The Airport: A Place Connecting to Future Hopes

Aizawa says, “I like this building; it feels like good energy flows here.” The Yoyogi National Gymnasium Second Gymnasium was once again the stage for the White Mountaineering 2012-13 Autumn/Winter collection.

The collection expressed people traveling and airport staff in a setting where various nationalities converge. It showcased relaxed styling for inside the departure airport, on the plane, and in the destination city.

—The models on the runway were very diverse.

The theme this time was “Award Tour,” envisioning travelers and airport personnel, so we cast models from a wide range of nationalities. This is also the first time we've featured Japanese models.

—How many looks were there in total?

Excluding the police officer, cleaner, and pilot, there were 31 looks.





—Why was the airport chosen as the setting?

I considered where outdoor wear is most often worn indoors, and for me, it was the airport. I wanted to express the excitement and joy of being at the airport before departure, linking it to the show. The airport is a place that connects to future hopes.

—Regarding specific styling?

For example, down vests are practical items that can be easily put on and taken off, and trolleys and backpacks are essential for travel. We aimed to make these look stylish.

—Was the seemingly loose styling also inspired by travelers?

Yes. When boarding a plane, everyone layers their clothes in their own way, and we focused on creating layered outfits that best capture that balanced style.

We've Brought It Closer to Real Clothes Than Ever Before

—The show's production was also very elaborate.

As you may have understood from watching, the initial announcement was in an African language, and the final announcement was in French, evoking Charles de Gaulle Airport. There were also elements like American hip-hop and African animal sounds, and the music was original, created with the concept of a world tour.

—This collection had a clear theme. Has there been any change in your approach, Aizawa-san?

We've been working with the same team for six shows now, so it wasn't overly serious or too pop; it felt like our kind of show. While the clothes and the way we make them haven't changed much over the past few seasons, we've slightly altered how we present them, the imagery, and our thinking about the show itself.

—What parts did you change?

We wanted people to feel the show was enjoyable. Did you notice that all the models had passports in their shirt pockets during the finale? I actually walked out with a passport tucked away myself (laughs).





—What were the key items or key colors this season?

This season, we established burgundy red as the corporate color for the fictional airline, Award Tour Airline. We focused on shades of bordeaux and burgundy red. While we didn't do anything particularly new in other areas, we've brought the collection closer to real clothes than ever before.

—The knitwear, like the patchwork knits, was superb.

I enjoy making knitwear, and knitwear is comfortable to wear as an inner layer, so this season we increased the variety of materials and patterns.

—What was the reaction at the exhibition in New York?

We held the exhibition for this Autumn/Winter collection in January. This was our third time in New York, and I feel our recognition is gradually growing.

—Do you feel expectations from the US?

Yes. Unlike Paris, New York views collections from a real-clothes perspective. Many American designers, like Band of Outsiders, often offer a slightly altered take on orthodox tradition, but I feel they expect us to bring in a different kind of taste. New York also has many Asian designers, making it easier to appeal to the market.

—Thank you very much.


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