, I don't like my butt to be emphasized, so I'm very conscious of that.
<Fukuda>: Indeed, AUBETT's butt is also very distinctive.
The design is such that the buttocks are draped to create a certain amount of volume and then fall off from there, right?
<Sugihara>: That's right. Pants are generally made with a flat pattern, but the pants are also cut in three dimensions using the body.
The body was also modified and made original.
<Fukuda>: I see! All of AUBETT's clothes are 3D cut.
<Sugihara>: That's right. All cut and sew items are also made using the body.
<Fukuda>: Do you also have cut-and-sew items? How do you cut and sew?
<Sugihara>: It's still attached to the body.
<Fukuda>: I see.
<Sugihara>: And, going back to Mr. Kaneta's story, this fabric is perfect for creating the kind of bulge and drape like in FOURTEEN DARTS TAPERED TROUSES.
This material has both firmness and drape properties.
These pants have technology that I consider luxurious.
Also, I think Mr. Fukuda has already introduced the details.
<Fukuda>: That's right. By the time this interview is published, I will have already introduced it, so I hope you will take a look at it.
However, I think the draping and darts to create drape and momentum were done very well.
<Fukuda>: Now, let's talk about AUBETT JACKET.
<Sugihara>: This has a small collar and a cut-away front.
And it's 3D cutting using the shoulder as the fulcrum.
The draping of the sleeves and body of the Ys is the same as that of the coat, so I'll talk about that first, but the cut-away front was also often used by Pilati, and it really suits the Japanese body type.
<Fukuda>: That's right.
I definitely needed this cut away front.
However, clothes with a cut-away front tend to have a strong waist shape, and even clothes from overseas are often very tight-fitting.
This time, I wanted to create something different.
<Sugihara>: That's right. The three-dimensional cutting is very effective.
I think this would look like coveralls if it wasn't for a cut-away front, and the length is very refreshing for a cut-away front.
<Fukuda>: That's right. I think the three-dimensional drape on the body and the long length give this jacket a shape that I've never seen before, and I think that's where you can really feel the AUBETT elements.
<Sugihara>: That's right.
Also, this goes really well with triple-weave fabrics, so you can add a wool core to the jacket, or add internal parts to the chest.
However, the AUBETT JACKET's triple-weave fabric gives the body a three-dimensional appearance, as if it were made with a wool core.
As I mentioned earlier, if you want to create a certain texture or a certain firmness, you can add touches such as hair cores, breast enlargement cores, and embroidery to the material created by paying particular attention to the touch and expression of the fabric. , aren't you sacrificing the feel of the fabric to create a silhouette? I still don't have an answer to this question to myself, and at this stage I'm really reluctant to try it... In that situation, I realized that this triple-weave fabric has a weave similar to that of wool, and it looks very similar to it. Yes.
When I saw this, I realized that it was possible to make a jacket like that without a wool core.
So, I think this is a revolutionary jacket when you include that point.
It's lightweight and gives a great three-dimensional feel to the chest. That's impressive.
<Fukuda>: That's certainly true.
This is very well done, isn't it?
Also, this AUBETT JACKET did not have such a three-dimensional effect when I had the toile made.
<Sugihara>: Indeed.
<Fukuda>: That's why I was so impressed that I was able to create a jacket with just the fabric that gives it a three-dimensional feel with the drapes on the sides of the body and the drapes on the arms.
<Sugihara>: In that respect, the coat is the same.
<Fukuda>: Now, finally, the coat.
<Sugihara>: Unlike a regular coat, it has a great width and drape, and the arms are thick, but I'm thinking of creating volume within a limited range without making it look unfashionable. .
We create volume within the framework of the stainless steel collar coat without making it too large.
I especially thought about the shape of this sleeve.
This means that it is a three-dimensional object when viewed from any 360 degree angle.
<Fukuda> Yeah. Yeah. I agree.
<Sugihara>: The bulge slightly above the elbow is a particular feature of this coat, which makes the sleeves appear wider.
This applies to both the AUBETT JACKET and AUBETT clothing, but I learned this from Pilati clothing.
It's called "Leg of Mutton Sleeve", and I'm not exaggerating it that much, but the shape of the arm is what I imagine.
<Fukuda>: Leg of mutton sleeve?
<Sugihara>: That's right. I think you and Mr. Fukuda will be able to find out more if you search for it. Not to that extent though.
<Fukuda>:The shape of this arm does not mean that the armhole is large.
<Sugihara>: That's right.
The armholes are not large, but it would be easier to understand if I said that the sleeves are wide.
The sleeves are really wide, but if that were the case, that amount of drape would come out on the outside, or the sleeves would explode.
This is trapped inside using draping technology.
By doing this, the sleeves spread out in the front and back.
<Fukuda>: Oh, I see.
<Sugihara>: It's the same with the pants, and I aim to hide the seams and erase them with drapes.
Ideally, the seams should not be visible when hung.
<Fukuda>: That's right.
<Sugihara>:Also, in my opinion, the best clothes are ones that have a "hugging room" in the back and drapes around the shoulders and sleeves that straddle the seams and are connected by a continuous curve. I think it is.
<Fukuda>: "Hugging space"? Do you mean the drape here (near the sleeves on the back)? Is this what you call "hug-no-yutori"?
<Sugihara>: That's right. I call it Ys.
<Fukuda>: Eh, I thought this was just room for movement of the arm.
<Sugihara>: That's right. That's what the textbook says.
However, this part is a drape that makes your body look very beautiful.
That's why I don't have a concept of looseness in my clothes.
<Fukuda>: Hey, I see!
<Sugihara>: Just like this "hugging room", there is a drape on the front body that connects from the body to the sleeves.
<Fukuda>: This is the drape that I was talking about earlier that bulges out from the shoulders and disappears to the sides.
<Sugihara>: That's right.
I think the drape that straddles the front and back seams is a very beautiful piece of clothing, and for some reason it creates a ``grown-up sleeve'' that gives it a very unified look.
<Fukuda>: "Sleeved sleeves"! ?
<Sugihara>: The sleeves grow out from the body, giving a sense of unity.
Isn't it the same with the human body? It's not a part, is it? hands, feet and neck. I want to do the same thing with my clothes.
However, to me, the clothes with the collar, body, and sleeves have the same feeling as a plastic model.
On the contrary, clothing is a three-dimensional object, a sculpture, and the shape of the human body changes every day. When you eat or laugh.
On the other hand, I think that clothes that are suitable for you are clothes that are suitable for you.
<Fukuda>: Yeah. Yeah. That's crazy.
<Sugihara>: With three-dimensional clothes, even if the body inside the clothes changes on a daily basis, the clothes will always remain three-dimensional, so I think that's the reason to wear them.
I also read Mr. Fukuda's blog, and I really sympathized with him, and I believe that clothes can change your life.
<Fukuda>: That's certainly what I think when I listen to this.
I used to think of clothes as separate parts, but listening to Mr. Sugihara's story, I think that clothes are indeed integrated, which is wonderful.
You can really do this with clothes.
<Sugihara>: That's right.
In fact, some clothes from European fashion houses are made that way.
There are things that look like that when you wear them.
However, I think it's hard to wear clothes that cost 500,000 or 600,000 yen at an entry price.
Clothes that are really well made will cost millions of dollars. That's what we're doing really well.
The reason for this is that I use sewing for this purpose, and I also use ironing for this purpose. So there's a reason for the high price, but if the entry price is that low, not many people will be able to wear it.
<Fukuda>: Yeah. That's definitely true.
<Sugihara>: That's why I want to pass on AUBETT's price range and make sure that the technology remains as part of the "clothing culture." What is the theme behind AUBETT?
<Fukuda>: I see.
<Sugihara>: AUBETT is more of a project for me than a brand.
Let's spread this kind of technology. Then, if the technology spreads, it won't become obsolete.
<Fukuda>: That's right.
<Sugihara>: If that technology remains, even if I can no longer make clothes, it will remain, and if I do that, I can pass on to the next generation what I have dedicated my life to doing and what I love. I think so.
I didn't really find anything I liked until I was in middle school and high school.
But that all changed when I encountered a certain piece of clothing.
I don't know if the technology was that great when it came to clothes at that time, but when you put on those clothes, it had a positive effect on your mind, and from there you started thinking about something positive, and then you went to a positive place. Let's take a look.
I think positive things like that will spread in ripples.
I don't know if the clothes I make will change the lives of the people who wear them.
<Fukuda>: But the clothes based on Mr. Sugihara's idea were probably an invention!
<Sugihara>: When it comes to food and drinks, even if they are very delicious, they will disappear once you eat them, and even if you look at a great work of art, I think it will give you the energy to do your best.
But even if the painting is beautiful, if you go out, you won't be able to see it, right?
<Fukuda>: That's certainly true.
<Sugihara>: But I think you can wear clothes and go out, and you can be together 24 hours a day. You can look at it even if you take your clothes off.
When you think about it that way, I think clothing is amazing, but I think it's the least understood thing.
<Fukuda>: It's not getting across.
<Sugihara>:That's why I left Big Maison because I felt a sense of discomfort.
The quality of the clothes is amazing and I'm satisfied with it, but I feel like it's meaningless if I don't communicate it.
In the future, I think the way we make clothes will become more and more convenient and easy, and I think that will become the main thing.
However, I am doing AUBETT to pass on the current "clothing techniques" and preserve them.
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AUBETT aims to become a maison brand that, like Chanel, Hermès, and Saint Laurent from Japan, has its DNA passed down through generations, continues to evolve with history, and remains with Japanese technology.