ÉQUATION PERSONNELLE with L'ECHOPPE Equation for tailoring major sevens. | feature

0. A brand linked by three people living in different times.
1. Clothes that have nothing to waste.
2. KMTK loop. Fictitious specifications. World's first detail.
3. Japanese clothes have gaping backs.
4. Equation for tailoring major sevens.

section 0 A brand linked by three people living in different times.

Please start by telling us about your relationship, or rather, how you met.

Toyama: I first met Mr. Mori at a dinner called the "Little Old Man's Club" with Mr. Tokito Yoshida, who was active as an editor and designer.

Kaneko: Was it about 20 years ago that you met?

Toyama: It was probably around 1997-98. ......

Were you already in the apparel industry at that time?

Kaneko: That's right. I think it was just when I had just transferred to "Edifice.

Forest: I also came back to BAYCREW'S and worked as a designer for 12 to 3 years, which was a little overlapping with Kaneko-kun.

Kaneko: I was a sales associate, so I was not directly involved. ......

Forest: But we had talked a few times. I remember thinking how great it was that Kaneko-kun was about 24 years old, married, and had a child.

Kaneko: I'm embarrassed that we talked about that. ...... (laughs).

Q: Were you in charge of design at BAYCREW'S from that time?

Mankyo Mori / Photographer, Clothing and Interior Designer In 1977, he participated in the launch of BAYCREW'S. The following year, he became an independent advisor for several companies, working in pattern making and original shirt production. In 1985, he returned to BAYCREW'S as a designer and launched "Etoff" and "Eccassion Personnel". In 1998, he signed a contract with World Co., Ltd. and launched his own brand "Dress Terrier".

Forest: At that time, wholesale was still a large part of BAYCREW'S headquarters. I was designing men's clothes while teaching the planning staff.

Q: Did you actually see Mr. Mori's clothes around that time?

Shuhei Toyama / Clothing Critic Born in Tokyo in 1951. After working as a magazine editor and newspaper reporter, he became a fashion critic. Based on his wealth of experience and knowledge, he believes in "buying, trying on, and writing about clothes. His books include "洒脱自在, Ōtona to chic ni kosatsu ni tsuite hon (洒脱自在, chic as an adult, chic with clothes)" (published by Chuokoron Shinsha).

Toyama: That's right. Mr. Mori is an interesting and profound human being, and once I got to know him, I was drawn more and more to his humanity, and I became a Mori sympathizer. From there, I began to appreciate the quality of the clothes that Mr. Mori makes. Now,When I look at my wardrobe, 70 to 80% of my clothes are made by Mr. Mori. I like him that much.Tailored suits and jackets are great, and this French Surplus-like casual design is also my favorite. Since Mr. Mori is a photographer by profession, I go with him to apparel exhibitions, and even there, people in the industry say to him, "I still love those clothes! I'm still wearing that dress!

Forest: I really appreciate it (laughs).

Toyama: I am still wearing the clothes that Mr. Mori made, which are still considered "masterpieces." Mr. Mori retired from the fashion industry and had not designed clothes for many years, so I always had a desire to wear the new designs that he made. I always had a desire to wear the new designs that Mr. Mori creates. Then, Mr. Kaneko revived "Eccasion Personnel," and I was really happy (laughs).

It's like a "ferry crossing.

Toyama: I'm sure there are many people out there who, like me, are thinking "I've been waiting for this! I think there are a lot of people who are thinking, "I've been waiting for this!

K: Did you actually see the clothes that Mr. Mori made in real time?

Keiji Kaneko / L'ÉCHOPPE Conceptor Born in 1973. After working as a buyer for the select store Edifice, he became independent and launched the select store "Reshop" in Aoyama in 2015. This year, "The Recreation Store," an exclusive store for "Outdoor Products," which he directed, opened.

Kaneko: Yes, I had seen it. Even before I joined BAYCREW'S, there was a store that selected "Eccasion Personnel," and I found it at a store called "Western" in Kichijoji, which I frequented at the time. I found out about it there when I was in my early 20s and bought it. Later, I happened to drop by "Edifice" and saw it, and I later came to know that it was an "original here.

Forest: So that's how it all started. I was also born in Tokyo, so I have been going to Western since junior high school (laughs). (Laughs) Western is a very important store in Tokyo, and it is the root of denim and jeans sales. The president of the store is well versed in "Levi's" and "Lee," so it is a store that has fostered the culture of denim and jeans since the Showa period.

Did you go to Western knowing that it was such a historic restaurant?

Kaneko: I had been going there since I was in my late teens, but I didn't really know what it was about, but I felt that it was a very nice store, It was the store that led me to know about authentic things.

When you first launched "ECCASSION PERSONEL," what was the concept and theme you had in mind?

Forest: I didn't have a theme to begin with (laughs). I met Mr. Yu Kubota, the current chairman of BAYCREW'S, and together we launched BAYCREW'S. At that time, surf fashion was at its peak in Japan. At that time, surf fashion was at its peak in Japan, and Toyo Enterprises was the mainstream domestic brand. But we liked imported goods. So we would go to Yokosuka and other places looking for American stuff, and wear the clothes we got there to parties on the weekends, ....... It was strange for someone from that kind of culture to be making domestic clothes.

Forest: At that time, the term "select store" did not exist, so it was called an "import store. At that time, people thought that imported goods were cooler than they do now, but Mr. Kubota wanted to make original products. At the time, I was the only one who could design, but I didn't know any fabric stores, so I had to go directly to the factory. I would go to Nippori to buy floral fabrics that were sold by weight. At the time, B-quality Liberty print fabrics were flowing in, so I would buy them and make shirts that looked like "rain spooner. I also sewed with an industrial sewing machine, made about 10 to 20 garments, and then went to BEAMS and Miura & Sons (now Ships), which had been established at the time, to spread my work. So, to be honest, I didn't have a concept or anything for making clothes. I just wanted to make clothes like "Rain Spooner" and "Sergio Tacchini," which were popular at the time.

Toyama: Perhaps to say more would be misleading (laughs).

Forest: I see. I'll skip that part then (laughs). I left BAYCREW'S a little over a year after the start-up, but I came back eight years later. The first BAYCREW'S store was a womenswear store, but Mr. Kubota wanted to open a menswear store. So a small men's store was opened in a back alley in Shibuya, and I came back to BAYCREW'S right around that time. When I talked with Mr. Toyama about this just recently, he told me that he had seen the "Eccasion Personnel" name products at that small store, even though he did not know Mr. Toyama at the time. So, Mr. Toyama revealed to me that the brand's start-up year was the first year of Heisei.

Toyama: I was writing a column in the tabloid edition of "Nikkan Gendai" newspaper at the time, twice a week, in which I would dive into a restaurant I was interested in and introduce my favorite products. One day, there was a Taiwanese restaurant called "Ligo" on Dogenzaka in Shibuya, and I found a small but very nice store on that street. I introduced knitwear from that store, and what do I know, it was Eccasion Personnel. At the time, I had no idea that Mr. Mori was the designer. It was August 16, 1989 when the article was published.

All: (Holding the materials in his hand) Wow.

Toyama: At the time of the launch of the brand, there may not have been a concept, as Mr. Mori says, but from that time until his age, the products that Mr. Mori creates have not wavered at all, and are consistent.Who stubbornly continues to create products based on French Surplus.I think that's what it is.

Forest: I like the culture or the background of the clothes more than the clothes. For example, I am interested in the life and background of the person who wore the Aran sweater. In short, there is an aura of something that is closely related to the life there and inevitably remains. This is passed down to the present day in the form of old clothes and so on. So whether it is fashion, interior design, photography, or anything else, I like to pay homage to old things with a sense of warmth and respect, and then turn them into products through my own filter. So, don't get me wrong, I don't like clothes.

Toyama: Because Mr. Mori sees people's lives and the culture within them, he is not blurred when he designs, and his axis is firm even when he does other things. It is the same when he takes photographs or designs interiors. I think it is because he has an underlying worldview of human richness and coolness that he is able to do so many different things without blurring the line. I envy this aspect of his work, and I think many creators admire him for it.

Forest: Anyway, I dislike "copying. For example, I don't want to copy French vintage clothing. But I want people who see my products for the first time to be surprised and say, "I didn't know there was such a thing! I want to surprise people when they see my products for the first time.A detail that is not found in vintage clothing, but makes sense, as if it has existed for a long time.I want to make people think that I am a good person.

Forest: So, in that sense.Clothing making is also like classical rakugo.Classical rakugo is all about the very everyday stories of Kumasan (Kumagoro) and Hachisan (Hachigoro) in a side street. The famous "Shibahama" is also a story that happened between a drunken fisherman and his wife and can be found anywhere. It is a creation, but it is not strange for everyone to hear it.The reason why I am fascinated by it is because God is in the tone of the story.Listeners are moved because the rakugo storyteller makes everyone listen to the obvious story, including humanity, love, and anger. Clothes are the same. We make the same things,I'm not at all interested in things that are copied for self-satisfaction. In this revival, we are making something that looks as if it has been around for a long time, but is completely different. Especially apparel designers may think, "Did this kind of detail exist in the old clothes? That's what I think of as the "new with the old. I think of it as "learning from the past," or "learning about the past," and paying homage to the old and reproducing them through my own filter. In short, it is the same with photography and interior design. So it is not about concept or consistency, but always about the background of "human warmth" and "things that are inevitably born from culture," which I find very precious and endearing.

I see. That's a good story. Were you fascinated by such products, too, Mr. Kaneko, and did you plan this revival?

Kaneko: I have been talking with Mr. Mori for the past year or so, and have visited his home to see his old clothes, so I am a little moved to finally hear his story. I had no idea about my time at Edifice or anything like that until recently. So I was one of those people who thought, "I didn't know such details existed. I was not completely fooled by Mr. Mori (......), but I was led to believe so (laughs). That is why I became even more of a fan when I heard about it recently. The best thing about asking for the revival this time was that I was able to get in touch with the essence of Mr. Mori.

Toyama: I liked "Reshop" so much that I wrote my own column about it, and Mr. Kaneko, the leader of "Reshop," went all the way to see Mr. Mori. Until then, Mr. Mori had been in a dormant state regarding fashion, saying things like, "I will never design again. When Mr. Mori was told about this revival by Mr. Kaneko, he seemed very happy. He said, "Actually, Kaneko-kun from Reshop came to my house and showed me some clothes he made in the past and said, 'That's nice!　That's great! He said, "Actually, Mr. Kaneko-kun of Reshop came to my house and told me that the clothes I made in the past were great!

Forest: I was surprised that they were really that happy (laughs).

Toyama: What surprised me when I saw the revived products was that they were archived items from that time, but the materials were changed to give them the look of the current era.　Grosgrain? I felt that the addition of the "reshop" raised the level of perfection of the collection to another level.

section 1 Clothes that have nothing to waste.

I've made a long-winded preamble, but here's the main question. What made you decide to revive "Eccassion Personnel" in the first place?

Kaneko: When I was working at EDIFICE, I had a colleague named "Takepon," who had left EDIFICE but joined the staff of DRESSTERIOR when Mr. Mori was making them. One day, Takepon called me and told me that he liked the chinos that Mr. Mori made and that he wanted to wear them again, even though they were no longer available after Mr. Mori left "DRESSTERIOR". I have a pair of those chinos, but they are too small and I can't wear them, so I wanted to have them again. Takepon is actually a family friend of Mr. Mori's, and he asked me if I would like to go with him to his place next time. I was invited. At that time, I was secretly planning to ask Mr. Mori to make chinos again (laughs).

Forest: That's what you were thinking.

Kaneko: We talked about cameras, fashion, and many other things, and he told me that he would never do fashion again, but I told him in a very roundabout way that I wanted to make chinos. The staff at "reshop" is mainly in their 20s, and the customers who come to the store range in age from 19 years old. It was kind of intuitive,I felt that the clothes created by Mr. Mori fit the current younger generation, and I think there is something stimulating about them for those who know fashion.I thought. I always work with that kind of intuition, and I felt something this time, too. During that time, I introduced Mr. Mori to the press, and when he saw Mr. Mori's clothes, he was even more pleased than I was (laugh). (Laughs) I was watching him from nearby and thinking, "Ah, I knew it!

Toyama: It is the kind of clothing we want to pass on to the younger generation.

Kaneko: I truly believe so. During our conversation, I felt that the clothes that Mr. Mori makes are not being conveyed to a large number of people in the world. As any store grows in size and the number of stores increases, the customer base expands, but I feel that the old customers tend to stop going. Therefore, I felt that the clothes made by Mr. Mori were not reaching the people who really like clothes.

Forest: That's right (laughs).

Kaneko: Mr. Mori thought so too, and we were in agreement. I also told him about "Reshop" and that there are many customers who really like clothes. I told them clearly that I wanted to deliver Mr. Mori's clothes to such people. It seemed like he had completely retired, but I thought it would be rude not to tell him that if I wanted to bring Mr. Mori back into the world of apparel.

Forest: I put an end to my fashion career, but at the same time, I thought I could now devote myself to photography without any worries, so I started to take photographs. A few years later, Kaneko-kun approached me about doing a reprint, and I was honestly happy, but the subject was B.D. shirts and chinos, and I thought, "What? I thought to myself, "What, all standard items? ......" (laughs).

Kaneko: You have come up with a lot of boring themes (laughs).

Forest: I asked him, "Are you sure you want a regular B.D. shirt?" But he said, "That's fine. But even if we made a regular B.D. shirt now, we couldn't bring out the best in an item with such a small range, so we made a lot of counter-proposals based on what we were told. So I made a lot of counter-proposals based on what I was told. I would say something like, "This type would be better. In the process, Kaneko-kun fleshed out what he had originally planned, and the product for this revival was completed.If you are going to make something, it is boring unless it is fun, and if it is not exciting, it is not a source of power for you.It was like playing a cunning trick: "Once this is finished, people will misunderstand the details again." So it was a lot of fun. By the way, Kaneko-kun said it was the first time he heard about the design source, but you had never mentioned it before.

Kaneko: I didn't know that. Surprisingly, even those who were in "Edifice" at the time probably did not know about it.

Forest: It's not something you tell people, and even if you told them, they wouldn't understand and it would be troublesome (laughs).

All: (Laughter).

Kaneko: Everyone had their own interpretation of Mr. Mori, with some saying that he was "a very particular person," and others saying that "Mr. Mori is associated with French cuisine. I was one of them. I heard about the "image of Mr. Mori" from many different directions, and I felt that because "Edifice" was a restaurant created by Mr. Mori, it had to be this way. There is still a kind of myth that persists in my mind. So it was a strange feeling to hear directly from Mr. Mori. We have been tossed around by Mr. Mori's roots in "classic rakugo," and for the past 20 years or so, we have been working while pursuing the question, "What is the essence of edifice? I have been working for about 20 years now, chasing after "the essence of Edifice is ".

Forest: This kind of talk can finally be told and conveyed properly because there is a flow to it, but it is impossible to try to explain it out of the blue. There is no opportunity to talk about it, and people who just like fashion would not understand this kind of talk. If you don't have the right entrance door, the next person who comes won't be able to enter.

This is a great opportunity to hear the essence of Mr. Mori and to get a true picture of him.

Kaneko: I would like to encourage those who liked "Dress Terrier," which was made by Mr. Mori, as well as those who liked "Eccasion Personnel" at the time, to read this book (laughs). It is interesting to know the answer after the fact, though it is not an answer to the question. I'm sure there will be people who read this article and become more attached to it, thinking, "I see, that's what it was all about.

Toyama: The clothes this time really show Mr. Mori's personality. Every item.It is based on work clothes, but it never looks like work clothes. However, it is distinct from other fashion items that can be found in the market.There's something exquisitely comfortable about it, and that's a good thing. It is not too fashionable, but not work-like either. I would like to hear from Mr. Mori where he finds the right balance.

Forest: So can I tell you about my obsession?

I'd love to hear about it!

Forest: It may be a bit of a month-long process, but what I paid most attention to was ease of wear and ease of movement. That is the part of the modeling pattern that I studied the most.

It really is a basic piece of clothing, isn't it?

Forest: Therefore, there is no need for unnecessary design or detail. To begin with, I don't really understand what design is. People often talk about functional beauty, but I don't really understand that either. The point is that it can be worn as work clothes and look fashionable on the street. AndIt's easy to move around and nothing is wasted. It's just that, everything.I don't have all the details of the old work clothes and work clothes figured out because the lifestyles of today and the old days are different. Of course, I don't understand them either, and I don't want something that I don't understand and don't need. On the contrary, I think the value and perfection of a garment will be enhanced if the parts that are necessary for the modern age are sublimated well. That is very important. That is why I make sure to create details that have a reason. As I have said many times before, I do not love fashion, but rather I love to create.

section 2 KMTK Loop. Fictitious specifications. World's first detail.

K.F.: What did you think when you saw the items that came out of the revival of "Eccassion Personnel"?

Kaneko: It was totally different from the blueprint I had initially drawn (laughs). I had envisioned something more basic, like Mr. Mori's everyday clothes. Under the circumstances, we had an online meeting, and about five people from "Reshop" were participating. Mr. Mori gave us various ideas while following our roadmap, and we all said, "That's good!　Let's do it! We would all say, "Great! Let's do that! Every time he came up with an idea that was novel to us, but he would also occasionally throw in a joke. I had never experienced a planning meeting that was so full of surprise and laughter, so it was very refreshing (laughs). The "KMTK loop" was one of the most laugh-out-loud moments.

Forest: I named it after a famous idol. The person is not that tall, and the clothes the stylist brings are hard to fit. Basically, his style is not to tuck tops into pants, but sometimes he has tops that are too long. He adjusts the length of them casually by putting his hands in the pockets. The "KMTK loop" is a detail that reproduces this feeling in the B.D. shirt from the beginning.

All: I see (laughs).

Forest: From today's fashion, the length and sizing is getting longer and bigger, but it doesn't stay that way forever to begin with. It can be used by petite people or women when they wear these and the length is inevitably too long.

I had seen this detail before the shoot and was imagining what kind of workmanship it would be, but I had no idea it was named that way. ...... (laughs)

Forest: That's right. It's a feature that can be nuanced a bit.

Kaneko: It looks balanced. Details that I would have wondered what they were if I had listened to them calmly are too compelling to be immediately adopted.

The front of the B.D. shirt is also unique, isn't it?

Forest: This is a world first detail (laughs).

Kaneko: This is a detail that fooled everyone. It has an appearance that makes you think, "This is a detail that was on shirts in the early 1900s." In fact, there has never been a detail like this before (laughs).

Forest: The round front fit was used in the old days when shirts had long sleeves and had to look dandy, so when they were tucked in, the fabric was layered to create more friction so that the shirt hem would not slide up. This is a similar detail, but it is a technique I have been using for more than 30 years. I improved it over time and perfected it about 10 years ago. Kaneko-kun wanted a normal B.D. shirt,I had heard that "reshop" is a store where clothes lovers gather, so if that's the case, let's adopt this one!So I was very motivated.

Toyama: That was the moment when the fire for making clothes was ignited (laughs).

I am interested in the details of the other items as well. Are there any other items besides the B.D. shirts that caught your attention, Mr. Kaneko?

Kaneko: The all-in-one I am wearing today. I saw the all-in-one that Mr. Mori created in the archives, and I definitely asked him to reprint it again this time. If you look at the waist part, it looks like a set-up, but it is an all-in-one that is completely attached.

Forest: Tsunagi are seen in various places as work clothes worn by people who repair cars, and in essence, they are oversized work clothes worn over the top. However, if you look at it from the Western perspective of "all-in-one" rather than "tuna," then everything is one piece. I like to wear the top and bottom in the same material. One day, I decided to make an all-in-one that looked as if the top and bottom were worn separately, and I created the prototype for this product. This is also littered with world-first details.

Toyama: All in one, another world first is ...... (laughs).

Forest: Gravity causes the pants portion of the tuna to drop. But if you adjust it with a belt, you can make the pants more elastic at the waist, but it would look a little unnatural. That's why we tucked the browsing portion into the side of the garment. The front is tucked in the opposite direction to create a space for distortion and give the garment more room. The weak point of the tuna is that it bends. If you extend the length of the back, gravity makes the crotch deeper. To stop and flex at the waist, the top portion must be extended. This tuck helps with that as well. By connecting them with gathers from the beginning, the top and bottom are made to give you more room for browsing and other things.

Forest: I also have moon-shaped gussets on the armholes, and they allow for a wider range of motion when the arms are raised, so the body is not pulled as much as possible when holding onto a suspension strap.It's a compilation of ease of movement, and the important thing is that when all of these things come together, we've made it look like an artist.I'm not sure what that means.

Toyama: That's why I named the product "Painter. I thought that the name might have been inspired by the "laundry boat" apartment building in Montmartre, France, where young artists gathered and painters created cubism at the beginning of the 20th century, and the "paints" that they wore.

Q: Mr. Toyama, were there any items that caught your attention at the revival?

Toyama: I wanted grosgrain cargo pants and an all-in-one. I actually got to try on the all-in-one for the ad during Mr. Mori's photo shoot, and it was so comfortable that I didn't want to take it off (laughs). The cargo pants are not American-style cargo pants. The fit around the pockets is also very beautiful.

Kaneko: Mr. Mori usually wears cargo pants a lot, and I saw him wearing them several times when I met him. They looked so cool on him that I asked him to commercialize those cargo pants as well. Everyone makes these kinds of pants, but when they are made by Mr. Mori, they are totally different. Incidentally, I had heard from Mr. Komori, the designer of "Komori" that "Mr. Mori makes the best B.D. shirts in the world," so I asked him to make it happen.

What makes a B.D. shirt the best in the world?

Kaneko: I myself have been wearing corduroy B.D. shirts since the "Edifice" days, and they are just so comfortable.

Forest: There are many secrets to B.D. shirts. In short, just as it is very difficult for a cook to explain in detail why something tastes the way it does, there are many detailed secrets.

Kaneko: I can only vaguely describe it as if the collar ends are also a little open, or if the collar is a little high, or if the body is a little wider than that brand ....... But that doesn't seem to be the only thing.

Forest: I think only the person who pulls the pattern can understand this. There are few people who know what the pattern puller's thinking is like. Even among designers, there are very few people who can draw patterns. Therefore, if a designer can draw a pattern, he or she will be able to notice various aspects of the design and craft it.

Kaneko: To be honest, the patterners seem to have had a tough time (laughs). Of course, the people at the factory also seem to have had quite a hard time.

Forest: That's right (laughs).

Toyama: This B.D. shirt is a condensed version of Mr. Mori's character.

Kaneko: I agree. The first shirt I would like you to wear is the B.D. shirt.

section 3 Japanese clothes have gaping backs.

I have had a chance to look at the revamped items, and while they may look simple at first glance, you can tell how amazing they are when you put them on, and there are surprises in the fitting room, aren't there? Looking at the details so intently, I myself became confused as to which details were old and which were new.

Forest: I am glad to hear you say so. May I mention one more particular thing?

Kaneko: Of course .

Forest: I wasn't sure if I should tell others, but I'm having a good time today, so I'll tell you (laughs). In the pattern of shirt sleeves, the distance from the center of the sleeve to the cuff is inevitably insufficient due to the connection of lines, but we have devised a way to lengthen that distance. This concept is of course incorporated into jackets and other garments as well, so that they look beautiful in a normal standing posture. I would like you to know that we have packed in such invisible details anyway.

Toyama: The jackets that Mr. Mori makes are,Really beautiful back viewI'm not sure what that means.It has more back body than a regular jacket, and because it is cinched at the waist, it looks really cool standing up.I like Italian Classico suits, but one drawback is that they are not very cool in the back. I like Italian Classico suits, but one of their drawbacks is that they don't look very cool in the back. However, the three-buttoned, stepped back suits that Mr. Mori makes are beautiful both in the front and in the back.

Forest: "A good man talks with his back" (laughs). (Laughs.) Usually, we can only see the back in a mirror, so we have no choice but to listen to what others have evaluated. That's about it,Japanese clothes have gaping backs.. The same can be said for the hip portion of the pants.

Kaneko: When I listen to the stories, all I notice is the realization (laughs).

Forest: That's all I usually think about.

Kaneko: The details are the same, but making cargo pants out of grosgrain was also fresh.

Toyama: Indeed.

Forest: I also paid attention to the color. Cargo pants tend to come in colors like sage green, but not charcoal, which is nice.

Toyama: Mr. Mori likes charcoal.

Forest: I love charcoal - (laughs). I love gray and charcoal.

Kaneko: Some of the sweatshirts and cut and sewn items that will be coming out are also charcoal items. Its name is Super Charcoal. The name alone conveys our commitment to this product.

I can't believe you've been away from designing clothes for a while, you seem to have a very strong philosophy.

Forest: I hated drawing patterns, and since I had been away from clothing for four years, I had to draw detailed pictures to convey the features of clothes to pattern makers. I thought that was tedious and I didn't like it. But when I bought a tracing table on Amazon and drew a picture pattern, it was so easy (laughs). The person who was drawing the pattern was like my right-hand man, telling me everything I knew, but I told the patterner, "Mr. Mori'sFour years is not a blank, but a period of rechargingI was so excited when I was told, "That was it, wasn't it? I think pattern makers are also happy when they receive such detailed picture patterns.

Q: After a four-year hiatus, you are now in a state where you are feeling quite motivated to create, aren't you?

Kaneko: We are still not fully receptive to his enthusiasm, but we would like to give shape to it somehow. If we make a request, Mr. Mori will return the favor about five times over.

Forest: I am looking forward to seeing how the revived "Eccasion Personnel" will be seen by the clothes lovers who come to this "reshop.

I see that you are also particular about your jackets.

Forest: Right. This is designed with a rounded front and no front drop. This is the French style.

I see.

Forest: These sleeves have their roots in the white uniforms worn by the bento shop I saw when I was a small child called "The Japanese Restaurant for Travelers".

Kaneko: This is why I can't tell if this is a joke or if they are serious (laughs).

Forest: The conductor of the bullet train in summer always wore a linen jacket with equal two-piece sleeves, but the detailing is more like a work jacket. It could be worn with the lapels up, and the setting was either an architect or the principal of a Japanese cooking school.

All: (Laughter).

Forest: But when you look at it from the back, it's totally different, so that's where we try to differentiate it. It would be cool to wear this as a set-up. Clothes are meaningless unless they are sublimated by the wearer.

Kaneko: This linen was good.

Forest: I was very impressed when I found this linen. Linen is a mysterious material that breathes well and also retains heat, so it is good to wear in winter. There are even linen blankets in China. When I made one before, I wore it for three seasons.

Kaneko: The beauty of linen is that you don't have to be too careful. It's fine if it's appropriate.

Toyama: This soft wrinkled look is also nice.

Forest: I want them to be worn as much as possible, even when they are crumpled up. I haven't bought any clothes in four years, but with the clothes I made this time, I think they will last for about 10 more years (laughs).

Kaneko: Mr. Mori, you have always used what is available in the world without making fabrics.

Forest: I used to make fabrics as well. That is how I fell in love with fabrics. One day, however, I realized that the top cost was getting higher and higher due to my self-importance. Conversely, when I buy clothes, I don't pay attention to the fabric. I still choose clothes based on design and color....... When I thought so, I stopped making fabrics. I used to buy fabrics from overseas for tailored clothes, but for casual clothes, unless I had something special in mind, I chose existing fabrics without making any alterations. In short,Like a wife who makes delicious food with what's in the fridge.That's right. I think it would be more valuable.

Toyama: I once saw a P-coat made of Cavalli twill during my time at Election Personnel, and P-coats are usually made of melton or wool, but Mr. Mori's was different. I think it was a cotton and wool twill. ......

Forest: Mr. Toyama, you know very well (laughs).

Toyama: Because I'm a fan (laughs). You used to mix wool with hemp and do things like that. I think I cherished the taste that came out as I wore the clothes.

Kaneko: Mr. Mori has been using fabrics from fabric stores for a long time, but it doesn't look like it. The way he chooses fabrics and edits them is a perfect example. It's not that you can just make anything, and there are easy ways to add originality, but that's not the case at all.

Forest: Good fabrics don't necessarily make good clothes.

Kaneko: It really is.

Toyama: A universal state of mind that was reached because we have passed through the age of making things.Right?

Forest: When I choose clothes, it's not about good fabrics, it's about good shape, and it's about what I think I'll wear for a long time.

section 4 The Formula for Tailoring Major Sevenths.

I can't wait to see the second batch of sweatshirts and cut-and-sewns, but what do you think is going to happen in the future?

Forest: The sweatshirt is also a world first detail (laughs). But if you ask me, it's just a detail called ...... and the sweatshirt didn't have that, but it works well and is visually balanced, so I hope you enjoy it!

Kaneko: Well, it's exciting, isn't it?

Forest: That excitement is important. Everything has to be exciting.

I know it's a little late for this, but what is the origin of ...... [Eccasion Personnel]?

Forest: I have been eagerly awaiting your question. The original pronunciation of the word "personal equation" is "personal equation," but I just changed it to French to make it sound better. In short, it means "individualism.

Toyama: I had thought that Mr. Mori's clothes-making roots were in France, but I have realized that this is not actually the case. This is a book I read when I was studying how French fashion came to Japan after the war, and Mr. Mori is not in this stream. The first designer was Cardin, followed by Renoma and Saint Laurent Rive Gauche, and around that time, Kenzo Takada was in Paris and reported in a small magazine that came with "Deluxe Heibon Punch. He reported in a small magazine accompanying "Deluxe Heibon Punch" that "this kind of clothing is popular in Paris. What was introduced there was a style called the "Saint Germain look.

Forest: It's really cool, the St. Germain look.

Toyama: This was the first book that introduced what kind of clothes people on the streets of Paris were wearing. After that, stores like "HEMISPHERES" and "Harriss" appeared, and then "OLD ENGLAND" came out, and then B.C.B.G. (B.C.B.G. = Parisian upper class, chic and tasteful fashion style) came out, and then FDGE (French version of yuppie) style came out. (Parisian upper class chic and tasteful fashion style) and FDGE (French version of yuppie) style.

Toyama: Mr. Mori is not in that major stream. Mr. Mori often says "It's major, but it has sevens in it."So that's what I'm saying. So it's a little twitchy.

Forest: The secret concept is "major sevens. Therefore, photography, fashion, and interior design become more comfortable when there are sevens in them, not majors. But minor sevens are not enough.

Toyama: Although I have skipped over the history of French customs in my explanation, I see that the clothes you make have such a flow at the base.

I have been listening to you so far, and there were many things that made sense to me, but when I heard about "Major Seventh," it seemed to make a lot of sense to me.

Forest: French fashion is not far from our lives. Italian fashion is close to mode, and of course France is also close to mode in some ways. B.C.B.G." and "FDGE," which were mentioned earlier, also come from a place close to life. What I have experienced in this context is the fashion of Saint Germain Dupré in the 1960s. That was really cool. That is why I still want to wear that kind of style. That is what I put into "ECCASSION PERSONNEL.

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