Japanese designer
Shinichiro Arakawa
has seen and designed it all. Throughout his time in the fashion industry he’s taken on challenge after challenge, creating everything from the beautifully frivolous to the stylishly functional. Most designers seem to understand their niche, and stick with it. In this regard Arakawa is an exception, with his work leading him to create a variety of designs built for explicitly different purposes. Born in Japan, Arakawa’s foray into art was rather humble, first starting off doodling on his grandmother’s newspapers. After winning an award for an oil painting he made in highschool, Arakawa’s varied interests in art would put him on the path to where he is today. Throughout his body of work, there have been consistent themes, a key component of which is the way that he balances both beauty and functionality. This flexibility and willingness to create a wide variety of art is part of what makes Arakawa so interesting; though what makes him so exceptional is the fact that he does it all so well. Recently ARCHIVE.pdf took the time to catch up with Arakawa, who graciously gave us a look into his long and storied career.
Growing up as a child, what inspired you artistically? Were you artistically inclined as a child?During my childhood, there was a period when I was left in the care of my grandmother, and spent time with her drawing on newspaper. This was the starting point for my love of art. My first oil painting, a portrait of my grandmother, I created in high school won the grand prize which is still displayed in the principal's office at the high school. Initially what drew you to the world of fashion and design?In my youth, I believe it was when I saw the silhouette of the clothing worn by a friend swaying in the darkness of a nightclub in Tokyo.
Following a chance encounter in a Tokyo nightclub, Arakawa decided to apply his fine arts degree to the world of fashion, rather than more traditional fine arts. After his graduation in 1990, he relocated from Tokyo to Paris to pursue a career in the fashion industry. In Arakawa’s telling, these next 3 years proved crucial to him becoming the designer he is today. In particular the time he spent as an intern and assistant to Christopher Nemeth at his label had a deep impact on the young man, both on a personal and professional level.
Were there any defining moments in your adolescence or young adulthood that have left a lasting mark on your design philosophy?I believe the influence of the people I spent time with in Tokyo, Paris, and London was significant.What was working as an intern for Christopher Nemeth like?It started with helping in the decoration work for the opening of Christopher Nemeth's atelier in Camden Town, London. During the atelier opening party, I helped with cooking in the kitchen and cleaning up the hall. Many people from the fashion and music industry in London attended the party, and I remember how stimulating it was. After that, I worked in London and Tokyo for several months. In Camden Town, I even worked as a chef preparing breakfast. It was amusing when, being Japanese, I made an English breakfast with sausages and beans for everyone. Apart from that, I engaged in tasks such as sample sewing, interior construction of the atelier, and assisting with shop staff.Evenings were spent drinking beer or playing billiards in London pubs. There were times when we walked from Trafalgar Square to Camden Town, engaging in conversations. During that period, I was still enrolled at Studio Bercot in Paris, so I remember discussing life in Paris, friends and family, and London's fashion. I was told that if I wanted to become a designer, merely working as a designer's assistant wouldn't be meaningful, so I made the decision to start my own brand. From Christopher Nemeth, I feel I learned more about a way of life than just the art of making clothes. Though I may not be living up to the lessons I received even now…Out of all the roles you took on as an intern at Christopher Nemeth's label, which helped you the most when you later worked as a designer?I remember being told that the human body has no straight lines. I haven't used a ruler much in clothing production.
Eventually gaining the confidence to start his own label, Arakawa’s eponymous brand held its first show in Paris in 1993, after which he held runway shows in both Paris and Tokyo. While designing, he often reflected emotions he himself felt as a designer, using these feelings to inspire and fuel his creative vision season to season. Themes of collections ranged from what many observers considered quite political to more existential questions of whether one should be free or merely a functioning cog in society, with his designs reflecting these ideas.
I conducted a collection with silkworms as the theme. (1998 S/S Collection)The collection revolved around the contrast between the silkworm, which sacrifices itself for the silk that humans wear, and the wild silkworm, called 'kusamushi,' which belongs to the same species but can fly freely.Silkworms bred for silk production, despite having wings, cannot fly, and their eyes and mouths do not function. Conversely, the wild silkworm, or 'kusamushi,' can freely jump around, with functional eyes and mouths, but it is considered a pest as it feeds on the leaves of the mulberry tree, which is the food source for the silkworms bred for cultivation.Whether we, living in the present, align more with silkworms or 'kusamushi' is uncertain. Creatures deemed pests tend to be eliminated, but I believe the true pests exist elsewhere.
“Shinichiro Arakawa's show was particularly popular, with people packed in with anticipation, even if they were standing, hoping to catch a glimpse of the show more than an hour before the show started. Titled 'To All Hard Workers', the show was a social satire that likened the lives of hard workers to those of a silkworm. The lineup was stoic and humorous at the same time, with items such as crisp shirts and suits topped with cocoon-like knitwear from the top down, and shirt dresses with the cuffs sewn together. Overall, a crisp, mannish style seems to be the trend this spring.” (Excerpt from CUTiE January 1998.)
You opened your first boutique in Paris in the 90s, what was that like? What were some of the differences you noticed between showing collections in Paris versus Tokyo?I had a great time as I was surrounded by many friends. Paris is a place that helped me grow, while Tokyo feels like my hometown. I had different feelings about each collection. In both cities, I feel that unless my background and way of life are incorporated and expressed in the work, my message will not get across.
Tell us about 0cm4, your involvement with the film production, and the line that followed.I participated in 0cm4 by helping with the content, theme, and fashion. There is a lot of footage that has not been released yet. Also, my own directorial work 'BOMBYX MORI' that followed, was left unfinished.
Not to be confined to just one area of design, Arakawa began collaborating with Honda in 1997. During this collaboration, Arakawa worked tirelessly to create clothing that was both functional and stylish. In particular, he focused on protective gear for motorcycle riders, that while remaining effortlessly cool, would also protect the rider in an accident. Arakawa was sucked into the world of functional design, going so far as to ride motorcycles on the highway himself. Eventually this love of motorcycles and high speeds led Arakawa to his current label. Focused around creating a perfect blend of form and function, resulting in beautiful yet protective garments, the label’s works truly are both from, and for, motorcycle riders.
Did you ride motorcycles a lot growing up or as an adult before designing motorcycle rider clothing?I've been riding since a young age. However, after coming to Europe, I wasn’t able to ride. Now, I ride European-made motorcycles.What was your time working at Honda like? What design roles did you take on there?I was involved in designing apparel for Honda.There were two types of involvement with Honda: one was my fashion line with a design priority, and the other was the design of Honda's genuine motorcycle gear.For the fashion line, there wasn't much difference from my previous experience in clothing making. I simply created what I wanted using the Honda logo. However, it was different for Honda's genuine motorcycle gear. One of Honda's company policies is to create items that are usable by a larger number of people, similar to motorcycles and cars. This meant designing products with good performance that could cater to various individuals. It involved setting the same size to accommodate both taller, slender individuals and shorter, heavier individuals. For example, designing so that both can comfortably wear the same size, such as a large size. This made the silhouette completely shift, and it was a very challenging task. I learned that there are various aspects to clothing design.Motorcycle wear has a strong element of being a tool for human use. It's intriguing to balance both the functionality to protect the human body and the style.
“As the name suggests, Arakawa First Division has partnered with HONDA to present a new style of bike fashion in a more creative way. However, this is not just a self-indulgent collection, but rather a DJ-like remix that pays homage to the original ‘bike fashion.’ In fact, most of the clothes used in this show were remade from materials taken apart from existing racing items, such as overalls, blankets, and umbrellas. Not only will they be doing bike fashion this time, but they are also planning to collaborate on various items in the future, so why not look forward to it?” (Excerpt from H Magazine September 1997)
Did anything in particular draw you towards the world of motorcycle riding and functional motorcycle clothing? In particular, what is it like currently designing functional motorcycle clothing?I believe the starting point was doing motorcycle fashion in collaboration with Honda, but at that time, the popular items were T-shirts, blouses, dresses, etc., printed with the Honda logo, lacking functional elements typical of motorcycle gear.Around that time, I began receiving requests from people at Honda and in the motorcycle industry to design functional yet fashion-forward motorcycle gear. This became the catalyst. The desire to create something that didn't exist and the inclination to make life enjoyable when the world seemed dull had been present in me for a while.Designing for functionality was a complete departure from the dresses created for visual beauty and aesthetic appreciation. Unlike the work of creating dresses indoors, focusing on curves and beauty, functional motorcycle gear involved wearing a needle-pierced toile while riding a motorcycle on the highways of Tokyo. It included verifying, modifying, checking comfort, mobility, wind resistance, etc., all while speeding along the Tokyo highways. In a sense, my clothing carries a great weight as it can be the difference between life or death for a motorcyclist. It's enjoyable to infuse my own sense of fashion into such clothing.In your earlier collections from the 1990s it seems like you centered around cultural criticism as inspiration. Do you still agree with those critiques, and is there anything happening now culturally that inspires you in that same manner?It's a bit unfortunate, but since starting the design of motorcycle gear, I haven't been creating clothing with cultural themes as much. Maybe it's because I'm not in an environment where I can be culturally stimulated, or perhaps such places have become scarce... While I can't directly compare 1990 and 2023, it feels like the city has become a bit more subdued. The fact that it has become subdued might, in a way, be a source of stimulation.
What comes first for you in the design process? How has this process changed over the years? Design can only go in the direction where the compass in my head is pointing… I don't know where it's pointing, and I don't know where it will suddenly turn in the future. It doesn't always point in the right direction, though.Looking forward, what message, if any, do you want your clothing to convey?The message embedded in the clothing may change depending on the times. Now, unlike before, there is a greater emphasis on custom-made production, so it might involve more individualized messages. It always brings me joy when my thoughts or expressions are communicated to others and appreciated. I hope to enjoy conversations through clothing.In terms of sparking conversations about clothing, what conversations do you think are worth having currently?Clothing reflects the creator's emotions at that moment, like a mirror. Wearing clothes made with love helps ease uneasy feelings.Of all your previous projects and collections, is there one that sticks out to you the most to this day?They all left the same impression on me. I still remember them like it was yesterday.Is there anything we didn’t cover in this interview you would like to say or talk about?Even though I've been away from the world of fashion for quite a long time, I am genuinely delighted and grateful that there is still interest in the pieces I used to create. Thank you very much.
While Shinichiro Arakawa’s name may not have instantly rung a bell for you, his work has always had a following of people who appreciated his ideas and craftsmanship. Despite this, information and imagery on Arakawa is scarce in books and on the internet. We’re very happy to announce that with permission from Shinichiro-san, we are able to share these rare images from his personal archive. Going through collection by collection, featuring editorials, advertisements, and more,
click here view the full archive.
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