—I understand you have been visiting TRANOÏ since its very first edition in Paris.What was your impression of TRANOÏ?

Before TRANOÏ, trade shows generally tended to offer a broad mix of different things. TRANOÏ, however, felt different. I tseemed to carefully select only brands, designers, and factories with a particularly strong creative point of view. At the time of its first edition, Armand Hadida, the founder of LECLAIREUR — a well-known Parisian multi-level store, or what we might call a select shop in Japan — was involved in its direction, and I could strongly feel that sensibility throughout the show. Rather than presenting “a bit of everything,” TRANOÏ had a very clear stance: a commitment to creation. I remember finding that approach extremely fresh and original.

—Having visited TRANOÏ many times since its first edition, what has left the strongest impression on you?

When UNITED ARROWS operatesa store, we direct everything as a whole — from the way the staff dress, to the displays, to the music playing in the space. I felt that TRANOÏ approached things ina similar way, with careful direction extending even to the smallest details.

For example, the staff were wearing hats designed by the brother of Klaus Plank, the designer of Bergfabel. The music played at the venue also did not feel like it was simply chosen to be catchy; it felt as though it had been properly directed by someone with a genuine love and understanding of music. Incidentally, Bergfabel is a brand we carried at UNITED ARROWS, specifically at District, for more than ten years, starting from a time when it was still relatively unknown.We discovered the brand through TRANOÏ.

When I first heard about it, I was honestly a little concerned — whether TRANOÏ TOKYO would be able to establish the same kind of originality as TRANOÏ in Paris, and whether it would work from a business perspective. But once it actually opened, the venue, Bellesalle Shibuya First, was filled with so many people that it almost felt as though the spacious hall could not contain them all. In the end, the concerns I had turned out to be completely unfounded.

—What were your thoughts on the exhibitors?

For example, there is a Japanese brand called TECLOR. I felt that its approach to clothing had become even more refined, reaching a truly international level. More broadly, it made me realize that while exchange with the rest of the world had been interrupted during the pandemic, Japanese craftsmanship as a whole had continued to evolve. What also left an impression on me was that the exhibitors were not limited to fashion brands. There were also lifestyle and accessory brands with a strong point of view. I think the same can be said of Paris, but during the pandemic, people probably became more conscious of their homes and everyday living. At TRANOÏ TOKYO, there were tableware, bedding-related items, organic soaps and detergents, as well as aromatherapy products. It gave me the impression that the show was successfully capturing new currents in the market.

TRANOÏ TOKYO has a different form of direction from TRANOÏ in Paris, and what I feel there is a uniquely Tokyo sense of precision and attention to detail. One example is the way the booths are connected. They are not simply placed side by side; there is a sense of narrative in the flow — this comes after that, and then this follows.

I think this may also have something to do with a certain Japanese tendency to be faithful to the fundamentals, but there is a strong sense of unity across the entire venue.Perhaps that is one of the reasons why TRANOÏ TOKYO has been so successful.

One of the most memorable moments for me was the presentation by five student-led brands from VOUTRAIL THE FASHION ACADEMY in Osaka, formerly Osaka Bunka Fashion College. I have seen many student collections in Japan and abroad over the years, but what they presented did not feel like something to be evaluated within the framework of “student work” or “supporting young talent.” It stood on its own, with a level of quality and creative clarity that was genuinely compelling.

In that sense, I once again felt TRANOÏ TOKYO’s direction very strongly — in the way it was able to identify and present this kind of talent.

— What made their work stand out to you?

—Collaboration events are one of the defining features of TRANOÏ TOKYO. How do you see them?

The 0fr. Tokyo collaboration was very good. 0fr. is an art bookshop I always visit whenever I am in Paris, so I was surprised — in a very positive way — to see that they now have a partner in Japan. I was also thrilled to see them presenting a pop-up at TRANOÏ TOKYO.

The 0fr.store in Paris has a small gallery space at the back, where they have held photo exhibitions for magazines such as STREET and FRUiTS. In many ways, the kind of Japanese fashion that people overseas admire most is exactly the world captured in those magazines.

If TRANOÏ TOKYO could pick up on that kind of energy and develop something like a street fashion photography exhibition, I think it could be extremely interesting.

Compared with traveling to overseas trade shows, visiting Tokyo is far more accessible in terms of cost. And because TRANOÏ TOKYO brings together brands from around the world, I believe buyers can encounter something that is just as valuable — if not more — than what they might find at trade shows overseas. There is also no major language barrier. Japanese buyers can conduct business in Japanese, and I understand that interpreters are available when speaking with exhibitors from overseas. For those who are not confident in foreign languages, that kind of support can be very reassuring.

— What do you think would make TRANOÏ TOKYO an even more meaningful platform and opportunity? Is there anything visitors should do in advance to make the most of their visit?

—What do you think the organizers should keep in mind in order to make TRANOÏ TOKYO an even stronger trade show?