ラグ & ボーンが考えるオーセンティシティという哲学。

ラグ & ボーンの哲学。次に目指す場所。

Philosophy and Future

ーここでいうオーセンティシティは、リアルとかアナログという言葉にも言い換えられるように思いますが、こうしたよりヒューマンな “実感” や “実体” への回帰は、テクノロジーが加速度的に進化する時代に対する反動でしょうか。

– The authenticity we’re talking about here could be rephrased as “real” or “analogue”, I think that comes to “humanity” in the end.  Do you think that the need for humanity is a kind of reaction to this acceleratingly evolving digital era?



Wainwright:I really don’t think the Internet is bad at all, but for example, in terms of jeans, when you put on a pair that’s the result of experience built up over long years, it gives you a completely different feeling from a standard, mass-produced pair. It’s an experience you’ll never have with clothes that wear out quickly.

Although it’s not absolutely essential the clothes be handmade, I think we as human beings are more attracted to things with a human element to them. When you spend a lot of time with technology, a certain desire for more analog experiences is born, and I think that’s related to wanting to experience your life in a more real way. That’s true for me personally too. I think that’s why people are seeking out luxurious experiences in food and travel rather than physical possessions.


– In that sense, jeans are more experiential because the more you wear them they get more beautiful fades.



Wainwright:That’s right. Authentic jeans just get better and better with age, and you have to earn it. If we look at things from a different perspective, I think that the people wearing these clothes need to avoid being passive and instead take the perspective of actively helping their denim grow and develop. Although we do make some jeans that undergo wash treatments, I personally only wear rigid denim.

If you wear them for about 9 months before washing, they develop an indescribable beauty. They have an imperfect aesthetic that you can’t get in something with washes with perfect measurements… Both for our jeans and for our campaigns as well, authentic doesn’t mean perfect, and in many cases it shouldn’t. Handmade shoes are the same way. If these items are too perfect, they got separated from the human experience.


– As your business grows, what is essential in order to maintain the balance between the business and the creative philosophy such as authenticity?



Wainwright:I don’t really know if I’ve achieved a good balance, but when I go to the office every morning, I’m proud of what we’ve accomplished. I think that means things are okay. Of course, sometimes compromise is important, and we’ve had many failures as well. When we’re forced to compromise on the elements that are most important to us, it’s a hateful and shameful feeling.

That’s a truly terrible thing, but on the other hand, understanding that feeling could be what helps us balance things between art and commercial success. We can’t control everything, and there are external factors that can destroy that balance. We also wanted to keep our products made in the United States, but after the factories we could trust all closed down, we were unable to do that. In spite of that, I think clinging to dreams like that is important.

ーでは、〈ラグ & ボーン〉にとっての理想的な “成長のカタチ” とは?

– So what it the ideal way of scaling the brand if there’s any?

ウェインライト:確実に言えるのは、成長することが目的になってはいけないということ。“成長のための成長” を目指してはいけないと常に自戒しているんだ。僕らは、アメリカにはすでに大きな市場があるから、これ以上の劇的な成長は求めていない。かたや日本ではまだ小さな存在だから、成長の余地は大いにある。自分たちの哲学とは何か、何がもっとも大切なのかをシンプルに突き詰めていけば、判断を大きく誤ることはないと思う。

Wainwright:One thing I can say for sure is that setting growth as a goal is something you should never do. I’m constantly reminding myself that we must never seek growth for growth’s sake. We already have a large market in the United States, so we’re not trying to expand dramatically beyond where we are now. However, our presence in Japan is small, so there’s still room for growth here. As long as we stick to our philosophy and what’s most important to us, I think we can avoid major mistakes in decision-making.

ー最後に、〈ラグ & ボーン〉が目指す場所を教えてください。

– Lastly, please share your ultimate goal that you would like the brand to achieve.


究極的には、ファッションというよりも、ポピュラーカルチャーの一部になれたらいい。ファッションを特に好きじゃなくても、誰もが服を着るわけで、そうした人たちがものを選ぶときに、美しいと思ってくれるものを作っていたい。その意味で、〈ラルフ ローレン〉は良き手本だね。ニューヨークだけではなくアメリカという広大な国で、人々の服の着方を変えてしまったんだから。

Wainwright:The types of clothing people want to wear changes over time, and fashion has a short shelf-life. In that sense, it becomes a battle against the times. To avoid being tossed around on those waves, I think it’s important to avoid framing ourselves in terms of fashion, and see things from a broader perspective.

At the extremes, it’s great if we can become a part of popular culture rather than fashion. Even if you don’t really like fashion, everyone wears clothes, so I want to make something people will find beautiful when they’re picking out what to wear. In that sense, Ralph Lauren is a good model. After all, his products changed the way people dressed not just in New York, but all over the vast landscape of the United States.


Marcus Wainwright
Born in the United Kingdom. After making a pair of jeans for himself in collaboration with the factory in Kentucky in the United States, Marcus launched rag & bone men’s line officially along with a friend from boarding school in 2004,  followed by the women’s line in 2005. Was awarded the CFDA Menswear Emerging Talent Award in 2007, and the Menswear Award in 2010. Opened a flagship store in Tokyo’s Omotesando district in the same year. With a faint infusion of trends and simple, comfortable clothing and shoes, he has used a unique approach and promotional advertisements which have gotten a lot of attention for their high sense of storytelling to build up a large base of customers in a wide range of age groups, mainly concentrated in the company’s base of operations, the United States.

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