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YASUKO FURUTA

TOGA

YASUKO FURUTAYASUKO FURUTA

Born in Gifu Prefecture in 1971. S-Mode I studied for two years in a comprehensive course in Tokyo, and transferred to Paris in the third year. After returning to Japan in 1997, started TOGA (Toga). She presented her collection in the form of an exhibition from spring / summer 1999. Join the Paris Collection from spring / summer 2006. 2007, won the ANDAM award sponsored by the French National Institute for Mode Art Development. In addition, it has received high acclaim from inside and outside the country such as winning the fashion grand prize every day in 2009. February 2014 Moved TOGA's presentation from Paris to London.

Mr. Furuta has been aiming at the fashion world for quite a long time.
My mother says, when I was in first grade, I said, “I want to be a designer.” I do not remember it at all.
When was it clear that you were conscious of the way you were going?
When you went to high school, you were in junior high school. I think that it is rare, but there was a specialized high school that taught draping to local Gifu. At first I wanted to be there, but by chance my relatives were teachers there, and it was absolutely disgusting.
Then I went to high school in the regular course.
I wished that I did not want to decide my specialty in high school, but I went to the regular course, but I wanted to quit on the way and go to London (laughs) and collect information on fashion schools, I knew that I could enter immediately even if I dropped out of high school and studied abroad with S-mode. So I went to London until I graduated from high school, and when I came back, I presented to my parents that I wanted to enter S-mode. Naturally, it was not accepted by parents because it was a messy story.
I graduated from high school and entered S-mode, but what was the final decision factor?
First of all, the size of the school was not too big and the atmosphere of the buildings was good. Also, compared to other schools, some schools were too flashy for me and some schools were too plain. S-mode is also inspired by the feeling that foreign teachers are naturally there. But honestly, it’s like I decided by intuition.
Many fashion schools in Japan start with dressmaking schools, so there is a natural difference in school style between S-mode and other schools. By the way, Mr. Furuta, a high school student, was already mode-oriented?
The picture of the absolute mode at the time was “Mainstream vs. Underground”. But in any case I was out of fashion and I felt like I was pushing my own way, so it was people outside high school who I met. In such a relationship, I would like to know the cultural background of Vivienne Westwood, or visit the Com de Garcon’s retail store with clothes lined up that I have never seen before. So I wasn’t just making something beautiful, just the opposite of the mode, but I was interested in something that broke something.
What kind of clothes did you wear?
Japan at that time was the DC (designers & characters) brand flourishing. Among them, I was fascinated by a designer with one strong “individual” rather than a brand that was created by marketing research. No matter how cute the skirt was, I never bought it if I did not like the designer of that brand. I would lose if I bought this (laughs). I was weird and stubborn, but if I was buying something I was not convinced, I was making my own clothes and wearing my own arrangement for mass-produced clothes.
How did you enter S-mode?
In high school, I had no friends in school, so I thought everyone would be more unique than I imagined if I could finally make friends to talk in a world with a common foundation. So I have a memory that I couldn’t make friends right away. Everybody was nervous when thinking now. Over time, the Tongari Kids collective has been turned into an irreplaceable friend. There are also long-standing friends that reach today.
How was your class?
It was an ordinary shirt to make in the first class of moderism class. I thought that I could make clothes of my own design, so I felt like it wasn’t the designer’s job, and I was embarrassed even though I knew that the basics were important. Have you been interested in the classes of fashion journalism and computer that you have chosen to choose from basic classes?
It was a class that met Furuta’s curiosity.
That’s right. But if you think about it now, you have the time to spend so much time thinking about clothes, which is a privilege of the students. I tasted the free time fully in the S-mode era. I’m not a business yet, so I was able to try a lot of things. It was fun in a time when there was no risk. I don’t know what to make, I make clothes with only question marks ….
Only “?”
There is a question mark on the neck, let’s go here. [And explained by gesture]
That’s a pretty experimental dress.
If you put the question on the task as it is, the teachers also appreciated it, and you got some reaction from your friends. S-mode is a French style, so discussions with teachers are equal. Speaking of which is the underwear made by the school to a French teacher, “It’s not like this underwear.”
Is the underwear designed by Mr. Furuta?
That’s right. So even if the debate gets heated, there are many types of teachers, who follow me saying, “I think it’s okay to have underwear like this.” At that time, I can see my way. I was not aware that I was going to work in a company, but I was gradually becoming aware that I would like to work independently while having the consent, cooperation and gain of such people.
And then to Esmode Paris.
It was the heyday of Ms. Kei Kawakubo and Yuji Yamamoto, so I passionately dive into the show hall. I was surprised at the silhouette I have never seen. However, their clothes, which were more elegant at the time of their Paris debut, were very well received in Europe. So even in Paris, I remember that Japanese were exceptionally well treated. Not only Kawakubo and Eiji, but also pioneers such as Kenzo Takada and Issei Miyake. Because they are so good they are just Japanese. Foreign students in other countries in Asia have been told that they are “slipping”. You witnessed the history of
mode live.
I was really lucky. I was crazy about watching Runway clothes in a tense atmosphere that seemed to stop breathe completely different from Japan. Just thinking that some people are presenting clothes at such a level will shake a little.
TOGA will also make inroads into Paris in 2005. With such experience of studying abroad, wasn’t Paris a special place for Mr. Furuta?
But it was special. A lot of unusual mountains were standing and there were so many walls. As the way of fashion changed with the times, things that could not be overcome with passion alone were also increasing. In the age of now, if you don’t think very strategically how to sell this brand to anyone, you will not even move people in the business field.
In addition to Paris, we have decided to advance to London. The world market is steadily expanding.
I have wanted to do something as an international brand since I started TOGA, and there are also rewards in overseas where there is always a reaction to what I did. That said, my clothes are different from those of Kawakubo and Kinji. And even in Europe, there are still places where Japanese people are looking for the roots of Japan. It is really there that I’m glad I studied at Es Mode Paris. I had to confirm my own identity, which I did not think of when I was in Japan. Paris is a place with many immigrants, so people of different races live together. I think that I was trained in the S-mode era to recognize that I am Japanese in that.
What do you think of S-modeness?
Study together in a small class with people of various ages with different backgrounds. As I am not good at listening to opinions from one direction, I feel comfortable to hear various types of minority opinions. There are also people who have returned from study abroad, who have returned to school, and foreign students from Asia and other countries.
Do you have any orders for future fashion education?
If you want to become an independent designer, you need to learn not only the history of clothing but also the history of art.
Now it is taken as a compulsory subject in S-mode Japon.
That’s good. I also wanted to learn as a student. I think nowadays the need to learn art history is increasing more and more. For example, in Germany where there is no tuition fee until university, there is a difference in the power of artistic decipherment between people who study fashion after finishing art and those who are from fashion schools in Japan. I think that you will be a designer who can compete in the world from a cross-border, magnificent perspective beyond the East and West, as you will be taught exactly how modern art is at a fashion school.
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