My Archive Vol.3

18.06.12

Dissertations

My Archive Special Edition

My Archive 特別編

Kinoshita:
This POPEYE series is coming to an end this April, but for this special edition "My Archive," we asked Mr. Nakamura to bring some of his personal possessions with him today.

Nakamura:
Today I brought two items, and the first one is this doll. There's a Chicago-based shoe manufacturer called "Florsheim" that has been around since the 1890s, but this doll was made as a novelty item of the brand. I held onto it thinking I'd like to feature it in the series one day.

Kinoshita:
This is made of wood right? That means that each individual doll was carved by hand.

Nakamura:
That's right. The fashion and hairstyle of this doll is most likely an Ivy League style from the late 1950s to the early 1960s. Inspired by these styles, a brand called VAN was founded in Japan, and as they began to be featured in fashion magazines such as "Men's Club," the Japanese interpretation of the styles continued to evolve, eventually leading to the founding of POPEYE during the 1970s. Similarly, I think that what we are doing now is, in a way, reinterpreting American casual wear styles. I brought this doll as an underlying symbol in what we are attempting. The next item, I actually brought as a gift to Mr. Kinoshita. As a way of saying "thank you for all the hard work."

木下:
『ポパイ』の連載はこの4月で終了してしまいますが、今回は「My Archive」の特別編ということで、中村さんに私物を持ってきていただきました。

中村:
今日は2つものを持ってきたんですが、ひとつはこの人形です。アメリカのシカゴに〈フローシャイム〉という1890年代からある靴のメーカーがあるんですが、そのブランドのノベルティとして作られたもの。いつか連載で取りあげようかなと思って、ずっと持っていたものなんです。

木下:
これって木製ですよね?ひとつひとつ手で削って作られているということですよね。

中村:
そうなんです。この人形のファッションや髪型は、1950年代後半から60年代前半くらいの、アイビーリーグっぽいスタイルですよね。こういうファッションに憧れて、当時の日本で〈VAN〉というブランドができて、『メンズクラブ』などの雑誌がそれを取りあげる中で、日本的な解釈が進んでいき、70年代には『ポパイ』が創刊されて......という流れがあるわけですが、今、僕らもアメリカン・カジュアルウェアの再解釈みたいなことをしている。僕らがやっていることの根底にあるものの象徴として、これを持ってきました。もうひとつは、実は木下さんに差し上げようかなと思って持ってきたんですよ。「今までご苦労様でした」ということで。

Kinoshita:
A Popeye doll? This is very cute.

Nakamura:
I found this at an antique shop in Los Angeles around October of last year. By the way, why was the magazine named "POPEYE?"

Kinoshita:
The first issue of POPEYE was published in 1976, and a man named Yoshihisa Kinameri was the original editor-in-chief. Whenever Mr. Kinameri traveled to the United States for work and brought back goods related to the Popeye comic books for his son, he was ecstatic. His son became a huge fan and would often say "Popeye, Popeye." Then, Mr. Kinameri thought that the name Popeye was made up of the words "Pop-eye," as in "keeping an eye on pop culture." I've heard that they even went to the United States to negotiate the use of the registered trademark. However, when the members of the editorial department at the time traveled to the United States to cover a story, they were often mistaken for a "comic book," and they struggled to explain that "they were actually a fashion and culture magazine targeting young Japanese readers." However, after repeated visits to the United States to cover stories, the name "POPEYE" gradually started to gain recognition over the years. In recent years, I've started to finally encounter people during my visits to the United States who tell me that they're fans of POPEYE magazine.

木下:
ポパイの人形ですか。これは可愛いですね。

中村:
ロサンゼルスのアンティークショップで、去年の10月くらいに見つけました。ところで木下さん、雑誌『ポパイ』はなぜポパイという名前になったんですか。

木下:
『ポパイ』は1976年の創刊なんですが、その時の編集長が木滑さんという方で、その木滑さんがアメリカに出張に行ったときに、息子さんへのお土産としてコミックの「ポパイ」のグッズを買ってくると、すごく喜ばれたそうで。その息子さんが気に入って「ポパイ、ポパイ」とよく言っていたらしいんですね。そこで木滑さんが、そのポパイという名前が、「ポップ・アイ(pop-eye)」という意味もあって面白いんじゃないかと思ったらしいですね。それで、アメリカに商標の使用の交渉に行ったと聞いています。だけど、当時は編集部の人たちがアメリカ取材に行くと、「コミック雑誌か?」なんて言われてしまって、「いやこれは日本の若者向けカルチャー誌で......」と説明するのに苦労したそうですね。ただ、長年アメリカ取材を続けるうちにだんだん『ポパイ』という名前も知られてくるようになって。最近では、アメリカに行っても『「ポパイ」読んでるよ』みたいに言ってくれる人にも、時々出合うようになりました。

Ide:
In that context, the road trip that Mr. Kinoshita, Mr. Nakamura and I took from Los Angeles to San Francisco as part of a story for the "POPEYE 40th anniversary issue" in 2016 was especially memorable for me. When we finally arrived in San Francisco, we parted ways with Mr. Nakamura, and Mr. Kinoshita and I stayed in the city. Several days, we traveled to Oakland to check out a big vintage flea market, and while we were there, a young African American man approached Mr. Kinoshita and asked him, "aren't you Mr. Kinoshita, the editor-in-chief of POPEYE magazine?" As they continued to talk, we found out that he was a graduate student studying architecture at UC Berkeley and that he was a huge fan of visvim. He even told us that he makes his own clothes.

Kinoshita:
Yes, that's right. It was especially surprising because we had just been on the road with Mr. Nakamura until a few days earlier.

Ide:
He then asked us if we would take a look at the clothing that he made, so we walked to the parking lot where he showed them to us. What he showed us there was a handmade jacket dyed with a traditional mud-dyeing technique from Ghana. He told us that he was also studying a lot about other dyeing techniques.

井出:
その意味で印象深いのは、2016年の『ポパイ』40周年記念号の取材で、木下さんと中村さんと一緒に行った、ロサンゼルスからサンフランシスコまでのロードトリップです。あの時、最後にサンフランシスコに到着して、そこで中村さんと別れて、木下さんと僕はそのまま滞在していたんですよね。それで、数日後にオークランドでヴィンテージの大きなフリーマーケットがあって、出かけたんですが、そこで木下さんが、ある黒人の青年に声をかけられて。「『ポパイ』編集長の木下さんですね?」と。話してみたら、彼はUCバークレーで建築を学ぶ大学院生で、〈visvim〉の大ファンだと言うんですよね。しかも自分で服も作っているんだと。

木下:
そうでした。数日前まで中村さんと一緒に旅していたばかりだったので、びっくりしましたね。

井出:
それで、彼が「自分の作った服を見てもらえないか」というので、駐車場まで行って見せてもらったんです。そこで彼が見せてくれたのは、アフリカ・ガーナの伝統的な泥染めを施した、手作りのジャケットでした。彼自身、染色の技法についてもすごく勉強していて。

Kinoshita:
Mud-dyeing techniques from Amami Oshima have also been incorporated by visvim, but I was amazed that I would encounter this kind of connection in a parking lot in Oakland of all places (laughs.)

Ide:
That's right. Talking to him, I felt that he truly understood and respected the concept of Japanese manufacturing and about what visvim is trying to achieve through their products. I realized that those kinds of sensibilities are currently spreading across the world. As Mr. Nakamura mentioned earlier, Japanese fashion, which was developed after receiving inspiration from American casual styles, is now impacting manufacturing in the United States. I feel like the current situation is becoming very interesting due to this.

Nakamura:
It makes me really happy that there are people like that out there. That's how ideas are passed around and eventually are developed into a culture. And we see how much of what we are doing now can impact the future. I'm very grateful for receiving the opportunity to hold an exhibition like this and share my various inspirations with everyone. Even if you're not a creator, it would be great if people came to see these items, felt some kind of connection to them, and used them as hints, or somehow influenced them in their selection of items that are used in their everyday lives.

木下:
〈visvim〉でも奄美大島の泥染めの技法を取り入れていますが、「まさかこんな所でつながるとは」と思ったよね(笑)

井出:
そうなんですよね。彼と話していると、日本のものづくりとか、〈visivm〉がやっていることについても正しく理解をして、リスペクトしてくれているのが伝わってきて。そういう感性が今、本当に国を超えて広がっているんだなと。先ほど中村さんが仰った、アメリカン・カジュアルからインスパイアを受けて生まれた日本のファッションが、今は逆にアメリカのものづくりに影響を与えていたり。すごく面白い状況になってきている気がします。

中村:
そういう人がいてくれるというのは、嬉しいですね。そうやって、まわり回って文化になっていくというか。今、自分たちがやっていることが、いかに未来に影響を与えるかということですよね。今回もこういう展示の機会をいただいて、色々なインスピレーションを皆さんとシェアすることができるのが嬉しい。こうしたものを見て、何かを感じてもらって、ものを作る人でなくても、普段の生活の中で何かチョイスをするときにヒントになったりとか、何か良い影響があるといいなあと思っています。

> My Archive Vol.2

edit&text: Kosuke Ide
photo: Katsuhide Morimoto

Takahiro Kinoshita
Former editor-in-chief of POPEYE magazine. Born in 1968. After serving as an associate editor and fashion chief for BRUTUS, he was appointed as the editor-in-chief of POPEYE in 2012. He stepped down from the position as of March 2018. In May 2018, he was appointed as an executive at Fast Retailing Co., Ltd.

木下孝浩
『POPEYE』元編集長。1968年生まれ。『BRUTUS』副編集長兼ファッションチーフを経て、2012年より『POPEYE』編集長へ。同職は2018年3月をもって退任。2018年5月に株式会社ファーストリテイリングの執行役員に就任。

Kosuke Ide
Editor. Born in 1975. After serving as an associate editor for travel magazine PAPERSKY, he started conducting freelance work. He currently serves as an editor and writer for "Tsubasa no Oukoku" (Wingspan), the inflight magazine of ANA Group, as well as a collection of mooks, books and online publications. He was in charge of the editing for "My Archive" since its inception.

井出幸亮
編集者。1975年生まれ。旅行誌『PAPERSKY』副編集長を経てフリーランスに。雑誌『BRUTUS』『POPEYE』『翼の王国』ほか、ムック、書籍、webその他で編集・執筆活動中。『My Archive』では連載当初から編集を担当。

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