While often overlooked for flashier, more profitable ready to wear shows, Paris Fashion Week still remains a key destination for more niche designers to visit and display their collections. Out of these smaller brands, an undeniable subcategory is that of avant-garde darkwear. Among this crop of designers, Isaac Sellam stands out, with his namesake label, Isaac Sellam Experience, being a must visit for those who enjoy avant-garde darkwear. To many, Sellam’s work represents the pinnacle of avant-garde design, with cerebral yet handcrafted garments defining the brand. 

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Years before he began his showing in Paris, Sellam already had a keen interest in fashion, with his first experience in tailoring coming at the age of 16. As Sellam noted in an [interview with Leclaireur](https://leclaireur.com/en-int/blogs/news/isaac-sellam-experience-l-amour-brut), the reason for this foray into the world of fashion was spurred by not having the means to buy a Chevignon down jacket. Rather than merely accepting the fact he couldn’t afford the jacket, Sellam instead set out to create a version of his own. Soon after, requests for jackets began to stream in, with the then teenager initially selling the jackets to friends, and then a wider audience.

In 2002, Sellam’s 15 years of professional experience with leather and pattern making would culminate in him founding his eponymous label, Isaac Sellam Experience. Working with prestigious tanneries and applying his expertise, Sellam focused his label on leather products (though the label does offer other textiles as well). Picking up steam over the years, the label has begun to offer more and more, with the launch of his diffusion line 69 by Isaac Sellam as well as other diffusion lines. As the designer [explained to Raw Looks](https://rawlooks.com/magazine/isaac-sellam-launches-69-by-isaac-sellam/) this diffusion line is meant to be both playful and to offer his works to a wider audience, while still retaining the quality and expertise that go into the mainline label. As with other avant-garde darkwear designers, Sellam’s label often makes the trip to various fashion weeks, presenting the collections in private, away from the pomp and ostentatiousness of the RTW shows. In this more intimate environment, Sellam and his team present their vision of what fashion can be.

Isaac Sellam S/S24 showroom, photographed by Pikoi.

Along with the truly artisan approach to his label’s works, the designer's garments are often instantly recognizable, with the metal spine staples being a key motif of Sellam’s clothing. [According to Sellam](https://leclaireur.com/en-int/blogs/news/isaac-sellam-experience-l-amour-brut), the metal spine motif happened quite by accident, with Sellam adopting the staples pattern from a rug his friend owned. Inspired and already working with diagonal staples at the time, Sellam worked hard at developing the staple system, before finally figuring it out. In his words [“It took me a long time to find the right system.”](https://leclaireur.com/en-int/blogs/news/isaac-sellam-experience-l-amour-brut) This is a perfect example of another part of what makes Sellam’s garments so special, he goes out of his way to experiment and explore the materials he works with. Rather than being bound by his materials, he bends fabric and hides to his whims, creating garments and techniques that have been underutilized if they’ve even been utilized at all by other labels. In an industry where technical innovation is often left to athletic brands, Sellam’s approach to his materials is second to none. 

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With all this in mind, its quite easy to see what makes Sellam’s works so sought after. From the technical properties of the leather he uses, to the attention to detail, Sellam’s passion oozes into the garments he creates. In his own words “I only do things with love, only for love, and that's it.” Often lost in the hustle and bustle of today's profit driven fashion culture is the act of creativity, and the absolute devotion to the craft of garment making. In Sellam’s case, it is quite easy to see in the designer's works that this devotion to artisan ship still rings true, and that at its core, his collections are an utter labor of love.  

We at ARCHIVE.pdf were lucky enough to be offered a peek into the world of Isaac Sellam’s creation during Paris Fashion Week. View the gallery of images below, a special thanks to Isaac Sellam and his team for letting us experience their space.

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We at ARCHIVE.pdf were lucky enough to be offered a peek into the world of Isaac Sellam’s creation during Paris Fashion Week. 

Isaac Sellam: S/S24 Showroom and Brand Overview

To succeed in the world of fashion, one must have connections and relationships with their communities and peers. Whether through family, fame, or fortune, connections matter, and those without them are often left on the wayside. In many ways, this is what makes Eugene Rabkin’s writing stand out from the rest of the pack. Coming from a background without connections made through family, fame, or fortune, Rabkin pulls no punches in his critiques, and takes no prisoners either. As is the case with many outsiders that pry their way into the world of fashion, Rabkin’s story is one of both happenstance and a drive to offer something new to the elitist world of fashion criticism.

Born in the USSR, Rabkin emigrated to New York City at the age of 15 to “pursue the American dream”. Within his young mind, this entailed working on Wall Street, something not typically associated with the world of fashion, nor the role of opinion writer. What would eventually put Rabkin onto the path he followed would be something quite ubiquitous for the 1990’s: a music video. As Rabkin recollected being interviewed by Rick Owens, his interest in fashion began to pique around 1994 when clothes and the feelings they reflect clicked into place. As he said to Owens, “you know when the light bulb went off for me about what clothing can do? It’s when I saw (the) March of the Pigs video by Nine Inch Nails in ’94”. This realization of how clothes can be another way of expressing what you feel within to the outside world was a game changer.  

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Rabkin’s new found understanding, when combined by a visit to Barneys in 1998, further pushed him towards his final stepping stone into the industry of fashion. Rather dissatisfied with the typical American Dream and Wall Street, Rabkin’s exit from that elite world and into fashion criticism and writing as a profession would be the catalyst for his new creation: avant-garde menswear forum, [StyleZeitgeist](https://www.stylezeitgeist.com/), and its companion magazine. StyleZeitgeist, both as a forum and as a magazine, were rather unique in 2006 when they were founded. No other forums or large scale online spaces were being dedicated to serious discussions about avant-garde clothing, and in particular avant-garde menswear. From this, Rabkin was put onto the path that would land him in the pages of Business of Fashion, Vogue Russia, Highsnobiety, and other mainstream publications. Since beginning his career, Rabkin has played a variety of roles, from critiquing the rank profit motives of fashion conglomerates to interviews with designers such as Haider Ackerman and Rick Owens. The writer has kept himself occupied but thankfully, Rabkin worked in enough time to answer some questions with ARCHIVE.pdf. We discussed his life, his journey, and his thoughts on the world of fashion.

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**From the first designer that struck your soul to your first published work, we would love to learn of your journey into the fashion industry.**

I immigrated to the US with my parent when I was fifteen. We came from a Eastern European country where nothing ever grows - Belarus - to a Brooklyn neighborhood where nothing ever grows, aptly called Gravesend. The "grave" in Gravesend stood for culture, of which there was none, and "send" for sending people towards it. This was immigrant / working-class Brooklyn of the early '90s, a place where gentrification still has not penetrated and probably never will, a dead end. My high school, FDR, at one point had a roughly 70% dropout rate and kids got robbed outside of it for their Starter jackets. Out of the twenty or so kids I hung out with on handball courts only two went on to college.

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In such a milieu music and books were my salvation, but I'll concentrate on music here. While most kids listened to gangsta rap, few were into metal, industrial, and alternative. I brought my love for synth pop, and Depeche Mode in particular, with me from Belarus (Eastern Europeans are fanatical about DM - no one exactly knows why). One day a friend put on The Downward Spiral, a record by Nine Inch Nails, and my world fell apart in the best possible sense of the word. From Nine Inch Nails I worked my way back to industrial, goth, and post-punk - Sisters of Mercy, Joy Division, and so on. There was a rage and darkness in the music that perfectly corresponded with my teenage angst. Like most teenagers I began to dress like my music idols - black leather, jeans, combat boots, and band tees were my uniform.

At the same time - like many members of disadvantaged groups - I felt the pull of aspirational consumption. Designer clothes were huge in the Russian-speaking Jewish community - we could not wait to signal fast enough that we are set on climbing out of poverty. For me it manifested in techno club culture in particular - I did quite a bit of clubbing at Limelight and Tunnel in the '90s, and that's where I wore my reflective DKNY, D&G, Moschino, and Iceberg. Eventually the goth side of me won out though.

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My older brother had a friend who was an aspiring fashion designer who noticed my interest in clothes and suggested that I go to this store called Barneys. I first walked into Barneys in 1998, and that was my entrance into the rabbit hole. I discovered the Belgians and the Japanese and it all absolutely blew my mind. Before that I did not realize that fashion and luxury can be two different things. I fell in love with Ann Demeulemeester, Helmut Lang, and Yohji Yamamoto. Ann in particular stole my heart. These were clothes similar to what I wore already but infinitely more elegant, better fitting, and well made.

Needless to say that where I lived no one understood what I was wearing or my love for these strange clothes. The Internet is where I found like-minded people. I stumbled upon the Fashion Spot, the OG fashion message board while searching on the Internet for information on Raf Simons. I joined and quickly developed a reputation for knowing my fashion avant-garde and firing off snarky but hilarious one-liners. In 2006 I founded my own forum, StyleZeitgeist. A year in I got a message in my inbox from someone who turned out to be an editor at Haaretz, the premier Israeli newspaper. I asked him if I could write for them about fashion. And that's how in 2008 I got my first assignment, which was to write about Atelier, the avant-garde menswear store in New York. After that my editor asked me what I want to write about next, which, obviously, was Ann Demeulemeester. When that piece came out, I sent it to Rick Owens's PR, and that ended up being my third piece. My fourth was on Jun Takahashi of Undercover.

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**​​The first fashion show you attended as a journalist was Number (N)ine’s last fashion show: A/W 2009 ‘A Closed Feeling’. Tell us of your experience with the brand and the show.**

Looking back on it, I cannot think of a better show that would be my introduction to Paris and men's runway shows. It was an ethereal, touching experience. Between the clothes, the slow pace and the twirl of the models, the gut-wrenching soundtrack by Beth Gibbons, it all made a lasting impression. I'm an enormous fan of Takahiro Miyashita - both Number (N)ine and TheSoloist - and I am proud to know him in real life.

When I encountered Number (N)ine, I immediately fell in love with it, as I've always gravitated to an elevated version of the goth / industrial / rock gear I've been rocking since I was fifteen. N(N)'s design, quality and fit was just on another level, and I saw that Taka came from the same youth culture space that I did. I will never forget what Jun Takahashi of Undercover told me about Taka, that he designs menswear with the same intensity and complexity that Jun (and most designers for that matter) puts into his womenswear.

I also must mention here the iconic Number (N)ine store in upper TriBeCa, back when there was nothing in that neighborhood. It was an amazing pilgrimage to go to this out of the way store, and of course the salespeople thought they were cooler than thou and you couldn't see shit because it was so dark in there, but it was such a special and unique experience. It was all too expensive for me at the time, but I've recently began collecting garments from my favorite Number (N)ine show, Noir (A/W 2006). These clothes absolutely hold up after fifteen years, not only in terms of amazing quality, wool and cashmere on the outside and silk lining on all the tailoring, but also in terms of fit and aesthetic. And you can't say that about much of menswear from that era.

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**Many consider StyleZeitgeist to be one of your most impactful works in the online fashion space. How did you get the idea for StyleZeitgeist and how did it turn into what it is today?**

I was a prominent member of the Fashion Spot, which I loved, but I was a purist and I resented the fact that I had to wade knee-deep in model and celebrity style to get to the meat of what I wanted to discuss, which was fashion design. Also, I've had some run-in with the moderators, and I don't do well with authority, so I eventually slammed the door on the way out by starting my own forum. Without boring you with Hegel, I went through the whole thesis / antithesis / synthesis thing. I wanted the name of the forum to signify two things - my obsession with fashion on a deep, personal level, and that I wanted to concentrate on fashion that has cultural underpinnings. Hence, StyleZeitgeist. I invited only ten people onto StyleZeitgeist from tFS, because I did not want to poach members from it.

Concurrently I began posting on Superfuture, and eventually there was an influx from Superfuture members who were ready to graduate from Japanese denim and workwear. And that's how SZ began to turn mostly male and mostly avant-garde. I steered it, but a forum is a collective effort, and so eventually designers like Rick Owens and Carol Christian Poell beat out designers like Alexander McQueen and Hussein Chalayan. And then I suppose we simply hit that surfer wave - for the first time a critical mass of young men was interested in designer fashion that was not the lowest common denominator and we were the place on the Internet for it.

In the meanwhile I was writing for different publications, and eventually my friend Florian Schmitt, who was also a forum member, gave me an idea to start a magazine. I told him I'll do it only if his firm, Hi-Res!, will design it, to which he agreed. I found a business partner, also a forum member, and we launched the magazine in 2011. We did not know what we were doing, but it was tremendous fun to put together photo shoots and a print magazine. I learned a lot through those five print issues we did before we ran out of money because we couldn't find any serious advertisers. In retrospect, it's amazing how much we did with what little we had. I wouldn't be ashamed to put those print volumes in front of any editor today. Eventually my partner dropped off and I continued the magazine in digital form. A few years ago, my assistant editor and my wife, separately, persuaded me to start a podcast, which has been an interesting turn, because when I meet people today the pod is the first thing they mention.

Two things to note here. One, I am not a genius and all of the ideas - to start a forum, or a magazine, or a podcast did not come from me. But I am passionate and I tend to execute where more sensible people would've given up a long time ago. And two, media evolves and one must evolve with it, as evidenced from the death of forum culture, followed by the fact that few people read anymore on any meaningful level. StyleZeitgeist has never made money, and that's fine. It has retained relevance, and that's what matters to me. I also met many incredible, passionate, intelligent, kind people because of it, and I have learned a lot from others, and that is the currency I prefer. I owe so much to SZ, and I shudder to think about what my life might have been without it.

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**What is your definition of avant-garde fashion and why does it resonate with you?**

To me avant-garde means the same thing it means in a traditional art definition of the term - meaning someone who is ahead of the curve. Designers who do not cater to the masses but who are passionate about their craft for the sake of it and who weave concepts into their work. It's fashion that is difficult and that makes me think, whether because of the mastery of technique or conceptual proposition.

Without trying to sound too dramatic, avant-garde - whether in fashion or music or art - resonates with me because I am driven by a deep hatred for the bourgeoisie, the unjust world it has built, and its values of conformity, assimilation, and submission. I dress the way I do to pointedly signal that I am not like them. That spirit is what draws me strongly to designers like Rick Owens, Takahiro Miyashita of the Soloist, and Jun Takahashi of Undercover.

**Which 3 designers do you consider as some of the pinnacles of avant-garde fashion?**
Helmut Lang for his masterful subversion that went over most people's heads. He is hailed as the father of minimalism, but to me it's the kinkiness of his clothes that was the juice. And the fact that so few people understood it is the proof of his subtle mastery. Subversion is very important to me, because it's one of the very few avenues of rebellion that is left in a technocratic, managed world.

Martin Margiela for taking apart all sartorial codes and turning on its head the entire concept of what designer fashion should be, for his consistent and pointed erasure of the word "luxury" from fashion (I don't really care for his brief tenure at Hermes, as many others do, sorry not sorry).

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Rick Owens for his uncompromising wallowing in the dirt, the brutalism, the tragic goth glamour, for convincing your average dude to wear drop crotch pants, and for staying true to himself. He is a true auteur, the last modernist, and a genuine human being with all the imperfections and love and care and passion that he puts into his designs that underscore the fact that human life is a fucking mess that some of us try to transcend by making something beautiful. Or in Oscar Wilde's words, which I am sure Rick would appreciate, "We are all in the gutter, but some of us are looking at the stars."

Anyway, three is incredibly hard, so I hope you will allow me to cheat. Jun Takahashi for bridging youth culture and fashion. Takahiro Miyashita for doing the same and for being a true auteur. Ann Demeulemeester for her poetry. Rei Kawakubo for questioning the entire notion of clothes. Yohji Yamamoto for his constant reinvention of tailoring. And, of course, Alexander McQueen for subverting everything that the gilded world of fashion has ever thrown at him.

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**A lot of your articles seem to explore the issue of fashion as art and its corrosion by business concerns. Do you worry that this decay in the art of fashion will accelerate as conglomerates seem to buy up more and more labels?**

I am actually on the fence about whether fashion is art. Undoubtedly, it's a creative discipline and design, and to me that is respectable in its own right. I've never seen a need for fashion to claim that it's art. I would argue that considering the state of contemporary art fashion is at times much more interesting and rewarding.
 
But, yes, I absolutely worry about business concerns overriding artistic integrity and intense design research that goes into making designer fashion. And it's not a future concern - it's already happened. Corporations operate by the logic of capitalism, which is the need to make more money each consecutive quarter. You can only do it by selling more or cutting costs, or both. The erasure of quality in the past twenty years has been very real. If people were cognizant of how much they are overpaying for fashion today, we'd have a consumer revolt on our hands. But most consumers don't seem to care, nor do they know what good quality is because they haven't grown up surrounded by it. Also, it seems like few people want to truly learn about fashion, because like anything worth doing it takes time and effort. Still, at the end of the day it will be up to the consumers to vote with their wallets. But the more new markets fashion opens up the harder it will be. Fashion loves a neophyte, because it can sell them on the beach with the right logo on it. I've dedicated StyleZeitgeist to highlighting designers whose work I think is worth supporting, and I hope we were able to influence and expose some people to great design, and I would like to continue doing that.

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**Throughout your written work, a common through line is pointing out the decline of high fashion and its commodification. As this process has unfolded, what has (if anything) kept you hopeful or excited for the future of fashion?**

To put it bluntly, not very much. My hope is for another generation of fashion designers who care about creativity to come around, but I am not very optimistic on that front. I keep my excitement by following and supporting a handful of designers that I love who do great work. The fact that most of them are 50 and up does not bode well for fashion.

I am not very hopeful because I cannot attribute the overall dismal state of current fashion to some temporary generational shift. Structural changes have happened that have made fashion worse for the foreseeable future - the most important of this is that fashion has become a pop, mass phenomenon. When a cultural phenomenon becomes mass it is inevitable that it becomes bland in order to cater to the masses. The corporate takeover of fashion has exacerbated this. Today, this industry is run by people who don't care about fashion - it just happens to be a line of business they work in. And they are very adept at serving up to the masses the easily digestible goods, what I call premium mediocre, while manufacturing demand through relentless marketing and the media-celebrity industrial complex.

The hope, such as it is, can only be found in niches of true fashion fans that support independent designers who produce genuinely creative work. The Internet has played a major role in banding these people together into tribes, which is what we've done at StyleZeitgeist, and I hope it continues to serve that function.

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Discussing his life, his journey, and his thoughts on fashion.

Enter the Style Zeitgeist: An Interview with Eugene Rabkin

In terms of Artisanal avant-garde labels, what comes to mind is often the classics lines such as Carol Christian Poell, Yohji Yamamoto, Comme des Garçons and Maison Martin Margiela. However, in the last 5 years or so, a new wave of artisanal avant-garde clothing labels have begun to sprout anew, growing alongside the popularity, and scarcity, of older labels. From this new crop of labels has emerged Professor. E. With keen eyes on tailoring, eccentric cuts, and complex patterns, Professor. E has shown the world what they have to offer to the artisanal avant-garde scene over the past two years. We at ARCHIVE.pdf recently got the chance to catch up with [Ken Rao](https://www.instagram.com/thisiskenrao/?hl=en) and his team, wherein they offered us a glimpse into the whimsical world of their own making.

Enter the world of [Professor. E](https://professor-e.com/), one of renaissance eloquence mixed with modern sensibilities, all with an artisanal touch.

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*Professor. E Archives*

**How did Professor. E start as a label? And how has it progressed over the years?**

Professor. E's basic style is an extension of the 'Re-Lab' project, which was first developed by the founder Ken, and the designs are strongly artisanal in nature. The 'JCKA jacket', which is a dismantling and reconstruction of the Japanese Kendo fabric and Chinese Tang suit, has won the hearts of many supporters. In order to present a more diverse range of perspectives and content integrity, Ken decided to develop a team approach, moving away from random development to the intentional rule of quarterly releases.

**Would you or your team consider the 'JCKA jacket' to be a piece that is emblematic of Professor. E's approach to menswear?**

No, the "JCKA" was just an opportunity for us to launch Professor. E. The design concept and technical qualities are part of the Professor. E's style, but it does not represent all of Professor. E.

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*ReLAB - JCKA JKT*

**Where did the idea of the designer being a virtual entity come from? Was this implemented at the start, or was it implemented later?**

We started when we published it (the designer) as 'Professor. E', but of course, the concept was still quite rudimentary during the start-up phase, as we would discuss how to present its identity. One interesting thing was that the role was not yet standardized at the start-up stage, which led to a number of media articles featuring different brand stories, but at the heart of it was the idea of representing a team as a whole. As a fashion team, while we are technically distinct, we are intertwined and inseparable when it comes to fashion ideas. Professor. E is a collective representation of the team. It means that it (Professor. E) is not one person's perspective, but rather a combination of the perspectives of each of us involved.

**Where does the creative inspiration for Professor. E come from? If there isn't a single source of inspiration, what are the influences that drive Professor. E's offerings?**

A little must be said about the character design behind the scenes, as we set Professor. E in the "Age of Discovery" (15th-17th). Through this setting, the team was given an imaginative boundary to examine and explore the culture of the period, from the Baroque and Rococo styles of painting, to architecture, the scientific discoveries of astronomy and geography, as well as reflecting on the colonial conflicts and the exotic fantasies of the mainstream Western vision. This richness of the period has served as a source of inspiration for us.

**In regards to not having a public-facing designer or creative director, has this or does this ever cause difficulties? If not, does it make things easier?**

The difficulty for us is how to shape the context of the character, for example, how to make it more attractive? A character that does not have a real identity tries to raise the question of 'iconoclasm', and if one lacks the ability to think, one tends to follow the designer or the brand blindly for the sake of convenience (the energy cost of thinking), as is the case in all fields. Even though we are aware that public curiosity about what goes on behind the scenes of a brand is obviously unavoidable, this does not mean that the idea of 'decentralization' is futile, but rather that the point is to 'rethink' the unbreakable, anchored and deified mindset of an object.

**What collection or collections are the teams at Professor. E most proud of?**

We try to put our best foot forward with every release, but we always learn more in the process. It makes us realize that we have to remain humble, that we can't pick the season we're most proud of at the moment, and that we'll be proud of ourselves as we mature.

*Photo 1: F/W 20 lookbook Photo 2: S/S 20 menswear lookbook Photo 3: Professor. E Archives*

**Finally, if the virtual designer could "speak" for itself, what would it want to say to it audience?**

Although Professor. E has a concrete silhouette and a mask that seems to refer to "me" and create a strong image. But I hope that you will be able to look past the vague appearance of my clothes and appreciate the subtle variations in fit, cut and texture of the fabrics that I wear, and enter the imagery and stories of "Professor. E".

*Professor. E Archives Photo 4: F/W 20 Editorial*


*Special thanks to Ken Rao and the team at Professor. E for making this article possible.*



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An exclusive interview with Ken Rao of Professor. E. 

Question and Answer: Professor. E, Ken Rao, and His Team on Their Creations

Japanese designer [Shinichiro Arakawa](https://www.instagram.com/shinichiroarakawa_official/) 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.

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**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.

Arakawa backstage at his A/W 1997 show in Toyko. 

*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.

Shinichiro Arakawa's A/W 1995 show held in Tokyo's Shimokitazawa district. 

*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.


Shinichiro Arakawa's A/W 1999 collection.

**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.](https://beta.archivepdf.net/archives/shinichiro-arakawa) Follow Shinichiro Arakawa on [Instagram](https://www.instagram.com/shinichiroarakawa_official/?hl=en) to stay up to date on his latest designs!*

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

From The Runway To The Roadway: Interview with Shinichiro Arakawa

When most people think of avant garde fashion, they think of fashion for a singular purpose or occasion; [Jordan Arthur Smith’s namesake label](https://jordanarthursmith.com/) challenges this assumption by creating garments that exist as multiple garments simultaneously, with no finality. Much like the signature curves in his designs, Smith has followed a non-traditional path on the way to founding his eponymous label. 

While most designers begin their career under a well established designer, or work at a major fashion house, Smith took a leap of faith and started his own label, despite the barriers he faced due to isolation from a major fashion market. Since 2020, Smith has worked tirelessly on collection after collection out of his apartment in the Midwest, hand-crafting garments that are closer to works of art. Smith and his label’s offerings are a product of his non-traditional background, and experimental approach to design. Growing up in a small town on the coast of California, Smith considered becoming a fashion designer in high school. After graduating, he went to a local community college and lived at home. During this period, he worked as a sailmaker, learning technical skills that later helped him as a designer. He then attended Kent State University’s fashion design program, up until the Covid-19 pandemic began and hindered in-person learning. Seeing the ensuing shutdowns as an opportunity, Jordan and his wife decided to start the label with some savings out of their apartment.


Jordan’s work in Kent State University  

Smith's formative adolescence in coastal California engendered a fascination with the natural world. From water motifs to the use of natural dyeing techniques, his designs reflect this fascination. Smith’s design process is quite self referential, resulting in works that are unlike anything else from his contemporaries. Smith and his in-house team make every piece by hand, outsourcing only a few pieces and components. Jordans unconventional work reflects his keen attention to detail and non-traditional background, and these qualities help him stand apart from his contemporaries. Smith took the time to be interviewed by ARCHIVE.pdf. In the interview we discussed Smith’s background, his eponymous label’s origins, his inspirations, and how his ideas come to life.

Jordan Arthur Smith, Prelude Editorial December 2022 


**Tell me about yourself and your journey as a designer.**

I got really into fashion in middle school and high school. I focused on researching designers, diving into the worlds they created and the history of the brands, and buying a few pieces that I really liked. After highschool I really wanted to go to fashion school but felt like it would make more sense financially to attend a local community college first. I studied fashion and photography, and graduated with a degree in both, and this college experience allowed me to explore new mediums of art such as ceramics, and quickly pick up industry experience in fabrics and construction. I've kind of always had the same vision and aesthetic that I've wanted to execute for the brand. I went into sailmaking and that taught me a lot of the technical side of things. It started with nonclothes and a lot of sewing and just technical skills. Things such as learning how to pattern make and learning how to sew. From there I went to Kent State for a little bit, and then I started my brand during the pandemic. We kind of started out of our apartment out of nothing. We didn't have anything, and …I just had this itch and this desire of, ‘this needs to happen.’ I felt that I had a unique enough voice in the space and enough passion to make things happen. I had no idea at the time if anything was going to work out. I had $3,000 left in our bank account because I worked a little bit over the summer and I just said ‘I'm just not going to school. I have to have this stuff ready and I'll have a collection out, and I'll have no money, but I can just find a job somewhere else or go back to school if need be.’ 

I just started it with nothing. Now we're here, and over time, we've just been knocking at the door– asking for us to be let into the industry, or give us recognition. I think I've also been fighting for that [industry recognition] because of where we're based. The pandemic was a little tricky because everything was online. But that was fine for me because it gave me a little bit of an advantage, because the location didn't really matter [during Covid]. Everyone was on an even playing field. And now, because of the location I'm in, the work has to speak for itself. So it's been a bit isolating, starting the brand. But I think that's been a good thing because in isolation, I've been able to focus on what we stand for and just the designs. And that's what is going to cause my brand to survive, or die.


**Tell me more about your technical background. **

I think that it's done a lot for my designs because I'm able to start things in a very different manner than most designers do. Especially with our sculptural works, starting with something that is not made for the human form, which is similar to what I was doing with sail making, and then translating that onto the body. As far as a fashion background goes, I do think that I got enough of a glimpse of that from constant self-exploration, also through fashion university and the pattern-making background, specifically in relation to clothes. It's not necessarily a nautical approach, but a lot of my designs are connected with water in one way or another. 

As far as the visuals there's always some water element. I'm sure my team kind of hates me for it, where every collection I'm like, "You have to do something with water." Whether it's shooting it in the water, or incorporating some water into it. It's always a starting point for me, and it's also very relaxing to me. I feel really at peace by the water and most of the realizations that I've had in my best moments have come near the water, whether it be an ocean or a lake. I think that that's a lot of the DNA and background in our garments.

Jordan Arthur Smith, Plexus Knit Collection 

**Tell me more about your affinity for water.**

It is a much deeper question. I think water has always been the most comforting thing for me. A lot of the designs that I work with are [about] adding comfort and protection to people. That comes from a more personal aspect of my life. Water has always been comforting and protective. The garments represent that in my life as well, in a more physical form, whether it's design elements that are very literal or something we call the ‘estuary motif.’This was inspired by the estuaries of my childhood and how those looked. We have a lot of other organic seam work and elements in our mind that remind me of water. If you look at our garments, they're constructed in a very non-traditional way. There are not really any straight seams anywhere. If there's a straight seam or a dart, I'll turn it into a curved seam, which makes things very complex and difficult to construct. When it comes to curved seams, to get those things to lay flat, the pattern work has to be perfect, and you have to rework things several times.

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[The] things that inspire my work are mistakes and the process. As a designer, I'm not very literally inspired by many things. I don't reference much history or literal references; it works from a point of experimentation and process. And so, one of the elements that informed the curved seam work, and the ‘post-human’ work I've been working on, is a mistake made during grading for our first collection. When you grade all the sizes, it's difficult with the curved panels. One of our panels had a bubble in it, and I thought, ‘this is terrible because I have orders due.’ It was a very stressful moment in my life. Early on, I was caught up on this. From there it shifted into thinking this mistake could actually be something cool, because there was some element I liked about it– if I incorporate this in a way that looks intentional and pushes the design forward, that informs the post-human sculptural work we do, where I'm actively making sculptures to create the shape of the garment I want and then translating that back to the human form. This goes back to the water elements and the protection elements of something that is protecting the body and shielding it.

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**Who is the post-human and what does the post-human look like to you?**

I think that informs a lot of the design. Maybe I'm a little focused on utopia, as opposed to the world going into something not so great. It's weird– I think it's a bit of escapism in my design. A lot right now is focused on irony and dystopia as opposed to looking forward to the future. Our brand is focused on a future that doesn't exist right now and what that could look like; whether it be the sustainable elements of our garments or just garments that have multiple ways to wear them, that's one of our big focuses. I want to make clothes for the future where someone might wear something one way now. But with time, trends shift, and [the wearer’s] ability to experiment grows. They can wear something a little more crazy and feel more comfortable. I like to think about design as a challenge: that's where we start most of our designs. One of the keys of our brand is that our garments can be worn in multiple different ways. With that challenge, it informs the shapes of the garments and the components that go into them, whether it be details, pockets, fabric type, or construction in general; it's condensing a wardrobe down to something where, if I was going to take a flight, I could pack one shirt and a pair of pants and be fine for a week, see the same people, and wear those things in different ways without them noticing. The clothes can be different colors and silhouettes daily. This turtleneck is one piece that can be worn in 20 to 30 different ways.

It's been cool to see our customers send me pictures of new ways to wear the turtleneck. Like, I never thought it could be worn that way. It allows people to experience the clothes, experiment, and create newness in their lives. These moments take me back to when I started in fashion, that feeling of newness and creation. I'm experimenting with the garments for the design, but I also want to pass that on to our customers, allowing them to experiment with the outfits, wearing a turtleneck in 15 different ways. For most people, a fashion journey starts with basic things that feel uncomfortable. A simple turtleneck could be easy for someone to pull off because it looks like a normal turtleneck,but can be worn as a dress, a halfway dress, or on one arm as a tank top with one longer sleeve. It allows people to choose how daring they want to be each day and ease into that.

**How do you interpret time? Both in relation to self and in relation to your label's clothes?**

It's funny that you bring that up, because that's also one of my main key pillars of the brand, focusing on time and the passage of time. I use that in many different ways: the way I look at our collection is a continuation of building a world, not necessarily switching to something completely different. Each garment [that] I've made experiments with a basic Western wardrobe of menswear, making those pieces unique, and building off of that while referencing old work. There's the passage of time going backwards, referencing mistakes I've made, or ideas we haven't fully brought to life; our post-human work is a good example of that. Even now, I haven't fully realized that idea. Focusing on materials is a huge thing [in the process]. That's one reason why I focus on the natural undyed color of things: it's a passage of time because when people wear it, it will get dirty and show the markings. Another focus is on hardware. Many of our garments have hand-painted elements for the hardware, so as people wear them, the paint will come off, revealing the brass underneath.

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I try to design things so far in the future that they almost become timeless. I reference objects that I view that way, whether it be the pyramids or nature in general, because nature is very timeless. A frog has been around for a long time and isn't going anywhere. It isn't going to necessarily morph into something and isn't going to pass with trends. Another thing I focus on, as far as the visuals and our brand in general, is things that aren't set in a specific period. I reference enough from the past and push enough to the future, with a tiny sprinkle of the present, to create something timeless. 

I don't want our clothes to be seen in the present, future, or past. I'm particular about the visuals. I avoid buildings, cars, street signs, or anything that would date a photo, like that would show if it was from 2019, 2020, or now, based on the technology or other details. I focus on things that could be put in a time capsule and sent back to ancient times or the future, and people could wear them that way as well. I don't want to date things with a timestamp. Focusing on materials that age with time is important. For our first collection, I worked with only natural dyes—indigo, an algae dye paste with acorns, tea, iron, and walnut hulls.And so, those things fade over time. As the wearer uses them, they'll naturally fade, similar to jeans and raw denim. I am drawn to garments and objects in my life that will intentionally age and become personal. Incorporating nature or natural elements into the clothes so they develop a personal relationship between the wearer and nature.


**How has the design process been different for the last collection?**

With the last collection, we had different outcomes in mind because we focused on a specific dye process. It came from the more practical standpoint of which designs will look best with that dye process, and we let that process sing. With the Erode collection, we deconstructed the pieces into several panels. Some of the jackets had over 50 pattern pieces or more to make one jacket. With that, the seam work became a distraction to the dyeing process and it was too busy for me. So we stripped things down and made them more minimal to incorporate the dye process and printing process we used, [and] let the garments and the process stand out. 

We printed clothes on top of clothes. One example is the sweaters with an estuary motif, or as we call it, the ‘plexus,’ similar to a poncho; The sheer element was printed on the base layers, which informed the design. This collection's design comes from our focus on the print process and incorporating pieces that worked with that.I always have to outdo myself each time, making something crazier than last time. Whether it's a piece that can transform into more ways to wear it or a statement piece, we always aim to create something extraordinary for the next collection.

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Jordan’s unconventional works flow and stand apart from his contemporaries.

Sailing, Nature, and Aging: A Conversation with Jordan Arthur Smith

In an ever more interconnected and ever shifting landscape, creating something memorable is more of a challenge than ever, but despite this some have managed to make a mark in their own fields. In the fashion world, Undercover has done just this, opting to create seasons that speak to the needs of the moment and yet remain relevant decades after their initial showing. From the early days of Seditionaries-inspired tees to transformations of Kubrick movie shots into clothing, Undercover has been making waves for over a quarter of a century, achieving what many designers and brands could only dream of. Decade after decade, the cult brand has put out unique collections that are sought after even to this very day, with items going for more than retail on the second hand market. However, Undercover’s secret to success seems to lie in what stays consistent between collections. 

The only real thread between these collections seem to be Jun Takahashi and Undercovers’ fidelity to the times and the cultural atmospheres these seasons are produced in, while still putting out timeless and enduringly stylish pieces of clothing. By combining these traits, Undercover has cemented itself and its legacy both in streetwear and high fashion communities, all the while winning both critical acclaim and consumer praise.

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Even before finishing middle school, Takahashi had started to become influenced by punk rock after borrowing a friend's copy of Nevermind the Bollocks by the Sex Pistols; as said by Takahashi himself,  [“...Everything about it made a lasting impression”](https://www.artforum.com/print/201702/jun-takahashi-66050). This would soon lead him to the work of Viviene Westwood, who was the stylist for the Sex Pistols and designer of Seditionaries. According to Takahashi, Westwood’s work took root in his core, which is clearly visible, especially in his early works. Moving into the 90’s, he seemed to have first begun designing clothing for the band he sung in at the time: [The Tokyo Sex Pistols](https://youtu.be/uKRSk-Qchyc). 

These early garments were simple and had common characteristics with [older Seditionaries works](https://beta.archivepdf.net/scans/seditionaries/jun-takahashi-and-hiroshi-fujiwara-seditionaries-collection-book). Eventually during his time at Bunka Fashion College, he would meet Hironori Ichinose, and together they would go on to create Undercover. Before Takahashi had even graduated, Undercover launched in 1993, with the 24 year old student putting out punk inspired tee shirts and other punk-esque designs. However, rather than merely being reproductions of punk clothing, Undercover’s designs were inspired by classic punk culture and aesthetics, and had elevated details and important twists put onto them. This served to modernize the punk look, as well as allow Takahashi to create his own vision of what punk clothing looked like.

Beyond just being punk clothing updated for the 90’s, Undercover’s works were also politically charged and of the moment, with many seasons touching on events and political issues. One season in particular stands out: S/S 2000 Teaser. The collection was plastered with slogans such as ‘GFU’ and ‘GFY’ — a.k.a ‘Generation Fuck You’ — and featured [a show invite of a man being vulgar amongst lavishly dressed models](https://www.instagram.com/p/CKRm2k3guSi/?utm_source=ig_web_copy_link). 

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While still relevant in terms of how the youth tend to view older generations, these phrases and graphics were even more pointed during that time. This is due to the fact that Japan was dealing with the end of the first [‘Lost Decade(s)’](https://www.bloomberg.com/features/2020-japan-lost-generation/), where young people were given less and less economic opportunity and stability in their lives. This was in stark contrast to the generation that came before them, who, in the wake of World War 2 and during Japan's economic boom, were afforded with a degree of stability and a relatively high quality of life. In comparison, however, those growing up in the 80’s and 90’s were afforded with no such luxury and were pressured to compete for less and less, creating a whole lost generation of workers in the process. This fostered feelings of resentment towards the older generations who had a much easier time economically. Fast forward to today, Undercover’s SS2000 season remains timeless in its nature, with even Supreme using the ‘Generation Fuck You’ graphic and slogan [on their collaborative pieces in 2016](https://www.thirdlooks.com/2016/09/supreme-x-undercover-fw16-loobook-and-collection/). Undercover was not content to limit itself to just being a mere political brand, however. 

Some of Undercover’s shows, such as A/W 2002 'Witch’s Cell Division', focused on past cultures and ideas, all the while demonstrating Takahashi’s willingness to strike a balance between streetwear and high fashion. Witches Cell Division seems to embody youthful fascination with the occult and robots; these childish preoccupations took the form of witches and mechas, with prints featuring witches, transforming mechas, crosses, and allusions to magic and machinery. With this seemingly bizarre cultural mash up of ideas, Takahashi created garments that were easily wearable, and could be mixed and matched with other high fashion labels. This idea of being both high fashion and streetwear would come to define Undercover for the rest of the decade, as well as embody the full potential of Undercover as its own unique style. In essence, years before the likes of Virgil Abloh and many others, Takahashi had found the perfect compromise between high fashion and streetwear through Undercover.

A/W 2002 'Witches Cell Division' editorial feature. Source: The Knot Theory.

This period of 1993-2002 set the tone and laid the foundation for what Undercover would become in the following decades. Undercover would be streetwear, high fashion, punk, political, and above all else potently of the moment. This willingness to critique real power while still being stylish has proven to be a strong suit for Undercover, as shown by later seasons such as S/S 2003 SCAB and A/W 2017 'BRAINWASHED GENERATION'. Of course, there isn't only one season that makes this era of Undercover what it is, but some seasons that are emblematic of the era include D.A.V.F. (Decorated Armed Voluntary Forces), Relief, and Exchange. By staying true to Takahashi’s punk roots, and by building upon the foundation laid during this era, Undercover would soon take the world by storm.

Undercover S/S 2003 'SCAB' images, provided by My Clothing Archive. Source: Relax Magazine.

In 2002, Undercover got its big break onto the international scene in the form of a Paris Fashion Week show slot. In the wake of 9/11 and the subsequent invasion of Afghanistan, along with the buildup to the Iraq war, Jun Takahashi stayed true to his punk ethos and decided to spit in the face of warmongering. With this opportunity of Paris Fashion Week presented to him, Jun Takahashi dared to be bold with the presentation of S/S 2003 'SCAB', which was a chock full of staunchly anti-war, anti-imperialist, and anti-capitalist messages. By fully displaying his political punk nature, along with creating immaculate designs Jun Takahashi would set the tone for the next era of Undercover, spanning from 2002-2010, and win himself critical acclaim the world over. Following S/S 2003 'SCAB', Undercover would continue to show collections in Paris. During this period, Undercover embraced many different styles and ideas, ranging from technical fabrics to punk rockers and even anarchist politics. Combined with these wide array of topics were the clothes themselves, which were spectacularly detailed, cut, and constructed to express Takahashi’s own personal political views.

Without SCAB, Undercover would have still remained an important streetwear staple, but it may not have broken into the high fashion scene with such force if not for it. Following the 9/11 attacks, there was a feeling of unease in terms of how the fashion world and designers would address these events during Paris Fashion Week. Instead of shying away from current events and popular opinion, Undercover feasted on the forbidden fruit, and had their most political and timely season as a result, with even models in burkas ending the extremely political show. The show's political statements were much more than simply showing models in burkas, however, with many of the tee shirts having anarchist imagery and the season itself being centered around radical anarchist politics — in particular anti-colonialist, anti-capitalist, and anti-environmental exploitation. These themes have remained extremely relevant, with war, consumerism, and climate crisis only getting worse in the years since the SCAB show in 2002. SCAB was truly an unabashed statement in favor of an Anarchist way of living, and was against the current capitalist systems of oppression. 

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Beyond merely relying on shock value as a brand, Undercover would quickly go on to show that it was so much more than merely a topical, political brand. For Undercover’s But Beautiful collection, Takahashi channeled Patti Smith’s androgynous and rebellious spirit into a stunningly simple and elegant season; this seemed to have been his way of taking a break from the noise and everyday outrages occurring with the war in Iraq. While Undercover most definitely took inspiration from Patti Smith's wardrobe and updated parts of it for the 21st century, it also added its own unique touches and takes to these proto-punk-inspired outfits. Shirts featured graphics as worn by Patti Smith, the clothing had a wide variety of androgynous cuts, and the jeans looked like they had been through hell and back. The most long lasting and treasured garments from this season is without question the 68 Denim, a pair of aged and distressed jeans in cuts similar to the Levis worn by Patti Smith herself, and are embroidered with a lightning bolt mirroring her knee tattoo. However, the season was so much more than the 68 Denim, as it showed that Undercover could create an impactful and lauded collection without relying on shock value or political messaging, and could simply rely on the clothes themselves. This further deepened Undercover’s legacy and cemented their cult status among both streetwear and high fashion audiences alike.  

Undercover has been making waves for over a quarter of a century, achieving what many designers and brands could only dream of.

Isabelle Davis

Writer

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