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Takahiro Miyashita has been designing accouterment for two decades now, but admitting his tenure, his collections still abduction the aspect of boyhood spirit. This adventure originally appeared in Highsnobiety Magazine Issue 15, which is accessible now from our online store.

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Despite his 20-year administration as a appearance designer, it’s adamantine to anticipate of Takahiro Miyashita as one of the “old guard”. His clothes, whether for his iconic Number (N)ine characterization that fabricated after-effects in the ’90s and the ’00s, or for his accepted TAKAHIROMIYASHITATheSoloist. label, abide perennially young. His attraction with adolescence adeptness is so built-in into his anima that it is absurd to brainstorm him designing annihilation added than clothes alloyed with references to Kurt Cobain, Gus Van Sant and David Bowie; and that’s alone abrading the surface.

A bottom artist would accept already annoyed himself out through repetition, but Miyashita’s corybantic apperception finds able new agency of apprehension old capacity in new forms, division afterwards season. Sometimes Miyashita is not absolutely abiding whether his apperception and him are one. In one of our above-mentioned interviews, aback I asked him area his afflatus comes from, he said, “I don’t know, ask my brain.” In an acknowledgment to addition question, he told me that aback he sometimes looks at some of his old garments, he does not bethink designing them.

Along with his acquaintance Jun Takahashi of UNDERCOVER, Miyashita became one of the defining designers of the “new” Japanese beachcomber that has developed up in the ’90s in the adumbration of success of Yohji Yamamoto and Rei Kawakubo’s COMME des GARÇONS. But, clashing Yamamoto and Kawakubo, both of whom went beeline for the couture crown, UNDERCOVER and Number (N)ine drew afflatus durably from Tokyo’s streets. And admitting that ambience was thoroughly steeped into Western adolescence culture, it was filtered through a Tokyo lens. As a amount of fact, you’d be adamantine apprenticed to acquisition abundant that’s “Japanese” in their work, nor would they appetite you to. What affairs is the clarify of their atypical minds. Coincidentally, both designers additionally accomplish music—Miyashita has done music for UNDERCOVER shows.

When I aboriginal encountered Number (N)ine in 2005, the clothes were a revelation. They were at already accustomed and alien. They were not artlessly an animated adaptation of the bedrock ’n’ cycle accessory I wore as a teenager; there was a abstruse affection in Miyashita’s work, whether in the way he alloyed materials, added capacity or adapted the garments, like aback he fabricated a cape modeled afterwards the Schott’s Perfecto motorcycle jacket.

Karlo Steel, who bought Number (N)ine for his iconic menswear bazaar Atelier, had a agnate experience. “Often Taka acclimated the blush atramentous as a foundation for beautification. And as addition who acicular his artful sensibilities in the ’80s on a diet of COMME, Yohji and Grace Jones, this was article I affiliated with,” he says. “I additionally admired how he acclimated items we were already accustomed with, like angular jeans and action boots, and put his own circuit on them, authoritative them assume alpha and desirable.”

Number (N)ine’s brief New York boutique, amid in the again still automated bend of TriBeCa and bankrupt on Tuesdays (as I begin out the adamantine way), became one of my admired destinations, to which I sneaked out during my appointment cafeteria breaks. It was altered than added stores—dimly lit, raw, with amateurish appliance and old TVs arena N(N) shows and bedrock music videos. You had to be committed in adjustment to acquisition it, but that admiration to angle afar from added food did not bang me as pretentious.

Miyashita started designing while alive at Nepenthes, a abundance in Harajuku, in the mid ’90s. Currently the aggregation is accepted for its Japanese-tinged Americana line, Engineered Apparel and Needles, the abstraction of Nepenthes architect Keizo Shimizu. Needles’ 1970s accent has begin a new admirers today, and its clue pants accept admiring a new brand of celebrity audience like A$AP Rocky.

He’s not a classically accomplished artist by any means. Miyashita didn’t go to appearance school, but had a accustomed aftertaste for what constitutes “good” clothing. But he additionally admits that aforementioned lens could accept been activated to added artistic platforms, like music or architecture. He was in his backward adolescence aback he began alive for Nepenthes, which caked his admiration to accompany a career in fashion.

“By the time I met the buyer of Nepenthes, my apperception about alive in the appearance industry was fabricated up,” he says.

The store’s buyer had a apperception to do his own line, and he broke Miyashita, who was already in the addiction of deconstructing and reconstructing clothes for himself, to architecture 20 styles.

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“My antecedent bang-up is not an abrupt blazon of person, so he didn’t explain or appearance me what to do footfall by step,” Miyashita says. “Instead, he accepted me to apprentice from watching his job. He’d say: ‘Be free. Do what feels appropriate for you.’”

That aboriginal accumulating came out well, and Miyashita began cerebration of his own line. In 1997 he launched Number (N)ine. The name was advancing by The Beatles alpha track, “Revolution 9.” The cacophonous, absonant track’s alone lyrics are “number nine” on repeat. At Number (N)ine, Miyashita absitively that his administration would be applying that multidisciplinary artistic ‘lens’ by manifesting adolescence adeptness in appearance design. He bound began developing a acceptability for putting out arbitrary mashups of references from another bedrock to indie films. At some point, Jun Takahashi, who was analytical about Miyashita, agape on the aperture of his studio. UNDERCOVER was already one of the hottest brands in Tokyo at the time, and Miyashita, who is absolutely shy by nature, remembers actuality arctic with awkwardness. He artlessly said hi to Takahashi and abject out the door. But Takahashi alternate and the two aback accept become abutting friends.

After architecture his acceptability in Japan, Miyashita absitively to booty Number (N)ine to Paris. The aboriginal accumulating he showed there was for A/W 2004 alleged “Give Peace a Chance.” Hits like the Spring/Summer 2005 “Night Crawlers” and the Fall/Winter 2006 “Noir” followed, in which Miyashita offered a altered point of appearance on bedrock music and goth subculture.

“The aboriginal appearance I abounding by Number (N)ine was ‘Night Crawlers,’ and it fabricated a massive appulse on me,” says Steel. “It was all about the excitement, and accessible danger, that went with bedrock ‘n’ cycle nightclubbing; that annoying attraction of active abandonment in the moonlight. Some of those collections were abnormally advanced of their time, and not clashing what Hedi Slimane did at Dior by accumulation the casual, the street, and music adeptness in a active and energetic way.”

In retrospect, Steel notes, those Number (N)ine collections accept age-old appreciably well, and still abide as active as ever. Conceivably the best iconic archetype of accumulation the elements Steel mentions was the Fall/Winter 2005 collection, alleged “The High Streets,” set to an advancing Nirvana soundtrack, in which Miyashita alloyed checkerboard and denim with cape jackets and tailored coats. This was a assiduity of a anarchy started in the backward ’90s by Raf Simons, which is so accustomed to us by now that we booty it for granted. But aback again it was alone alpha to be adequate to see these things on the runway. What batten to me as a appearance fan was the connected antithesis of all that was common about artist fashion. Miyashita showed that you could abrasion a tailored covering with a hoodie and accord both absolutely new acceptation by abolition the ambience of one and adorning the other.

But the shows weren’t alone about darkness, and Miyashita’s afterwards references hewed afterpiece to the bare appearance of another music, the West Coast of the U.S., Portland adolescence and Gus Van Sant. These were reflected in shows like “My Own Clandestine Portland” and “About a Boy.” Like Kurt Cobain, the characterization additionally burnt out in its prime.

Number (N)ine’s aftermost show, Fall/Winter 2009’s “A Bankrupt Feeling,” was the aboriginal Paris appearance appearance I anytime attended. As the buried models came out, walking boring to Beth Gibbons’s gut-wrenching soundtrack in what looked like charlatan jackets intricately complete from repurposed upholstery fabrics, an black affection took over the room. Little did we apperceive that the chant was absolute and that we were witnessing the end of Number (N)ine.

“The Soloist is added claimed for me. What feels appropriate for me at the moment is to accurate what’s afterpiece and added private.”

After Miyashita assuredly extricated himself from Number (N)ine, he spent a year brooding and architecture up to his new line, TheSoloist. The name adumbrated his admiration to actualize with complete and newfound freedom. While Number (N)ine has become a aggregation in which Miyashita had to argue with added parties, aloof as bandage associates do, at TheSoloist he would do absolutely as he pleased. “The Soloist is added claimed for me. What feels appropriate for me at the moment is to accurate what’s afterpiece and added private,” he says.

Sometimes aback I attending at Miyashita’s complicatedly complete clothes in awe-inspiring fabrics I admiration at his adeptness to be chargeless from bartering constraints. In a sense, he seems like one of the aftermost auteurs in fashion, acceptation that he does whatever he wants, applied considerations be damned. Double-faced cashmere coats with covering brim that will retail for over $10,000? Why not? Miyashita is not out to baby to everyone.

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“I’m a blazon of actuality who desires a accurate acknowledgment from one person, instead of nine bodies out of ten,” he says. Having abstruse his assignment at Number (N)ine, at TheSoloist Miyashita runs a skeleton crew. He designs aggregate himself, afterwards a distinct assistant. What would backpack over from the Number (N)ine canicule were the adolescence adeptness references that for Miyashita consistently break fresh.

“My accord and compassionate of the things that affect me has not afflicted over the years,” Miyashita says. “It ability be altered from the antecedent encounter, but afflatus from those musicians or artists are absolutely not fading.”

Kurt Cobain quoted Neil Young’s “Hey Hey, My My (Into The Black)” in his 1994 suicide note, writing: “It’s bigger to bake out than to achromatize away.” For Miyashita, those awesome words arena true. In some ways, the alcohol of the artists that affect him alive on central his head, and his relationships with them are alone able over time. You can see this in the latest accumulating Miyashita presented in Paris, in which hoodies were abstract with addendum from the Johnny Cash awning of “Hurt,” the Nine Inch Nails single, and T-shirts that featured a hand-drawn account of the afresh asleep Chris Cornell, the Soundgarden and Audioslave singer.

Miyashita would be adamantine apprenticed to draw a parallel, say from Kurt Cobain to Johnny Cash, except that they all accept had an aftereffect on him that he has thoroughly internalized. Aback I ask him whether it is apostasy or affect that unites his heroes, or their originality, he answers, “I rarely use the chat ‘rebel,’ because those icons of abundance are alone hardly off-track. Are they romantic? Maybe. It’s important to be romantic. Original? I can never be, because aggregate has been done.”

Like Jack Kerouac, the alone bodies for Takahiro Miyashita are the mad ones. He describes Kurt Cobain as addition who “was alone hardly abnormal,” admitting not absolutely an outlaw. He goes on to say that Cobain is a absolute archetype of who he is—just a few degrees removed from boilerplate conformity, and surreptitiously subversive. But Miyashita’s multitudes are not so acutely defined, as he additionally says he could calmly analyze with addition like Katherine Hepburn.

Perhaps by now a adumbration of homesickness additionally affects him. The accepted beachcomber of homesickness is bent up in the ’90s, as the bearing of kids who grew up in that decade now authority abounding key posts in the artistic industries.

“I do anticipate there is a cornball activity in my work,” Miyashita says. “The clothes I was cutting aback aback Nirvana came out were not so altered from what Kurt was wearing. I saw the similarity. Levi’s, Converse. Afterwards alive how Nirvana looked, its music acquainted about like abundant metal. Admitting the looks were what fabricated me apprehend that they are different. And that was absolutely area I was at. I was alone hardly altered from others.”

This articulate atom on to me, aback I accept afresh been revisiting the aboriginal Smashing Pumpkins records, and I accomplished that some of the songs articulate appealing abundant like abundant metal, the brand which another bedrock opposed, but additionally which it abstruse from. How they looked mattered abundantly to those musicians’ ethos. As Frank Zappa already said, “No change in agreeable appearance will survive unless it is accompanied by a change in accouterment style.”

I wondered whether the old references that drive Miyashita are there because he has begin no new ones. As you get older, it sometimes becomes harder to chronicle to abreast culture, and activity aback to some of the old cultural markers feels natural. Newness no best holds the aforementioned appeal. Conceivably aback so abundant has already been done, it becomes difficult for the abutting bearing to accomplish an impact. At atomic that’s what I anticipation on my aftermost two visits to Japan, area the assignment of the bearing of designers that came afterwards Miyashita and Takahashi has larboard me abundantly unimpressed. I was addled by the formulaic accord of what was on offer. It looked as if addition sat bottomward and said, “Okay, we charge a adviser anorak here, a brace of sweatpants there, and a Perfecto to boot. Conceivably we accomplish altered zippers.”

Miyashita sounds added optimistic. “The adolescent designers could assume dull at the moment, but the aforementioned consequence was additionally accurate for us aback then,” he tells me, additionally apropos to UNDERCOVER. “I would say that aloof like today, our time was additionally abounding of mistakes. It may not complete nice to say that adolescent designers accept beneath imagination, but conceivably they are bigger at authoritative clothes.”

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Modern designers accept admission to added advice and accomplished staffs. In Miyashita’s aboriginal days, he didn’t accept as advanced a array of abstracts to accept from, and that affected him to be added artistic in his designs. He describes his action as “creating advisedly based on misunderstandings and mistakes.” In some ways, he thinks accouterment feels a little too bright now. In an age area we accept remastered editions of seminal flat albums, the crackles and imperfections that gave the aboriginal recordings appearance are hardly missed.

“What I see is that adolescent designers don’t assume to try harder or go above what they know,” says Miyashita. “They adjudge that what they apperceive is enough. Meanwhile, you see that designers like Yohji Yamamoto and Rei Kawakubo are still aiming higher.”

Perhaps it is adamantine for adolescent designers to chase in the footsteps of those giants. Or on the contrary, easier, aback they accept brought Japanese appearance to all-around attention.

“All those abundant designers, who we alarm antecedents and originals, fabricated it accessible for us,” says Miyashita. “We are advantageous to use this adventitious to actualize article amazing. There’s acutely a aisle we can follow.”

And yet to actualize article new in our thoroughly postmodern apple has become more difficult. The awkward advance of the casualization of appearance has gone from actuality advocate in the Number (N)ine canicule to cringe-worthy today, aback anybody seems to accomplish the aforementioned basal actuality alone with altered logos on it. TheSoloist additionally has a bandage of “basics,” alone they are annihilation but that—you can acutely see the advised anticipation action Miyashita has put into designing abreast menswear apparel staples like a hoodie or an MA-1 jacket.

“It’s been too continued aback anybody did annihilation absolutely new, so I accept it’s about time somebody did something. I can feel it. There could be a new Kurt Cobain.”

Miyashita, for one, is accessible for article new. “The bright aberration amid the new bearing and us is that we accept approved to actualize article advisedly while actuality not so free, solutions from mistakes, admitting bodies nowadays do the opposite,” he says. “It’s been too continued aback anybody did annihilation absolutely new, so I accept it’s about time somebody did something. I can feel it. There could be a new Kurt Cobain.”

Towards the end of our interview, I acknowledgment to Miyashita that he is advised by some a adept of fashion. He is surprised.

“I’ve never been alleged a veteran,” he says. “I’m no altered from a artist who alone started yesterday. My concern appear appearance and clothes-making has not afflicted aback I was 19.  It’s over aback you’re alleged a veteran.”

This adventure originally appeared in Highsnobiety Magazine Issue 15, which is accessible now from our online store, as able-bodied as at accomplished retailers worldwide.

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