JU-NNA – Where East meets West – Exclusive Interview
By Brian James and Leigh Maynard
Lookbook images photographed by Tony Wellington and Catwalk images by Dave Cook
Founded in 2019 by Jun Nakamura, his semi-eponymous JU-NNA brand is one that draws from myriad cross-continental and cross-cultural influences. A Fashion Design Womenswear M.A. graduate of London’s Istituto Marangoni, Jun was immersed in the inculcating environment of this East London centre of excellence where curiosity and creativity go hand in hand. Having previously worked in Japan, where he made kimonos and worked in the Tokyo fashion industry, exposure to the edgy and experimental ethos of this renowned institution was matched by a reverence and respect for the traditional dress of his homeland; and for the artisanal skills of those who make these iconic garments.
This melding of East meets West was the catalyst for the designer’s SS23 collection entitled “Shibori”. It’s a collection that takes its name from the ancient Japanese art of Shibori, a manual tie-dyeing technique that produces a series of different patterns on fabric.
Exploring that creative and cultural landscape, Jun Nakamura has created an assemblage of pieces that feature linear geometric shapes with doodles to create brand-new prints. These are imprinted onto a diverse array of fabrics, such as neoprene and silk and presented in the most beguiling palette of pastel hues.
It’s a collection of breathtaking beauty that marries a street-style sensibility with abundant femininity and unsurpassed luxury. One underpinned by an ethical intentionality that sees Jun use recycled polyester and silk together with organic cotton and linen to create his exquisite pieces. An intentionality which extends to those who make the pieces, with the designer engaging the most accomplished Asian artisans to produce them.
His “Shibori” SS23 physical runway show premiered before an adoring audience as part of the “Fashion Scout” platform, which runs alongside London Fashion Week. We sat down with Jun after the show to ask him about the cross-continental duality and the influences and inspirations that led him to create this consummately crafted collection.
Congratulations on your SS23 collection, which showed during London Fashion Week as part of the Fashion Scout physical schedule. What inspired you to dedicate the collection to the traditional Japanese handicraft of Shibori?
Thank you very much. I started to research Shibori for my M.A. study at Istituto Marangoni London. As I explored further about how to use it for fashion, new findings appeared, and that is why I have been using this traditional technique for the brand since its launch. The focus is to always utilize this traditional technique for creating modern design and giving a new life to it.
What challenges are the artisans who employ this traditional technique facing, and how important to you is it to play your part in keeping it alive?
One issue is the decreasing demand for kimonos and the shrinkage of the kimono industry. Another problem is that most of the artisans are now over 60, and there are no younger generations to whom they can pass on this heritage. What I have been trying to do is apply this technique in an original way, and I want to spread the word that our designs are made by artisans’ hands. I would be very happy if people became more interested in Shibori internationally, which would ultimately lead the industry to train younger artisans to keep this heritage alive.
What creative and production processes were employed to transfer the Shibori artisans’ work to your printed fabrics?
Shibori, as well as other traditional techniques such as hand painting/embroidery, was created for making kimonos, and that is different from those in the fashion industry. Therefore, we need to understand the process very well by listening to artisans and making many samples using the technique to see what is possible and what is not. The results are also sometimes unpredictable, so it sometimes feels like treasure hunting.
We loved the geometric prints, the pastel hues and the exploration of such diverse fabrics as neoprene and silk. How important to you was it to explore these diverse elements and materials while still presenting us with a wholly cohesive collection?
I am glad to hear that. It took a long time to develop this print and reach the outcome I wanted. I used to use drapey materials for Shibori, but I wanted to explore how to create different shapes while still using Shibori materials for this collection. I always like to try something new and progress, so this challenge was important for me. As well as with the concept of combining femininity and streetwear style, exploring different materials was a key.
The collection melds street style-inspired looks with experimental ones and the most exquisitely feminine statement pieces. Was it a conscious decision to create a collection that marries different aesthetics and can cater to different moods and occasions?
In the last collection, we used Japanese comic art for prints, and this gave me the idea of combining a street vibe and femininity by also using Shibori. I found it interesting and wanted to find a good balance in this collection, too, so yes, I did it consciously. Also, I wanted to see how Shibori works on different moods, and I want people to enjoy the collection for different occasions.
How do you want people who wear JU-NNA to feel about themselves and the world around them when they wear one of your creations?
First, I would like them to enjoy unique designs. Secondly, I am happy if they feel the warmth of handmade clothes and know that wearing our pieces can help to support this traditional heritage.
Sustainability is integral to the brand’s ethos, and we wondered what steps you take to monitor the integrity of your supply chains and to ensure that ethical values are maintained?
We are still in the process of being more sustainable. Season by season, we have been trying to source our materials from suppliers we can trust more. It is not feasible to monitor everything, such as the yarn supplier for the fabric supplier, for example, due to the size of our team, but at least I can check how sustainable materials are that we source and try to make the best choice.
You studied fashion design at the world-renowned Istituto Marangoni. How did that grounding prepare you for founding your brand, and how did it help you create this collection?
The focus of my study at Istituto Marangoni was to find an identity as a designer. I was quite lucky because, in the early stage of the course, I found a traditional handicraft from Ivory Coast, which has a similar structure to Shibori, during the art library visit with my M.A. programme leader Kirsten Scott and my classmates. That made me start thinking of using Shibori for fashion. Istituto Marangoni also provided me with a lot of support for competitions and training for launching a brand, as well as sponsoring the show, which I really appreciate.
Which designers and industry figures inspired you, and how would you like to inspire the next generation of designers and fashion creatives who are following behind you?
I interned for Emilio de la Morena and now sometimes work with Michiko Koshino. It is interesting that each designer has a different approach to designs. I still follow a way that I was taught at school, but I put my original way and sometimes my experience affects it. I have never thought of inspiring younger generations before, but if they find it interesting or feasible to create modern designs from traditional techniques, that will make me happy.
What are your goals and aspirations for JU-NNA as we head towards the end of 2022 and into 2023?
I would simply like many people to wear and enjoy our designs. We started to make a limited number of stocks, and the AW22 collection which is now available online. Making people happy with our designs means everything to me. For the coming seasons, I would like to carry on exploring unique and new designs.
With “Shibori”, Jun Nakamura has gifted us a collection which marries the street style of modern-day Tokyo with the sacred sensibilities of traditional Japanese culture and design. It’s one where he has taken influences from the past and the present. One where he has looked at how industry icons like Emilio de la Morena and Michiko Koshino work while maintaining his own originality. One which also takes inspiration from the holistic hothouse atmosphere of the Istituto Marangoni, where he was encouraged to look beyond the boundaries that often constrain creative development and to explore the unlimited possibilities that are available to all of us.
While it’s a short walk from the Istituto Marangoni to the Shoreditch show space where “Shibori” premiered, JU-NNA is a brand who have travelled a very long way in a very short time. We would encourage you to join them on that walk, one which seems assured to lead JU-NNA to a place of even greater respect and recognition.
Many thanks to Jun for giving us so much of his time and to Andrea and the rest of the team at I.DEA PR for all their help.
