D.HYGEN Interview
[Fourth Chapter] The future of the brand and the response I felt at the Paris Collection
4.22. 2021

This is a designer interview plan that focuses on the creator's ideas and brings you to the back of creation.

This time, D.HYGEN is based in Osaka.

Exhibits were held both in Japan and Paris at 2019SS. What did they find after their presentation in Paris?

I also asked about the future prospects of the brand.




D.HYGEN has for concept「「STRAINISM」= linked to the concept of tension principle.」under which their products are made with a basic style disassembled and reconstructed.

And making them into "real clothes" that have a very beautiful and unique aspect.

The leather is tailored according to a special technique, to which metal parts are added to create this industrial, cold and hard impression that make the uniqueness of these products.


D.HYGEN was established in 2016 by designer Sadakane and pattern maker Tateishi.
After many twists and turns, the two of them, who met in their childhood when the origin of creativity was nurtured, in their student days when they were greatly influenced, and in their professional student days, established a brand and released their first collection.
This is the first time the two of them, who have never shared their profiles, have shared their history.

One at the Paris exhibition.
The response and challenges, and the two harvests, have brought about positive changes in the brand's creation.

"The feeling and awareness I got in Paris changed my creation."

--- We had an exhibition in Paris relatively early after we started the brand.
What did you think when you first joined?

Sadakane (designer)

I had expectations, but I was more anxious than that.

I had heard a lot about it from my acquaintance's brand, and I felt it was difficult, and I had no idea how our works would be evaluated.

However, I really wanted to see if our manufacturing skills would work, so I decided to take part in Paris with half the momentum.

--- Did you get any feedback when you actually participated?


We have participated 4 times since we started presenting in Paris at 19 SS, and thanks to you, the number of shops handling it overseas has increased since we joined first, and the order has increased every season.

From the perspective of global trends, while we are creating something with a totally different taste, we were able to recognize that "There are people who are watching, people who are evaluating.", which gave us confidence that we can compete.

An object that expresses the theme of 20 SS "carbonization-carbonization phenomenon".
The complex pattern is made of charcoal wood.

--- Have you had any influence on your work since you joined Paris?

Tateishi (pattern maker)

Japanese and foreigners have very different physiques and climates compared to Japan, so there has been a big change in sizing and how to choose materials.

Up until now, I was very particular about expressing the concept, so I thought it was slim and didn't use stretch materials as I listened to the opinions of local buyers, my thinking changed to the point that it is necessary to incorporate such materials in order to balance expression and functionality.

It was a very good experience for us to hear various kinds of information such as the physical size, preferred size, feeling of wearing, and climate of the customers in each country.

Another thing I learned was how to create a world view at the exhibition stage.

In Paris, buyers are coming from all over the world and there are a lot of people who have never met before, so we have to get them interested in how they get interested in Paris at the invitation stage.

When I went to see exhibitions of various brands and listened to their stories during the period, I felt that it is very important to make the season and the world view of the brand firmly, that is, to show things other than clothes.

It was a place for people to see the works, and at the same time, it made me realize again that the brand itself needs to be seen.

In that sense, it had a positive influence on the brand's way of thinking outside of clothes, and I think that flexibility in the way of thinking has greatly expanded the range of creations.

Leather is popular overseas.
They feel that their uniqueness leads to strong sales.

--- The harvest was big by being exposed to the eyes of foreign countries including the ones that were recognized again.


Also, one thing I found interesting was the fact that the taste of the products that buyers get in their hands is completely different in Japan and overseas.

While many brands are exhibiting during Fashion Week, what you look for at the exhibition is something that your country's brands don't have.

I'm not interested in what my home brand can do.

I am choosing and looking for something unique and interesting, and I feel that such things are appreciated overseas.

--- For example, where did you feel it?


As for the items, I heard that there are many orders from overseas for leather products and the response from customers is good.

I am proud that there are not many of them in the world, and I wonder if they will pick them up because they want to buy them even if they are expensive.

As for gloves, I think there are a lot of cultural differences, but in Japan, there is no custom to wear them as a culture, but overseas, especially in Europe, there is such a custom as a culture, so I was able to feel such a difference by using leather gloves for fashion coordination.

The future of the brand that the two imagine.

Mr. Sadakane shares his thoughts on the future.
I want to make something more special.

--- What is the direction of the brand going forward?


As a brand, we intend to continue what we have been doing.

I don't intend to change the philosophy in the concept, but I would like to create products that exceed expectations in a good way by what kind of expression and what kind of thing to propose, and I also want to show the value of really good things again in a situation where there are many products.

--- If you want to show the value of really good things again, what are you thinking, for example?


My personal opinion is that there are about 40 types in 1 season now, but I would like to create a collection that focuses only on extremely high quality items such as 10 types.

At the moment, I think it's still a long way off, but if we can create a system that can confidently propose such things, we'd like to create something that can't be copied anywhere else.

I believe that there is nothing that cannot be done, and as we continue to maintain our brand in the future, we will strive to create better products.

We are making what we call niche products, so rather than increasing the number of products, we would like to propose something special to each person who likes our products.

Mr. Tateishi also seems to have a strong desire to pursue quality.

--- How about Mr. Tateishi?


Basically, I agree with Sadakane, and I want to improve the quality of my work more than before.

I think I can make it better than now, and I want to continue making things without being satisfied.

I wonder if new discoveries are spreading in the future, and I want to see them.

--- It is similar to the brand concept "STRAINISM".


We would be happiest if we could create products with a sense of tension and make our customers happy even a little.

For that reason, we want to continue manufacturing on the front line with a feeling of enjoying challenges.

If you are satisfied with the current situation, or if you continue doing things somehow, you will not be able to create works that will resonate with your heart.

Pay attention to the future of the brand.

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