Tracing My Musical Roots, Imagining Core Tokyo Culture

The compilation album "TOKYO SUITE SELECTED BY NIGO®" is based on the concept of "A blissful moment spent at Park Hyatt Tokyo," and indeed, Tokyo's culture is encapsulated within this single release. We sat down with him in the TOKYO SUITE at Park Hyatt Tokyo, the album's namesake, to ask how he felt and what inspired his selections.

— When you were first approached about selecting tracks for the compilation album "TOKYO SUITE SELECTED BY NIGO®," what was your initial image or concept?

First and foremost, I was deeply honored to be asked to do this in this particular way. Park Hyatt Tokyo brings to mind the image from Sofia Coppola's film, doesn't it? I love that soundtrack, but I think it represents Tokyo as seen from overseas. This time, I deliberately traced my own musical roots while imagining the core of Tokyo's culture.

— Do you frequent Park Hyatt Tokyo?

I often come here for lunch and dinner.

— What aspects do you particularly appreciate about it?

Its timelessness. It's quite difficult, but to maintain that for 15 years since opening is truly remarkable.

Creating a Flow Where Hip Hop Evolved into Hip Pop Over Time

— The album "TOKYO SUITE SELECTED BY NIGO®" primarily features songs from the late 80s to early 90s in Tokyo. Did you frequent clubs and parties during that era?

I started going to clubs around '89, but I was actually influenced by "Tokyo's subculture" from around '86. The 80s were a time when Tokyo had a lot of potential for growth. It was a forward-looking Tokyo, with a sense that things were only going to get more interesting.

— At the release party held at NEW YORK BAR in October, Seiichi Itoh and Kan Takagi performed live, didn't they?

I was heavily influenced by that generation. Moreover, they are still active and influential today. I asked them to perform at the party to recreate the atmosphere of late 80s parties.

— If today's younger generation experienced that party, wouldn't they find that atmosphere fresh and new?

Certainly, I think so.

— By reintroducing that kind of atmosphere, did you have a particular intention or vision, in your NIGO® style?

It was somewhat coincidental, but it felt like "returning to my roots." I've been re-examining various aspects, including fashion, so the timing was perfect. Like that party, this CD can be nostalgic for some listeners and new for others. I hope it becomes something that "passes down" that kind of culture.

— Regarding the track selection, for instance, with Sei Itoh, there are many songs, but you chose "Tokyo Bronx." What was your intention behind selecting it?

First and foremost, it's about Tokyo. Also, since it's a CD for Park Hyatt Tokyo, I chose comfortable sounds rather than overly hardcore tracks. Cornelius's song, for example, sounds like drum and bass, but if you listen closely, it's ambient, and that's what makes it so pleasant.

— Plastics is included; were you influenced by Toshio Nakanishi as well?

For me, it was "Melon" first. This song itself is from 1980, so I was still an elementary school student back then (laughs). Of course, I wasn't directly influenced by this song in real-time, but I believe it's a key band in the birth of "Tokyo's subculture." I think people around them branched out from this and expanded.

— "Yen Town Band" is from the soundtrack of Chara's film "Swallowtail," isn't it?

I chose this based on the song title. The intention behind selecting "Tokyo Bronx" was also to highlight the "Tokyo" aspect.

A DJ Plays Others' Music, a Stylist Coordinates with Others' Clothes

— You're involved in various projects besides apparel. Among them, it feels like you put a lot of energy into your musical activities. What is your stance on dedicating so much energy to music?

I come from a fashion background, but if you dress like a punk, you listen to punk music – that's a form of punk culture. It's the same with hip hop; listening to RUN DMC, imitating their style, that's how hip hop culture is born.
Furthermore, music is like air; it's something we take for granted, but conversely, I believe it's indispensable. Air is essential for human life, isn't it? I view music in that way, so it holds a very important place for me.

— And all of this then branches out into fashion and other areas, doesn't it?

Also, the process itself, from creating music to packaging it, the act of creation is fascinating. I actually started as a DJ before fashion, and from that, I released Teriyaki Boyz CDs. Similarly, fashion started with stylists, and then I became a designer.
A DJ plays others' music, a stylist coordinates with others' clothes. Both are styles that utilize others' work, but for me, the evolution from being a borrower to a creator is quite interesting and enjoyable.

— In other words, transitioning from a selector to a creator?

Yes.




Park Hyatt Tokyo
www.parkhyatttokyo.com/