Looking back on “those days” is a journey of exploring captivating alternatives for Shinpei Yamagishi, a designer at BED j.w. FORD. It may dwell in the realm of both affirmation and negation.
Despite previously exhibiting indifference towards design retrospective, the designer now says this moment as one where he is “looking into the future while engaging in a conversation about the past with another self.’ The shadows of days gone by, surrounding BED j.w. FORD, have bestowed upon him both challenges and a passionate dedication to focusing on the future.
While he metaphorically describes the never-experienced design process of confronting archives as “digging up and reliving old wounds”, he now recognizes that past encounters with designers and brands that have had a profound impact on him are eternally indispensable to his own style and unique aesthetics. The nostalgic tales shared in admiration create a parallel dialogue between the past and present, he says “it was like a task where one freely attaches sticky notes to seemingly unrelated bookshelves”. And the starting point for his design is quite simple: What would I do now?
Bed J.W. Ford
While he metaphorically describes the never-experienced design process of confronting archives as “digging up and reliving old wounds”, he now recognizes that past encounters with designers and brands that have had a profound impact on him are eternally indispensable to his own style and unique aesthetics. The nostalgic tales shared in admiration create a parallel dialogue between the past and present, he says “it was like a task where one freely attaches sticky notes to seemingly unrelated bookshelves”. And the starting point for his design is quite simple: What would I do now?
Looking through the past sometimes means viewing the future. As he aspires to embody “another kind of elegance for our time,” he intuitively accepts the essence that is inherent in past designs that resonate with his sensibilities. And then, he reflects his modern reality onto them, continually refreshing and elevating each piece. At the same time, in the horizon through the mature designs from their respective starting points, he grapples with the enduring Zen-like question of “whether or not I would want to wear it tomorrow”. This coexists with the struggle for coherence in editing a “new book.”
The collection exudes a serene sparkle with its hazy, plastic film-like monochrome and smoky, chic color palette. It is built upon a diverse wardrobe that feels familiar to both the brand and the designer.
Unrestricted by conventional body scales, the collection showcases arm silhouettes enveloping the shoulders, wide silhouettes for trousers, and flowing coats that move harmoniously with the body. The ethereal and comfortable forms stand out, presenting a wardrobe that seems to convey the message, “This is enough.” The brand’s distinctive codes seamlessly continue in the “after (that) scene” collection, embodying a nonchalant attitude. This attitude, expressing a sense of satisfaction, materializes as a comfortable familiarity for the wearer, emphasizing a good fit for the body.
This is visually represented in the styling, featuring repeated contrasts between tension and relaxation through elements like biker shorts and oversized head accessories. Additionally, cut-out details at the waistline, crash details, casual check-patterned textiles, and vibrant colors serve as contrasting signals throughout the ensemble, heightening the anticipation for familiar scenes.
The accumulation of the past and present are layers of his memories, experiences, and emotional states. He stands upon those layers, progressing towards a better future. In other words, this collection is not just an anthem to those close to him, but rather expresses an anticipation of encounters with people he has yet to meet and has the potential to coexist with a sense of resonance in people’s closets.
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With love,
FWO
