Unraveling the "Hakuyo Miya Paris" by Japanese Designer Hakuyo Miya, Based in Paris

A small atelier and shop nestled in a quiet street in the 20th arrondissement of Paris. Here, the brand Hakuyo Miya Paris, by Japanese designer Hakuyo Miya, creates its unique world view.

Having spent 17 years in Paris, Miya skillfully blends the uniqueness of Japanese and French cultures into clothing that captivates many hearts.

In an era where mass production is the norm, the thoughts put into each piece and the messages to convey through clothing. Could fashion potentially make the world a slightly better place? We talked about Miya's dreams and challenges.

Personalized Items are More Easily Accepted

First, can you tell us about your journey to becoming a designer?

I chose this path because I love wearing clothes. Although I was in the Faculty of Commerce at university, a field not directly related to fashion, during college, I became interested in the merchandising and management side of the apparel industry, so I started working part-time as a sales staff to get closer to the field.

My desire to design clothes myself grew stronger than just selling other people's clothing.

After graduating from university, I wanted to pursue a career in fashion seriously. I considered going to a Japanese vocational school, but in a bold move, I decided to study in Paris. Fortunately, my parents had a flexible mindset and supported my decision.

After graduating from a specialized school, I started working as a freelance designer, but I also felt concerns about issues such as visas and my age. Since I received specialized education after graduating from university, I sometimes worried about starting late. In reality, it is never too late to start a brand, but at the time, I didn’t think so.

Thus, instead of gaining more experience, I decided to bravely start my brand and take my business seriously as a company.

Miya, who opened a store in Paris. What kind of communication do you have with those who visit?

To customers, I first carefully explain the brand's concept. People who drop by often ask, "Are these items for sale?" At that time, I answer, "Yes, they are for sale, and we also accept personal orders upon request," indicating that it's possible to adjust existing shirt lengths or use different materials, as well as offer completely custom-made products.

I also emphasize that all items are made here in the atelier by myself. Many people show interest upon hearing this explanation. Even if an order is not made immediately, there are many cases where customers remember and revisit a few months or even years later.

Being a community-based store is also important. For example, people consult us about attire for attending weddings, and they recognize us as a place to visit when needed casually. We sometimes propose designs and arrangements according to the budget.

At the end of the day, customers are individuals too. I deepen my understanding of the styles and designs favored by the French through interactions with them.

What kind of styles or designs are well-received?

There are subtle differences in preferred designs and motifs between France and Japan, but overall, personalized items tend to be more accepted.

For instance, as a Japanese, I incorporate elements of kimono while creating clothes made from French fabrics. Specifically, I adopt a sleeve design called "kimono sleeves," mixing Japanese cuts with French materials to blend my background with the local culture.

When I first launched the brand, I focused on trends and market research to reach a wider audience. However, I realized that emphasizing my personality made it easier to communicate the significance of purchasing here.

In a world full of mass-produced clothing, it seems that creating clothes based on my individuality and background as a designer resonates with customers.

Can you tell us about any unique or significant designs?

This clothing was showcased at Fashion Week in New York.

The first participation left a particularly strong impression. The time from request to the deadline was extremely short, so I spent countless hours working on it, sacrificing sleep.

Right before the deadline, I wasn't satisfied with the lineup of designs, so I boldly discarded the work and recreated it without sleeping for two days. In the end, I was able to produce a work I was satisfied with and present it at the end of the show.

At New York Fashion Week, it was a fashion show called a "group show," consisting of about three new designer brands. Usually, such shows of emerging brands are rarely featured prominently, but my work was showcased on the official Instagram of New York Fashion Week.

This was a deeply memorable event. After this exhibition, requests to borrow my work surged.

Initially, I responded to the borrowing requests, but the demand became so high that it became a bit overwhelming (laughs). Now, unless there's a special reason, I decline borrowing requests.

The highlight of this piece is the volume and gathers of the sleeves. Normally, I follow a systematic process involving creating design drawings and patterns, but due to time constraints at that time, I took a direct three-dimensional production approach.

Additionally, there are clothes I made inspired by music. For instance, I once created clothing that would suit David Bowie.

Through various experiences, I feel like my design style and production process have gradually been established.

I heard that, besides clothing, you also handle costumes for artists.

For significant projects, I've been in charge of designing goods for the Russian character "Cheburashka" and the currently touring Edward Gorey exhibition. I was introduced to these projects through connections, as my mother was a Russian language interpreter.

Regarding costumes, I create what I want to make for shows or produce one-of-a-kind pieces. While continuing such activities, sometimes I receive requests for costumes from artists, and other times I make proposals myself.

Additionally, I enjoy music, and when I find an interesting artist, I might reach out to them to suggest, "Would you like to wear this costume?"

Sometimes, I receive responses. Initially, it may start with lending costumes, or I might receive formal requests. Such endeavors may also lead to receiving order requests.

I contacted Aurora, a Norwegian singer-songwriter and music producer, directly in 2016 to provide costumes.

At that time, she had just debuted and hadn't entirely entered the mainstream yet. However, I had a chance to see her live performance in the previous year (2015) and was eager to have her wear my costumes, so I reached out.

Practicing Awareness Activities: Starting from Small Steps

I was impressed by what you wrote on note regarding environmental issues. Please share your current thoughts.

Regarding environmental issues, while there has been a call to reassess mass production and consumption, the actual consumption volume hasn't changed much. This issue is intrinsically linked not just to the environment but also to poverty and capitalism's nature. The structure of labor exploitation in developing countries, environmental destruction, and overconsumption in developed nations due to mass production cannot be good for the environment.

Eco-friendly products are often expensive, limiting choices for consumers with economic constraints.

Although I'm not an environmental activist, I engage in small-scale awareness activities. For example, I collaborated with an organization called "Fashion Revolution" to create a detailed video explaining the process of making one shirt.

This video provides consumers with a chance to think by comparing it with mass-produced items.

Additionally, the awareness video "The 2 Euro T-Shirt," produced in Berlin, Germany, is also a good example of changing consumer consciousness. This video highlights the reality of labor exploitation behind cheap clothing while urging consumers to make choices.

Addressing environmental issues requires a comprehensive approach, including changing consumer consciousness, corporate efforts, and governmental regulations. Major brands have the power to create jobs, and solving the problem is challenging without their cooperation.

Ultimately, there's potential to change the world from the fashion industry. By eliminating labor exploitation and adopting environmentally conscious production methods, it might have a positive impact on other industries too. I intend to take small steps in tackling what I can do myself.

We would also like to hear about the initiatives you wish to pursue in the future.

One aspect of my work involves awareness-raising communication. Creating clothes and sharing the process is, in itself, an important message.

I see my role as inviting people to re-evaluate the true value of clothing. Compared to 20 to 30 years ago, the price of clothing has drastically decreased. For example, high-quality cotton shirts are now available at extremely low prices. This normalization of "cheapness" has led to a devaluation of clothing's worth.

Our aim is to create an environment where clothing is priced fairly. By sharing the production process and showcasing the steps and the people involved, we hope to convey the true value.

This can be seen as a message of "consuming less," which might seem contradictory for a brand, but we will continue to communicate this while maintaining an appropriate balance.

The primary goal of the brand is to create remarkable garments and beautiful items. While initiatives concerning environmental and labor issues are secondary, we intend to link these activities to the brand's vision, hoping such endeavors will inspire many to reconsider their perspectives.