A new form of BIG YANK, expressed by nine experts in the field. CASE6: Susumu Hasegawa (Yoshida Kaban Planning)
The second collection of "The Third Edition" by , which started in the spring/summer of 2016, has been released. This is a collection in which "BIG YANK," which reissued under its actual name in 2011, collaborated with creators from various genres, including not only clothing designers but also musicians, barbers, and vintage clothing store owners, among others. The number of participants in the previous exhibition was five, but this time the number has been scaled up to nine. The products that each of the designers has created, which they feel bring out the charm of "Big Yank," are all products that cannot be found in in-line workwear. Let us analyze the whole picture through interviews with the participating creators.
For this edition of "The Third Edition," a talented designer in the bag industry is also participating. Mr. Hasegawa is the director of the planning department of Yoshida Kaban, a leading bag manufacturer in Japan. He has collaborated with many famous brands, including the standard models of his own label, "PORTER. Mr. Hasegawa's proposal this time is a shirt that is simple yet full of functional beauty. We asked him about his particular approach, focusing on his unique perspective as a bag designer.
The fascination of workwear through photo books
First of all, how did you come to know about Big Yank?
HasegawaWhen I first joined "Yoshida", my seniors taught me various photo books as reference materials. Then I came across a photo book by Walker Evans, and I realized anew how cool workwear was. These are documentary photos taken during the Great Depression, so they are not exactly happy-go-lucky, but the way the workwear is worn is really cool. If you look closely, you can see that they are wearing chinstrap work shirts in a very realistic way. That's when I realized that prewar workwear designs were unique. I felt that "Big Yank" was an extension of that. At that time, if you went to a thrift store, you could still get those kinds of coveralls with chunky buttons and work shirts with chin straps for cheap.
The Museum of Modern Art, a collection of photographs by American photographer Walker Evans, published in conjunction with a retrospective exhibition at the Museum of Modern Art (MOMA) in New York in 1971.
It was a time when information was scarce, and that was a boon. How long ago was that?
Hasegawa: I was 19 when I joined the company, so it was about the mid-80s. But it was only a few years before I could buy them cheap. After that, before I knew it, I was in the showcase of thrift stores. I bought not only bags, but also a variety of clothes as samples. Prewar workwear is really carefully made. I think what Big Yank is doing is really hard work. If you think about production efficiency, they usually don't do such detailed work.
You know what you're talking about, and your words are very persuasive. What in particular attracted you to BIG YANGKU?
HasegawaAfter we received this offer, we were shown the design drawings of the cigarette pocket (mountain pocket), which has become an icon of "BIG YANK", at the meeting. I was surprised that it was more detailed than the instructions we usually write. I was really impressed by the detailed drawings, which were based on the image of a person actually inserting his or her finger into the pocket. Fashion is important, but the functionality of workwear, such as strength and ease of use as a tool, is definitely more important. That is why the workwear of the time was designed thoughtfully as one of the tools of the trade. I could relate to this aspect to bags, and I was very much inspired by it.
The "big pockets" are a well-thought-out detail that has been updated for a more modern look.
BIG YANK × Susumu Hasegawa（YOSHIDA & CO.,LTD.） 1942 BIG POCKET ¥20,000＋TAX
What did you reflect in this project?
Hasegawa: When I saw the detailed design drawings, I realized the appeal of the cigarette pocket. So I wanted to make the most of this pocket. As you can see when you use it, the gusset is designed so that you can put things inside the pocket, and also so that you can easily take out what is inside by pushing up the gusset from the bottom. The shape of the mountain pockets is also designed to make it easy to open and close the buttons with one hand. Although America has an image of being rough and ready, they actually put a surprising amount of thought into their products.
The design of the mountain pockets is often associated with design, but the design was based on practical use, wasn't it? The shirts you made this time have pockets of different sizes than usual, don't they?
HasegawaThat is the most important point of this project. I modified this pocket, which is so wonderfully functional and beautiful, to fit my own lifestyle. First of all, I wear glasses, so the pocket is deep enough to hold them and wide enough to fit my favorite "Yoshida" notebook. I also use a lot of pens, so I added a pen slot, which can also hold an iPhone.
The dimensions are adjusted to the millimeter so that the actual glasses and notebook you use will fit in your pocket.
A mountain pocket that can be easily opened and closed with one hand. Designed to be large enough to easily accommodate eyeglasses.
I digress a bit, but I was surprised at the instructions that Mr. Hasegawa prepared. It was carefully and meticulously written...
HasegawaThis is a sheet of graph paper that is used to draw the pattern for the bag. I always use this grid to plan my projects, so I wrote the specifications for this shirt on this sheet of paper. I paid particular attention to the size of the pockets.
A pocket pattern diagram drawn on a grid sheet of paper. The instructions are as detailed as a blueprint.
By the way, what kind of jacket did you bring today?
HasegawaThis is a US Navy summer flight jacket that we prepared as a fabric sample when we made the shirt.
The M-421A was issued to the US Navy during World War II. This cotton flight jacket was developed for the summer, and is commonly known as a "summer flight.
Another fashionable flight suit. Are these your personal belongings?
HasegawaI think it's a good idea. However, I am afraid to wear it because it might fall apart after washing (laughs). I used it as a fabric sample for this project. This is too thick for a shirt, so I chose something a little thinner and shinier.
A simple shirt that embodies functional beauty
In what situations do you expect to wear this shirt?
HasegawaI had the length made shorter than that of so-called "workwear" because I was conscious of wearing it in everyday life. I also made the stand collar a little lower to suit my taste. The fabric is just the right thinness, so it can be worn alone in the warmer months or as an inner layer in the winter. The pockets are designed to hold not only glasses but also heavy-duty sunglasses, which I think will be useful when driving a car. In addition to a notebook, it can also hold a passport, which may be useful when going abroad.
Are there any other points you would like to make?
HasegawaI was impressed by: the storm cuffs. I roll up my arms at work, so this detail is very useful. You can tell that BIG YANGKU really pays attention to detail in their designs. This kind of functional simplicity is hard to find.
Storm cuffs with no opening at the cuff. The cuffs are shortened so they fit nicely when the sleeves are rolled up.
Because you pursue functional beauty, you also understand the pains of production.
HasegawaThe more I look at and use Big Yank's mountain pockets, mess pockets, and storm cuffs, the more I am impressed with how well thought out these details really are. They are all designed for quick one-handed operation, and they are also calculated to be easy to take out. One thing that makes them different from bags is that they are worn on the human body, so they are also designed to dent inwardly. Bags do not have such a premise, so the approach is different. Including this point, I was able to discover many things this time, and it was a fun job.
Susumu Hasegawa
Yoshida Kaban" project. He started working at Yoshida Kaban as a part-time employee when he was a vocational school student, and officially joined the company in 1984. He has been a hit maker in the bag industry since the 1990s, creating various hit products by making use of his personal connections.
