Michiko Koshino is a Japanese-born designer who achieved her fame in London. As the daughter of a dressmaker, and the youngest sister of two other prolific designers(Junko and Hiroko), she had to set herself apart to evolve and become the icon she is today. After graduating from fashion college she moved to London to pursue design and get away from her family’s heritage in Japan. With no money in her pocket, and a lack of fluency in the English language, she worked her way up in a male-dominated industry until she was the most anticipated designer at London Fashion Week.
Growing up you never wanted to be a fashion designer and only worked with clothes for your mom and for money in your early days in London… When was the first time you felt personally passionate to become a fashion designer? How has designing clothes transformed from something you did to make income to something you see as your art?
The first time I felt passionate about becoming a fashion designer was actually when I was in Paris where I met Kenzo (whom at the time was my sister Junko’s best friend). Meeting Kenzo actually inspired me to become a fashion designer. On another note, I attended an event at “The Japanese Fashion House” where I met several people. One person in particular stood out from everyone else and introduced me to another individual who was actually working in the fashion industry; for this person to move to Paris someone had to undertake his role in London and I was selected to attend an interview and was accepted for this role. (This was in the 1980’s) For me personally it was never about ‘making an income’. It has always been about art and designing clothes.
How has your relationship with Japan evolved over time in reference to its influence on your designs? You have stated that Japan does not really influence you but in the 90s you were often using traditional Japanese prints and even made a jean kimono for your “YEN” line runway and had the model hold a “Tonfa.”
My relationship with Japan has evolved over time as you can see from my designs but the core design and concept is still very much Japanese cultured based. The Yen Jeans project started in Japan, in 1985 using the denim fabric ‘okayama’ which was considered the best denim in the world; every denim designer longed to use this denim. This project was very successful in both Japan and in Italy. ‘Oriental Kitsch’ to me means modern mentality with a traditional value/way.
Can you describe to me what your shop on Neal Street was like when it first opened? It sounds like it was quite the cultural hub for young club-going fashion enthusiasts. Presently, storefronts and runway shows are being replaced with websites and livestreams… do you feel this takes away from the community and personal relationship a fashion designer can create with their fans?
The Neal Street shop (1987) can be described as having very wide windows, no garment displays but, instead we had the two DJ Decks set up. It was a very special, unique and small shop yet it had character and ambiance. Yes, it was more of a culture; a ‘club fashion culture’! We had a very famous DJ and, in the day time it was more of a shop and working scene front and, in the evening the shop turned into more of a famous ‘club scene’. Every Saturday all the amateur DJ’s got to try out the DJ set. (late 80s – 1995) Yes, you are correct in present times the storefronts and runway shows are being replaced with websites and livestreams. It’s the pandemic! The world is changing. No-one expected this but, for a designer you have to change your way of thinking and adapt to change. Yes, it can take away the relationship that a designer has with its fans but, there is social media and many different ways to learn change and adapt to what is happening now and for the future.
What first inspired you to use synthetic fabrics like neoprene and polyester in your garments in the 80s? On a technical standpoint, what were the pros and cons with working with them? How did buyers first react to those materials used in a luxury context?
Living in London, the weather complex inspired me to use synthetic fabrics and polyester in my designs during the 80s. The base is: waterproof, warm, very light and easy to carry. From a tech perspective: pros: not-expensive, very light, difficult to get dirty, you do not have to wash a lot, warm, easy to wear, easy to carry and very light in weight. Cons: in the summer you can get very hot so the disadvantage may be you may sweat. In terms of a buyer’s perspective and there reaction from a luxury context they were extremely happy! The pieces sold very quickly and at a reasonable price point. To add to this every garment sold immediately.
I am curious if you have ever spoke with Issey Miyake? I have always felt his design language and attention to unorthodox fabrics was similar to yours.
Issey Miyake is actually a close friend of my sister Junko. To be quite honest with you my designs are unique and original. Designers may follow what I do or use similar fabrics but, I do not compete against any designers. I first started using synthetic fabrics in the 80s.
I read that you started designing garments for Motorking after feeling your style was over-copied and exhausted. What was it about motorcycle garments on a technical level that felt so refreshing to work with?
I wanted to create the ‘biker concept’ and turn it into a concept for normal/easy wear in terms of being warm and waterproof. I believe every biker had a very hard day-to-day life in terms of facing bad weather when riding. For me the motor bike concept is very similar to the fashion concept. I contacted a racing suit factory in Japan where I worked in total for five days and learnt all about the racing suit and how it is made (using all the special incredible equipment and machinery). I was very impressed and inspired by how this factory operates on a technical level.
What initially inspired the cat jacket for your ss1987 collection? Cat ear hoods would later become a staple of kawaii fashion in 90s Harajuku Japan. Do you feel like your shop in Laforet was the grandmother of the cultural wave of expressive fashion that was born out of there?
When I first designed the cat ear jacket, I felt it was essential that every garment included the hood! When you mention Harajuku fashion and Laforet this was much later on in the 90s. Yes, I designed the cat jacket and later the idea of the cat ear hood became a staple in Japan. So yes, you could say my design lead to a cultural wave of expressive fashion.
It seems that you are inspired by or at least have been intrigued by tattoos ever since the late 90s. Can you tell me about your love for them and the recent muses you have been posting to your Instagram?
I am very much inspired and intrigued by tattoos. I would not describe it as something I actually thought about. The idea of the tattoo design itself is an inspiration!
You seem to have always placed importance on making unisex clothing and putting men in androgynous looks. How do you think fashion can shift gender stereotypes and roles?
Fashion marketing has changed between 2004 and 2005. High street fashion has become easily accessible for everyone. Clothing has been designed for everybody. No stereotypes or roles. Clothing is for everyone. Unisex is not men’s or women’s, everything is casual and can be worn by all.
You pioneered denim by selling pre washed jeans in the 80s and later revolutionized denim with your ‘Yen line’. Why is there such a demand for Japanese produced denim in the States and what have you done to cater towards this demand? Tell me about how you have incorporated the Dorozome dyeing technique into your jeans and your distinctive styles (Twist, Hipster, Future)
Denim can be used for workwear. It has a very strong fabric base. Japanese Denim is a very strong denim: chunky, strong, hardwearing and does not melt. The Yen Jeans offered a design that is not bound by the conventional concepts of denim. The production of Yen Jeans lavishly incorporate traditional Japanese culture and techniques, such as Kyo-Yuzen, Amami Oshima’s Dorozome dyeing technique, as well as traditional textiles. Yen Jeans’ models include Twist Jeans offering three-dimensional, ergonomic design, Super Hipster, in which the waist part has a different cloth to make the jeans look hipster as much as possible, and Future Jeans designed with less patterns by eliminating the side seams to raise production efficiency. The Yen Jeans is known for its denim design invented and created from the brand’s unique perspective.
Do you have a favorite piece you have ever made and why? I think my favorite one is this quilted coat from FW99, what was the inspiration behind its cutting edge silhouette?
Yes, the space suit is actually one of my favourite pieces! I would call this the future after the 2000! The concept behind this idea is that the world is constantly changing and evolving and the idea came about where I was inspirited by ‘the world needs protecting’ and what better way than to design a space suit. It has a cutting edge silhouette. It was an immediate idea, I then developed this idea of the space suit with the idea of fashion in my mind but, moreover telling the world ‘the world needs protection’!