From the beginning I thought about working with the body in movement, the space between the body and clothes. I wanted the clothes to move when people moved. The clothes are also for people to dance or laugh.
Even when I work with computers, with high technology, I always try to put in the touch of the hand.
Indian paper is famous, Egyptian papyrus, Chinese paper… every country has used this natural material. But the problem is it’s going to run out because it’s very difficult work.
Clothing has been called intimate architecture. We want to go beyond that.
With imagination and personal creativity, people who sew can design the way they look to suit themselves.
Design is a vital component to the enrichment of our everyday lives. Japan has a very rich history and culture of design, and I feel it is a very important dialogue to open and keep evolving.
I gravitated towards the field of clothing design, partly because it is a creative format that is modern and optimistic.
A-POC unleashes the freedom of imagination. It’s for people who are curious, who have inner energy – the energy of life and living.
The combination of human skills with technology will always be at the root of any solution to the future of making clothes.
Technology allows us to do many things, but it is always important to combine it with traditional handcrafts and, in fact, use technology to replicate dying arts so that they are not lost.
I feel it is urgently necessary to train people who are capable of tackling the various problems we face today in regards to environmental turmoil and the relevancy of clothing.