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On Set | Masanori Morikawa, Founder & Designer Behind Japanese Label Christian Dada

By T: The New York Times Style Magazine Singapore

"'Beauty In Imperfection' is a theme I've stuck with from before. Something perfectly perfect doesn't really attract me, I always find beauty in things that are lacking or imperfect. When I create clothes, I try not to make it too perfect for that reason. 

The name Christian Dada came from Dada-ism. So the brand's philosophy is to challenge the conventional beliefs in clothes-making and brand directions. In terms of design, to continually merge a variety of traditional Japanese techniques and Western culture is pretty much my foundation. 

For this piece (the patchwork vest), it is based on Boro, a Japanese traditional technique. For this Spring/Summer 2019 collection, I incorporated Araki's photography works and made this Boro patchwork. Traditional Japanese style is used here too. I revived this old clothing design using embroidery designs. This one is influenced by the Happi, a [piece of] traditional Japanese casual wear. This collection actually has a lot of Happi details, especially the wide sleeves, I call it the Happi sleeve. These sleeves you see them often in Japanese festival clothing. And again, I added the embroidery based on Araki's works. 

I take my design inspirations from my surroundings — what I think and how I feel, and that's what becomes my collection's theme. For Spring/Summer 2019, I've been seeking for the real meaning of "truth". And Araki's work on Laments got me thinking about this on a deeper level, especially about what "true love" is. This is how the collection's theme came about and in this information-overloaded society, I wanted to find the answer to my question of "What really is truth?" through Araki's work. 

I am always asked what my favourite pieces are. But to me, I feel like each piece holds the same value, you know? I could say every piece is my favourite, as I see them as a whole instead of individual pieces." — Masanori Morikawa