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.
This time in the third episode, we will focus on the material and pattern production.
On the back side of uncompromising manufacturing, there is a love for materials, an unwavering way of thinking, and gratitude to the people involved in manufacturing.
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.
The fabric that is made according to the concept every season is all original and developed.
--- Please tell me how you think about fabric and leather in creating works based on concepts and season themes.
Naturally, if you are always thinking of making something better, you will realize that you cannot express it with what you are given or existing things, so you will inevitably end up there.
It's a big part of the season theme and the design that expresses it, so we have no choice but to create something that we can express ourselves.
As long as I'm involved in creation, I don't think 100% will always be attainable, but I'm developing original fabrics to bring it as close as possible.
Tateishi (pattern maker)
And every season, I do my best to make it, but next season, I realize that I want to do more and that I can do better.
In other words, 100% last season will be the minimum standard for the next season.
In that sense, fabric development is an important factor for us.
As for fabrics, dyeing, and processing, the number of products using new methods is increasing with each season, which is only natural because we believe that we must constantly evolve to create new products.
--- It is one of the obsession with expression.
The theme we think about and the design that expresses it is a little special, so we have to make it by ourselves, but fortunately there are manufacturers and craftsmen around us who understand it and associate with us, and they help us.
People involved in our work sometimes say, "I think it's interesting, so let's try it," even if it's a wild demand or something we're trying to tackle for the first time, or they give us a lot of suggestions and advice to put our ideas into shape.
They may fail, but they will persevere until they are satisfied.
We are grateful that we have been able to build a relationship with these people.
--- Because we have a relationship of trust with craftsmen in each field, we are able to make products with this understanding.
After all, I think that's the most important thing.
We place importance on face-to-face conversations with craftsmen, and we believe that close communication can build such a relationship of trust.
Rather than collaborating, we both enjoy making them.
We have had a good experience every time, and we would be happy if the experience gained in this work is reflected in the manufacturing of the people involved.
--- Do you also collaborate on material development with design?
I have been working on it mainly by getting ideas from Sadakane and getting my opinion on them.
But I won't say that much about the design that doesn't involve patterns.
In that sense, the percentage of my involvement in this field is small.
It is clearly shared among us that he is a designer and I am a patterner, so I will say my opinion, but ultimately I will respect his opinion.
The attractiveness of leather and endless inquisitiveness.
The signature item leather has been developed originally from the beginning.
--- The signature item leather is also originally developed from the first collection.
Even before we started the brand, we decided to focus on leather, and then we decided to make original leather.
In general, I think it's normal to buy leather from wholesalers and use it, but if that's the case, we can't express what we want to express and we can't differentiate ourselves.
--- So we tried to develop it ourselves.
Is the know-how of the previous job utilized for that?
The original purpose was to deepen the knowledge of leather and to be able to develop it, so the experience in the previous job has been utilized in many ways.
I was able to meet people who help us with everything from tanners to strainers, and also understand what we need to do to do what we want because we have experienced everything from the purchase of leather to the commercialization.
--- Sadakane has always said that he likes leather.
After all, there is a simple feeling that "I like leather" at the root.
I myself was interested in music before clothes, so all the musicians I liked at that time wore leather jackets, and when I started to be interested in motorcycles, I longed to see bikers wearing double riders.
Everyone who thought it was cool was wearing leather, so I was imitating it, and the feeling I felt at that time still continues.
In addition, for example, the material of racing suits used in the world of sports racing where one second is required is leather.
Leather is the first thing that people came to wear, and it is the leather that people who live in the extreme world even in the most modern world wear.
Isn't that great?
Leather was one of the first materials used by humans for clothing, and it is still recognized as a special material even in the age when we can make clothes by recycling high-performance materials and PET bottles.
Also, as we develop our own products, we feel that they may differ from fabrics.
For example, while cotton and wool have certain limits, leather has completely different expressions when tanned and dyed, not only because of animal differences, but also because of differences in age, origin, thickness and hardness.
Are you saying that you don't see the limits? There are many new discoveries in the future, and you don't know how many of them there are. It's interesting and attractive that there are still possibilities.
--- Mr. Tateishi, where do you feel the charm of leather?
The charm of leather I think is special.
I think leather items have a sense of treasure.
Even hard leather jackets tanned with full vegetable tannin will soften and adapt to the wearer's body as they are worn, and can be worn through maintenance.
You can enjoy the change of leather that only the wearer can express, and you will become attached to it as you use it.
These are boots, wallets, anything.
Making leather items unique to oneself is a part that cannot be enjoyed with fabric, and I feel that it is the greatest attraction that leather has.
Our leather items are not finished when they are delivered to the store, but they are made with the idea that they will get closer to the finished shape by continuing to wear them after they are purchased.
Leather items are difficult to make compared to other materials, and that's why I feel it's fun to make them.
Above all, I feel that the atmosphere of special clothes will naturally be created.
The tensionism of the concept is also a special material for us in the sense that it is easy to convey.
The check at Towal is one of the important works to shape the design of D. HYGEN.
--- You mentioned that there are patterns in the design, but what do you think about when you make it?
Even though the pattern is included in the design, the first thing I want to do is to faithfully reflect Sadakane's idea.
I put more importance on data based on numbers than on the senses, but for the silhouette I want to make, there is a range of numbers in each part to express it.
Based on these figures, we will create a silhouette by adding them to each part.
The numbers are adjusted little by little from within a certain range to complete the final silhouette.
In addition to that, we will weave techniques to shape the image even in the visual part.
For example, you can make it look like it's shaped just by putting a switch on both sides of the clothes with a line at the center of the back on the back.
I also do that because the impression is completely different just by adding a switch line.
--- The size balance is also finely adjusted every time.
Do I adjust it here too?
As for sizing, we will make fine adjustments in the twirl and sample stages, so the final decision will be made a little later.
However, due to an increase in the number of shops that handle it including overseas development, we have adjusted the sizing more flexibly than when we started.
We create new patterns by examining past works while taking into account the opinions of our customers and the changing times, and then repeating trial and error.
He writes directly on Towal, and decides the shape by making many corrections.
--- It is an idea that the basic method based on numbers will not be changed while adopting useful things.
We believe that high quality clothes must be made by combining materials, sewing, functionality and design.
If we prioritize design, it may lead to the loss of functionality. To prevent that, we value not to change the way we do things.
It's important to make what you want to make, but if you change the way you do it every time, I don't think there will be a sense of unity as a brand.
It's not good if the craftsman can't sew it, and it's also not good if it can be sewn and soon come off.
In addition to ensuring the quality of clothing, we never lose the sense of adding complicated structures.
It is a part that is related to the image as a brand and the quality as clothes, so I am careful not to let the way to do it change.
Needless to say, it is also important to sew, so we always keep in mind how easy it is for sewing craftsmen to sew and how to make a curve for what we want to express.
--- Does the fact that we make samples by ourselves have a meaning of such confirmation?
I still make about half of the exhibition samples.
This also means that when we create the finished design and pattern, we sew samples to check if they are functioning as clothes.
We don't have the technology to actually sew products.
Because we ask people, we can't ask the craftsmen if we don't understand, so it is a necessary process to make what we want.
More than half of the samples were made by themselves.
We will make it without sparing any effort for confirmation.
Next : coming soon