Interview

In ’90s Japanese street-style, few brands compare in omnipresence to Takao Yamashita’s beauty:beast. Partially impacted by his strict upbringing, Yamashita-san’s subversive graphics and messaging quickly found popularity among Japanese youth in the ’90s. Like his longtime friend and colleague, Shinichiro Arakawa, Yamashita-san was heavily impacted by time spent internationally; both have shown collections in Paris and spent time working with designers like Christopher Nemeth in London. Today, beauty:beast's legacy has found new life, resonating with young people who have re-discovered the brand through vintage street-style magazines like FRUiTS.

ARCHIVE.pdf spoke with Takao Yamashita, digging into the history of the brand, its sub-labels, and some of Yamashita-san’s lesser known projects. 

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**You studied architecture in university before transitioning into fashion. What interested you about architecture, and how did it cross over with fashion?**

My father was involved in urban development in our hometown of Nagasaki. I think he wanted to raise me as his successor. He was a very strict and demanding parent, and I ended up following the path he laid out for me.  

As a young person, I had a vague desire to pursue a career that could bring happiness to people. However, urban development and the construction of houses and buildings felt overwhelmingly large in scale and didn’t seem very realistic to me.  

There are, however, many commonalities between architecture and fashion. Among them, one aspect I still value deeply is this: buildings have foundational bases, main pillars, frameworks, walls, and windows, and these all require calculations of gravity which are always essential in the design process.  

Similarly, in fashion, it’s essential to account for the wearer's body structure—the position of the shoulders, the hips, and how fabric drapes and flows around these points. Designing involves working with the framework of the body, the amount of fabric, and making gravity an ally in creating the final form.  In all three-dimensional design, points, lines, planes, and colors coexist to form space.  

Additionally, the design process often involves considerations similar to those in architecture, such as considering the “exterior” and “interior” aspects. In architecture, you must think about the surrounding environment, seismic resistance (momentum), and fire resistance, while ensuring a comfortable interior environment. This includes considerations like temperature regulation, ventilation, and humidity control. Likewise in fashion design, we balance the external appearance with the inner comfort of the clothing which are parallels and significant similarities between the two fields.  

And this idea doesn’t just apply to architecture and fashion—it extends to cars, home appliances, and all kinds of product design.


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S/S '00 'The End Is The Beginning In The End'

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**Tell us about the early days of beauty:beast. What is the meaning behind the name and what kinds of stores carried the brand initially? What was it like launching a brand and seeing it become a business?**

I believed that the internal struggle between the darkness in everyone's heart and the light of hope was what defined life and truly represented humanity. Back then, I sought the simplest words and metaphors that anyone could easily understand and relate to and in 1990, I turned to the classic novel “Beauty and the Beast”.

To me, the hideous Beast and the kind-hearted Beauty (Belle) represented two sides of the same person's inner duality. I imagined a story in which, one day, these two aspects would come to accept each other and live as one human being. 

Thus, instead of using "beauty & beast," I chose to express it as "beauty:beast"—a single term. The seemingly contrasting words in "beauty:beast" serve as a metaphor for human existence: we are creatures who pursue beauty while also grappling with our inner beast. Through this concept, we want to develop fashion that promotes self-affirmation and the power to live for each and every person who wears our clothing.

Defying my father’s opposition, I chose to pursue a career in fashion, leaving my family business behind and moving out of my home in Nagasaki to begin working in Osaka. When my parents cut off financial support, I participated in a flea market for the first time to raise funds. 

At the market, I displayed vintage clothes I owned along with ten handmade caps I made using hagiography (scraps of fabric). It was there that the owner of a store called "Ashita no Hako" (The Box of Tomorrow), which curated items from independent Osaka designers, happened to pass by. The owner purchased all the hats I had made, marking the start of my first business venture. 

From that point on, I began creating hats and clothes for the store to sell. Gradually, the scale of my work expanded. A few years later, I started holding exhibitions with various creative friends, and my business grew further. It was an incredibly exciting time. 

Everything I created and every way I sold my work felt experimental and unconventional. Through these experiences, I learned countless valuable lessons. 

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**Please tell us about the relationships you had with Shinichiro Arakawa and Christopher Nemeth. Were there any other collaborators or creative mentors that helped you in your career?**

Shinichiro Arakawa has been a close acquaintance of mine since the early 1990s and continues to be to this day. I got to know him because one of my former assistants moved to France and helped him out during his time in Paris. He also happens to be a mutual friend of Christopher Nemeth, who was a friend of my business partner Paddy Meehan (from Scotland) back when I founded B:B (in 1991).

Christopher Nemeth, too, had many mutual friends with us in London, and during his lifetime (the 1990s), we often met privately while we were working in Tokyo. Our conversations were mostly private, about things like family, and we had a good friendship. I know lots of interesting stories about him, but we rarely talked about creative work. Christopher was someone who created almost everything on his own, interacting with people and having conversations in his own shop. He was a one-of-a-kind creator. Even now, I still think the fashion world lost a truly irreplaceable talent.

As I didn’t attend fashion school, I unfortunately don’t have a mentor I can specifically call my own. However, I’ve been helped by many people and have learned a great deal from them, which has brought me to where I am today.

Among them, London stylist Adam Howe, Simon Taylor from Tomato, and photographer Norbert Schoerner have been particularly important in laying the foundation for beauty:beast, and they continue to be kind to me. After the year 2000, I also had the honor of meeting Maurice Renoma, the founder of the French brand "Renoma," who has been an incredible person to know.

**What was it like showing in Paris for the first time? How was it compared to showing in Japan?**

In 1991, I launched the brand “beauty:beast” and presented numerous collections in Osaka. Through the language of clothing, I sought to combine styling with music and space, creating powerful, message-driven stories. It wasn’t just about commercial fashion—I was searching for a place in fashion that could give courage to those who wore it. Would people accept this conception of fashion? Or is it something that is not needed? To find the answer, I decided to challenge myself by heading to Paris, the epicenter of global fashion expression.

At the time, there were very few designers who ventured directly from Osaka to Paris. Skipping Tokyo, Japan's capital, to present in Paris was seen by some as reckless, and I was often criticized as a ʻreckless young man’. Despite the various doubts surrounding me, my first presentation in Paris was blessed in many ways—especially by the people who supported me. 

I developed products using materials rooted in the traditional techniques of “Arimatsu”, a region in Japan known for its heritage craftsmanship. The models for my presentation were cast by Adam Howe, a stylist who brought everyone together by having them travel from London on the Eurostar to assist me. Above all, I was deeply grateful for the support of Sylvie Grumbach from “2nd Bureau”, a Paris-based press attaché agency. At that time, in 1993, she was handling major figures like Vivienne Westwood and John Galliano. Despite my status as a complete newcomer, she took my clothing seriously and provided incredible support that went beyond anything I could have imagined in Japan—coordinating the venue, contacting press representatives, and more. Her help was indispensable, and to this day, I am sincerely grateful to her. Thanks to her extensive cooperation, I was able to realize my first presentation in Paris. Without meeting her, it’s possible that “beauty:beast” might not exist today.

In the 1990s, Japan still felt incomplete in its understanding of fashion as a cultural expression compared to Paris. People in Japan’s fashion industry at the time were often closely connected to magazines and other media, which made them influential but also prone to making statements that could be perceived negatively. This sometimes had the potential to harm business. There were very few individuals dedicated to collaboratively advancing the fashion business. 

As a result, while my activities in Tokyo appeared outwardly focused on the industry, my main efforts were directed toward my customers and fans. Each city has its own unique history and perspective on clothing. In particular, Japan’s culture and history of kimono make its approach to selling and valuing clothing different from that of other countries. This uniqueness might hold the potential for discovering new marketing and creative approaches.

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**In 1995, you developed a number of diffusion lines like “also,” “blue,” “red,” and “4ge,” can you tell us what the differences in the lines were? There are a few other lines that you made that I was curious about; ‘NU-LV’ (New Love), ‘spirit of beauty:beast’ essentials line, and the ‘Angelic’ wedding collection.**

"blue" is a collector’s line focused on items showcased in collections.
"red" is a diffusion line that reinterprets collection items to make them easier to market.
"also" is an alliance line featuring casual items such as denim and T-shirts, identified by the icon "2."
"4ge" is a licensed line developed for Europe, particularly with a focus on London.
"spirit of beauty:beast" is the essential line, while "5" focuses on alliance products in Japan, such as accessories, bags, shoes, and other miscellaneous goods in Japan.
"Angelic" is an alliance line specializing in wedding dresses and formal wear for men, developed by a company specializing in weddings.

All of these products were designed and developed at the “beauty:beast” atelier, where seasonal concepts, designs, graphics, and occasionally patterns were created. Production and sales were then carried out through specialized factories, either independently or in collaboration with partners.

Why pursue alliance development? The reason was that producing everything in-house had limitations—it lacked the specialized equipment, expertise, and marketing networks needed for certain items and scenarios. Additionally, it often resulted in higher-priced products. By developing through alliances, we were able to enhance both design quality and marketing while offering products at more accessible price points for consumers.

Lastly, "NU-LV (New Love)" was a suiting line for business scenes at a more affordable price. It featured items designed by Yamashita for a film’s costumes and was developed and sold by a company specializing in men’s clothing.

**What was the inspiration behind your original characters like the bunny and the angel? Who is ‘Kemono Tsukai’?**

In the modern day, it may seem commonplace, but seeing the animation of a bowing woman on a bank ATM screen in 1996 left a profound impression on me. I began to wonder if an idealized image of a woman—eternally beautiful, untouched by scandal, and admired by all—might one day be embodied as an anime character. Back in 1997, incorporating anime or manga characters into fashion was considered highly taboo. However, we deliberately chose character motifs as symbols of beauty and began expressing them through intricate embroidery.

Around the same time, in 1998, we unveiled a collection called “Dark Knight”, which explored the themes of the darkness and light within the heart—expressing the inner struggles of the human psyche. The concept of “Dark Knight” centers around the realization that, by confronting one's inner darkness, one can eventually discover that they themselves are the "Dark Knight" who guides their own inner light and shadow. While assembling this collection, I wondered if there might be a way to convey the same message outside the realm of fashion. Though still unpublished, “Dark Knight” includes a manga version that I personally illustrated and wrote the scenario for. It’s a biopunk sci-fi story that challenges the idea of expressing the emotions conveyed by the collection through the medium of manga. This story serves as a metaphor for the brand’s concept: "the journey to discover one's true self." It portrays the process of overcoming various hardships and ultimately reaching the crucial realization of confronting one's true self. Through this fictional narrative, we aimed to evoke these emotions in readers, creating a deeper connection to the message behind the collection. “Kemono Tsukai” is the bundle name used by Yamashita, and it means "Beast Master." It is a pen name used exclusively for works related to sound and illustrations created directly by Yamashita himself.


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**You have done design work for a number of other brands. Tell us about the projects you did for Pioneer, Seiko, and TOYOTA. **

At Pioneer, I was responsible for the exterior design of the "Loopmaster," a groundbreaking portable CD player at the time. At Seiko, I developed collaboration designs for wristwatches as official designs for “Mobile Suit Gundam”. Since both products had outstanding performance, I focused on proposing exterior designs that integrated fashion and fit seamlessly into everyday lifestyles.  

For TOYOTA, I designed the outfits for the motorsports girls and concierges at the 33rd Tokyo Motor Show in 1999, based on a futuristic theme.

**Tell us about your experiences as creative director for FILA and adidas’ sports casual line.**

Since the 2000s, the fashionization of sportswear has gained global attention. This period marked a turning point where consumer markets began shifting from a performance-centric mindset to a lifestyle-oriented approach.  Of course, functionality remained essential, but there was a growing focus on design and personal expression. Arguably, Y-3 was the pioneer in this movement, successfully merging fashion with sports functionality!

Moreover, there was a shift in how design proposals were presented in the sports industry. Instead of the traditional hand-drawn sketches often used in fashion, the approach became more technical—closer to the work of pattern makers and modelists, incorporating precise drafting and structured presentations.

Around this time, we also transitioned from relying on hand-drawn designs to using digital tools like Adobe Illustrator and Photoshop for illustrations and documentation, reflecting the evolving creative process.


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**What did you do for ASICS and the ‘Ayami’ line?**

From 2008 to 2015, I was responsible for the direction and design of ASICS' running apparel.  

As sportswear became increasingly fashion-forward in the 2000s, the global running boom created a demand for running apparel that seamlessly fit into everyday life. This led to the launch of the “Ayami” line—a brand that merged high-performance running functionality with fashion. Over time, the collection expanded into categories such as fitness, walking, and swimming. The earliest design I was asked to do was to develop a more feminine mark using ASICS' signature shoe icon and reimagining it as a ribbon-like motif. This design language grew into a global concept.

Creating apparel that felt natural in a lifestyle setting while maintaining top-tier functionality for various sports and workouts required a deep understanding of human-centered design. Working closely with ASICS, a company that takes the health of its users very seriously and has advanced ergonomic technology, allowed me to refine my approach to performance-driven fashion with a strong emphasis on user well-being.


**Was beauty:beast ever featured in any Japanese or American films for costumes.**

All works are in Japanese cinema:  
2000: Costume Design for Japanese movie [“The City of Lost Souls”](https://archive.org/details/the-city-of-lost-souls) (Hyōryūgai), directed by Takashi Miike, under Durban brand nulv. 
2002: Created costume designs for musician SUGIZO in [“Soundtrack”](https://www.youtube.com/watch?v=31QnpW_517A&t=23s&ab_channel=SideWest), directed by Ken Nikai.  
2003: Costume Design for HYDE (L'Arc~en~Ciel/VAMPS) in the futuristic sci-fi film [“MOON CHILD”](https://archive.org/details/moon-child_202403), distributed by Shochiku.

**What was the concept behind the beauty:beast hair salons?**

When launching the wedding line “Angelic”, we received numerous inquiries from couples for advice concerning hair and makeup. While their dresses and tuxedos were from beauty:beast, they wanted a complete beauty experience that extended to their hair and makeup as well.  

In response, we presented our concept to several salon owners, many of whom resonated with our vision. This led to collaborations with salons, allowing us to expand the beauty:beast approach to total beauty—from head to toe. Although bridging different industries presents challenges, this concept of “total beauty styling” remains a work in progress, with great potential for further growth.

**What is Neven records? Tell us about some of the artists that were signed to the label and the kinds of music you were making.**

[“Neven”](https://www.discogs.com/label/146612-NEVEN?srsltid=AfmBOopFm_-Ekq6omrmkLjl4fROh6yqDtGsVRupKT_ykf77ux_wjeXWB) is a collective of creators designing experimental    of “Never Even Enough”, with beauty:beast at its core.

The initiative began with the development of immersive audio environments for beauty:beast’s collections, where location, time of day, and lighting were carefully orchestrated alongside sound design. As the concept grew, many sound creators resonated with the vision and organically became part of the collective.  

Due to the overwhelming audience turnout at beauty:beast’s collection shows, an after-live party was introduced, allowing a broader audience to experience the full show via film screenings. The music for these events, including live performances and DJ sets, was curated by members of “Neven”.  

Under the alias [“Also Beauty:Beast”](https://www.discogs.com/artist/1200747-Also-BeautyBeast), the duo of Yamashita and Mikurino released a collection of soundtracks for beauty:beast.  

Last year, the collective collaborated with Israeli artist Nesssix to reconstruct and release an album based on '90s recordings. Other projects have been released under the names Kemonotsukai, Z Bremen, and tEchnoLLoSS.

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**What is Basesix LTD.?**

Basesix LTD. is the company name that was changed from beautybeast LTD., which halted the release of collections in 2000. Following the sudden cessation of collection releases, there were numerous inquiries from industry professionals and related companies, which led to the decision to change the company name in order to shift its business model. At the time, the name was chosen with the idea of rebuilding a new apparel system, with at least six members remaining.

**After 2002, beauty:beast didn’t have as many collections, aside from a few anniversary shows until 2019. What were some of the decisions you made when re-introducing the brand?**

I have always been searching for fashion’s place as it evolves and transforms with each era. When deciding to relaunch beauty:beast, I was struck by the sudden surge, since 2019, of young people in North America posting about past collections with hashtags like #beautybeast and #aka.beautybeast on social media.  

This made me realize the presence of a new generation I should be engaging with, and it inspired my decision to restart the brand. Thanks to social media, I have had the opportunity to connect with young creatives in their teens and twenties worldwide, exchanging ideas beyond borders, gender, and religion. I sincerely hope to continue creating proposals for a better future through these collaborations.  

Now, I am not only communicating with young people in North America but also collaborating with individuals across the world, actively working on new creations. Through this process, the day when I unveil a new beauty:beast collection may not be just a dream.  

For me, fashion is more than just a means of self-expression—it is a tool to connect with the world. Through my creations, I want to share the power of fashion in self-expression, cultural innovation, and social connection with more people.  

I hope that everyone can discover their true selves through fashion, gaining confidence in their lives. With this vision, I will continue to create and innovate.

**What are some of the future plans for yourself and the brand?**

The COVID-19 pandemic and shifts in social dynamics have profoundly altered our way of life, significantly impacting perceptions of fashion and consumer behavior. Particularly among younger generations, fashion has gained importance as a means of self-expression, while values such as sustainability and diversity have become increasingly essential.  

Amid this evolving landscape, our brand seeks to create new value by embracing digital innovation while preserving traditional craftsmanship, ensuring that our vision resonates with a wider audience.  

Key initiatives:

1.) Merging Digital and Physical Realities:
We aim to explore new forms of expression by integrating virtual fashion with real-world fashion, utilizing digital platforms such as social media and gaming.  

2.) Co-Creation for Innovation:
By actively collaborating with creators worldwide, we strive to incorporate diverse perspectives, fostering groundbreaking and original works. We particularly seek to support young creators, amplifying their unique sensibilities and ideas through our brand.  

3.) Commitment to Sustainability:
We are dedicated to addressing environmental and social challenges by incorporating sustainable materials and production processes, establishing a more responsible and enduring foundation for fashion.  

Through these initiatives, we aspire to go beyond simply offering clothing—we aim to redefine the essence and purpose of our brand, carving out a meaningful place in the future of fashion.

Lastly, we believe that fashion has the potential to be a field for expressing all values, transcending gender differences and national borders, and a multi-communication category with the potential to create opportunities for people to connect with each other.
We believe that what is here is a sharing of values that is connected to the spiritual world, which is different from simple social communication.

beauty:beast does not trust general trend maps. We value the personal trends that people feel.


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Special thank you to Takao Yamashita for graciously sharing these responses and rare images from his personal archive. Be sure to check out the ‘archives’ section on ARCHIVE.pdf's website for the most comprehensive look at beauty:beast available online. Follow [@aka.beautybeast](https://www.instagram.com/aka.beautybeast/?hl=en) to stay up to date with their latest releases!

Khan Delin

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From its inception as a leather motorcycle riding-gear company in 1988, Richard Stark has transformed Chrome Hearts into a cult-classic brand that churns out handmade jewelry, most notably in sterling silver; apparel, eyewear, luggage and leather goods; and handcrafted furnishings and home items. And let’s not forget all the oddities that exist within the Chrome Hearts world, such as toilet plungers, baseball bats, nail polish, tools, bicycles, and much much more. Three decades later, Chrome Hearts still produce their products in California, and the brand ethos has not significantly shifted. Privately owned by the Stark family, the brand still captures the ‘Fuck You’ essence that existed in the late 80s and early 90s, and their authorized retailer list can still fit on one page. 

Chrome Hearts Richard Stark Photograph

The book, Issey Miyake: East Meets West, came out in 1978 and features an impressive contrast of designs influenced by both Eastern and Western cultures. East Meets West was the first ever monograph that was created about the living fashion designer, and its importance is unquestionable. With over 200 pages of full bleed color images featuring some of Issey Miyake’s colorful clothing, the book truthfully depicts the designer’s passion for design, culture, and authenticity. From editorial photos shot by the likes of Noriaki Yokosuka (as covered in our previous post), to the capturing of runway spectacles that combine movement with clothing, it goes without saying that East Meets West immerses you into the fantastic world of Issey Miyake.

East Meets West

Letting Alan and Bê tell their amazing stories. It’s time to give them their flowers.

From Boston to the World: A Conversation With Alan & Bê Bilzerian

An exclusive interview with one of Japan's most obscure designers.

From The Runway To The Roadway: Interview with Shinichiro Arakawa

Exploring Raf Simons’ early furniture designs, revealing a forgotten chapter before his fashion career.

Raf Simons Corpo: Revealing the Furniture that Came Before the Clothing, Part 1

In ’90s Japanese street-style, few brands compare in omnipresence to Takao Yamashita’s beauty:beast.

Takao Yamashita: Entering The Belly Of The beauty:beast

Explore Raf Simons' 'Corpo' collection, a series of seven unique furniture pieces inspired by human anatomy.

Raf Simons Corpo: Revealing the Furniture that Came Before the Clothing, Part 2

Ara Ogasawara

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Takao Yamashita

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KICKXOTICS Collaboration

S/S 2000 'The End Is The Beginning In The End'

2beauty:beast S/S 2000 'Rumble Fish'

S/S 1994 'Hate+War For 94 Part I'

S/S 1999 'Hyper Drive'

A/W 2025 Collection

A/W 1994 'Hate+War For 94 Part II'

Maurice Renoma

S/S 1991 'Blue Skies'

adidas 'Sport Casuals' Line

S/S 1993 'Hunchback'

A/W 2010 20th Anniversary Collection

A/W 1993 'Bubble Army'

A/W 2009 'Faithless'

A/W 1996 'Deep Depth'

S/S 1996 'Spirit of Mercury'

Toyota Collaboration

S/S 1998 'New Rage Savage'

S/S 1995 'Emperor's Tailor'

nulv

Pioneer Loopmaster by Takao Yamashita

S/S 1997 'Chaotic Romance'

A/W 2000 'Children Of The Damned'

A/W 1992 '2LDK'

A/W 1998 'Dark Knight'

A/W 1991 'Venus Bound'

S/S 2009 'One - Third'

S/S 2003 'Angelic'

S/S 1992 'Bird Nest'

A/W 1997 'Beauty And The Beast'

A/W 1999 'Himawari'

'Toy Saves Children' Charity Doll by Takao Yamashita

A/W 1995 'Resurrection + Protection '

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Exclusive

On March 8, a crowd of black-and-white clad Ann Demeulemeester acolytes descended upon the Espace des Blancs Manteaux in Paris’s Marais for the label’s Autumn/Winter 2025 collection “Road to Never.”

Each seat provided a booklet of the collection’s Wall of References, which married an idealized America of the past with London counterculturalism: a Dennis Hopper photograph of a California license plate. An image of Georgia O’Keefe in a slubby linen skirt suit. A crowd of teenagers at Lollapalooza 1992. A rack of greasy leather perfecto jackets. A fanzine of Sisters of Mercy. A selection of pinned and tasseled ties from Judy Blame for The House of Beauty and Culture. 


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As the crowd settled in, the booming drums of The Cult’s “C.O.T.A” began, and models stormed from behind the curtain, each with an array of ribbons trailing behind them. The first look placed the collection firmly in Los Angeles, the model in a low cut draped top, high boots, and sporting a bandana tied around her head. They wore Ray-Ban aviators, Gallici’s first eyewear collaboration for the brand. What proceeded was an homage to Americana, filtered through a Demeulemeester lens. Slim, flared trousers and blousey white tops recalled the 1970s counterculture uniforms of Woodstock, redone in Demeulemeester’s signature black and white and finished with Western style concho belts. Shiny, textural leathers carried the spirit of the perfecto jackets from the Wall of References.

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References to the archive were less direct this season – rather than direct reissues, house codes were filtered through Gallici’s vision. “In the middle of the process, I try to see what is working from the archive here,” he says. For example, Demeulemeester’s signature shearling coats were reworked for the collection in a sun-faded olive green inspired by vintage military garments and the Californian desert. A leather jacket worn over a shearling liner was executed in a distressed leather reminiscent of Autumn/Winter 2000. Tasseled leather belts similarly recalled Autumn/Winter 2002’s woven leather accessories. The leather hats atop most models’ heads recalled Ann’s Spring/Summer 2012, but styled somewhere in between Georgia O’Keefe and Sisters of Mercy – another nod to the Wall of References. High cutaway pinstripe jackets reworked the deconstructed tailoring of Ann’s Spring/Summer 1994 for a harder-edge, while a feathered placket accessory recalled the shirt-placket tank top from the same collection. 

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Key to the brand’s contemporary direction is Gallici’s collaboration with stylist Elodie David. The pair worked closely together in preparation for the collection, each sharing points of inspiration with the other. “We really curate the research all together,” says Gallici. “We have a great pop of freshness, this kind of romantic – more my side, more the Ann side – melting together with this French chicness.” Her sense of bohemianism permeated the collection, especially in the accessories. Ann often produced jewelry out of found objects – broken scissors, bones, and feathers – a similar approach to that of Judy Blame’s for The House of Beauty and Culture, documented in Maciejowska’s book from the Wall of References. That sense of instinctive realism was done for Autumn/Winter 2025 in silver – like the vintage key necklaces evoking Spring/Summer 2006 – bridging the house’s past into its future. 

Backstage, the mood was exuberant, as models and staff shared flutes of champagne in celebration of the success of the show. Underneath all of the runway ornamentation, it was easy to miss the appeal of the core silhouette proposed by Gallici – but the staff uniforms reminded of the house’s more minimalist tendencies. The straight shouldered tailored coats, paired with black trousers and hefty combat boots made the team look poised and professional in their revelry, as they celebrated another leap towards the future for Ann Demeulemeester. 


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Riviere Fougy

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An exhibition at MoMu displays a retrospective of Jan-Jan Van Essche's work through a presentation of his S/S '25 collection. 

A Retrospective Present: Jan-Jan Van Essche's "Khayal"

When people hear the name ‘Comme des Garcons’, a wide variety of images and feelings pop up, proving that the Japanese brand has created an aesthetic universe of its own. This masterful execution of fashion world building couldn't have been fully expanded upon without the catalyst that was the SIX Magazine. Created in 1988, SIX served as a breeding ground for experimental branding with a small twist: the branding rarely (if ever) involved Comme des Garcons’ own clothing. Instead of falling back on conventional methods of fashion advertising, the bi-annual publication incorporated non fashion related artwork and photography to convey the Japanese brand’s collections. SIX also tapped into a wide array of creatives who sometimes weren’t even involved in the industry, and yet this is exactly what gave fashion a breath of fresh air. Not only did SIX solidify Comme des Garcons as an entire entity of its own, it also changed our own perception of fashion to this very day.

SIX Number 3


Although his first collection was released in Japan in 1977, it wasn’t until the mid 80’s and 90’s that Yohji Yamamoto became an influential name in the world of fashion. Photographer David Sims shot these impressive images for Yamamoto’s Autumn/Winter 1995 lookbook, one of the designer’s more symbolic collections from the 90’s. The use of flat color of the simple backdrops really allows the sparse color and details of the pieces to stand out. These bright images are mixed with black and white photos and still lifes that contribute to the overall artistic style of the book. This is an impressive selection of images that shows us one of Yohji’s collections from the height of his career and influence in the 1990’s.

AW1995 Lookbook

Though many passionate followers of Undercover would say that its greatest collection to date is SS2003 ‘SCAB,’ a select few would state otherwise. During the winter of 2005 Undercover presented ‘T,’ an esoteric collection that incorporated the concept of deconstruction and reconstruction. From the religious symbology on the runway to the designs of fictional German bands under the equally fictional record label ‘Undercover Records,’ many found 'T' to rival the likes Undercover’s earlier collections by a long shot. Many found it to be reminiscent of Maison Martin Margiela’s work; this is not a surprise given that Jun Takahashi was influenced by Martin himself as well as Rei Kawakubo of Comme des Garçons. In commemoration of this collection, the Cream Spring Edition book was released solely through Undercover’s Hong Kong store. It features backstage photography of the construction of the collection, sketches of the various clothes and designs by Jun Takahashi, photos of the runway, various interviews from both Jun and Undercover staff, and more. This combination of aesthetics and valuable information only brings its reader deeper into the world of Undercover and 'T'.

Cream Spring Edition Issue 04

Japanese cultural icon Hiroshi Fujiwara and Jun Takahashi of Undercover have created this publication as an ode to Seditionaries. With Fujiwara working under Westwood and McLaren during the 80s and Takahashi being the lead singer of the Tokyo Sex Pistols, it comes as no surprise that Seditionaries would impact both individuals’ achievements at a profound level. The clothing featured were collected by both individuals since the mid 80s to early 90s, each carefully preserved and cherished over the course of decades. With the publication amassing over 350 items, this Seditionaires collection stands the test of time, giving birth to both new fashion enthusiasts and designers around the world.

Jun Takahashi and Hiroshi Fujiwara Seditionaries Collection Book

Designer Issey Miyake and photographer Irving Penn first met in New York City in the 80’s. Penn and Miyake kicked it off and eventually Irving Penn flew to Japan to photograph the early days of Miyake’s Design Studio. Penn was able to view the behind the scenes of Miyake’s experimenting with his process of creating the pleats for “Pleats Please!”. The book shows some of Miyake’s most famous pieces in beautiful detail photographed on clean white backdrops with bright light to capture the pleat pattern. The models all were draped in garments of bright colors and intricate patterns and pose in an almost theatrical manner. During this time in the 80’s Miyake had been working with several ballets and theatre plays doing costume design. As a child he also had always wanted to be a dancer so we continue to see these performance arts inspiring Miyake with further collections. The photos were used as advertisements for Issey Miyake, they also made this limited run book of the stunning photographs the two artists collaborated on in the 80’s.

Issey Miyake Photographs by Irving Penn

In the midst of the 1990s, the world bore witness to a force to be reckoned with: Japan’s Urahara Streetwear Movement. The movement was a positive feedback loop between all of Tokyo’s underground creatives - look no further than the likes of Tetsu Nishiyama of WTAPS, legendary graphic designer Sk8thing, and Hikaru of Bounty Hunter, all of whom began their respective journeys in the same cultural melting pot. But of course, the Urahara Movement can’t be discussed without mentioning the impact of magazine segment ‘Last Orgy.’

Created by legendary Japanese Hip-Hop duo Tiny Panx, Last Orgy gained the reputation for being a taste-making phenomenon. Tiny Panx eventually distanced themselves from their creation, passing the torch to two newcomers to the scene: Jun Takahashi of Undercover and NIGO of A Bathing Ape. Both in their mid-20s, the infamous streetwear tag team continued Last Orgy’s legacy of curation and taste making through ‘Last Orgy 2’, from showcasing covetable items to news from the underground scene and more. Last Orgy 2 was a source that, to all involved, was the pinnacle of creative hope for years to come.

Made possible by donations from several fashion enthusiasts in the community, this issue of Last Orgy 2 has now been fully translated. Those who have a curiosity for pre-internet streetwear memorabilia now have the chance to delve even deeper.

Last Orgy 2, Issue 10 with Translation

SIX Number 4


Jun Takahashi has always been known as an innovative designer who loves referencing history, culture, and his own personal life in his works. This particular 2011 season is yet another example of this endeavor, as depicted in the 2011 'UNDERMAN' Photo Book. The SS2011 Undercover collection titled 'UNDERMAN' features a fictional hero in the year 20XX who restores lost souls incapacitated by the forces of evil. With the story and costume design by Takahashi and photography by Katsuhide Morimoto, Underman was Takahashi's portrayal of Japanese superheroes through fashion. Besides the extensive clothing collection, Takahashi also created a lookbook using a booklet binder of trading cards and a set of miniature figurines in collaboration with Medicom Toy.

Underman Photo Book

From interviews with Martin Margiela himself to photos of avant-garde creations made of recycled objects, the designer's pandora box of creativity flows freely in Cream Issue 09, with his uninhibited creativity being on full display.

Cream Issue 09

Last Orgy 2, Issue 17 with Translation

Last Orgy 2, Issue 11 with Translation

Last Orgy 2, Issue 14 with Translation

Last Orgy 2, Issue 13 with Translation

The Number (N)ine Smart Magazine special, published by Takarajimasha on September 15, 2005, is the quintessential guide for Number (N)ine’s AW2005 collection, 'The High Streets.' It includes photoshoots, interviews, an item catalog, and a retrospective of the brand from SS2001 to AW2005. When most people think of this collection, an image of the infamous hybrid cargo pants conjures up in their minds, and while it is definitely a hallmark of the season, there is more to it that often gets overlooked.

The season as a whole is a hybridization of Native American and grunge culture. There are some items that have an obvious influence, such as the furs, feathers, and fringe that decorate many of the outfits. The grunge garments are flannels, jeans, and Cobain style sunglasses. It may sound all over the place, but the photoshoots present in the magazine show how well these themes work together. The catalog gives a glimpse at the retail prices for the season, ranging from around $400 to $4000.

A fun fact about this book is that it also came with an appendix that included two pins and a rubber ring, each bearing The High Streets insignia.

SMART Magazine Special

Last Orgy 2, Issue 12 with Translation

In 2014, QUOTATION Magazine celebrated Undercover with a special edition showcasing the brand’s legacy. The issue features an exclusive interview with Jun Takahashi, a comprehensive retrospective of Undercover’s collections from 1994 to 2014, a compilation of insights from the brand’s friends and collaborators, and more.

25th Anniversary Under Cover Special Edition, Quotation Magazine

Last Orgy 2, Special Edition with Translation

This Spring/Summer 1996 collection from Undercover, easily named 'Under The Cover', welcomes us into the young creative mind of budding designer Jun Takahashi. The book was created along with the collection and gives us a brief look at drawings Takahashi had made in order to design and produce the garments. He used monster-type figures you would see in horror movies as models for the collection. The book shows us behind the scenes photos as well as detailing how the masks and characters were created. The cenobyte-type figures seem as if they are trapped in some colorful prison or hospital and all wore clothing that matched the design of their complex features. The color blocking walls surrounded the figures, sometimes posed with objects and small environments, as if each were in their own cell. 

Under the Cover

Last Orgy 2, Issue 23 with Translation

Last Orgy 2, Issue 16 with Translation

Number (N)ine still exists today, however the soul and spark of the brand is long gone, with Takahiro Miyashita having left Number (N)ine following the presentation of “A CLOSED FEELING” in 2009. This leaving of Number (N)ine marked for many the end of Takahiro Miyashita’s brainchild. In this rare feature, translated with the help of the ARCHIVE.pdf community, the designer talks about his life, his early youth, hooliganism, and even his deeply held feelings of sadness. This feature also contain interviews with those close to Miyashita, as well as and quotes from designers, along with the design team. This booklet seems to act as a swan song, marking the end of this period of Miyashita’s life, and allowing closure while still providing comfort and reflection towards the beautiful legacy he left at Number (N)ine. While quite somber and at times saddening, the feature ends on a rather mixed note, with the writer encouraging Miyashita to “KEEP BURNING” rather than too merely fade away.

Truth of Number (N)ine

Last Orgy 2, Issue 15 with Translation

In 2015, Undercover designer Jun Takahashi launched a retrospective exhibition in commemoration of his brand’s 25th anniversary. The exhibition went into great detail on the cult brand’s history and designs, from the early days being stocked in Ura-Harajuku’s NOWHERE store, to an expansive selection of runway looks and designs surrounding the brand’s unique vision. Labyrinth of Undercover was released alongside this exhibition, featuring select looks from all of Undercover’s runway shows, from 1994 to 2015. In addition to the runway looks is also a full list of collections with descriptions of the corresponding themes and meanings. The book eloquently serves as a time capsule through which readers can grasp a substantial understanding of the cult brand's legacy from the 90s to the modern day.

Labyrinth of Undercover

ARCHIVE.pdf, in collaboration with photographer Angela Ricciardi, presents our exclusive backstage and runway coverage of Ann Demeulemeester’s A/W 2025 show.

Ann Demeulemeester A/W 2025 Backstage and Runway

FASHION SCANS

Legend of Harajuku Goros, Volume 1

25th Anniversary Under Cover Special Edition, Quotation Magazine

AW1998 Lookbook

Guru of the Fashion World

Guerillazine: No.6 Ideas for Corporate Salvation

FARMY Lookbook

Veronique Branquinho A/W 2004 Menswear

A/W 2002 'Virginia Creeper' Catalog

FASHION SCANS

LEGEND OF HARAJUKU GOROS, VOLUME 1

Goros . 2012 . 2012

25TH ANNIVERSARY UNDER COVER SPECIAL EDITION, QUOTATION MAGAZINE

Undercover . 2014 . 2014

AW1998 LOOKBOOK

Yohji Yamamoto . 1998 . 1998

GURU OF THE FASHION WORLD

Yohji Yamamoto . 1986 . 1986

GUERILLAZINE: NO.6 IDEAS FOR CORPORATE SALVATION

Comme des Garcons . 2009 . 2009

FARMY LOOKBOOK

Kapital . 2011 . 2011

VERONIQUE BRANQUINHO A/W 2004 MENSWEAR

Veronique Branquinho . 2004 . 2004

A/W 2002 'VIRGINIA CREEPER' CATALOG

Raf Simons . 2002 . 2002

MUTILATE

Walter Van Beirendonck . 1997 . 1997

FASHION ARTICLES

Takao Yamashita: Entering The Belly Of The beauty:beast

FASHION ARTICLES

Ann Demeulemeester A/W 2025 Backstage and Runway

Beyond Monumentalism: Comme des Garçons, Junya Watanabe, & Noir Kei Ninomiya A/W 2025

Mugler & Alaïa: Two Decades of Artistic Affinities

A Retrospective Present: Jan-Jan Van Essche's "Khayal"

The Two Faces of Martin Margiela