Rumors Swirl: Is This JOHN LAWRENCE SULLIVAN's Final Tokyo Collection?

We Directly Ask Designer Arashi Yanagawa About the Truth

TomokiAround the time of Tokyo Collection, for some reason I often find myself on overseas shoots and not in Japan, so I haven't really paid much attention to it before. But this time, I was in Tokyo the whole time and managed to see quite a bit. Then I heard rumors that Arashi's JOHN LAWRENCE SULLIVAN and Daisuke Obana's N.HOOLYWOOD would be showing for the last time at Tokyo Collection, so I thought I'd definitely like to hear about that. And I really loved this collection.

YanagawaOh, really!

TomokiYou said, "This time, I was able to do as I pleased," but does that mean you couldn't before?

YanagawaWe always worked with a team for the shows, didn't we? There was the director, the stylist, the hair and makeup artists... and then my clothes. We'd have meetings together. But as we debuted and put on more shows, we started getting more attention from the media, and I felt like we gradually began to prioritize things like "we have to do something interesting" or "we have to do something different." Of course, at the time, we were energized and it was fine, but looking back, there were many seasons where I wondered what I had truly wanted to convey that season. So, I wanted to explore how I would feel if I just went with my honest feelings. Well, it felt like my own elements were emphasized a bit more... What are my "own elements," though? (laughs)

TomokiThat's humble. "Emphasized a bit more" (laughs). So, before, you felt it was more about "creating as a team" rather than you leading and directing the show?

YanagawaYes. While I delegated styling to some extent, I left a lot of the hair, makeup, and direction to others. But this time, I wanted to do a show that emphasized my own elements as much as possible.

TomokiI see. Perhaps that's why it looked so good.

YanagawaYou think so? (laughs)

TomokiBasically, I believe "a show is about the clothes." I only expect clothes. Well, I am deeply moved by shows with elaborate productions like John Galliano or McQueen, but fundamentally, it's about the clothes. I always watch thinking, "Are these clothes good or not?" And indeed, this JOHN LAWRENCE SULLIVAN collection was excellent. There were so many pieces I thought, "I want to wear this."

YanagawaThank you. Really? (laughs) Hearing you say that is a relief. There's always various feedback with every show.

TomokiI think this is probably my third time seeing your show. The first was the debut, maybe? Or the second?

YanagawaIt was the second. I remember you coming backstage then.

TomokiAnd then the one I saw in that cold, snow-waiting situation (laughs).

YanagawaThat must have been the recent Autumn/Winter show (laughs). I'm sorry, it was cold then, wasn't it?

TomokiIt was so cold then that my memory is hazy (laughs). Well, I've watched all the others on recording, but indeed, the other shows and this one have a different feel. It seemed more focused on the clothes, somehow.

YanagawaI started to seriously question whether it was truly the right thing for a company of our size to continue putting on shows with large venues and elaborate productions.

TomokiYou mean you overspent? Money?

YanagawaYes (laughs). That's part of it, but I also wanted to present the clothes more simply, to return to the basics. I wondered if what we did in the second season you saw, for example, was more in line with our scale.

TomokiThat was really good.

YanagawaI thought we should do something like that. I might have been strongly influenced by the feeling from that time. Then, after many seasons, everyone should have improved their skills, so I thought about what would happen if we did it with the nuance of that second season, and I proposed it.

TomokiI suspect many who came to see it shared that sentiment. It felt like a balance where both the creators and the audience felt good. There was also a sense of reality to it. Without that realism, I'd find myself worrying, "Oh dear, is it okay to be doing this?! Spending so much money..."

YanagawaYes (laughs). Exactly.

TomokiI feel that particularly with Tokyo Collection. In Milan or Paris, I think, "Oh, this is exciting! Let's make more noise!" ... But perhaps I have a special sympathy for young Japanese designers.

Tomoki(Looking at the looks) Beige, purple... they're beautifully done.

YanagawaBecause they are difficult colors, I felt the material was extremely important. This season, I spent a lot of time on the materials. This wool fabric, and these here, are materials I ordered four months ago from Johnston's of Elgin, a historic mill, and they've only just arrived.

TomokiIt was beautiful... this one. (Looking at the purple look, right photo)

YanagawaThat's 100% wool, but it has a softness like a blend of cashmere or alpaca. I've tried this "homespun" material many times in Japan, but it always ends up too stiff, looking more like a jacket or blazer than a suit. But this time, it turned out wonderfully soft with a great drape. This softness is something you can only achieve in the UK.

TomokiI recently had a suit made from homespun myself, at Thom Browne. It is indeed soft.

YanagawaRight.

TomokiHomespun is great.

YanagawaIt's my favorite material too. I feel like I've finally achieved a nice softness with it.

Tomoki(Looking at the brown jacket, left photo) So, Johnston's of Elgin makes this fabric.

YanagawaIt's a Scottish fabric. They originally specialized in cashmere and other luxury materials. But it takes four months from order to arrival. So, to make the ordered amount takes another four months. This means the delivery date is already around September or October (laughs).

TomokiSeptember is fine, but October is tough. (Tomoki tries it on) You're still sticking with the single-button design, I see.

YanagawaYes (laughs). With a single button, even a one-centimeter difference in placement completely changes the overall impression. I find that interesting.

TomokiWhen made in London, the part below the button is unusually long on single-button suits.

YanagawaFrom Huntsman?

TomokiGieves & Hawkes too. I had several made in various places, and they were incredibly long.

YanagawaPerhaps the jacket length itself is longer?

TomokiWhen I watch '007,' I often think so; they are basically long. They're long enough to cover the backside. So, people with high waists like the British can pull them off, but ultimately, they're not suited for Japanese physiques. If made in England, it looks like the jacket is walking on its own.

YanagawaAh, yes, I understand. When I visited Huntsman, their standard was also single-button, four-button cuffs, and side vents. It was exactly the same as what I always used as my standard, so I was very happy (laughs).

TomokiHuntsman is almost synonymous with the single-button style, isn't it? If you want a single-button, go to Huntsman. And JLS's single-button, with its moderate length, isn't it good? It's adapted for East Asians.

YanagawaI am very conscious of creating a balance that suits Japanese people. After all, jackets are our best-selling product.

TomokiI don't know if I should say this, but you use foreign models, right? Can those intentions be expressed effectively? When I watch Tokyo Collection, I often notice the sizing; it looks tight around the backside. Doesn't the backside and the waist area of the jacket seem tight? I always wonder about that.

YanagawaI've noticed what you're saying, and I didn't like it. It looks fine when they're walking towards you, but when they turn and walk away, it's really unpleasant. The back of the jacket seems to be screaming, so to speak. And the backside is quite prominent. So, during the auditions, I thoroughly checked the models' sizes.

TomokiAh, I see. That's why it didn't bother me this time. I could watch it thinking, "How beautiful."

YanagawaReally? I was extremely concerned. We make samples in two sizes, but I was meticulous with the model fittings and paid attention to details like the belt placement.

TomokiThe way they turn on the runway is indeed very important. How it looks when they pivot is something to consider. When you watch shows in Milan or Paris, there's a certain fluidity to their movements... You feel that difference subconsciously. ...Well, never mind that (laughs).

TomokiThe orange, it left quite an impression, the last look. This collection uses many colors besides orange, but did you have a specific image in mind for the overall composition?

YanagawaI don't usually talk about the concept, but the world I initially found appealing for this collection was inspired by Jarmusch's films.

TomokiOh?

YanagawaI rewatched films like 'Stranger Than Paradise,' and through that connection, I also watched 'Down by Law' and 'Rumble Fish.' ... In 'Rumble Fish,' although it's in black and white, only the fighting fish scene at the end features orange, right?

TomokiAh, yes, it does. It does.

YanagawaThat was truly impactful for me. Perhaps this kind of color usage is common, but it appeared in a film I love, so I thought I might incorporate it. When I first started making the homespun fabric, I focused on that concrete texture and mottled appearance.

TomokiHmm, I see. 'Rumble Fish.' Mickey Rourke was so cool.

YanagawaHe was cool! He wore a tweed jacket on his motorcycle.

TomokiWhat went wrong for him to become like he is now?

YanagawaHe's a wrestler now (laughs).

TomokiPeople change (laughs), even when you think they won't. 'Rumble Fish' itself felt rebellious as a film. Did you see Coppola's 'The Outsiders'?

YanagawaYes, I did.

TomokiThere was a theory that 'Rumble Fish' was made with leftover film from 'The Outsiders.'

YanagawaIs that so? It's a wonderful film.

TomokiPerhaps because it didn't cost much, it didn't flop. It was highly acclaimed.

Arashi, Who Loves Fashion Shows Passionately

The Extremely Stoic Reason Behind His Decision to Quit Shows

TomokiGiven that this was likely the last Tokyo Collection for you, I felt this collection had a strong element of returning to the roots.

YanagawaYes. I wanted to delve deeply into the clothing, to spend time on each piece. Minor adjustments, like wanting to lower the button position by one centimeter, those final finishing touches were always rushed. When a show is about "doing it big," "showing a lot," "showing 40 looks"... the final details inevitably become less refined. I wanted to fix that this time, so we started with about 30 looks, and ended up with 27.

TomokiThat was a bold decision. Designers usually want to show a lot, right? They want to show every color variation. So, you've broken free from that, or perhaps that's not the right way to put it. You've changed a bit.

YanagawaYes.

TomokiIt's clear that to make the clothes look good, you need to narrow down the options. And as you're entering that phase... Tokyo Collection is ending?

YanagawaI'm thinking of taking a break from collections. Or rather, I'm reconsidering the nature of collections. In reality, with the current routine, after the Paris showroom ends, there's a two-month waiting period, and I feel that time is too much of a waste. It ends at the end of January, right? We create a certain worldview there, and then spend the next two months slowly preparing for a show, which feels like a waste. I want to use that time effectively, and that's the main reason for stopping Tokyo Collection.

TomokiSo, you're not planning to have a collection in Paris either?

YanagawaNo, that's still completely... undecided.

TomokiShowroom will continue as usual?

YanagawaYes. I'd like to try working hard in Paris.

TomokiI see... But won't you want to do shows?

YanagawaOh, I think I will. I'm someone who loves shows immensely. I already feel a sense of longing. Thinking, "I won't be doing them anymore..." After my own show ended, I watched two other shows, and I felt a pang of sadness. Thinking, "Ah, that's nice..."

TomokiRight? You really love shows, Arashi. It shows in how you make your entrance at the end of the show (laughs). You can tell, "This person loves it."

Yanagawa(laughs) Maybe it's because I was a professional boxer.

TomokiThat's quite a "Winner"-like greeting (laughs). Like you're about to come out with a championship belt.

YanagawaThey tell me, "Don't do it!" "Don't do it at the end!"

TomokiIt was a shame the stole fell off at the end this time. Did you notice? That.

YanagawaI didn't notice.

Tomoki(Looking at the look on the right) This is an interesting combination. A blouson and cropped pants. Are they Jodhpurs?

YanagawaYes, they're like sarouel pants.

TomokiAnd hand warmers.

YanagawaThat was entirely Masumi's suggestion (Note: Stylist Masumi Sakamoto). Although you've noticed it now, this was quite a contentious outfit. I wanted every look to be one I was satisfied with, with no exceptions.

TomokiThere was a disagreement?

YanagawaNot a disagreement, but a difference of opinion. But in the end, she agreed to use it.

TomokiLooking at it like this, the orange is beautiful. It leaves an impression. Where are the shoes made?

YanagawaDomestically. Ah, we also have a collaboration with George Cox, which is made in the UK, but most of the others are made in Japan. We first created original lasts. Then, using those British lasts, we changed the soles, added quilting to the uppers, and altered the designs...

TomokiThe original last was made in England?

YanagawaNo, that's different. I took my favorite old shoe to them and had them replicate it. It had a very low instep, so I had them adjust it for Japanese feet.

TomokiWas it from Edward Green or somewhere like that?

YanagawaNo. When I asked at the shoe store, they said it was a well-known old last, but I didn't catch the name. It was a slip-on with tassels, very sharp, narrow width, and elongated.

TomokiOh. And this coat? (Looking at the look on the right)

YanagawaThis is nylon.

TomokiHmm. But it doesn't look like nylon.

YanagawaThe shape is the same as the one made from flannel earlier.

TomokiThis one was good too. And you have a lot of action in the bottoms, don't you? Is that something you considered?

YanagawaWell, we have a lot of jackets, but tailoring has its limitations, and it's hard to create excitement with dynamic designs. My personal style is "jacket with slim pants," so I incorporate that every season and think about how to add variation. This leads to a competition of sorts, focusing on cropped lengths or extremely slim styles like leggings. So, I thought it might be better to express boldness in the lower half.

TomokiHow many types of bottoms did you create for the entire show? About five?

YanagawaIncluding the cropped ones, I think about five or six types. If you include the sarouel, it's about six.
TomokiThat's a lot. Having many pants options makes styling easier, doesn't it?

YanagawaYes. And we used to have even more.

TomokiDo you also like wearing a belt over a coat?

YanagawaWell, this one has too much volume, so I added it to cinch it in a bit. This is called "Borox," with a slang term in the back...

TomokiWhat does "Borox" mean?

YanagawaApparently, "Borox" is a vulgar word for "testicles" used by young people in London. I thought it would be interesting to put that on a serious-looking model wearing a trench coat.

TomokiHe looks serious, Tom. French. And this one is open in the front.

YanagawaPerhaps he wanted to show the shirt. We didn't have any good photos, unfortunately.

TomokiAh, I see. Camel and gray... do you like them?

YanagawaI do. I especially love camel, but it's not always well-received commercially.

TomokiYou've been saying that for a while.

YanagawaBut I continue to make it. The tone can change the entire feel of camel, can't it? What was interesting was that Soichiro (Note: SOE designer Soichiro Ito) also made a camel Chesterfield coat, but his was more reddish. Mine is more grayish. I thought this was a definitive difference in character. "Ah, he's going for that color," I thought. But when you see his collection as a whole, the reddish camel is indeed the right choice. Camel is such an interesting color.

TomokiCamel is great, especially for spring coats this time of year. And trench coats too. Also over dark suits. Wearing camel looks good. ...This one too (looking at the camel coat with black leather pants), you've really gone for it with leather pants. You've managed to avoid looking sleazy. (Looking at the trench coat on the rack) Ah, there it is, the camel coat. This is Burberry fabric, isn't it?

YanagawaYes. It's called Burberry cloth, and they sell high-density gabardine woven in a similar way to Burberry's under that name.

TomokiIt's the same. This is the same fabric as the one I had made at Burberry in London. No matter how much I insisted, they wouldn't make the sleeves slimmer. They said, "If it's not this width, it loses its meaning as Burberry."

YanagawaWow. That's a cool commitment.

TomokiThey said it has to be worn over a suit, so it can't be slim. (Trying on the trench coat) It's nice.

YanagawaIt's a classic shape. We release it every year with different materials and colors.

TomokiYeah, it's good.

YanagawaEven at Burberry, there are quite a few camel, or rather beige, options, aren't there?

TomokiThere are! There are so many types that it gets confusing when choosing.

TomokiYou'll be having a showroom in Paris again in June, right?

YanagawaYes. That's what I'm thinking. Whether to do a full-scale show, or an installation, or to continue with regular presentations... the method isn't fixed yet. But if we skip Paris once, there's a possibility of sales dropping, so I do want to continue.

TomokiI see. Well, the details are still under consideration, then.

YanagawaI don't have much time, though, as it's the end of June. This is the tightest period. There's also the option of skipping this and focusing on the next one.

TomokiI see. So, what are you working on now?

YanagawaI'm currently preparing the fabrics for Spring/Summer 2011. I'm scheduled to go at the end of June, so I need to finalize everything before Golden Week.

TomokiSo your mind is already on next year's Spring/Summer.

YanagawaYes. Although, I do like Autumn/Winter. Because you can create things from various materials and yarns. Spring/Summer is difficult, though. I feel that every time.

TomokiYou don't really think about clothes much in spring or summer (laughs). When it gets hot, you just don't care anymore.

YanagawaYou end up wearing similar things, don't you?

TomokiRight? So, do you have any specific ideas for the next season?

YanagawaSince it's Spring/Summer, I'm really thinking about comfortable clothing. Ease of wear and lightness. I haven't focused on those aspects in my work before, but I'm incorporating some of those elements for next Spring/Summer. Also, I'd like to strongly emphasize the "JOHN LAWRENCE SULLIVAN" signature mix of sporty elements and tailoring.

TomokiI see. It's sad that the Tokyo shows are ending, but this is also a step forward for JOHN LAWRENCE SULLIVAN. I'm looking forward to Paris in June!

Arashi YANAGAWA
Born March 17, 1975, in Hiroshima. After a four-year career as a professional boxer, he pursued design independently.
Started JOHN LAWRENCE SULLIVAN in 2003
Began runway shows in Tokyo from the SS07 season
Opened flagship store in Nakameguro, Tokyo, in February 2008
Expanded to Paris from the SS09 season