Strong and sexy; fashionable yet masculine. Kazuhiro Takura, whose brand @IZREEL is highly regarded both in Japan and abroad, previously worked at a major apparel company. The interview with Mr. Takakura, who pursues the essence of the brand business while accumulating various hands-on experiences, is a must-see for people who are thinking of launching their own brand or who have hit a wall.
What made you decide to become a designer?
Takakura：I went to a college of sciences and entered an apparel company upon graduating. At the beginning, I was in sales, and then I requested to be transferred to production, and then to MD. I always felt that there was a gap between what I made and what I really wanted. However, since I was hired, I wanted to be useful for the company, so I did not consider quitting straight away. I set up my own business after working for 11 years and getting an overall picture of the business to some extent. From two to three years before I left the company, I was thinking about establishing my own brand and conducting several case studies.
What is the origin of your brand name, ＠IZREEL?
Takakura：It is a word I coined from the slang term “Is Real.” I wanted to show the realness of the clothes in a straightforward manner, and it was also an antithesis to major businesses. I wanted to make something that was beautiful, that used quality materials, and to which a lot of time and care was devoted, without thinking about whether it would sell or not. Because of this, I thought that having the keyword “real” in the brand was indispensible. By real clothes, I do not mean the realistic and easy-to-wear clothes that were often talked about in the past, but “real” as in whether it’s something that I would want to buy myself in a store at the sticker price.
What is the concept of your brand?
Takakura：The definition of my brand is Tokyo luxury street wear. Over twenty years ago, from when I was in my late teens to when I was a college student, vintage clothes were very popular. I also loved looking for and collecting dead stock vintage items. But once I was out of college, I couldn’t go to work wearing vintage clothes, so of course I wore jackets, slacks, and ties. I then encountered the brands Dolce & Gabbana, Armani, Versace, and other high-end Italian brands. For a few years, I continued to buy and wear a lot of these brands. By being deeply involved in both the earthiness of American vintage clothing and the refined sexiness of mode trends for a certain period of time, I was able to notice the beauty of Tokyo. The mixed culture of Tokyo, which crosses street fashion with luxury fashion, is unparalleled in the world. Doing bold things is what makes Tokyo fashion unique and interesting.
Vintage neckties are taken apart for making the shirts."The production concept is to mass produce fabulous shirts using vintage fabrics."
You have actively participated in the Bread & Butter and Pitti Uomo exhibitions, which are known for their strict screening processes. What differences have you noticed between overseas and domestic exhibitions?
Takakura：Overseas buyers buy “brand-like objects.” Japanese buyers buy “things that sell.” Overseas, the owner buyer takes responsibility for making decisions, and orders on the spot. The buyers of major Japanese corporations are salarymen, so they take the order form back with them, and place their order by fax. I’m not saying that one is better than the other; it’s just that their methods are completely different.
What advantages were there to participating in a foreign exhibition?
Takakura：When I was working really hard, I had about 20 overseas customers, including Dantone in Milan, LuisaViaRoma in Florence, Harvey Nichols in Hong Kong, and H Lorenzo in LA. However, this was not really reflected in business in Japan. The point was that the clothes sold overseas, and that was it. Meanwhile, Japanese buyers are completely mature. They can choose by themselves. Earlier, I said that Japanese buyers buy “things that sell,” but the buyers of select shops in the city do not easily pounce on an item just because it is a brand that sells abroad. Therefore, from a manufacturer’s standpoint, I felt that my business in Japan would not grow unless I took actions that were easily comprehensible by Japanese buyers, and that is why I decided to participate in the Tokyo Collection.
Is there anything you are hooked on at the moment?
Takakura：Golf. I’ve always loved sports, but with golf, your performance is indicated by a score, no matter how bad you are. It’s in my nature to enjoy being tied down by numbers (laughs). I play about 100 rounds a year, and I also go to driving ranges, so that might mean that I’m holding a golf club about two or three days a week (laughs).
I also focus on golf from a business aspect. Consumption in Japan has completely matured now. Consumption for items that are not location-oriented can only be sold at low prices. Recently, there are few people that save up to buy a Rolex or Mercedes. Rather, people are interested in dressing up and enjoying themselves in situations where there is a defined occasion, such as fishing, golfing, and parties. To be honest, when I look at the world around me, the high-street fashion that I am engaged in does not sell. If it were to sell really well, it would be in a developing country like China.
Starting in spring-summer 2011, we will be releasing IZREEL golf wear. When you play golf, you can wear bold clothes that you may not be willing to normally wear. However, these clothes would not be persuasive unless the designer himself played golf and was good at it. The fact that I made these clothes because I am an avid golf player who loves the sport is what I feel is “real.”
