The Possibilities of Design: Kaie Murakami's Perspective

 
CONTENTS

A Perspective Broadened by Unexpected Experiences

From 桃太郎 to MOMOTARO

Legacy of the Past, Image of the Present

Having the Job Title of “Designer”

The word “brand” is said to have originated from the practice of marking items with a hot iron for identification. In modern times, as many brands clamor to distinguish themselves from others the moment you see a timeline on a social media app, there is little doubt that this significance has grown even stronger. Kaie Murakami, who heads the comprehensive brand services firm SIMONE, has spent years exploring the value and identity of brands through his diverse client work. We spoke with Murakami about a number of topics, including MOMOTARO JEANS’ rebranding journey begun a few years ago under his direction. We also discussed his views on the unique character and energy in the denim brand, which has long been engaged with craftsmanship in Kojima, Okayama. Finally, we talked about his vision for the brand.

Photographs: Yuka Uesawa

Editing & text: Rui Konno

A Perspective Broadened by Unexpected Experiences

―To begin, could you tell us again what kind of work you do?

Murakami: To put it simply, I help create brands. When people hear “branding,” they often think of logos, websites, or advertisement production. But what we do comes at an earlier stage—from the foundation of the brand, such as business design and product development. It’s closer to designing the management and the company itself.

―What led you to launch SIMONE and take on such activities?

Murakami: In my 20s, I got my start doing clothing design at Issey Miyake. Eventually, I was also entrusted with fashion show production and advertising. Before I knew it, I was in the position of working on Issey Miyake’s overall branding and business profitability.

―That’s a career trajectory you don’t hear about much. Was that sort of thing normal at Issey Miyake?

Murakami: I think it was unusual. But Tokujin Yoshioka was working in the same studio and my first job was assisting him, so my trajectory wasn’t unheard of in terms of the company culture. In my case, I was always playing music I liked in the atelier. One day, Mr. Miyake came in and asked, “Who’s choosing the music here every day?” When he found out, he said, “You, do the show production.” That one sentence is where it all started.

―That was a bold assignment!

Murakami: Since those days, I have been interested not just in music, but also photography and videography. I was happy, because I had already been thinking, “Even if I quit fashion, I want to keep living in this world.” But because I was a huge fan of all those fields, I felt pressure not to make excuses about what I produced. Still, I’ve always been driven by the idea that when you love something, you will naturally become good at it. So from advertising to videography, product development, and management strategy, my current style is the result of a constant interplay of curiosity and necessity.

―That’s a wide range of activities.

Murakami: You can’t run a brand as a business if you only polish one aspect. To ensure consistency between worldview, customer experience, and revenue, I had to expand the scope of the work I could handle. At Issey Miyake, I was in an environment where I had no choice but to work on all the art direction, the production, and the music myself. Working alongside legendary creatives like Saburo Teshigawara, Irving Penn, Tadanori Yokoo, and William Forsythe, I had to elevate myself quickly. I studied relentlessly without sparing time to sleep. I couldn’t risk tarnishing the brand, so I gave it everything I had.

―So you had to rise to a level where you could work with those top creatives.

Murakami: Honestly, I just didn’t have a choice. I was very fortunate to be in that environment where I could work with them. But at the same time, all the responsibility rested with me—not just for the creative aspects, but for the sales too. To have had that kind of experience in my 20s was an asset. It’s no exaggeration to say that my personal concept of “branding design” was shaped during that time. Now I have formed a team and can execute everything at a high level, but I’m not satisfied. Since the times are changing so rapidly that there is always something new that needs to be done, I don’t think I’ll ever be satisfied.

From 桃太郎 to MOMOTARO

―As part of your branding design work, you were entrusted with the rebranding of MOMOTARO JEANS. What honest impression did you and everyone else at SIMONE have of the original Momotaro Jeans at the outset?

Murakami: To be honest, some people within the company had negative opinions, but I saw nothing but potential right from the start. The denim craftsmanship was already remarkable, and what was most appealing was that the brand had a great essence. Although there were many challenges, I’m the type of person that always starts by envisioning the goal and works backward from there. Once I could envision success, I felt that it could be done.
However, while Momotaro Jeans already had many fans, it also gave off the impression that it would be difficult to grow further. So we took a step back and reexamined its fundamental appeal. For example, we reexamined the dyeing and sewing techniques, especially the depth of techniques in something like “特濃-TOKUNO BLUE.” To better highlight those elements, we stripped away anything unnecessary and rebuilt from the ground up.

―It’s true the brand image has been refreshed, but the strengths of the original products have become even more pronounced.

Murakami: That’s exactly what we wanted to improve. There are many different approaches to branding. For example, when working with a sports brand, the goal might be the equivalent of shaving off a tenth of a second, requiring innovation from the ground up. But with MOMOTARO JEANS, we felt it was more important to return to the brand’s origin and carefully re-present its value.

―In terms of craftsmanship for the revitalized MOMOTARO JEANS, what were you thinking about as you shaped the brand?

Murakami: From the start, I aimed for something “irreproducible.” Momotaro has its roots in textile wholesaling, which gives it a unique strength. I wanted to refine that even further. Also, although I don’t mean this in a political sense, I’ve always felt that Japanese people tend to look down on their own culture. I thought perhaps we could help dispel that through the expression and presence of MOMOTARO JEANS. We wanted to use our own hands to redefine something we could be proud of.

Past Legacy, Present Image

―Could you explain a little more about what you said related to “Japanese culture”?

Murakami: I believe a major characteristic of postwar Tokyo fashion is its emphasis on “editing.” It’s the sense of re-editing by weaving together Western and Eastern cultures. In fashion, this might look like mixing street culture with dress styles. Collecting, reconstructing, and expressing—those combinations have given rise to unique styles. Through major “select shops” like Beams and United Arrows, we Japanese have deepened our knowledge of many modern Western fashion brands and manufacturers, and developed a discerning eye without even realizing it.
With that background, what we intended to do with MOMOTARO JEANS was to take a head-on approach to Japan’s globally respected “Made in Japan” denim. Beyond just high quality, we wanted to present one answer to the sensitive question of “What happens when Japanese people handle denim?” There are already many denim brands that take a purist approach, but we hoped MOMOTARO JEANS could express different, unique values.

―By “purist approach” to denim, you’re referring to being faithful to archives and historical accuracy, right? Why did you decide to keep a distance from that with MOMOTARO JEANS?

Murakami: Simply put, the reason was because even if we created something with the exact same quality, we can’t surpass Levi’s. As the origin of denim brands, Levi’s is the most recognized worldwide and beloved across the globe. We respect them, but we can’t compete on the same playing field. In a situation where we can’t outdo the origin, we had to ask ourselves, “What’s the point of replicating vintage denim?” Rather than imitate what’s already been done, we thought it was better to search for a new approach. What we should do is respect that legacy, while not being bound by it. We wanted to create a brand with a new stance that frees itself from the complexes and limitations that Japanese people have long felt. Even if that approach wasn’t necessarily “contemporary.”

―What specifically were some of the modern branding approaches you did not choose?

Murakami: First, we decided not to do any “hype.”

―You mean approaches that create value through rarity or exclusivity, right? But today, it feels like many apparel brands, from streetwear to luxury, are actively promoting that strategy.

Murakami: That’s true. Especially with the influence of social media nowadays, I’ve seen many brands and products with vague substance being driven solely by information or viral buzz. With MOMOTARO JEANS, we wanted to distance ourselves from that. We began by imagining what a brand that could last 100 years would look like, and focused on building that foundation first.

―When a brand becomes hyped, acquiring the items themselves tends to become a goal. Because it stirs up a sense of want, it tends to make people who couldn’t get the items sense their value even more.

Murakami: With MOMOTARO JEANS, the production capacity is naturally limited due to the manufacturing process, so we sincerely apologize that there are inevitably people who want the items but aren’t able to buy them. Even so, if possible, we really hope you’ll pick them up, wear them, and make them your own over time. We aim for craftsmanship that enables special experiences, like changes in “特濃-TOKUNO BLUE” over time, or the smoothness of the fabric made from carefully selected materials.
As a precondition for that, we positioned MOMOTARO JEANS as not a fashion brand, but a denim brand. We put a stop to the development of half-hearted apparel items and instead focused on fundamentally reexamining the fabric, patterns, and specifications of our core product, jeans, in order to enhance the appeal of our denim offerings."

―So it’s all about the aspects of essential craftsmanship.

Murakami: Yes. With “特濃-TOKUNOBLUE” at the center, we decided to take a deep dive in Japan’s traditional dyeing techniques, culture for excellent textiles, and craftsmanship—and to reconstruct the brand’s entire product lineup and worldview. Rather than just make clothing that goes well with jeans, we’ve questioned and thought about what it really means for MOMOTARO to create a shirt or jersey item. And to ensure that MOMOTARO JEANS products are a long-lasting part of the wearer’s life, we strengthened the lifetime guarantee. As long as the brand exists, it has a responsibility for the products purchased. You can take that as a sign of MOMOTARO JEANS’ confidence and commitment.

―In a way, it’s a very simple approach. It’s just that in today’s world, we don’t often hear manufacturers express that kind of thinking.

Murakami: That applies not just to MOMOTARO, but to Japanese craftsmanship overall. If you look around the world, there aren’t many countries where people put so much effort and attention into craftsmanship. In Japan, everything from eyewear to knives to denim is made with overwhelming resolution and quality.
That’s exactly why we want to shift attention to our techniques, culture, and traditions, and deliver that excellence to the world in a way that truly resonates.

Having the Job Title of “Designer”

―Listening to you so far, I understand what you mean, but knowing your background, I can’t help but feel you could have steered MOMOTARO JEANS in a more fashion-forward direction. Was there a reason you didn’t?

Murakami: I’ve always liked fashion, but I wasn’t a fashion addict. If I had to say, it was more of a feeling akin to “I like new things.”
Even when I was at Issey Miyake, what I was doing wasn’t “fashion” — it was clothing design. Thinking about who would wear it, for what purpose, and how it would function. That was the kind of perspective I liked. MOMOTARO JEANS is similar to that. I see jeans as more like tools.

―Getting an emotional boost from what you wear or refining your look are valid purposes for clothing too, but what you’re talking about is more of an original, utilitarian perspective, right?

Murakami: That’s right. For example, Issey Miyake’s clothing can be washed in a washing machine, won’t lose its shape, lets you move freely, and still looks beautiful and unique in appearance. Sensibility and functionality coexist. Mr. Miyake used to say, “I don’t want to be called a fashion designer.” I think now, with age, I’ve finally come to understand what he meant.
Because they haven’t been treated with strong dye effects or washes, MOMOTARO’s jeans reveal the wearer’s personal timeline very richly through the way they fade. That process carries so many individual stories. The jeans record and represent the wearer’s history and life. I think garments that carry this valuable sense of “growing with you” are extremely rare.

―That’s something that really resonates. When it came to renewing MOMOTARO JEANS, was that vision something you were able to share with the rest of the brand team right away?

Murakami: No, there were concerns at first. Even objections. So I talked with everyone a lot. There were many conversations, including trivial chats. Through that, I listened to what each staff member thought, and together we looked for the best path while leveraging individuality.
What I wanted to avoid more than anything was just rearranging the visuals and declaring the rebranding finished. Then no one takes responsibility, sales go down, and neither fans nor clients gain anything. I’ve seen so many cases like that. That’s exactly why it was necessary to get the team to understand the vision for the brand going forward and to have them share in the commitment to building a new MOMOTARO JEANS. We really spent a long time on it and had a lot of discussions.

―It’s clear from our conversation that you have your own personal preferences. But when it comes to client work, how do you reconcile that with the work?

Murakami: I don’t think I need to have a “personal style.” What’s more important is uncovering the “true form” that lies within the brand itself.
Like a sculptor carving away at wood, I imagine, “What kind of figure is sleeping inside this?” and then chip away only the unnecessary parts to reveal a beautiful shape. I don’t know what the right answer is, but I believe history shows us that it’s precisely that kind of sincerity and egoless state that gives rise to good design.

―Your approach to design work seems a little different from the impression most people probably have of it.

Murakami: Essentially, design is a behind-the-scenes job. When a difficult challenge comes up, you think, “This is going to be tough,” but feel excited at the same time. You can’t do the job unless you have a selfless mindset, problem-solving ability, and curiosity. If you want to fully express your own personality, you should pursue art instead. Design as a profession should exist for society and for people.

―Any job that helps people is admirable, whatever form it takes.

Murakami: The design I love and envy most in the world is the crosswalk. No one knows who designed it. And yet, it exists everywhere in the world, transcending language, operating 24/7, 365 days a year to protect people’s safety and serve as essential urban infrastructure. Those simple, repeating white lines are saving someone’s life every single day. Isn’t that just an unbelievably amazing piece of design?
That’s why I always answer a certain way with a mix of pride and humility when someone asks me the following:

“What’s your profession?”

“I’m a designer.”

PROFILE
Kaie Murakami
Born in 1974 in Shizuoka Prefecture. He joined Miyake Design Studio at age 20, where he spent just under a decade collaborating with many artists and creatives across other fields. In 2003, he went independent and founded SIMONE, where he has helped a variety of domestic and international brands achieve rapid success through the present day.