'AUTMUN WTINER CLLECTOION'

I’ m interested in Rakugo,

specifically, the Rakugo of Master Shinosuke Tachikawa, one of my admirations.

 

“Rakugo” = Unlike other traditional Japanese performing arts such as Kabuki,

Rakugo is performed with gestures and hand gestures, with each performer playing multiple roles.

It is a very simple and familiar art form that does not use costumes or stage sets as much as possible,

allowing the performer's skill and the listener's imagination to expand the world of the story.

At the end of the main topic, there is an "ochi," a pun, a pun on a word,

or a witty remark to conclude the story.

 

He works only by using words to bring the story to life on the screen in the listener's brain.

As someone who is constantly creating materials,

I admire the way Tachikawa arrives empty-handed, and leaves empty-handed.

For me, Rakugo uses words as its ultimate tool.

In a TV program, Shinnosuke Tachikawa and Shota Shunputei would call out "Hey, Mr.____,"

and the loudness of their voice could portray the size of the room of the imaginary house, or when they say,

"Hey! There’ s a beautiful woman approaching!”

each spectator imagines their own interpretation of “beautiful woman.”

I was impressed by this and thought that the slight difference in the nuance

and the way the image changes with each expression,

is like the feeling I get when I speak English.

I think to myself,

"In Japanese, the nuance is a little more like this" or

"This straightforwardness in English is softened in Japanese."

I think about how I wish I could have used similar nuances

when speaking Japanese as well.

Like in Ella Frances Sanders' book, "The Untranslatable Words of the World,"

I was simply contemplating on how I wanted to do something

that could be seen freshly from a different angle; something that could not be translated in just a single way.

（…）

 

When I continue to think about language and conversation,

for words that can’ t be directly translated,

or even when having a conversation with somebody in a language that is not your mother tongue,

there are many situations where you must supplement with something imperfect (fluency).

Even in a conversation between native speakers,

the slightest differences in nuances can change the content of a complement

and can dramatically change the viewpoint of both parties.

 

I think there are similar aspects of this concept of the beauty of the “incomplete,”

that can also be seen in Western headless sculptures

and wabi-sabi Sacrada Familia that is more tasteful,

but I also think that there is a simultaneous aspect of complementing

and bringing it closer to one's own ideal.

I thought that this is the case. Actually, Okakura Tenshin said something very similar.

 

What’ s amazing about fashion is that you can look at a look or the runway and think,

"I love this look" or "I want to be like this look,"

but now in an age where you can see what seems to be the correct answer with a single flick,

it would be nice to have a collection that you can complement and make correct yourself.

 

1: SUPPLYMENT SCAPE

Scenery to be complemented.

Designing margins that are not incomplete, but rather complementary.

Use the margins as details.

Make the margins between the cloth and the body also a detail.

 

2: OTHER'S PROJECTION

Projection from others

When I was a child, I often wondered,

"Does the red I see look the same shade of red to others?"

Just as the nuance of words differs depending on the receiver,

I design from the world of "if" others might see it this way.

Even if scientifically, it is not the case,

thinking this way creates a contrast in the design, and I think it is wonderful.

I think it would be a wonderful world

if everyone could see the world like Luigi Ghirri's photographs.

 

3: WORD PLAY

Word Play

Creating objects by word play,

such as clothing name items and other words that can be interpreted in various ways.

 

Going back to the beginning,

Master Shinosuke Tachikawa and Master Shota Shunputei said,

"Hey! There’ s a beautiful woman coming!”

and each spectator creates their own interpretation of “beautiful woman.”

I think it is wonderful that there is a Rakugo-like punch line

where performer is letting the spectators do the interpretive work,

and that the happiness value of being able to appreciate the show

with each correct answer is quite high.

 

I hope that everyone who reads this or watches the runway will put on complementary glasses

that allow them to see the correct answer to each question.

After all, I want to make clothes that allow interpretation

rather than concretely understood, which I believe such things are necessary.

The title of this ISSUE can also be read complementary.

 

Well then,

 

 

"Hey! The ideal look is walking in from over there!"

 

 

Sincerely,

SHINYAKOZUKA