05年获纽约Gen Art时装周前卫设计奖,其他例如Zac Posen and Phillip Lim 也曾是得奖者.
森永邦彦说:”God is in the details.”
那么让我们来回顾一下,森永邦彦的上一季,基于概念 “bones”而设计的Spring Summer 2013 collection.
WHAT IS THE CONCEPT BEHIND ANREALAGE?
The concept is based on the idea of the ‘ real’ and the ‘un real’ … this means looking at, examining, the everyday for the things that can’t be seen. In my Spring Summer 2013 collection I featured the structure of bones; the bone is hidden but it’s real – we can’t see it.
Another example is my Low Res [low resolution] print; in our daily life we’re always looking at the PC [computer] but the pixels can’t be seen unless we magnify them and make them ‘real’ to the eye. That’s what I do, taking the ‘un-real’ life to the ‘real’ life; making the hidden able to be seen.
My inspiration for this concept comes from everything … I’m always thinking about real life, basic life, daily life. For example, we make the pages of a book the same way; is it possible to express this idea in cloth? We’re always looking at the alphabet … everything I look at can be inspiration, not fashion, but other things in daily life … ‘god dwells in the details’ is the best way to describe what I do.
YOU THINK LIKE AN ARTIST. HOW DID YOU GO FROM ART TO FASHION/RETAIL?
Well, everyone needs to wear clothes; they’re part of the daily life that I’m looking at. I made sense to me. I’m also very focused on the fabrication, to the point of treating the construction of the garments like making an art piece.
IS THERE A PARTICULAR TYPE OF SHOPPER WHO BUYS ANREALAGE?
Sometimes it’s a Comme des Gar?ons style of person … artistic, creative, intellectual … But my brand is not [designed] for a particular age group, it’s more for the idea-based shopper rather than a particular age or background I suppose.
IS THERE SOMETHING THAT MAKES YOUR BRAND PARTICULARLY ‘JAPANESE’ OR IS IT A MORE GLOBAL CONCEPT?
It’s more like a global brand … but at the same time I also emphasise working with Japanese fabrics and Japanese craftsmen. I use Japanese techniques and factories, visiting the factories as many times as I have to; until they [the factory management and workers] understand my thinking and how the design needs to be done.
HOW WOULD YOU LIKE SINGAPORE SHOPPERS TO SEE YOUR BRAND? WHAT IS IT’S CENTRAL POINT?
I’d like to convey to Singapore shoppers the concept of my brand but also of my ‘world’ … I don’t want to just ‘sell’ to the market; it’s important that they get it, ‘get’ the brand concept … that’s the most important thing.
DOES THIS MEAN THAT RETAIL SUCCESS NOT SO IMPORTANT?
Yes, that’s true … I’m more of an artist so it’s more important that I get the concept across … if I have a great idea I still have to think about how to translate that into garments that will sell. Of course, I’m creating things out of fabric so I have to try to adjust the clothes to fit into the concept.
The clothes echo the overall concept of the brand … taking the un-real idea or concept – the art – and translating it into the ‘real’ or wearable clothes that can sell is an intellectual exercise in itself actually [laughs]. If it doesn’t sell, then I’m …
[out of a job].
WHAT DO YOU THINK ABOUT THE INTEREST OF THE WESTERN FASHION INDUSTY IN ASIAN DESIGNERS / ASIAN INFLUENCES? IE. SS13 COLLECTIONS – PRADA / GUCCI ETC
If the European designers have respect for the Asian culture they’re interpreting then it’s okay … As an Asian designer it’s important to sell in Asia – it’s easier in some ways because the cuts are the same – but of course it would be good to sell globally too. [Smiles]
WHAT DO YOU THINK OF SINGAPORE?
I feel that there are a lot of possibilities in the fashion market [in Singapore] … When there’s a lot of action and movement in a city, the fashion world must be moving forward, fashion must be important too.