The day before the shoot, it unexpectedly snowed...
As for the visuals, what kind of crew did you use for the shoot?
This is the team that I always work with at Vinyl Archive. The styling is by Yohei Usami, and the photos are by Jiro Konami.
Conventionally, we have a strong image of shooting in the city, but this time we are shooting in nature.
We shot in Los Angeles, partly because I simply wanted to go there (laughs), but also because I wanted to see pictures of simple urban items shot in nature. However, the shooting was in December, and I had to shoot spring/summer visuals at that time of year. I wanted to create something that would make the viewer think, "What? It would be meaningless if we didn't make something that would make the viewer think, "What? I wanted to create something that would be memorable.
Did you have a certain amount of direction in mind before filming?
We always speak only in broad strokes. If we are too rigid, we lose the freedom to do what we want. We had an idea of where we wanted to go, but it snowed the day before the shoot... (Laughs). It was a good thing that we happened to have a small group for the shoot. If we had had a larger group, there would have been a lot of opinions flying around, and the content of the shoot might have been fundamentally changed.
It was impressive that the film was shot in nature.
I have photographed my own brand in nature once upon a time. Mr. Onami is a person who can shoot both in the city and in nature. He and I are the type of people who look at the whole picture without focusing on the object, so I would be happy if you could get a sense of the atmosphere.
I feel a little more mature.
Looking back on this project, do you have any thoughts?
There was a lot to learn. At first, I think we were both trying to figure out what each other was looking for. As time went by, we gradually began to get a feel for each other. We also created the fall/winter collection after that, and the design process went very smoothly.
It was a good experience for me because I had never worked on a project of this scale with another company's crown before. I think a good designer can move forward while leaving some things to others, but I was tempted to do everything myself. I regret that I was not able to do that well.
Did you gain anything?
That will be from now on. I can't say until I see the reaction of customers. But I think I am now able to design more widely than before. I have always been self-taught and rebellious... (wry smile). Well, I feel like I have become a little more mature.
Please let us know what to expect after the launch.
I hope it sells well (laughs). As I mentioned earlier, the "Vinyl Archive" is a focused production, but this time, while including the smell of our usual production, we are approaching a new market, so I would be happy if people who are not familiar with the "Vinyl Archive" could pick it up.
For a wide range of people, young and old, men and women.
Yes, it would be great if it did. That would be great. Lately I've been looking at the packages of candy makers a lot. I often wonder why they are selling so well. I think about it while looking at them. On the other hand, I don't look at clothes at all anymore. I'm afraid I'll imitate them (laughs).
Do you think this project will have an impact on the design of Vinyl Archive in the future?
Yes, when I think about the development of a season, I tend to want to make a variety of products, but if I take this opportunity to design on a different axis, I can organize in my mind what I can make and what I want to make, and I think I can concentrate my worldview even more. I guess so (laughs).
