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January 16, 2015
Simon Taylor x Gilles Peterson, Special Interview | URBAN RESEARCH
URBAN RESEARCH
Introducing Collaboration Items from WORK NOT WORK and Gilles Peterson
Simon Taylor x Gilles Peterson: A Special Interview (Part 1)
Collaboration items between Gilles Peterson, a leading British music presenter, and the fashion label "WORK NOT WORK" will be released in limited quantities in late December at select stores, including "WORK NOT WORK URBAN RESEARCH KITTE Marunouchi" in Marunouchi, Tokyo. We spoke with Gilles, who was in Japan for his recent tour, and Simon Taylor, the director of WORK NOT WORK, about this project.
Photographs by JAMANDFIXText by NAGIRA Mitsutaka
Designs Born from Sessions
"WORK NOT WORK," a fashion brand helmed by Simon Taylor, a founding member of the London creative collective "TOMATO." This time, the brand's signature item, the poacher jacket, is being released as a special piece with a unique arrangement by Gilles Peterson.
We had the opportunity to interview Gilles and Simon about fashion and culture, centering on this collaboration.
The "GP Poacher Jacket" produced this time
—In the late 1980s and 1990s, you were both active globally: Simon, with artwork for "Soul II Soul" (※), and Gilles, with the labels "Acid Jazz" and "Talkin' Loud." How did you first meet during that time?
※Soul II Soul: A music group formed in London in the late 1980s. They gained attention not only for their innovative musical style, incorporating soul, funk, house, hip-hop, and dub, but also for their fashion, dubbed "funky dread."
Simon Taylor (hereinafter Simon)I was always interested in Gilles's music. I was constantly amazed by his sets at "Sunday Afternoon at Dingwalls," his weekly lunchtime session in London's Camden Town.
Gilles Peterson (hereinafter Gilles)I had always respected TOMATO and wanted them to do the artwork for my label. When TOMATO accepted my request for record jacket artwork, I was so happy. I was worried if what we were creating was cool enough for them to be involved. At first, I thought they might refuse (laughs). Also, TOMATO's stance of only doing what they wanted was incredibly cool, and I respected that attitude. Working with them was a great joy.
I knew that the label Gilles ran, "Talkin' Loud," was operated with high ideals and a strong will, so I felt a strong connection and was always interested. Therefore, when the offer came, I thought it was a wonderful opportunity and readily accepted.
Simon: I knew that the label Gilles ran, "Talkin' Loud," was operated with high ideals and a strong will, so I felt a strong connection and was always interested. Therefore, when the offer came, I thought it was a wonderful opportunity and readily accepted.
—When did you two first collaborate?
SimonIt was probably for Toshio's (Toshio Matsuura) record, before Galliano.
GillesWow, it was a 10-inch for U.F.O.
Simon"COSMIC GYPSY." It also includes "LOUD MINORITY."
—How did you create that artwork, with what kind of exchange?
SimonWe listened to the music and created it on the spot while talking. I showed him the design concepts and proceeded while getting his feedback. Gilles also brought photographs.
—It was like a session, wasn't it?
SimonExactly! First, we just talked. To understand what he was thinking.
—When you created a work together, what impression did you have of each other's sensibilities and aesthetic judgment?
GillesIt wasn't just small commonalities like liking the same music or fashion. With Simon, I felt a shared passion as creators. Even though we hadn't seen each other for two years, when we decided to do something, we understood each other immediately. Perhaps the fact that we both have Japanese wives also plays a big part (laughs).
SimonFor example, people who can create something innovative often, in interviews, are more interested in why the interviewer asked a particular question or the process leading up to it, rather than just answering. I think Gilles is exactly that type.
URBAN RESEARCH
Introducing Collaboration Items from WORK NOT WORK and Gilles Peterson
Simon Taylor x Gilles Peterson: A Special Interview (Part 2)
A Study of UK and Japanese Subculture
—You both have strong ties to Japan, don't you? You mentioned Toshio Matsuura earlier. What was your impression of Japanese fashion in the early 1990s, when Japanese artists began to gain international recognition?
SimonAround the time many Japanese people started coming to London, fashion, along with manga and art, began to filter in. It was cool. I particularly remember the exhibition Issey Miyake held in London; it garnered significant attention. It must have been a huge impact for the younger generation.
GillesAt that time, Japanese people looked cool no matter what they wore. I felt a wild sense of style that I could never pull off myself.
SimonIn the 1980s, I had the impression that Japan was incorporating and mixing various things from around the world, but by the early 1990s, it felt like fashion was being exported from Japan. I was always impressed by the sense of picking up the best parts of trends and expanding on them.
—Just as Japanese people learned about British culture by reading magazines like "Straight No Chaser" back then, it felt like Japan was learning a lot from the UK in terms of music.
SimonWhile there might have been such a period in the past, in the 1990s, many countries looked to Japan as a source of inspiration. Both TOMATO and I drew many ideas from Japanese culture.
—So, what are your thoughts on UK fashion?
GillesIt's the best.
SimonWhen it comes to subculture, I think the UK is the strongest. There's a solid history of expressing identity through style. The deeper you dig, the more profound it becomes, but I think the act of youth gangs in Manchester in the 1890s showing their identity through their clothing was a significant event. On a cultural level, in the UK, there's a history of how you dressed indicating which group you belonged to or what spirit you possessed.
—That also applies to the connection with music, doesn't it?
GillesIn the UK, the connection between fashion and music is particularly strong. Punk, Mod, and Soul are clear examples. I'm half French and half Swiss, and in France, it was more independent. Individuals wore what they wanted freely. That difference is interesting.
A Professional Perspective
—What is the concept behind "WORK NOT WORK," which you design, Simon?
SimonIt's mainly based on classical workwear styles. It respects the high skill of artisans and values tradition. However, the biggest feature is mixing in counterculture. For example, using a traditional cricket jacket as a motif, we skillfully incorporate craftsmanship in hidden places, and vice versa. The goal is to create something new while preserving techniques and traditions.
—What led to the two of you collaborating on such a brand?
SimonGilles and I had been talking about doing something together for a while, but the opportunity never arose. It was Toshio who brought us together again, making this happen.
This poacher jacket is an important item that represents the brand since its first season. "Poacher" means "one who hunts illegally." The image of that and Gilles's image overlapped in my mind (laughs). Gilles is also like a poacher in music, isn't he? (laughs) It's a special item with details like embroidery specifically for Gilles and a lining printed with hand-drawn illustrations.
—What kind of considerations did you make to match Gilles's image?
SimonI focused on texture. Gilles is a professional DJ. I believe it's a sensitive endeavor to harmonize with the crowd through music. Therefore, I emphasized the feel and material to express that subtlety. I also focused on handmade details, aligning with his analog image of preferring records over CDs. I wanted to give form to Gilles's history.
GillesI love the color and the feel. Above all, it's a jacket perfect for DJing. It's light, easy to move in, and can be worn all year round. It's a professional piece with the craftsmanship characteristic of WORK NOT WORK. I absolutely love it.
—What is necessary to be a professional?
GillesIt's simple. Passion.
SimonCuriosity, perhaps. I believe being professional means continuing to move forward through exploration, not just finding the answer, but for example, the process of formulating a question, the reason for asking it. Passion is necessary for that.
WORK NOT WORK URBAN RESEARCH KITTE Marunouchi
1F JP Tower KITTE Marunouchi, 2-7-2 Marunouchi, Chiyoda-ku, Tokyo
Tel. 03-6269-9170
Gilles Peterson
He led "TALKIN’LOUD," one of the most influential labels of the 1990s, and was a central figure in the acid jazz movement as a club DJ. He is recognized as a hitmaker who first aired numerous tracks on radio worldwide. Currently, he is focusing on discovering new talent through his label "Brownswood Recordings," which has produced stars like Ben Westbeech and Jose James. He currently hosts "The Worldwide 60 with Gilles Peterson" (Wednesdays 25:00) on InterFM. http://www.gillespetersonworldwide.com/
Simon Taylor
A founding member of the London creative collective "TOMATO." Since the 1990s, he has had a significant impact on graphic design, film, fashion, and architecture. In 2012, he launched the brand "WORK NOT WORK" and participates as a designer and creative director. http://worknotwork.net/