Last time, we spoke with designer Kono about the background of the rebranding and the concept creation. This time, we will delve into his passion for clothing production and his dedication to materials.


――Did you make any specific efforts to differentiate your brand from others?

Kono: It was definitely about continuously challenging ourselves to create original materials. When I first took over the brand, to stand out, I intentionally used high-quality raw materials to make basic items. For instance, I created washable 100% silk jerseys and 100% cashmere loopwheeled fabric. I thought that would lead to good PR. I wanted people to think, "This is a brand that makes simple but interesting materials."

However, since the raw materials themselves were expensive, it was quite difficult to sell them at a realistic price. We tried it for a few seasons to establish the brand, but it was tough financially (laughs).

Now, rather than focusing on creating materials with a unique topic to stand out, even if simple, we aim for meaningful material production. We want to create materials that evoke a sense of感動 (deep satisfaction/inspiration) when worn, are realistically priced, and can be worn for a long time. As the brand evolved, our approach to material creation also shifted to align with the lifestyles of individuals, including myself.


↑100% cashmere loopwheeled fabric made in 2018


――You're involved in dyeing with discarded food and making clothes with organic cotton. What prompted your commitment to these areas?

Kono: Nowadays, we often hear terms like "sustainable" and "organic," but when I first started the brand, they weren't widely recognized.

I always limited raw materials for fabric production to natural materials. As for preferring environmentally friendly materials like organic cotton... I suppose it goes back to my mother's influence. She was very conscious of those things, so it was familiar to me since childhood.

My mother was highly conscious about organic products; most of her vegetables were pesticide-free, and when I was a child, cola, juice, and snacks with artificial coloring were quite restricted. I remember being very envious of my friends' lunchboxes with red sausages and watching them drink cola so casually. Looking back now, I realize I was raised with great care for my health, but as a child, it was a bit embarrassing (laughs). I've strayed a little, but I think my awareness of sustainability is connected to my childhood.


――How do you typically create your materials?

Kono: First, it starts with me going to a fabric store or a flag maker with no plan, just to consult. Naturally, they know more about how to make fabric. From there, we develop things through trial and error, learning from them.

When you create a material from scratch, it's very difficult because you can't see the finished product. You have a vague image, and you just have to believe in it and push forward. There are risks involved in trying something you've never done before, but there's also a lot of enjoyment. Even though the fabric makers complain sometimes, they all find it interesting and cooperate.

I don't believe that "expensive material equals good material" at all; what's important is how people feel when they wear it. I don't think there's a right or wrong way to make materials, so even if it's an unconventional method, if the result is satisfactory, I'll definitely use it. If not, I'll keep making adjustments. There's a lot you don't know until it's actually made into fabric, so I've failed many times before.


――You mentioned before that "UNDECORATED" clothes are designed with the aim of bringing out the best in the materials. Does deciding on the material first and then designing mean you only start designing once the material is perfectly finished?

Kono: Actually, I have a rough idea from the beginning of what kind of item category I want to create. Like, "This will be a coat, that will be a shirt," even at the stage of starting to create the material.

Among all the steps in making clothes, I spend the most time on material creation, and some materials take over a year to complete. So, it's not uncommon for the item they'll be incorporated into to change completely by then.

And then, once the material is finished, I decide on the more detailed specifications. Things like the overall silhouette, the finishing of the seams, whether a lining is needed, what kind of stitching to use, and so on. I look at the finished fabric and decide on the final form of the design for that material.




――So, it takes six months to create the material. How do you decide on the color palette then?

Kono: For the brand, color selection is one of the most important categories. We try not to develop colors from existing fabrics or threads. It might be a subtle difference, but I believe someone somewhere is already making clothes in the colors that already exist as fibers. Since our brand is very simple, we strive to create unique color tones.

Colors are abundant in everyday life, so I look for them in non-fiber materials, like a piece of paper I found in a photo album or a book, or a flower color I stumbled upon while walking in the city. If I take a picture of it and print it out and the color looks great, I'll use it as is. I then arrange the colors somewhat, balancing them to find what suits the season and the material.

While the clothes themselves are very simple and plain, I have a strong desire for the materials and colors to be truly unique.


――I heard that after a garment is completed, you always try it on yourself before selling it. What is the intention behind that?

Kono: Of course, I can't try on everything, but I make sure to test materials created from raw ingredients. Things like "it feels good to the touch but I'm not satisfied with it after wearing it for a while" or "it's good at first but too delicate and stretches out quickly" are things you can't know until you actually wear it. To avoid situations where something is only good initially, I try to wear finished clothes for several months before releasing them to the world. I go through repeated adjustments to truly complete a garment, imagining how customers will feel when they wear it and how they'll spend their days in my clothes.




――After countless revisions, when is the happiest moment when a piece of clothing is finally completed?

Kono: It's when someone who bought and wore the clothes gives feedback afterward, like, "It's so comfortable, I wear it all the time." That kind of feedback after it's been worn makes me much happier than hearing someone say, "Cute! I have to buy it!" the moment they see the clothes.

It means that both the material and the design have been acknowledged, and it's a result of the design being appropriate for the material. I want to continue creating items, both in terms of material and design, that people find "comfortable to wear."


Over the past three times, we've asked designer Kono about what kind of brand "UNDECORATED" is, from an "inside perspective." Next, we'll be hearing from the factories and fabric stores we've been working with for many years.