"Interview" AUBETT

As a Private (Public) Collection, three types of clothes created by Kaneta Textile, AUBETT, and CASANOVA&CO.

AUBETT, which we deal with on a daily basis, has been a bridge for making clothes like this.

Mr. Yoshimura, the director of the brand, Mr. Sugihara, the designer, and I had an interview-style conversation.

Now, I think that this kind of thing will be done on Instagram live, and it would be nice to tell it by voice, but it will continue to remain in a more visible form, and I will continue to do so. "I would like to tell you all about it.

I have done something like this with Mr. Yamauchi exactly one year ago, but this is the second time after that.

It's going to be a super long sentence, but I'd appreciate it if you could read it.

Below is a three-way discussion.


<Fukuda>: Thank you very much, Mr. Yoshimura and Mr. Sugihara.

<Yoshimura/Sugihara>: Thank you very much.

<Fukuda>:I'm going to start this interview on the premise that you've written a lot on your blog and posted it, but please tell us what AUBETT thinks of "drapes".

This really moved me.

Because until now, umm, I thought of draping as something like wide pants that were made big and had a lot of volume, so the hem swayed, or a coat or something with a long length that swayed due to gravity. you know.

If you heard that from Mr. Sugihara, wouldn't it be completely different?

<Sugihara>: In general, the word "drape" is usually used to describe the folds that are created when the cloth is hung. I think this is especially true in Japan.

When I went to France, I was surprised to see a technique completely different from the concept of drape I had learned in Japan.

I was particularly impressed by the fact that the European maisons where I worked had completely different meanings for drapes, and that they had taken root as a technique.

The only time in Japan where I had a conversation with a similar nuance was when I was in Bunka (Bunka Fashion College), and I think it was a special feature like a passion continent, and there, Yoji (Yoji Yamamoto) However, in August Sander's photo book "People of the 20th Century", I showed him a photo of a person wearing a shirt and talked about it, saying, "This man is I can fantasize about making clothes 24 hours a day with just the drape of the shirt I'm wearing."

<Fukuda>: Yoji-san?

<Sugihara>: Yoji-san.

So, when I heard that, I wanted to say that the scent emanating from the working man who was the subject of the photo was projected onto the clothes, or that he was talking about the sense of size, the pattern, or the cutting. I guess I thought about it.

But when I went to Europe, I found the answer for myself.

For example, if it is a shoulder, at what angle does it hang down from the neck?

So, when you make that slope in 3D, you have to see it with your eyes to make it 3D.

<Fukuda>: Yes, yes.

<Sugihara>:Then we drop the drapes, but in Japanese clothing manufacturing there is something called a "prototype", and that is the basis.

After working at various companies, I felt that Japanese clothing manufacturing has a rooted in the DNA of the "prototype" in terms of education.

Then, the inclination of the shoulder is almost decided.

Of course, domestic brands and other brands that make patterns properly decide on their own slopes, look at things with their own eyes, and decide, but I think that "what kind of drape is there against slopes?" "Will this come about?" The idea of ​​making clothes hasn't really caught on.

<Fukuda>: Hmm.

<Sugihara>: In Europe, there is a technique called "Ys".

<Fukuda>: "Ys"?

<Sugihara>: "Ys".

If it's a flat pattern, it's a drape that falls straight against gravity.

But "Ys" isn't about that, it's about easing the bulging wrinkles from the shoulder to the side of the side, or to hide the side seams behind the bulge of ys. , How many centimeters of drape can be produced?

<Fukuda>: Ah, I see. To hide the side seams.

<Sugihara>: Yes. It's not just about the slope of the shoulders, it's about how and at what angle the side lines should be attached in order to connect the desired drape (Ease), and what direction the armholes should face.

"Clothing" is a complete system that unites everything in millimeters.

But I've never seen clothes that make me feel that they're so conscious of being three-dimensional.

The only person I know who does that is "Stefano Pilati".

<Fukuda>: Huh, is that so?

<Sugihara>: That's originally a ladies' technique.

In order for the ladies to make their breasts look beautiful, or to make their collapsed body look elegant, they used Ys to tie all the parts together.

That way, you can create constructive, three-dimensional clothing that doesn't depend on the body shape of the person who wears it.

That's what I think is the luxury that is expressed in terms of technology.

Of course, the word "luxury" has a strong idea,

That's not all.

<Fukuda>: I see.

<Sugihara>: Clothes made with such three-dimensional modeling are probably "clothes you don'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 will need to produce Ys, and we will need "materials".

<Fukuda>: Oh, is that so?

<Sugihara>: That's right. If the material and cutting do not match, it will not work, and just like with design, if you just use materials that are easy to make without thinking about anything, the clothes will not be attractive.

When the material and the pattern that creates the drape come together, it becomes what we call "clothes you don't want to part with" for the first time.

And we want that whole closet, right?

<Yoshimura>: lol

<Sugihara>: That's what I'm aiming for, so I made everything with that in mind.

This jacket, coat, and pants are all made with that aim in mind.

To put it concretely,

<Sugihara>: This coat.

There are two drapes from this shoulder. This is Ys.

Instead of following the gravity and dropping straight down, the sleeve side is draped toward the inside of the elbow, and the body side is draped from the shoulder toward the side.

<Fukuda>: Yes. A V shape is good, isn't it? You can also see these two bulges.

From the sleeves and the bodice, and the shoulders of each, the drapes appear as if they were crossing and disappearing, or facing each other.

<Sugihara>: Yes.

The Ys body has drapes that bulge from the shoulders to the sides, but the seams on the sides are not visible, and the area around the chest is flat.

Of course, each one is one, but you can also put out two or three of them. Pilati does it well.

<Fukuda>: Three! ?

<Sugihara>: Yes. Take out three and erase them.

However, the eas (bulging drape) from that slope is the truth of "three-dimensional", and the clothes as a collection of them are very beautiful.

<Fukuda>: Yes. yes. yes. Is that so.

<Sugihara>: However, materials are essential for that, and when materials and solids are combined, they demonstrate their power.

<Fukuda>: I see.

<Sugihara>: That's right.

It's a bit difficult to explain in words, but that's why I tell people to wear AUBETT clothes.

When you wear it, I think you can understand the three-dimensional shape even a little.

<Fukuda>: It's difficult to find clothes that use Japanese prototypes.

<Sugihara>: Yes. I don't think it will be easy to find.

<Fukuda>: Mr. Sugihara didn't use the prototype.

You said "stereoscopic cutting". So I'm giving out Ys.

<Sugihara>: Yes.

There are a lot of words like "drawing" in the streets these days, but normally, it's hard to imagine that it's just a flat surface. It's meant to be made by cutting it with scissors, but actually, there are many doors behind it.

<Fukuda>: Yes.

<Sugihara>: It's the same as sculpture.

It's a task of connecting drapes that look beautiful from 360 degrees, but I don't know what to say.

<Fukuda>: Hahahaha.

Eh, then what kind of work do you do specifically for "stereoscopic cutting"?

<Sugihara>: For three-dimensional cutting, put a piece of cloth on the torso and cut the fulcrum with scissors. Shall we connect?

<Fukuda>: Do you mean to make a notch in the shoulder?

<Yoshimura>: The work of applying a cloth and making a cut.

<Sugihara>: That's right.

I put a pin on the fulcrum, put the scissors in there, and cut more and more from there.

<Fukuda>: Ah, ha, ha, ha.

<Sugihara>: So, in the end, it's about adding armholes and sleeves.

Everything becomes a fulcrum.

The starting point for me is my shoulders. largely.

<Fukuda>: I'm not sure, but that's right.

<Sugihara>: First decide on the face, then what to do with the armhole.

<Fukuda>: Shoulder start?

<Sugihara>: In my case, I often start from the shoulders.

It's a battle against gravity.

By doing so, three-dimensional clothes can be made.

<Fukuda>: It's true that AUBETT has very distinctive shoulders.

<Sugihara>: I like shoulders.

<Fukuda>: But that's right.

I also think that the shoulders are the most important point for tops.

<Sugihara>: Well, clothes with flat patterns are greatly influenced by the body shape of the wearer.

If someone with really stiff shoulders wears it, the drape will come out, or the drape will disappear.

The reason I don't make it two-dimensional is that I think it's difficult to fit everyone, but it's an amount that can cover a certain amount, and it's oversized, but I don't want to make it bulky.

I just want to put in the quantity.

<Fukuda>: Yeah yeah.

<Yoshimura>: It has volume, but it fits well where it fits. It's something you do with a purposeful space.

<Sugihara>: It's closer to sculpture.

Drape with "wrinkles" to create a three-dimensional effect.

Well, it's not a wrinkle.

Create space in your clothes. That's the brand name.

<Yoshimura>: AUBETT is a "small room" where you can think of the space created between your body and clothes as your own private room.

<Sugihara>: It means "a small room", so to create it between the body.

In a nutshell, that is the drape that AUBETT envisions.

<Yoshimura>: In the end, clothes are made by accumulating various detailed techniques, such as draping.

The materials made by Mr. Ota (Mr. Ota of Kaneta Textile) are indispensable to AUBETT.

I usually try not to say too much in situations like this.

I think it's disgusting if I say too much and it's strangely difficult to explain, or if it sounds like crap.

But I think it's good to have this kind of opportunity this time.

<Fukuda>: But I usually stand at the store, so there are quite a few people who want to know about that.

That's why I was able to do this kind of thing together this time, and Mr. Ota was very open, and it made me think a lot.

<Yoshimura>: Really.

Because, for example, it was really hard to dye this fabric this time.

<Fukuda>: That's right. This red rust color.

<Sugihara>: The production background is a kind of brand value and property.

I think the idea up until now was to hide and protect it, but our greatest fear is that valuable technologies and industries will decline, and we will not be able to create what we want to make, or not be able to convey it. I think.

Including the story, I would like to convey things like this that I could not convey until now.

<Yoshimura>: AUBETT's goal is to be more and more open.

I would like to create a situation in which information can be shared even more with the people who sell the products, such as materials, sewing, and ideas, as well as how they are made.

<Fukuda>: That's right. If we can do that, I think we will be able to deliver the clothes to our customers with a very high level of concentration.

<Yoshimura>: I'm thinking of creating that system now.

How should I go?

whatever. Nothing to do with drape.

<Sugihara/Fukuda>: lol lol

<Fukuda>: Next, please tell us about Kaneta Orimono, who you mentioned about the material just now, and who woven the fabric this time.

AUBETT thinks that Kaneta-san is attractive, or rather, why is Kaneta-san's fabric used for AUBETT's clothes in the first place?

<Yoshimura>: As Mr. Kaneta writes extensively on his website, the characteristic of Kaneta Textile's fabric is "the coexistence of firmness and softness."

The use of hard-twisted yarn increases the density, so it has more elasticity, but the use of hard-twisted yarn also increases the amount of yarn, so it also increases the weight.

<Sugihara>: lol

Kaneta-san, why are you explaining your company? smile

Fukuda-san, you've learned a lot about Kaneta-san this time. smile

<Fukuda>: Hahahahaha. Thanks to you.

<Yoshimura>: Wry smile.

It really matches the conditions of the material that we want.

Since the first collection, I have placed great importance on the firmness of the material to create a space in the clothes.

Kaneta's materials use technology to bring together the seemingly contradictory elements of "tension" and "drape."

We greedily seek those two elements in one material.

<Sugihara>: Also, durability.

<Yoshimura>: Yes, durability too.

<Fukuda>: Ah, so that it won't be thrown away.

<Sugihara>:Even if you buy good clothes, if they are not durable, after wearing them a few times, they may completely change from the original shape and become worn out.

It would be sad if that happened.

<Yoshimura>: I think that such characteristics are very suitable for "creating a space".

However, at first I had a hard time because it was too firm.

Conversely, it's proof that Kaneta's fabrics are too amazing, or that they're not very common.

That's why I think AUBETT's clothes and Kaneta's fabrics are a perfect match.

Ohta-san from Kaneta Textile.

Mr. Ota listened carefully to what AUBETT had to say, and I am very grateful for his willingness to communicate with us many times and create something new together.

<Sugihara>: That's true.

Depending on the weaver, making original fabrics may seem like a chore, but Kaneta doesn't think so and tries to take on the challenge together.

Mr. Ota, from the very beginning, I never say anything about the price of the fabric or the price of the fabric.

<Yoshimura>: Yeah yeah. I agree.

<Fukuda>: Huh, is that so?

<Sugihara>: I want to try this material. When I told him that, Kaneta-san said, "I'd like to try it as well."

<Yoshimura>: That's why Kaneta-san also typed "mohair" for the first time this time.

<Sugihara>: Certainly. It's my first time.

<Yoshimura>: I can't forget it. When the three of us went to Kaneta for the first time, Mr. Ohta said at first, "Is it mohair? Is it triple weave?"

<Sugihara>: Strong twist triple weave can only be done by Kaneta.

Moreover, the first material mohair there.

<Yoshimura>: As expected, he had a sour face.

Kaneta-san's president (Ota-san's father) walked up there silently and said, "I can do it."

<Sugihara>: You said that. smile

<Fukuda>: Everything was new to me, so I thought it was something like that. smile

<Yoshimura>: I don't think Mr. Ota could have said that he could easily do something that had no track record, but the fact that he was still able to take on the challenge is what makes him such a great weaver.

<Sugihara>: Also, if we weren't customers of CASANOVA&CO, we might not have thought of trying this kind of fabric.

After all, some people consider mohair twisted against strong twisted yarn, irregularities in the fabric, and non-uniform expressions to be defective products.

If you look closely at the fabric, it looks uneven. So, this time, I would like you to enjoy it as the goodness of this fabric.

<Fukuda>: Yes. This triple weave fabric is intentionally uneven to emphasize the texture, so if you get a fabric with a stronger texture, it will be a hit! I want you to think so.

<Yoshimura>: It's an industrial product, but Kaneta-san is always trying to do what he can while working with rapiers and shuttles.

<Sugihara>: Yes. That's why I think it has "blood" in it. I think Kaneta's fabrics have a great soul.

<Yoshimura>: When I look at the scene, I get the feeling that they are doing things that are at the very limit of their limits.

<Sugihara>: What's more, the fact that Kaneta-san's fabrics, which are made at the last minute, are not easy-to-understand appearances such as patterns and unevenness, are fighting in the world of "solid colors" that look basic at first glance, which is very attractive. I can.

<Fukuda>: Yes. surely. surely.

<Sugihara>:Mr. Ota told me before that in 10 years, 30 years, 50 years, 100 years from now, the fabrics you made will be found in used clothing stores and will have added value. It seems that you want it.

That's why, even though it's a very special fabric, it's woven with settings that make the fabric durable.

<Fukuda>: Ah, I see. Is that so.

<Sugihara>: The aging of the fabric is also very high quality.

In fact, I've been wearing the fabric that Kaneta-san woven for many years, and it's changed for the better.

Even if the makeup comes off, the quality of the raw cotton will make it shine, and the twist is strong, so it won't come loose at all.

I really like it because it's high quality, and it's not flashy, but it's a fabric that conveys the feeling of wearing it, so for AUBETT, Kaneta's fabrics are very important.

<Fukuda>: I see.

<Sugihara>: But at first, I was surprised when Mr. Fukuda said, "I want to make it from the fabric" and "I want to go to Mr. Kaneta."

<Fukuda>: Hahaha.

<Sugihara>: But I felt a great resolve.

<Yoshimura>: First, Sugihara said, "Mr. Fukuda, you said you wanted to make it from fabric, but I wonder if it's okay." smile

<Fukuda>: Lol. You've done something amazing.

<Fukuda>: Lastly, I've already introduced this on my blog several times, but could you please tell me about the three types of clothes in the Private (Public) Collection this time?


<Sugihara>: These pants are also packed with the "Ys" I mentioned earlier.

I think I made the most of the "Ys" technique I learned from Pilati.

These pants have a very deep front rise.

But when I put it on, the rise is hidden by the ease around the thigh.

<Fukuda>: Oh, I see. Certainly, when you wear it, you can see that there is a unique volume around the inner thigh.

<Sugihara>: That's right.

When you lay these pants flat and open them, it looks like you've taken a big wading.

But that makes it easier to move around and doesn't cling to your body. I can make space.

So, going back to the fulcrum, I use the end of the zipper as the fulcrum to insert the eas.

<Fukuda>: From the opening of the front opening, using it as a fulcrum,

<Sugihara>: The opening is the fulcrum, and the drape is used to hide the rise to create a three-dimensional effect.

However, I think that if you want to add this much around the thighs, you will need tucks and darts. These pants were born using a lot of darts.

When you hear this many darts, you might think of a strong image, but the reason I decided to go for it this time was because I felt that the texture of Kaneta's fabric was very complicated and that the darts were integrated with the surface of the fabric. is.

<Fukuda>: Yes.

I also wanted to add something that wasn't a tuck without being strange, so this darts method was perfect.

<Sugihara>: So, in order to eliminate this amount of hem, the darts are hidden in the center press or hidden inside.

<Fukuda>: That's right.

<Sugihara>: Pilati had very thin legs and had a complex about it.

That's why I often made pants with drapes like this so that the slender legs wouldn't be emphasized.

In addition to that, I don't want my butt to be emphasized, so I'm also very conscious of that.

<Fukuda>: Indeed, the buttocks are also very characteristic of AUBETT.

You mean that the buttocks are protruding with draping, and it's designed to drop down from there, right?

<Sugihara>: That's right. Pants are basically flat and patterned, but the pants are also draped using the body.

The body is also remodeled and made original.

<Fukuda>: Right! All AUBETT clothes are draped.

<Sugihara>: That's right. The cut and sew are all made using the body.

<Fukuda>: Do you also have a cut-and-sew? What do you do with a cut-and-sew?

<Sugihara>: It's still attached to the body.

<Fukuda>: I see.

<Sugihara>: Going back to Kaneta-san's story, this fabric is the perfect material to create the bulges and drapes of FOURTEEN DARTS TAPERED TROUSES.

It is a material that has both firmness and drape.

These pants are made with technology that I consider to be luxury.

Also, I think Mr. Fukuda has already introduced the details.

<Fukuda>: Yes. By the time I publish this interview, I plan to have already introduced it, so it would be nice if you could take a look at it.

However, I think the draping and darts for the drape and momentum are very well done.

<Fukuda>: Now, let's talk about AUBETT JACKET.

<Sugihara>: This one has a small collar and a cut-away front.

And it's a three-dimensional cut with the shoulder as the fulcrum.

The Ys drape on the sleeves and bodice is the same as the coat, so I will talk about it there, but I often used Pilati for the Cut Away Front, and it suits the Japanese body type very well.

<Fukuda>: That's right.

I absolutely needed this cut away front.

However, cut-away front clothes have a strong waist shape, and most of the clothes from overseas are very tight-fitting, aren't they?

This time, I wanted to create something different.

<Sugihara>: Yes. It's three-dimensional cutting is very effective.

If it weren't for the cut-away front, I think it would have looked like a coverall, and the length of the dress is very fresh for a cut-away front.

<Fukuda>: That's right. The three-dimensional drape on the body and the long length make it a jacket with a shape that I have never seen before.

<Sugihara>: Yes.

Also, this goes very well with the triple weave fabric, and you can put things inside the jacket by adding hair cores or increasing the chest.

However, in the AUBETT JACKET, the triple-weave fabric makes the body appear three-dimensional, as if it were filled with hair.

As I mentioned earlier, I wanted to create a certain texture, a sense of firmness, and so on. , isn't it killing the fabric feeling to give a silhouette? I haven't come up with an answer to my question yet, and at this stage I'm really reluctant to do so... In such a situation, this triple weave fabric has a texture like a hair core, and it looks very similar. That's right.

When I saw this, I realized that such a jacket could be made without a hair core.

So, I think this is a revolutionary jacket when you include that point.

It's light and has a very three-dimensional feel to the chest. It's impressive.

<Fukuda>: Certainly, that's right.

This is very well done, isn't it?

Also, this AUBETT JACKET didn't have such a three-dimensional effect when I had the toile assembled.

<Sugihara>: Certainly.

<Fukuda>: That's why I was very impressed that I could create a jacket with a three-dimensional effect such as the drape on the side of the body and the drape on the arms.

<Sugihara>: In that respect, the court is the same.

<Fukuda>: Finally, the coat.

<Sugihara>: Unlike a typical coat, it has a tremendous width and drape, and the arms are thick, but it doesn't look unfashionable. .

I don't make it oversized, but I try to create volume within the frame of the soutien collar coat.

I especially thought about the shape of this sleeve.

It means that it is a "three-dimensional object" when viewed from any angle of 360 degrees.

<Fukuda> Yes. yes. I agree.

<Sugihara>: The swelling slightly above the elbow is a particular feature of this coat, which makes the sleeves look wider.

This is the same for AUBETT JACKET and AUBETT clothes, but I learned from Pilati clothes.

It's called a "leg of mutton sleeve", and I'm not exaggerating that much, but the image I have is the shape of the arm.

<Fukuda>: Leg of mutton sleeve?

<Sugihara>: That's right. I think that Mr. Fukuda and everyone can understand well if they search. Not quite there.

<Fukuda>: The shape of this arm does not mean that the armhole is large.

<Sugihara>: That's right.

The armholes aren't big, but if I say that the sleeves are wide, is it easy to understand?

The sleeve width is really wide, but if that were the case, that amount of drape would come out and the sleeves would explode.

It is confined inside with the technology of draping.

By doing so, the sleeves are widened in the front and back.

<Fukuda>: Oh, I see.

<Sugihara>: The pants are also the same, and I aim to hide the seams with drapes and erase them.

Ideally, all seams should be invisible when hung.

<Fukuda>: That's right.

<Sugihara>: Also, for me, when I say beautiful clothes, the best clothes are those where the "room for hugging" in the back and the drape around the shoulders and sleeves are connected in a continuous curve across the seams. I think it is.

<Fukuda>: "Hugging space"? Do you mean the drape here (near the back sleeve)? Do you call this "Hugging space"?

<Sugihara>: Yes. I call it Ys.

<Fukuda>: Eh, I thought this was the leeway to move my arms.

<Sugihara>: That's right. That's what the textbook says.

But this part is a drape that makes the body look very beautiful.

That's why I don't have the concept of comfort in my clothes.

<Fukuda>: Huh~ Is that so!

<Sugihara>: Similar to this "Hugging comfort", the front body also has a drape that connects from the body to the sleeves.

<Fukuda>: This is the drape that swells from the shoulders and disappears to the sides, which you mentioned earlier.

<Sugihara>: That's right.

I think the draping that straddles the front and back seams is a very beautiful piece of clothing.

<Fukuda>: "Growing sleeves"! ?

<Sugihara>: The sleeves that grow from the body give 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 with clothes.

However, clothes with a collar, bodice, and sleeves as parts feel like a plastic model to me.

Instead, clothes are three-dimensional objects, sculpted objects, and the human body changes shape every day. eating and laughing.

On the other hand, I think that "clothes that grow" are suitable.

<Fukuda>: Yes. yes. It's dangerous, isn't it?

<Sugihara>: With three-dimensional clothes, even if the body inside the clothes changes on a daily basis, only clothes can stay three-dimensional.

I also read Fukuda's blog and I really sympathized with him, but I think clothes can "change your life".

<Fukuda>: Certainly, when I hear this, I think so.

I used to think of clothes in terms of parts, but listening to Mr. Sugihara's story, I think that clothes are definitely integrated, and it's a wonderful thing.

You can really do this with clothes.

<Sugihara>: Yes.

In fact, some of the clothes from European maisons are made that way.

There are things that look like that when you wear them.

However, I don't think it's possible to wear clothing that costs 500,000 or 600,000 yen as an entry price.

Clothes that are really well made will cost a million dollars. That's what I'm really good at.

The reason is that the sewing is done for that purpose, and the iron is also done in the same way. That's why the price is so high, but if the entry price is around that level, not many people will be able to wear it.

<Fukuda>: Yes. Definitely yes.

<Sugihara>:That's why I want to convey it in the price range of AUBETT so that the technology will remain properly as a "clothing culture". What is the theme behind AUBETT?

<Fukuda>: I see.

<Sugihara>: AUBETT is more a project within me than a brand.

permeate such technology. Then, if the technology spreads, it will not go out of fashion.

<Fukuda>: Yes.

<Sugihara>: If the technology remains, even if I can no longer make clothes, it will remain, and if I do so, I will be able to pass on to the next generation what I have seen and loved for the rest of my life. I think so.

Until middle school and high school, I didn't even come across anything I particularly liked.

But when I met a certain piece of clothing, it changed.

I don't know if the clothes at that time were that technical, but when you put on those clothes, it affects your mind in a positive way, and from there you start thinking about something positive, and then go to a positive place. let's see

I think positive things like that spread like ripples.

I don't know if the clothes I make will change the lives of those who wear them.

<Fukuda>: But Mr. Sugihara's clothes are probably inventions!

<Sugihara>: With food and drink, even if it's very delicious, it will disappear once you eat it.

But even if it's a beautiful painting, if you go out, you won't be able to see it, right?

<Fukuda>: That's true.

<Sugihara>: But I think we can wear clothes and go out, and be together 24 hours a day. You can look at it even if you take it off.

When you think about it that way, I think clothes are amazing, but they don't get the message across the most.

<Fukuda>: It's not transmitted.

<Sugihara>: That's why I left Big Maison, feeling itchy.

The quality of the clothes is wonderful, and I'm satisfied with it, but I think it's pointless if I don't convey it.

In the future, I think that making clothes will become more and more convenient and easy, and that kind of thing will become the main thing.

However, I am doing AUBETT in order to pass on this kind of "clothing technology" and leave it behind.


AUBETT aims to become a maison brand that continues to evolve with history and remain with Japanese technology, inheriting DNA from Japan for generations, just like Chanel, Hermès, and Saint Laurent.

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