Do not use a ruler when drawing patterns.
Ogi-san and Kaneko-san are each wearing one of your favorite pieces, what do you like about it?
Ogi:I was on my way home from seeing the Henley Royal Regatta, a traditional English boat race, when I saw an old man in his 60s driving a vintage Range Rover. He was wearing a blazer and holding the steering wheel, and the buttons on his sleeves glittered as he drove, which I thought was really cool. That scene remained in my mind, and that is the kind of dress I aimed for this time. My ideal dress would have been double-breasted, with the shoulders slightly protruding and a longer length, but I couldn't find such an item anywhere when I looked for it.
Also, my sense of fashion has changed a little since I started wearing flared pants recently. I was never very good at wearing "New Balance" shoes. The reason was that I couldn't handle the thickness of the tongue, but when I put on flared pants, that problem was solved, even though it was hidden in the end. That's when the trad switch came on.
Flared pants and traditional! That's a very unique episode (laughs). What made you decide to wear flared pants?
Ogi:There is an L.A. brand called "Gallery Dept." that customizes flared denim from Chrome Hearts. They had flared Carhartt pants, and that's when I tried them on. In the era of Shibu-Kaja, bell-bottoms were worn with boots, and it was considered illegal to wear a bash like today, but I thought it might be possible now. I started wearing flared pants and wanted to wear a double-breasted blazer.
The buttons are also very shiny.
Kaneko:This is already jewelry (laughs).
Miyahara:It's brass, but I had it polished to the point where I couldn't polish it any further, and I had it engraved on the back as well.
Kaneko:These buttons made it more expensive (laughs).
Miyahara:As Ogi said earlier, it glows so brightly when you are in the car that you don't want to see it (laughs).
How about the jacket of Kaneko-san's single, on the other hand?
Kaneko:This jacket is just so comfortable to wear.
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¥52,000+TAX
Miyahara:Can you see at a glance that the center line of this button is off? This is the way jackets used to be worn in the past. This jacket is cutaway, meaning that the hem extends to the front. When a horse rider straddles a horse, it is difficult to ride if the hem does not spread out in front of the horse. So the hem is made to spread to the left and right even when the first button is fastened, and the second button is also placed off-center to match this pattern, so that the buttons can be fastened neatly. Like these specifications, there are many details that have been lost.
Are there any other details from the past that you recreate?
Miyahara:Yes, that's right. As you can see from the shoulder line, it is drawn on the back of the shoulder, and many jackets from the 1920s to the 1930s had shoulders like this, but many people did not like to see this line when looking from the back, so it was gradually moved to the front so that it could not be seen. So they gradually moved it to the front so that it could not be seen. This made it more difficult to move around, as there was less room around the shoulder blades. In short, the functionality was lost because people were concerned about the appearance.
The same goes for sleeves. The sleeves of the jackets I make have the seam at the front. Like the shoulder line, in the 30's and 40's, the sleeves are hidden further inward. This also results in the loss of arm mobility. The emphasis on visibility in each era led to the creation of the prototype for the majority of jackets today, but the jackets I make incorporate details that have been forgotten. This suits my way of thinking and the way I made this jacket. Of course, I do the same with "SAI," and I don't try to change it.
Kaneko:The striped fabric was chosen partly so that we could appreciate the excellence of Mr. Miyahara's patterns. Mr. Miyahara was able to take the style ideas we had and give them shape and functionality. We are very glad that Mr. Miyahara was there.
Ogi:The striped line of a British tradie flows quickly toward the inside of the shoulder, right? This is exactly what is embodied.
Miyahara:When you get to Classico, you show this more straight. However, this jacket is also not a gory british.
I think it's somewhere in between, as you mentioned earlier.
Miyahara:That's right. That part is Kaneko-kun and Ogi's sense, and I think it is an original part.
Kaneko:It's not as if you can get these things in second-hand clothing.
Miyahara:And it's not the right size.
Kaneko:Yes. That is why we have no choice but to make them. Designers around the world may be making what they want to wear, but I don't think there is anyone who has the basis for going to the trouble of creating such forms and details. So, I think we really have no choice but to do it ourselves.
I think people in positions like Kaneko-san and Ogi-san may be more likely to come up with such ideas than pure designers.
Miyahara:That may be so. There are no rules, and I think it was well done because it was born from a free idea.
I would like to ask you, Mr. Miyahara, did you immediately understand Kaneko-san's and Ogi-san's language?
Miyahara:I communicate with Hidaka, the designer at SAI, on a daily basis. It is my job to capture ideas, or rather, to give them shape by saying, "This is how it should look like. I try to process what I am told in my mind, whether it is abstract or concrete. So it was totally easy to do.
Kaneko:The experience is extraordinary (laughs).
Miyahara:I don't use a ruler when I draw patterns. Normally, I would use a round ruler, but I only use a straight line ruler and draw the rest freehand. I don't like to use a straightedge because it makes me look like everyone else. First of all, I only draw a reference line, and then I use empirical dimensions. These numbers are not in the textbooks, so all I have to do is output what I have cultivated in my own mind.
Ogi:Amazing....
Miyahara:Whether it is shoulder lines or armholes, I already have them in my head. If I try to draw them with a ruler, I end up with the same lines no matter how many times I try. I have an armhole for that shape, so I draw everything freehand once. I think that although I have achieved a very good result this time, by the time I do the next one, I will probably find myself saying, "I want to fix this part. That is the part that leads to growth, and that is what makes it so much fun. I am still learning.
Kaneko:Well, that's a little taller.
There was a scene in the video where you were particular about the width of the shoulders. Mr. Ogi said, "It would be better if the shoulders were a little more prominent. Even a few millimeters can make a big difference.
Miyahara:Yes, we did. We ended up widening it slightly.
Ogi:It's better to be a bit tacky. Many designer brands have shoulders that stick out too much, and I feel that the bigger the better, but for me, I wanted to settle on the perfect landing spot.
Miyahara:I like the shoulder width of this jacket, too. I think it's just right. I don't want the upper arms to bulge out, and I don't want them to be too dented. This one is really just right. The curve of the shoulders when you put it on is also nice.
Kaneko:It doesn't look deformed. It's more like it's held in place one step in front of that. I think I naturally focused on that sense of balance.
The length is also a bit long, isn't it?
Miyahara:Yes, I know. Recently there have been a lot of short ones, but to be honest, I'm getting tired of them. This one is about 75 cm, and it used to be normal for it to be this short. But they gradually became shorter and shorter, and at one time they were as short as 68 cm. But now, I like this length. I think we have settled on a very good form.
