MASU, a Tokyo-based Japanese fashion brand, has always been acutely aware of the inherent biases within society and people.
The designer, Shinpei Goto consistently directs a warm and light perspective towards the transforming consciousness influenced by tendency of the times, generational shifts, and changes in our sense of lifestyle.
For instance, Goto sees an angel in the flapping wings of a bat, and finds unique beauty in leftover cake.
His statement comes to life by permeating the collection with the unspoken own private feelings people hold.
Goto illustrates, “Even if you feel moved by the water droplets on a spider’s web after the rain, sparkling in the sunlight, and find it ‘cute’ or “beautiful,’ many people won’t share that with their lover walking beside them”.
He explains that he is interested in the ordinary sensations everyone keeps hidden to themselves, saying, “maybe a child would say those true feelings innocently. I would too,” with a giggle.
The Fall Winter 2024 collection, imbued with a more introspective atmosphere than before, is constructed with liberating and whimsical narratives brought about by empathy:
The collection, veiling both a clear external appearance and delicacy, invites the exploration of shapes and cuts reminiscent of the bat’s coexisting sharpness and roundness: from the collar and neckline of classic Chesterfield coats, the hemlines of water-resistant long raincoats and chaps, attached collar-type hoods with frayed hems on suit fabric, hoods of double-faced sports jackets, and even the contour of leather vests.
The presence of stars and pain serve as a metaphor :
cap holes cut like fangs are adorned with rhinestones, satin puffer jackets conjure up the imagery of bandages, jackets feature studs resembling scab coverings over open wounds, and damaged shoes are complemented by rhinestones.
Furthermore, the signal conveying that ‘solitude’ and ‘beauty are not contradictory evokes quiet yet dramatic scenes.
Such as, raindrops and stains from the rain might link to studs on the shoulders of double-faced coats and countless laser-cur holes in leather jackers.
The rain from the ground may even appear to seep into the sweat fabric of long skirts.
The manner resembling a spider web draped over the shoulder is elegantly represented with chains, and the graphic of a spider web gleaming in the morning sun is printed with flocking and inkjet.
Graphics of upside-down flying balloons are illustrated by VERDY.
And multiple patches of the same fabric attached on stadium jackets and tweed jackets, functioning as symbols of ‘less visible yet quiet and certain existence’.
The symbolic leather cake bags are both treasure chests containing happiness in future.
Moreover, the bold ‘kirakira’ shining amid dark color tones authentically portrays the identity of MASU as it truly is.
On the runway, the ‘Dark Heroes’ envisioned by Goto are wandering.
They wield not fist or brain, but rather, affection and tender gazes as their arms.
The collection boasts a diverse approach to vintage with a Japanese sensibility.
Furthermore, it is also a challenge to essential ‘yes’ by bringing a new empathy with people like reconsidering various elements that have been prejudicially associated with images of darkness, dirtiness, and sadness, and bringing forth aspects of the everyday that have become too ingrained, reminding us of things forgotten.
– rain but kawaii, aloneness but lovely.
It’s an affirmative embrace of paradoxical elements.