Becoming a fashion designer was the first dream Maiko Kurogouchi, the founder and designer of Mame Kurogouchi, ever had. “As a child, I used to doodle princesses on the blank spaces of advertisements. I was obsessed with drawing dresses, thinking about how to make those princesses even more beautiful.” And this initial dream became the sole guiding force in Kurogouchi’s life that ultimately led her down the path to where she is now, one of Japan’s leading designers and finishing a show at Paris Fashion Week.
Words by Elie Inue. Portrait by Yuichiro Noda.
Fashion images from Fall Winter 2024 lookbook by Mayumi Hosokura.
Growing up surrounded by nature in Nagano Prefecture, Kurogouchi’s childhood was spent absorbing information about designers and sketching designs without ever touching a fashion magazine. “In a way, it was a closed environment, which allowed me to develop my creativity based solely on my own senses while indulging in fantasies.”
This vague dream began to take shape when she was in junior high school in 1998. It began when she saw an article in the local newspaper about Issey Miyake presenting A-POC at Paris Fashion Week. This became her introduction to the concept of fashion design as a profession, the existence of Paris Fashion Week, and the fact that Japanese designers were showcasing collections overseas. Most of all, she was deeply impressed by the artistic work of so many models walking connected by bright red knits. Guided by her dream, she studied fashion and eventually joined Issey Miyake. “Through countless invaluable experiences, I was influenced by their approach to craftsmanship. Passing on that spirit to the future is one of my missions,” she says with a determined gaze.
She debuted her Mame Kurogouchi collection for Spring Summer 2011 at the age of 25, and was inspired by travel and daily life. Her style involves recording daily events, scenes from dreams, pressed flowers and sketches in a diary-like book each season, and then materializing deeply explored themes into clothing. What moved her in the past were moments like seeing a pair of curtains swaying in the wind, some agricultural tools she saw at her grandparents’ farm, the lattice windows of machiya architecture in Kyoto, and cracked Karatsu pottery from the sixteenth century. The appreciation for the beauty of ageing and simplicity embodies wabi-sabi aesthetics, and that’s why she became one of Japan’s leading designers. “As I began to travel more abroad, I started to think about where my sense of beauty came from, living in Japan, I can find traces of craftsmanship in everyday life. I cherish the unconscious senses accumulated within me and pursue expressing them in clothing without compromise. I may sometimes make unreasonable requests to artisans regarding materials, tailoring and decorations. Still, I never give up until we collaborate to create beautiful pieces that [we] both agree on.”
Her prioritization of craftsmanship is also reflected in her unique made-to-order process flow. Mame Kurogouchi holds exhibitions about two months before presenting collections at shows and closes orders from retailers. By placing orders at production factories earlier than usual, the burden on artisans is significantly reduced. “By the time of the show, orders have already been completed so we cannot accept the new orders. While business is important for the brand, I prioritize the working environment of artisans, the quality of finished products and creativity. I will continue maintaining a firm stance and striving to create clothes that can encourage wearers.” Her strong determination and her collections are the ultimate proof that, above all else, Issey Miyake’s spirit is being passed down.
Discover this piece inside the Japan Chapter at The Silk Road Issue 12
Purchase your copy here.
コメント