In the previous article, we traced the footsteps of designer Kono until UNDECORATED became what it is today. This time, we will delve into the background of the rebranding and the concept creation.

――Mr. Kono, you were so independent that you told Kubo on your first day of work that you wanted to start your own brand someday. What kind of change in mindset led you to consider taking over the then undecorated MAN?

Kono: It started when Mr. Kubo suggested, "Why don't you do it here?" and I began to think that running a brand within the company might be a viable option.

There are many apparel brands in the world, aren't there? The undecorated MAN I envisioned was more of a brand with subtle statements, clothes that blend into everyday life. When I thought, "What is something that no one else is doing?" I realized, "There aren't any domestic brands that have changed designers." So, I thought that the topic of undecorated MAN being taken over and having its designer changed would attract attention.

――What kind of discussions did you have with Kubo before the designer change came to fruition?

Kono: I remember thinking that a certain level of surprise was necessary to capture the other person's heart during a presentation, so instead of discussing it piecemeal, I prepared a detailed document and went to propose it. I don't think Mr. Kubo, as a designer, intended to easily pass on a brand he started with love, but I was very happy that he readily accepted my proposal, perhaps agreeing with my passion and plan for the brand.

When I reread the presentation materials I showed him at that time, I was relieved to find that the content, such as the ambition to expand EC on our own online site and to create products with strong feelings for each item by narrowing down the number of styles, was consistent with what we are doing today, even back in 2016.

Our own EC started with white T-shirts, heather gray sweatshirts, thermals, and shirts as a basic line, distinct from the collection line. I believed that while basic items are difficult to wholesale, if we establish a brand image, end-users would definitely come to buy them. For that, sales channels and PR were much more difficult than today, before SNS and D2C became popular, and of course, I had no experience or know-how, so it was a real struggle.

↑Exhibition invitation from when Kubo was designing  

――Now, regarding the rebranding.
What was the most important thing to you after taking over the brand?

Kono: For the first three years, it was about distinguishing ourselves from the image of yoshiokubo. Because Kubo was the designer, there was a strong image of it being a spin-off brand from yoshiokubo, and when I mentioned the brand name, most people would start by saying "yoshiokubo's..." There was also a lot of overlap between yoshiokubo and our wholesalers, and it was important to develop it into an independent brand from a business perspective. So, I was excessively careful about exposure, and for the first two or three seasons of the collection, I limited the color palette to four colors, creating an extremely minimal image to differentiate it from before.

In particular, to emphasize a clear difference in how the clothes were made, I challenged myself with a reverse approach: "first decide on the material. Since I believe that each finished material will have a different design that suits it, I design specifically for that material," as opposed to Kubo's approach of "applying materials to a designed piece."

――What about the interpretation of the brand concept "UNDECORATED: unadorned"?

Kono: When I heard that Kubo named the brand undecorated MAN and that the brand name itself was the concept, I was deeply moved by the logical theme. When rebranding, I decided to carefully carry over the broad concept of "unadorned" and to add to the concept by expressing more of my inner self.

Perhaps, to put it negatively, I'm a bit of a passive person? When I envisioned a person who "doesn't assert themselves but secretly wears clothes they are satisfied with," I aimed to create clothes that, while seemingly plain, would allow only the wearer to feel the感動 (kando - deep emotion/impression) of the material, pursuing material development to achieve this.

Since we started making clothes from a different point of origin, I think the atmosphere and impression of the clothes changed by 180 degrees after I took over.

↑16FW LOOK  

――It really changed completely.
Because it changed 180 degrees, I imagine the first exhibition must have been difficult. Was there anything specific you focused on?

Kono: Buyers and stylists receive so many exhibition invitations that a single postcard often goes unnoticed. Kubo was very particular about the design of his invitations from the brand's inception, creating "something quirky and impactful." Learning from Kubo, I sent a catalog containing all the looks with the invitation.

And I wanted to properly greet them as the new designer in my own words, so I enclosed a message card about that.

↑First exhibition invitation after the designer change

At the 16AW exhibition, which was my first collection under my own name, there was so much I needed to convey—not just the details of the clothes, which I had explained as an assistant at yoshiokubo and undecorated MAN exhibitions, but also my passion for the brand, the background of material creation, and future visions. I also felt the responsibility that "if it doesn't go well, I'll cause trouble for Mr. Kubo..." so I was incredibly nervous. Buyers even told me, "You're really nervous today," so it was completely obvious. (laughs)  

――How was the reaction to the 1st collection?

Kono: Buyers I had worked with before gave very positive reactions. Of course, since the design had changed 180 degrees, there were some stores it didn't fit, but many people supported me, and we even secured new contracts. I was truly helped by those around me.

When I was entrusted with the brand, I went to greet the fabric manufacturers and sewing factories I had worked with, and everyone warmly supported me. We are a brand that relies on the support of these people, so even though Japan's production background is shrinking year by year, I constantly think about how we can be of help.

Many friends came to the exhibition, and not just men, but many women also bought items. Until then, the brand had a strong image as a men's brand, and I myself had believed that, but I made a happy discovery: "There are women who want to wear these clothes too!" At that moment, I thought, "It might be good to make this brand unisex," and two years later, it became a unisex brand.


This is how the current "UNDECORATED" was born.
Next time, we will talk about the philosophy of clothing production and theこだわり (kodawari - strong commitment) to materials.