Tsutomu Yokota

Takisada Osaka has handled a variety of fabrics as a leading fabric company. Seven years ago they established the Global Procurement Department and have been centering on import business at that time. However, they are now strengthening their export of Japanese materials. Mr. Yokota says that, 'We used to import a great deal from countries like Italy and Spain. But the force of product labels (from domestic production areas) remained almost the same as that of European labels. So we thought, why not go export then if that's the case.' Today he continues his hard work.

The Overseas Trading Department saw at its height a profit of about 13 billion yen, but it gradually decreased. Import also used to be much more than today, and we did business in fashion and also textiles with Europe in the center. In particular, the use of domestically produced materials dealt by departments of our company whose core business is with domestic production areas even now surpasses 80%, that plus further collaboration with people and business overseas all played a role in the improvement of the technologies and sense of style of domestic production areas. On the other hand, we looked at foreign brands and saw that Japanese materials were being used in high-end products. What this means is that, Japanese materials are being sought after on the market. We've received great feedback from foreign buyers at materials shows held overseas, even though we had no idea of what would please them.

Price is a problem when it comes to exporting Japanese materials. We can't win the price competition against such Asian forces as China or South Korea. So, we are targeting at different users. Quantity wise, we have experience dealing with GAP of the US, having exported about 800,000 meters worth of fabric. And while the amount is little with brands like Giorgio Armani and Phillip Lim, there is a great deal of demands for our fabrics. Japan's triacetate materials and processed cotton fabrics are highly evaluated. We are to sale these overseas clients materials with high added values. And by the way, our business dealings with South Korea have further increased to about 50 million yen worth per month.

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Sadaharu Hoshino

ES ORCHESTRES - a brand that chose Paris as the field for its creative works. Designer Sadaharu Hoshino says, 'Paris was the last where I finished my study. The materials, boutiques and press that I like are all in France.' This is his objective viewpoint from being overseas. How does he see Japan? We asked him about his view on materials made in Japan.

As I basically search for materials at the Première Vision, I don't actually get much chance to come in contact with materials made in Japan. But when I do I am particularly attracted not to the quality but the originality of Japanese materials. Not only that, there are a great many numbers of materials with balanced pricing in relation to their quality. In addition, like the denim, there are also materials that reminds you of Japan's superiority in textiles. That goes the same with jerseys with a great touch. Processed materials have originality, and some synthetics are so nice that they even make you doubt and say, 'Is that really polyester?' The latest development in textile and the simple old-fashion warm touch is coexistent though it is polarized. I think that is what makes it Japanese.

As a brand we wish to build a production system to create top quality goods without wasting time and effort. We want to have expert create apparels where materials are most 'delicious', so to speak, thus ensuring the quality of the materials and the most fitting wear possible. Returning to Japan was never an option from the start. I aim to improve my expertise in apparels, and together with specialists in charge of leather, denim and knit wear I hope to create a team much like an orchestra the specializes in creating new things.