undercover (and inside out)

March 11th, 2013

Japanese designer Jun Takahashi, the creative force behind the cult label Undercover has been a major influence in Japan’s fashion scene for more than a decade. 

After vanishing for two years from the Parisian catwalk, he returned with a vengeance and presented his new collection to an audience that awaited his return, with mix of patience and restlessness.

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Inside out: Undercover dress with entrails, bone and skull lace, a heart on the right spot for the scary cute.
Photo by René Habermacher.

The show at the intimate venue of the Institute Pasteur started with much delay, yet the undercover flock of disciples, among them the devoted Grace Coddington, awaited patiently what was to come from behind the antique glass-panelled doors: scary kittens with bunny masks on ponytailed shoes, wearing their insides out, ribcages and organs on outer display. Skeletal hands grasping waist lines, vintage lingerie elaborately piled-on to sleeveless evening jackets. Little dresses with what seemed to be ruffles at first glance, turned to be a romantic interpretation of entrails slung around the décolleté and a sparkling crystal studded heart.

Surprising,- or in the case of Jun Takahashi actually not- the arch from the drama of the unique pieces to the extremely wearable parts of the collection: googly eyes on a waxed trench coat, or the return of Undercover’s signature pieces, the perfecto, and the trench, with double collar and worn as a dress.

This is where the strength of Jun’s subversive vision lays: there is no friction between the everyday pieces and the elaborate constructed parts of his universe. Seamlessly he migrates between outfitter to the urban hipster to action art performer creating his giant Grace dolls from vintage plush toys in front of a bedazzled audience. The Graces, creatures from outer space were originally created for the presentation of the Undercover collection SS09 became somewhat of the labels mascot.

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Starch undercover: special pieces made from deconstructed men's white shirt collars. Photo by René Habermacher.

René Habermacher: How is it to be back in Paris?

Jun Takahashi: It’s very exciting! Its been two years since we had the last show, so I am so happy!

You received well deserved great critics for this show of return.
how did you start with this collection, and how did it evolve and what is the narration?

Last season when we came back to paris having just the showroom, I made seven special crafted pieces. It’s been a while  since I’ve made such a creation and enjoyed it a lot.
It was just for the showroom, but this season i wanted to present a collection on the runway to show it to a broader audience. That’s how I started this collection.
The theme of the collection is about internal organs and bones, showing something from the inside exposed to the outside. Like lingerie that is usually hidden underneath, I used to make dresses and so expose them to the outside. That’s kind of the theme of the collection.

Why did you decide at this moment to take the inside to outside?

I don’t know why (laughs). It’s been a while I wanted to show the “inside”. This is very undercover. It’s easy to express “Undercover”.
The motifs of organs and bones have something grotesque and scary in peoples minds. I take this and make it cute. It’s about both sides: not just scary, not just cute. we have both sides in the brand.

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Pile-on vintage lingerie evening jacket. Photo by René Habermacher.

Are you a story teller?

(laughs) To me show is one big story,  one drama, one stage. In a way I am not just making clothes, but one big tale, a story.
Since I was little I preferred the scary stories. I like Hitchcock movies. I am not necessarily into the ghostly but prefer the mental story.

Another aspect is a strong sense of subculture evident in your work.
It is very different today then when you started off. What is subculture for you today?

Most of he people surrounding me in Tokyo come from subculture, its a normal thing for me – its music, movies etc. not the mainstream. People in subculture are not specifically specialized in something – they don’t have mass-apeal. I like that. I source from this and then present my version in the “mass-area” like Paris.

Do you think exposure is dangerous for subculture?

The dark side of sub-culture! (laughs)
I take this positive. We always want to have information very quick- and I find this bloggers taking snapshots in the street very interesting, it’s really like I use the internet. How quick they are, it’s impossible for the print to catch up. Myself I like to post on Facebook and use the internet as a communication tool.

Is the “season” still relevant to you?

When I design i don’t really think of the season. But when it comes to selling, we have to take this into consideration. For example in Japan we start selling FW collection in July, which is very difficult to sell Winter clothes because its still very hot for another 3 months until October.  So we have to think about the balance between the creation and the business.  So that’s difficult.  We cannot completely ignore the seasons but not only thinking about seasons.
The runway shows’ timing are getting earlier and earlier and it takes time to actually get in the store.

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Undercover signature: the trench. Right: Pile-on vintage lingerie evening jacket. Photo by René Habermacher.

How is Japan to you today with the changes the country had been affected with the tsunami and the Fukushima incident especially?

Since the disaster was such a big thing and with the economical situation everybody’s feeling was like “hit the bottom.” We cannot be worse anymore. But now the people are actually trying to go up to be positive, they step back and reflect what can we do to recover from such a disaster. Maybe the government is not helping us that much, but people are trying to do something themselves, try to get the economy back and be positive.

How do you imagine the future your kids are growing up into?

They are little kids right now, but they are starting to have their own will where they wanna go. I am not so worried about them because they will find a way by themselves. We’re concerned about the future and the nuclear problem in fukushima, the earthquakes and what kind of effect this will have on us, but my kids will find their own way so I am not too much worried.

Are you still telling your kids stories of Grace? How is Grace, will we hear again from your creature?

I will continue with Grace- but Grace is not for little kids. They get a little scared… with one eye and all that.
I have a Grace doll in my house but at the beginning the kids were a little scared.

But if you were a kid you would not be scared…

It’s scary – but there is an attraction too!

What’s next?

Showing the next collection in Paris again!

What is the last thing that stimulated you?

So many various things! conversations with friends – it’s not just one – it’s many different things.
I absorb everything. Family and friends are important. It’s important to have close friends that are straightforward in their opinion what they think about me, instead of just hiding things. It’s important to me to listen to them. A lot of my friends are creators, photographers doing their own thing. Their opinion is very important to me.
As I get older I get inspired and stimulated by more and more things. I can accept anything like a bus ticket.

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Trilogy in white starch: dresses from deconstructed men's white shirt collars. Photo by René Habermacher.

http://www.undercoverism.com

 

 

 

 

 

 

 

 


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