Luxury, Craftsmanship Revival and Sustainability: A Dialogue Between Kohei Saito and Kaori Nakano

In recent years, there has been a trend among fashion brands to reevaluate the importance of craftsmanship. What projects have caught your attention, Ms. Nakano?

Kaori Nakano: Several examples come to mind. The LOEWE Foundation, for instance, celebrates craftsmanship through its Craft Prize, which aims to discover and promote exceptional artisans. Additionally, the Cologni Foundation for the Métiers d'Art in Italy is a non-profit organization established partly to promote the reevaluation of artisanal work. It's worth noting that Richemont, which owns brands such as Cartier, supports this foundation.

In Japan, we've also seen significant developments. In 2022, Bernard Arnault of LVMH met with Hirokazu Matsuno, who was then Chief Cabinet Secretary, for an exchange of ideas. One of the proposals that emerged from this meeting was that LVMH Group products, mainly those of Louis Vuitton, would specify the precise Japanese origin of materials used in their products.

This means moving beyond a simple "Made in Japan" label to more specific designations like "Made in Okayama" or "Made in Sabae." This approach highlights the specific regions of craftsmanship and reflects a growing trend towards collaborating with artisans and young creators, putting a spotlight on the areas where these products are made.

Why is there a resurgence of interest in craftsmanship among luxury brands?

Kaori Nakano: This trend can be attributed to several factors, primarily as a reaction to the practices of advanced capitalism in the luxury industry since the 1980s. During this period, luxury brands increasingly engaged in mass production, which began to dilute the essence of what luxury truly represents. Fundamentally, the value of luxury lies in its creativity and uniqueness, qualities that are inherently tied to handcraftsmanship. The current return to craftsmanship can be seen as a response to the overproduction that characterized the industry in recent decades. It reflects a reevaluation of the core principles of luxury, asking the question, "What truly defines luxury?"

This introspection has led many brands to recognize that the artisanal skills and meticulous craftsmanship are what set luxury products apart from mass-produced goods. By refocusing on these elements, luxury brands are not only differentiating themselves in a saturated market but also reconnecting with the authentic values that originally defined luxury: exclusivity, quality, and artisanal expertise.

Saito Kohei: I have described the actions of luxury brands under advanced capitalism as "self-destructive." A symbolic example of this is the trend of T-shirts and hoodies with oversized logo prints. This practice essentially pushes to the extreme the concept of "selling meaning through symbols," which has been prevalent under advanced capitalism. In such products, there's hardly any sense of craftsmanship left. It's evident that pursuing this strategy long-term will lead to self-destruction. However, it's also a fact that many brands have been engaging in these practices over the past few years.

The current concern is whether this return to craftsmanship might ultimately be superficial. Over the past decade, "sustainability" has been another significant trend in the fashion industry. While various initiatives like using new materials and recycling have been implemented, the fashion industry's environmental impact remains largely unchanged. There's a risk that the revival of craftsmanship could become as superficial as some sustainability efforts.

From personal experience visiting an artisan workshop, I observed that many workers were technical interns. This raises questions about the authenticity of "Made in Japan" claims when products are often made by overseas workers learning the trade. More problematically, these workers may be working for low wages.

Kaori Nakano: This is indeed a global phenomenon. We see similar issues with "Made in Italy" leather goods not actually made by Italians, or products advertised as using rare materials that were in fact sourced through child labor or underpaid workers. It's challenging for brands to fully manage their subcontractors and material sourcing methods.

Saito Kohei: Therefore, if we are to seriously consider sustainability, we should shorten supply chains and avoid excessive production volumes. It's not necessarily a virtue to scale up continuously; rather, it is essential to determine an appropriate scale in today's context. This essentially points to the concept of degrowth. Furthermore, we might need to consider the issues of craftsmanship and degrowth together. The number of artisans is limited, making continuous growth challenging. In fact, pursuing a vision of growth while returning to craftsmanship could lead to artisans being treated as disposable.

A New Form of Luxury

Kaori Nakano: On the other hand, there are factory brands that are making significant efforts. For example, Iwaki Socks Lab and Factory in Iwaki City, Fukushima Prefecture. This brand originated from a factory previously owned by Renown, which had machinery capable of handling extremely fine threads—of which only five exist in the world—and skilled artisans. However, when Renown went bankrupt and the factory was set to close, Kyomi Nishimura, the current president of Iwaki Socks Lab, took over the equipment and started the brand with the artisans who had been working there. Interestingly, the artisans themselves were unaware of how rare their skills were until this restart. Through this process, they began to realize that their skills could compete on a global scale and aimed to create socks that could stand up internationally. For instance, they collaborated with indigo dye artisans to produce socks priced at ¥10,000 each.

Socks produced by Iwaki Socks Labo and Factory

Additionally, Brunello Cucinelli is being promoted as a standard-bearer for a new era of luxury. Cucinelli values its artisans highly; in fact, the wages for artisans working there are about 20% higher than the average wage in Italy. What’s interesting is that when a happy working environment is created for artisans, they produce incredibly beautiful items. Recently, I saw a knit piece priced in the hundreds of thousands of yen that resembled an art piece. Its beauty moved some wealthy consumers to make a purchase.

Saito: I find Cucinelli's consideration for the work environment, ethical manufacturing, and the approach of reinvesting profits into the village where they're based quite admirable. However, to be honest, I think a world without wealthy people buying knits for over a million yen would be better (laughs).

Nakano: (Laughs) I suppose the artisans can't help but want to create such pieces. This situation is somewhat reminiscent of what William Morris, who led the Arts and Crafts movement in the 19th century, did. Morris resisted low-quality mass-produced goods and aimed to produce artistic everyday items that craftsmen could take joy in making. However, when he actually created such items, only the wealthy could afford to buy them. Feeling this dilemma, Morris gradually became more involved in the socialist movement. I feel that this kind of dilemma has persisted since the 19th century.

Saito: I believe Morris also read Karl Marx's books, including "Das Kapital," and strongly felt the need to change society. What I'm thinking now is that the idea of "respecting artisans" is actually closely related to concepts like "improving working conditions and protecting human rights" and "reducing environmental impact." These ideas might become a force for societal change when organically connected. In other words, simply promoting "Made in Japan" products could potentially worsen labor conditions or lead to environmental destruction in some cases.

It's crucial for consumers and others to recognize and discuss how one issue is interconnected with other problems surrounding fashion and manufacturing.

What do you think about Japanese brands, Mr. Saito?

Saito: Japanese fashion brands are not part of conglomerates like European maison brands, so I hope they will take advantage of this and put their ideas into practice. For instance, globally successful brands like Comme des Garçons and the next generation brands like Sacai and Kolor should focus more on sustainability and lead the way in creating new values. I'd like to see them pioneer in this area.

Nakano: In Japan, among the younger generation, Yuima Nakazato is conducting a project in haute couture where he creates non-woven fabric from discarded clothing and fashions it into new garments. Spiber, known for its artificial protein fibers, is providing capital to Yuima Nakazato. Spiber develops a fiber called "Brewed Protein™" through microbial fermentation using plant-based raw materials, and it's a company that gives hope for the future. The knitwear brand CFCL is also popular. It's known for being the first in Japan to obtain B Corp certification, which is given to companies with high public interest that consider environmental and social factors.

Saito: My honest feeling right now is that I want the fashion industry and brands to properly fulfill their responsibilities. If they don't, consumers will no longer be able to enjoy fashion. When something is produced, it inevitably impacts the environment. In essence, we're in an era where we can no longer mass-produce excessive items. Within these constraints, what should we create? I've always hoped for more designers who approach manufacturing from this perspective, and I have high expectations for designers who can create new things under these circumstances.

Photo: William Morris (1834-1896)

Original article in Japanese:

斎藤幸平と中野香織が語るクラフツマンシップ回帰とサステイナビリティ