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For nearly a decade we’ve had the honor to partner with Numajiri Textile Lab in Japan to create some incredible pieces. We continue to use this mill because we love their unique techniques, the studied detail of their textiles, and the ability to be so customized.
Recently, Miko, the fashionista, and Masa, the fabric guru, of Numajiri came to visit us in Florence, Alabama and to learn more about their process.
How did you get into textiles?
I graduated from university in finance, but was so into fashion that I wanted to get involved. That led me to look into the business side of fashion and became interested in textiles. I started looking into how the Japanese textile industry worked because it was so different.
I was really drawn to casual American fashion in the 1990s and 2000s. It was a trend in Japan called “Americana” and I had a deep infatuation with Champion and all their different eras of sweatshirts.
What’s the major difference between the textile and jersey business in Japan vs. the rest of the world?
When we think of Europe we think about jackets and suits—more about wovens. America is more about tee shirts and sweatshirts, so more knits. Japanese fashion has more variety. For example we have quite an extensive amount of jerseys as just one of our fabrics.
Tell us about the machinery you use.
We use a mix of vintage and new knitting machines. The vintage ones are 50 years old and have a rough or raw output sometimes while the new machines give a clean and smooth look. The older machines make a textile with more of a feel, or mood, to it. The textiles they produce have an antiquity that’s only expressed through the machine. We love that and the customer does too.
Where do you get inspiration from?
Inspiration comes from going outside. Museums, art, furniture—we try to go outside of the box and go offline. I was even getting inspired by the ceiling at this office.
Billy Reid is inspirational because I see how detailed every piece is. It’s very much top of mind when you look at the detail-oriented construction, patterns, and buttons. Everything is meticulous. Whenever you give a proposal we’re very inspired because it’s different from the other clients we work with.
Tell us about your collaboration process with Billy Reid.
We want our textiles to enhance collections that are influenced by the brand’s culture—in this case the American south. We want to understand and have a mutual relationship so that we can make an assortment of textiles that cater to the brand.
What’s the importance of craftsmanship to you?
It’s the only way to survive. As a worker or a creator. The only way to survive is to be very into the craft. That way you can go beyond what most can do in the world of textiles.
What does the future of Numajiri look like?
Becoming more distinct with our customers. Currently with AI the mindset has been too consistent and common; everything will be the same eventually. When everything is the same how do we become different? How do we avoid the algorithm?
We don’t look at instagram because we don't want to be swayed with what’s happening and we don’t want to be fully inspired by something that everyone else is.
What about the future of Billy Reid and Numajiri?
Right now we’re working on a fine jacquard textile. Maybe the next step would be an Americana sweat item. It’s a piece where the more you wear it the more worn out it gets, but the quality pursues. Not something that doesn’t just get used—something that gets better with use. For us, that’s Americana.
