Salvador Dali began attending the Academy in his youth, but eventually left, complaining about how it was spitting out students: “they only teach the techniques at the forefront, they never teach us the techniques of the classics.”

In terms of creative work, I can feel the abrupt change of generation and I see the evolution in virtually every field, but I also wonder if we have really exceeded the past arts and techniques?

In the world of violin-makers, no one has yet made an exquisite instrument that exceeds the Stradivarius, made about three hundred years ago. In the world of potters, the “Yohen-Tenmoku Tea Bowl” made in China about eight hundred years ago, is considered to be the one of the best tea bowls in the world. Large and small spots appear on the black surface glaze, creating a rainbow-like sparkle, and no one has yet reproduced, nor even solved the mystery of its technique. When I actually touched, with my own hand, a vintage jacket that was made in Europe about one hundred years ago, I of course noticed the breathtaking beauty of its tailoring, but what really caught my attention was its cut.

I wondered, “what sort of lines did the designer describe with the jacket?”

Fortunately, I had the opportunity to solve the riddle when I had the honor of seeing a textbook of men’s tailoring which is considered to have been written at the same time as the jacket was produced, known as the “Blue Book.” I was surprised at the shocking lines, which were just as I had suspected.

Today, the lines that we describe in making patterns are curve lines resembling straight lines, but the lines described in that book were genuinely “curve” lines. Moreover, we take it for granted that we are describing a straight line in the front center lined front buttons. Nobody even suspects otherwise. But the line on the front center of this jacket was in fact described by a beautifully streamlined curve. What this boiled down to was that all the lines used for making the jacket were indeed “curve” lines, just like Antoni Gaudi’s structures were built with curve lines, not straight lines at all.

“A quite flat cloth is laid on human’s body, which is shaped by quite curved lines.” I take it for granted that we should make good use of all lines and should seek “the best line” to fit the curve of that part of the human body, as well as to create a functional and beautiful drape.

Since I launched FERAL FLAIR, as I had realized that cutting to shape clothing was very important, just as much as design, fabric and tailoring; I have also engaged in pattern making. Indeed, with almost every piece of heavy clothing (e.g., coat, jacket, etc.) I’ve made, I did it by searching as much as possible for a functional and beautiful line.

While constantly considering the words, “the predecessors had really struggled with the curve of a human’s body” that I noticed when I had the honour of seeing the Blue Book, for seventeen years I have personally engaged with the notion that, “making a pattern is entirely a struggle with curve lines.” And by showing deference to the hardships of my predecessors, I hope to create modern clothing that the predecessors would think is worth producing.

Isshi KANAMARU 2017.3

絵を学ぼうとアカデミーに通い始めた若かりし頃のサルバトール ダリが、やがて不満を感じそのアカデミーを去ってしまう。その理由を、「アカデミーは最先端の技術しか教えてくれない。古典的な技法は一切教えてくれない」と云い放って。


今から300年程前に作られた名器 ストラディ ヴァリウスを超える名器を未だに作り出すことが出来ていないヴァイオリンの世界、今から800年程前に作られたとされる、黒釉の表面に大小の斑紋が虹のようにきらめく世界最高峰の茶碗の一つとされる「曜変天目」この技法も未だに解明されず再現することすら出来ないでいる陶工の世界、やはり100年以上前に製作されたヨーロッパのヴィンテージの背広などに実際に触れてみると、その仕立ても息をのむほどに素晴らしいですが、刮目させられるのが、その服を作り出す際のカッティングの素晴らしさです。



現代の洋服のパターン線はどちらかというと直線ぎみの曲線で描かれてますが、その作図の線はまさに「曲線」、釦が並ぶ前中心線は直線で作図するのが現代では当たり前のことで、このことに誰も疑いすらしませんが、その作図は前中心線さえも美しく流れる曲線で描かれていて、要するにその洋服を創り出すために存在している全てのカッティングラインが「曲線」なのです。まるで一切直線を使わず曲線で建築されたアントニ ガウディの建造物のように。


FERAL FLAIR を立ち上げた当初から、デザイン、素材、仕立てと同じくらい、洋服を形作るカッティングは重要なものだと理解していたので、自分はパターンメイキングにもずっと携わっています。特に重衣料(コート、ジャケット等)はほとんど全て自分が引いています。そして自分が探し当てられる限りの美しく機能的なカッティングラインを模索しつつ、作図 ドレーピングをしています。