—Has the on-site manufacturing continued until now?

I try to be on-site as much as possible myself, and when I can't go, we have a system where staff always go.
I believe we are selling emotion, not image.
Even general companies today engage in image strategy, and fashion is inherently tied to image. However, I believe emotion exists on a different plane.
It's about the drive to realize what we want to create, the sense of accomplishment, or the challenge of pursuing something.
It's not interesting or joyful to create something that merely polishes its image while losing that emotion.
This is conveyed to customers through the products, and it's most rewarding when it resonates.
When it doesn't resonate, I feel dejected (laughs), and I also sense the walls we couldn't overcome.

If it were just about image, we could perhaps arrange the best product from a factory, put our label on it, and be done.
However, I want to visit the factories, draw out new possibilities, and discover unexpected ideas.
I think that's also a form of humility. It's not about one person being superior and making a single phone call.
Indeed, the theme of this series is humility (laughs).

—Have there been any episodes where you felt the skill of Japanese artisans was remarkable?

There are so many that I've almost become accustomed to being amazed.
For example, I once worked in a shoe factory. Even while producing many pairs of shoes a day, maintaining consistent quality and sustaining that focus for days on end is, in itself, astonishing.
In other words, what we can understand in just a few hours at a factory is only a fraction.
Consider the physical strength, concentration, and endurance they expend daily.
I also feel a sense of awe when they go beyond the patterns or instructions I've provided.

While I might think, "They're doing whatever they want," I also have to admit, "But I can't deny this; it's cooler this way."
When working with artisans I connect with, even though we both feel "100% satisfaction is unlikely," sometimes something beyond imagination is created.
I believe this is possible precisely because we both share passion and have a relationship of mutual respect.
I hope to convey the brilliance of such artisans in this series as well.

—Are there still many such artisans in Japan?

They are indeed decreasing.
The shoemakers I work with are typically in their 60s; there aren't many young people.
For instance, in 20 years, these individuals will certainly have retired from the front lines, and I feel a considerable sense of crisis regarding this aspect.
There are several people whose departure would mean the end for me as well (laughs).

One of the intentions behind this series is to inspire young people who see it to become even slightly interested in the world of artisans.
However, while artisans are certainly cool, it's not solely about that image, and I don't want people to misunderstand.

—Finally, do you have a message for the readers eagerly awaiting the start of this series?

I don't often act with a purely fashionable objective, so perhaps there won't be anything that makes the readers' hearts race every time.

To be honest, I'm the one who wants to feel the most excitement from this series (laughs).
In 10 years, these will likely be factories I can no longer visit and artisans I can no longer meet.
But I'm confident that we will be able to create wonderful Made in Japan products, so please look forward to it.