FASCINATE

Okaniwa: For me, 2008 was the year when what I had been doing up to that point, what could be called “The Viridi-anne’s essence”, finally solidified and took form. It was a turning point for the brand.

Okaniwa: As I’ve always said, first and foremost, there’s the image of being “quiet yet strong.” And then, another key element is “a sense of discomfort somewhere.”

Something that feels very familiar, yet gives you the feeling, ‘Is this perhaps from another world?’ or ‘Is this person someone from a different world?’ It’s not pop or flashy, nor does it scream “fashion” in an obvious way. But within that understated presentation, there’s a subtle impression that “this person is a bit different.” That’s the atmosphere I aim to express most.

Okaniwa: It comes from my own personal formative experiences. From around the age of 16 or 17, I’ve always been drawn to that kind of clothing.

Of course, there’s the joy of wearing it, but also the kind of piece you want to hang on a hanger when you get home and simply admire. I place great value on that quality, the allure of clothing as an object in itself.

For example, my other brand, DUELLUM has an even stronger focus on this aspect. The clothes might be a little challenging to style, but their mere presence exudes a powerful sense of existence. That kind of appeal is something I personally find deeply captivating.

Okaniwa: I’ve kept the atmosphere of that time in mind, but I haven’t recreated the items exactly as they were. The biggest difference is incorporating the current mood. Instead of the tight fits of the past, the silhouettes now have a more relaxed feel.

Okaniwa: That sense of “subtle, understated cool” is actually something I’m emphasizing even more consciously in the upcoming 26SS season.

The 25-26AW collection is more of a stepping stone toward that direction — retaining the weightiness of autumn and winter, while also seeing how close we can get to a seasonless approach. In a way, it was a collection created with an underlying intention of exploring future directions.

Okaniwa: It’s something I’m always thinking about. Ideally, over half of the collection would be wearable year-round. But if everything were seasonless, you’d lose the enjoyment of the changing seasons.

That’s where the concept of “layering” becomes important. The base should be something wearable throughout the year, and by adding layers, the feeling of the season deepens.

The philosophy doesn’t change, but the method of expression adapts to the present. Balancing those two is, I think, the most important thing right now.

Okaniwa: Yes, there are a few. First, the down jacket. It has this feeling of “coming from another world,” and I personally like it very much.

It’s a pullover-style anorak, but it can also fully open in the front. I really like that casual, effortless look when you open it up when it’s warm, and the zipper height becomes asymmetrical.

Okaniwa: I also really like the layered neck warmer. When layered over a black crewneck knit, it looks completely different from a regular turtleneck. I love that slight sense of discomfort created when it peeks out from under an outer layer.

Okaniwa: Actually, it wasn’t made simply as an oversized coat, but with the concept of a “giant jacket.” The design framework is entirely that of a jacket. It’s balanced so that “if someone over 2 meters tall wore it, it would function as a jacket.”

By having someone of average height wear it as a coat, it creates the unique discomfort of wearing clothing that doesn’t fit in size. That was the feeling I was aiming for.

Okaniwa: Yes. The embroidery design was inspired by an art piece with an uneven, organic texture. I even made a blouson for myself because I personally wanted to wear it. While the concept of the coat is interesting, the blouson is much more practical for everyday wear.

Okaniwa: These boots have a story spanning more than a decade. Around 2004, when I made my very first in-heel boots, the person who worked with me at the Asakusa factory, experimenting and troubleshooting together, was Shintaro Yamamoto, the designer of KIDS LOVE GAITE.

After he became independent, we lost touch for a while, but two years ago, we ran into each other by chance in Paris. That evening, he visited the apartment where I was staying with other designer friends and said, “Actually, I’ve had the opportunity to make shoes for Comme des Garçons.”

We all celebrated our old friend’s big leap forward, and at that moment, I strongly felt, “I want him to make in-heel boots for me again.” These boots are one of the most symbolic and emotionally significant items of this collection.

Okaniwa: Yes, exactly. For example, this season’s gloves are made by D.HYGEN. I create the designs, and they bring them to life with their technical skills. Building trust with skilled creators is an invaluable asset for the brand.

Okaniwa: Absolutely. Take the simple pants made from this season’s key embroidered fabric.
Initially, we hadn’t planned on making them. On the first day of the Paris exhibition, an overseas buyer immediately asked, “Why don’t you have simple pants made from this fabric?”
And I thought, “...He’s right.” In response to his enthusiasm, we decided on the spot to produce them.

Okaniwa: Yes, that piece was originally released in 2008, but we reissued it at the request of a long-time business partner in San Francisco.
It wasn’t modeled after my finger, but rather created by the accessory brand M.A.R.S., using the thumb of one of their staff members as the mold.
That kind of collaborative history also becomes part of the story behind the item.

Okaniwa: I’m happy to hear that you felt that way. Looking back at the past is never about standing still; I believe it’s necessary in order to see the future more clearly. By revisiting the brand’s origins and adding new stories, we hope to continue creating clothing that stays true to who we are.