A 20-year history of Osaka fashion with Bruna Boin. | feature

BRU NA BOINNE 20th Anniversary Issue

A 20-year history of Osaka fashion looking back with Bruna Boyne.

BRU NA BOINNE, based in Osaka, has long been a leader in the Kansai fashion scene, mixing work and military heritage from around the world with Japanese traditions and unique techniques at an equivalent value. To commemorate the 20th anniversary of the establishment of BRU NA BOINNE, we have invited some of the leading figures in the Osaka fashion scene for a special talk. The conversation was held with Mr. Tsuji, representative of the brand, Mr. Kimura, president of the pioneering Kansai select store "Loftman," Mr. Tani, director and buyer of the hot new store "IMA:ZINE," which opened in Nakatsu, Osaka the other day, and Mr. Kurokawa, who has a strong relationship with Native Americans and has been coordinating local coordination from a number of select shops. Mr. Ohno of "JEYOKA," a company that coordinates and buys locally for many select stores through its strong ties to Native Americans, was invited for a casual talk session over drinks. Four key persons will look back on 20 years of Osaka fashion with the history of Brunavoin.

Photo_Kenji Fujimaki
Text_Takehiro Hakusui
Edit_Yosuke Ishii
Special Thanks_OKONOMI YOSHIDA

After studying the basics of manufacturing at clothing colleges and planning companies, the two designers, Masahiro Tsuji (right) and Naoko Tokuda (left), established this domestic brand in 1997 under the concept of "Wearing this clothing, we are fiercely going down a road no man has yet traveled. The two designers understand each other's different sensibilities, and their unique worldview, which they have been creating for over 20 years, can be seen in the exquisite relationship between them in their back-and-forth exchanges.

Bruna Boyne" was started in Osaka, the capital of the west, by linking "blue," a color that has been familiar in Japan since ancient times, and "boin," the name of a river and a symbol of Japan's mother, with the Gaelic word for a place where many fairies live and the meaning of hope and eternity. While using standard materials such as denim and leather as a base, the brand continues to create casual clothes that are somewhat humorous and playful, while incorporating techniques unique to Japan.

Brunavoin has an office in the Donjike area, which has long been lined with textile wholesalers and is considered the heart of the Kansai clothing industry. Even now, 20 years after its establishment, many conceptual products are being produced from a corner of the shopping district that still retains the atmosphere of the Showa period.

Key figures talk about 20 years of Brunavoyne and the Osaka fashion scene.

Toru Ohno (left)
He used to work for a major select store in Japan, and after becoming independent, he has introduced many native products to Japan as a distributor based in New Mexico.

Atsuto Tani (middle left in photo)
He recently worked as a men's casual buyer for BEAMS, and upon his return to Japan, he participated in the establishment of the select store "Imagine" in Nakatsu, Osaka. He is involved in the direction and buying of the store.

Makoto Kimura (middle right)
He is the president of "Loftman," a select store that started in Kyoto and now has seven stores mainly in western Japan, and is one of the most knowledgeable people in the Kansai fashion scene.

Masahiro Tsuji (right)
Designer and representative of Bruna Boin, an Osaka-based company that focuses on men's and women's wear, bags, and accessories, and which celebrates its 20th anniversary this year.

Brunavoyne, a mysterious brand that suddenly appeared in Osaka at the end of the 1990s.

We would like to take a look back at the Osaka fashion scene over the past 20 years of Bruna Boin. First, let's start with the brand's early days at the end of the 1990s.

crossingWhen we launched our brand at the end of the 1990s, overseas production in China and Southeast Asia was the mainstream in the domestic market. It was during this time that I met a man who said, "Japan's clothing manufacturing industry is in decline, but we want to somehow rebuild it. At first, we produced aloha shirts remade from Japanese kimonos and "Awa Shoran" denim as items unique to Japan, because we thought they were the best we could do since we had no money and connections at the time.

woody plantationAt that time, we had not yet heard of the Bruna Boin brand. I remember our first encounter with the brand was at BE, a concept store launched by BEAMS. At first, I thought it was an import brand, and I couldn't even read the brand name (laughs). Later, an acquaintance told me that it was a brand from Osaka.

valleyAfter "BE" closed, I moved from Semba to Amemura and started a store called "BEAMS Street Shinsaibashi," where I came to know about "Brunavoin" among many Kansai brands such as "Ace," "Tutae," and "The Change Ring. What caught my interest more than anything else was the product names, such as "crisp white shirt," a unique name that immediately reminded me of the item, which was something I had never heard anywhere else.

large fieldI also met "BE". When the Shibuya store opened, there was a purchase of native jewelry, and you showed me around the area. At the time, I was close with the import buyer, but when I went to the store after the opening, the person who was the domestic buyer at the time recommended "Brunavoyne" to me, saying, "It's an Osaka brand.

crossingWell, the late 1990s was a time when brands from western Japan, not just Osaka, were very active. In particular, denim brands such as Studio da Lutizan, Ebisu, Doonim, Warehouse, and Full Count were at their peak, and I have the impression that such a trend was strong in terms of fashion as well.

woody plantationThat's right. We approached Mr. Tsuji because we wanted to make sure that the jeans in our store would not be replicas, but rather reproductions. We were looking for jeans that were not "XX-style" or "World War II model" jeans, but rather jeans that were uniquely designed. Awa Shorai" and later "Darla Pants" are good examples of such originality.

valleyI was still a student at the time, but when I think of the center of Osaka fashion, which was also our playground at the time, I think of Ame-mura. Before street brands from Tokyo made their way to Osaka, there was still a tendency for people to understand each other's individuality, which was nurtured in each different culture. As the media likened "Ame-mura" to a "human crossroads," the world was in the heyday of American casual wear, but it was a time of competition for originality that could not be found on the streets of Tokyo.

large fieldOsaka has such a tendency, not only in fashion. They don't like things that are the same as others.

crossingIt was a time when I personally dared not to be conscious of trends like trends. I disposed of my entire salable wardrobe at the time of establishing the brand. Of course, the reason for this was for money, but it was also to separate myself from the world's trends. It was a sense of loyalty to what I had created, or perhaps a reminder to myself.

Masterpieces of the 90's From BRU NA BOINNE

KIRE - SHIRT
This box-type aloha shirt was created in the brand's first period, as if to trace the origins of the original Hawaiian shirt, which is said to have been created by Japanese Americans processing their own clothing. Since these shirts are luxuriously reconstructed from silk kimonos from the Taisho and Meiji periods, they are of course all one-of-a-kind.

Awa Shoran
These masterpiece jeans were part of the first collection when the brand was established. The traditional indigo dyeing technique of Tokushima Prefecture's "Awa Sho Ai" is incorporated into the denim to express the unique fading effect of this indigo dyeing process, which is different from the common indigo rope dyeing process. The rivet work, which expresses the spirit of Japan, such as "Sho-mon-raifuku," "Maneki-neko," and "Sakura," is another highlight.

The 2000s saw the creation of numerous masterpieces and the domination of the Osaka fashion scene.

Then how about the 2000s?

crossingI guess it was the time when the number of people in the company began to increase and I was able to make a living making clothes (laughs). (Laughs) I guess that was when we started to become a national brand. I think the power of "BEAMS" and "Loftman" was a big factor.

woody plantationFrom a physical point of view, awareness of the company's services increased dramatically from around 2005, and the company's budget could no longer fit into the budget plan. It was around the mid-2000s that our staff began to complain that our supply could not keep up with demand.

crossingUntil then, we had only about two racks of items at exhibitions, but we were very bullish (laughs). I remember being severely scolded by a buyer of a certain company for my cheeky remark when he saw our products (laugh). A few years later, around the mid-2000s, the number of items increased at once.

valleyYou were angry (laughs).

crossingYes, yes (laughs). That was around the time of the first Brunavoyne rebellion in the early 2000s. Then our strong style continued for a while (laughs).

all of us(Laughter)

woody plantationWhen I went to my first exhibition, I was told in no uncertain terms that "we don't like lofty men. I have never been so nervous at an exhibition before or since (laughs). (Laughs.) But I became aware that I wanted to do business with people who were that outspoken.

large fieldI had heard rumors, too, so I didn't really want to meet Mr. Tsuji (laughs).

crossing(Laughter). But why did they start selling? (Laughter)

woody plantationThe replica boom that had been going on since the turn of the century had just died down, and people started looking for the next thing, and I think Brunavoyne caught on. The mix of items was unique, and the Kansai market was particularly receptive. When we released the "standing parka" item at the time, it sold in tremendous numbers, and you could always see it on the streets every day. The number of people wearing "standing parkas" with "Dara pants" and Patagonia's "Retro X" began to increase rapidly.

valleyYes, it was. At that time, there was still a tendency to look down on brands from Tokyo. I could see that there were more than a few users who wanted to support the brand because it was from Osaka, or at least I think I was one of them. In addition, in the heyday of American casual, the unique eroticism or glamour of "Darla Pants" was seen as fresh. I remember that when "Happy Denim" was released later, the inquiries to the stores did not stop. It was also around that time that inquiries about the brand's iconic ladybug pins increased.

crossingThat may be so. Well, since the establishment of the brand, the item I have made the most is those ladybug pins, and I don't know how many tens of thousands I have made (laughs). (Laughs.) But since then, things have gradually become easier. I still keep a certain distance from the fashion trend, but it was also a time when I became less concerned about the voices of those around me than at the beginning.

valleyIn addition, based on fashion trends, the 2000s was a time when playgrounds were changing. The Ame-mura area, which had been the center of the fashion scene until then, was gradually changing, and there was a big change on the streets with the opening of new stores on Orange Street (in Horie) by the so-called "backstreet" brands from Tokyo. For example, Brunavoyne's "Lula! Boola! shirts" were making their big breakthrough. At that time, many of the customers of Brunavoin in the Osaka area would visit Loftman in Kita and then come to BEAMS in Minami.

crossingTani, you haven't been back to Osaka in a while, right? How has the scene changed compared to Osaka back then?

valley Frankly speaking, I don't think there is a time difference between Tokyo and Tokyo, especially for kids, since the Internet has made it possible to view collections in real time. However, I feel that there are many opportunities to meet people in Tokyo.

crossingI see. But from my point of view, I think you are too conscious of it. To be honest, I have to maintain a certain distance from trends.

valleyYes, I am. I am afraid...

Masterpieces of the 2000's From BRU NA BOINNE

Happy Denim
The brand's first five-pocket remake was released in the 2004 AW season, when the concept of denim processing was not yet widespread. The masterpiece can be said to be the template for the remake jeans that followed, with its innovative and pop ideas, such as the use of multicolored stitches instead of the usual "tataki" along the fading of the body.

Archive denim etc...
Since the success of "Happy Denim," remade jeans have become synonymous with the brand. The concept of "denim = canvas" is used to showcase different ideas and unique approaches each season, such as indigo shading, tataki, patching, and so on.

Turner jacket
Inspired by miniature figure shirts, this B.D. type shirt jacket debuted in 2000. The material has changed each time it appeared (wool carpet → various leathers), and this model is the first leather version (mountain goat) specification released in the 2004 AW season.

Lula! Bulla! Shirt.
Model name Lula! Boola! is a Gaelic word used when friends are having the best time together, and is made of high-density textile with innocent illustrations of a 4-year-old girl's imagination dancing. Also in the 2008 SS, Lula! Boola! shorts were also released. At the time of its release, it was a big breakthrough, partly due to its appearance in a magazine from the Kansai region. Inquiries poured in from customers.

Ladybug Pins
The pins, which are full-size replicas of the seven-star ladybugs that bring happiness, are iconic items from Brunavoyne. When attached to clothes or bags, they look as if a real ladybug is perched on them. The material used is luxuriously 925 silver.

He continues to follow his own path even after 20 years, without pandering to trends or culture.

Finally, the 2010s.

crossingWe learned from our seniors that fashion goes through a 10-year cycle, but if you ask what has changed in the 20 years since the brand was launched, I don't think there has actually been much change. On the other hand, I think the cycle itself has shortened to 6 to 7 years, but I don't have the impression that anything in particular has stood out.

large fieldFor me, it has been a surprisingly fruitful 20 years in which the positions of imports and domestics have switched. Since I am basically of the import generation, I may tend to focus more on the overseas scene than the domestic one, but I think that the biggest event in the past 20 years was the appearance of Japanese brands in overseas select stores. In other words, there has been a major reversal in the market over the past 20 years. Moreover, I believe that people are now paying more attention to domestic brands that stick to "made in Japan" rather than "made in the USA" by Japanese designers.

crossingI see. I have long been opposed to import pandering, but I have never thought that I wanted to develop "made in Japan" products overseas. However, as Mr. Ohno says, there are fewer and fewer good factories and fabric makers. It has become really difficult to make products that will last only in Japan, and in fact, things are not selling well....

woody plantationIf I were to ask whether there has been anything outstanding in the Kansai fashion scene, including Osaka, in the past few years, I don't think so. The fashion cycle itself has become shorter, and there has been no major change in tastes or lifestyles.

crossingHowever, I think that clothes have become more and more culture-oriented in the past few years. I dislike this trend, so maybe I think so more. Fashion should be distinct from hobbies and culture, and should have the freedom of art. I have loved Comme des Garcons since I was a student, but that is only because it is "fashion. For example, if Rei Kawakubo became addicted to surfing, would she still make products after passing through surfing?　I don't think he would.

valleyYou are right.

crossingThe number of people who support me has only increased a little, and I have just been making what I want to make for the past 20 years. Therefore, I don't think anything has changed since the brand was first established, and now I feel that I don't need to conform to the world. After all, it is fashion, so it is important to express originality, and I think that if you are confused by trends and culture, it will only become boring.

Masterpieces of the 2010's From BRU NA BOINNE

OWL Jumper
This is a hit model that debuted in the 2016 SS season, featuring a motif of so-called "skajans" with playful embroidery of owls and roses. Since then, it has been developed several times in different color schemes, such as event sp. The reversible lining features a crazy fruit pattern, an original take on the pattern seen on aloha shirts.

jacket with team's logo
Based on the brand's standard denim jacket "Darla Denim Jumper," the design of the past velour Scajan-like item "Treasure Jumper (2008AW)" is reproduced entirely by hand painting by craftsmen. This season's 20th anniversary model with an assortment of antique buttons. ¥60,480

By disposing of their own wardrobe at the time of establishing the brand and daring to distance themselves from transient trends, they sought to return to the freedom that they should have had. Their determination has borne fruit over the past 20 years, and the brand has grown to attract attention not only from the Osaka fashion scene but also from around the world. Designer Tsuji says, "In the end, it's all about fashion. This is a perfect embodiment of the attitude of the "Brunavoin" brand, and at the same time, it seems to me that it is also a statement of new determination by designer Tsuji, who is concerned about the current state of the fashion scene.

Bruna Boin Tokyo
Address: 12-9 Daikanyamacho, Shibuya-ku, Tokyo
Phone: 03-5728-3766
Hours: 12:00 - 21:00 weekdays
Saturdays, Sundays and holidays 11:00-20:00
Bruna Boyne Official HP:www.bnb.co.jp
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