The work of Japanese fashion designer, Yasutoshi Ezumi, the EZUMi Spring/Summer Collection 2021, or “Untitled: 8874” by was born from the architecture, structure and design concepts of architect Kengo Kuma, known for designing the New National Stadium in Tokyo for the 2020 Summer Olympics. Inspired by Kuma, the collection was captured in 3D in a space designed by him. The collection takes form from blending the built environment (the clothing) with nature (the human body) to create harmony. The clothing is meant to make the wearer feel comfortable while bringing out their own unique individuality.
A graduate of Central Saint Martins in London, Ezumi was previously the assistant designer to the infamous late Alexander McQueen and a knitwear designer at Aquascutum London. His debut collection for his own self-named label in 2010 was chosen for the SHINMAI Creator’s Project. In 2015, Ezumi was chosen to show at Vogue Italia x MAZDA “Fashion and Design: A unique Italy/Japan collaboration in support of talented designers” at Milan Fashion Week.
We took a moment with Yuta Tokunaga, representative director of ARCHI HATCH, which captures architecture, art exhibitions and public art in 3D to discuss the immersive presentation of the EZUMi collection, creating a fusion of fashion and architecture. ARCHI HATCH strives to “create a cycle in which high-quality architecture is born, loved, and inherited” by capturing spaces in 3D to create a digital archive.
Q: What inspired the 3D capture of the EZUMI Spring/Summer Collection 2021?
Back in March this year, Yasutoshi Ezumi from EZUMi approached me to create an alternative presentation after his runway show was cancelled due to COVID-19. The initial idea for a 3D capture came to my mind once I found out Ezumi was planning to shoot his collection inside SunnyHills at Minami Aoyama. The architect, Kengo Kuma, I had known personally from my days as the founding director of ARCHI-DEPOT, a museum displaying architectural models. I knew that with Matterport technology, it would be possible to shoot the collection with real models. I hadn't done anything like this before, but I knew it was worth giving a try.
Q: What are the “must-sees” you want visitors to explore and why?
At EZUMi's 3D portrait show, there's an area on the third floor where you can see Ezumi's sketches, which make you feel like you are taking a look inside his head. A significant feature of the digital space is that you get to see things you usually can't see in a fashion show.
Another must-see is definitely the rooftop from which you can overlook the city of Tokyo.
Kengo Kuma mentioned during an interview how beautiful the staircase turned out. The stairs and landing, including the models, are captured clearly in sunlight and visitors can appreciate details like wood grains. That is something difficult to show in a photo.
Q: What’s the one thing you want visitors to take away after exploring the EZUMI Spring/Summer Collection 2021?
Ezumi uses architecture as a source of inspiration for his designs. That is the unique character of our collaboration this time. By exploring the collection, I want visitors to experience the affinity between fashion and architecture. Both designs undergo a similar process in sketching, but also the thinking process is comparable. Fashion and architecture are made under some kind of restrictions considering performance, and that's why I believe fashion designers and architects are like-minded.
Q: Did you face any challenges doing the scan with live models or multiple levels?
There were no technical difficulties, but the challenge was rather that I had only one-shot. Where it is usually just me and the space, this time many people were involved in the shoot, and on top of that, the release date was set only five days later. As we only did one trial shoot beforehand, I had to make sure to capture everything perfectly in one try.
Q: Is the 3D capture able allow you to experience the collection in a special way?
One of the best parts of a 3D capture is that it allows you to access the presentation space at any time and anywhere from your own device. Visitors can take all the time they need to explore EZUMi's creations and Kengo Kuma's space.
Matterport is an expansive medium, and I wanted to use its full potential this time. I wanted viewers to take all the information and experiences that they wouldn't be able to get or experience in a physical venue like at a fashion show.
Q: Anything else you would like to add?
My vision for ARCHI HATCH is the same as the one for the ARCHI-DEPOT Museum. I want to leave these captures for the world in 100 years. I'm not only shooting properties in Japan but all around the world, and we're getting more and more attention from abroad. Especially after Kengo Kuma and EZUMi's project, there has been quite an increase. I envision ARCHI HATCH to become a platform for the world's top masterpieces of architecture.
Also, I want to add how pleased I am to hear that apart from EZUMi's traditional customers, the brand seems to be getting an increased response from people in the architecture and art industries, as well as from overseas.
Thanks to this unique collaboration and Matterport technology, EZUMi's Spring/Summer 2021 collection has gained broad attention and is selling well to a new audience.