At the beginning of a movie that I saw a long time ago, attracted by its simple and graceful title, a woman tells a doctor about the symptoms she is suffering from. “I cannot hear music.”

It seems that just when the music starts playing, the woman cannot hear it, even if she is surrounded by all the sounds. The doctor begins to gradually gradually investigate this baffling symptom . Little by little, he elegantly uncovers the darkness lurking in her mind that is causing her mysterious illness.

Watching the credits roll by, I saw that the story was based on the novel “MUSIC,” which was also the title of the movie, written by YUKIO MISHIMA.

There is a liquor popular in Japan whose name is the same as the novel “One Hundred Year of Solitude” by Garcia Marquez. It is amber colored and tastes deeply as if it could wind time up. On the label are the words uttered by jazz musician Eric Dolphy, “When you hear music, after it’s over, it’s gone in the air. You can never capture it again.” Obviously, these words are suitable for jazz musicians as theirs is an improvised performance; but they got me thinking deeply about just what creation means.

Music is invisible. How come composers create invisible music? What images do they think of? What is the cure for this invisibility? My personal research had always been focused on “visible beauty,” like clothing, but I casually took an interest in this new mystery.

Is their first cue a visible image? Do composers imagine it in their mind and then allow it to convert into the melody that perfectly fits their image? Or, maybe they don’t have a visible image? Maybe they wander from place to place in darkness, aimlessly seeking a melody they’ve never heard of before? Their only cue is the material sense of hearing?

It’s a different world from the visible world, but just what does creating music mean? The opportunity to take a deeper interest in this mystery came via my encounter with a pianist named Natsuki Motokubota. About three years ago I met her at our pop-up shop, where she bought FF dresses. Late last year, I went to her piano recital, where she played Schubert’s Piano Sonatas and I discovered the allure of Schubert.

Music is the beauty of the auditory sense, however it also shows a visible expression if we listen to it repeatedly. It is the same as the sense of taste. Indeed, a sommelier not only expresses the concrete deliciousness of a wine, but also a visible image from the information he or she gathers about its taste, color and aroma.

I gradually expanded a visible image after having repeatedly listened to Schubert. For example, I compared him to Mozart: Mozart’s melody is like the image of an art object or architecture beautifully conceived with transcendent technique, like the palace of Versailles, or Westminster Abbey. Whereas Schubert is like an image not of man-made art and beauty, but of the beauty in nature. It makes me imagine the blowing of bracing air, beautifully colored twilight, dusk; and his fierce melody is like a flash of thunder or a thunderclap. I cannot feel the outline of the works that find their natural end in Schubert. Rather, it’s as if his melody wanders freely in space. His works are not artificial, they evoke the beauty of nature that was born…naturally.

For this newest collection, I tried to paint “designs like making invisible music visible.” In the other words, if people try to firmly fix their eyes on it, maybe they can hear some sounds. I certainly hope so, as well as that the sounds they hear do not sound artificial, but like beauty without outlines.

I learned from the pianist that there is an infinite source of inspiration and origins of an idea. What we should seek in designing is not only a visible beauty, but also one that touches the other 4 senses, and perhaps the sixth sense that FERAL FLAIR is derived from.

What music do I want to hear at the end of my life? For a long time, I thought that a piano melody would be cool.

She taught me that Franz Peter Schubert composed three major piano sonatas at one sitting during the last autumn of his life.

I wish to hear his last three piano sonatas, including “C minor D958” - that she played, and that I actually heard last year and got completely carried away by while watching her perform with all her might. I wish to hear those melodies performed by Natsuki. That is my wish.

Isshi KANAMARU 3. 2018



ガルシア マルケスの小説「百年の孤独」、それと同名のお酒。時を巻き戻すかのような深い味わいの琥珀色の焼酎、そのラベルの片隅にジャズ奏者、エリック ドルフィーの言葉が添えられています。「音楽は、一度離れてしまうと、もう二度と、捕まえることは出来ない」。即興音楽のジャズ奏者らしい言葉なのかもしれませんが、クリエーションするとはどういうことなのか、を考えさせられる言葉です。


視覚的な世界とは全く違う世界、音楽を創造するとは?このことに興味を持ったきっかけは、なつきさんというピアニストさんとの出逢いでした。三年程前に、FF のドレスを購入された際から知り合い、昨年末彼女が長年弾き続けているシューベルトのピアノソナタに出逢いシューベルトの魅力を教えてもらいました。




発想の源、アイディアの発端は無限に存在すると学ばされた。視覚的美の中にのみ、探しうる何かがあるのではなく、おそらく他の4つの感覚の中にもあり、そしてFERAL FLAIR の語源となっている更にもう一つの感覚の中にも、きっと。


”シューベルトは人生最後の秋に大きなピアノソナタを3つ一気に書き下ろした” と彼女から訊かされました。

昨年末、実際に聴く機会に恵まれた彼女のその渾身のパフォーマンスに魂がシビれた「ピアノソナタ ハ短調 D958」を含むその3つのソナタを、彼女が弾き奏でるそれらの旋律を聴きたい、と、そう思うのです。