April 29, 2025 |
Undercover reigns as a pioneering force that fuses disparate elements, and central to the brand’s essence is music. A child during the era of the Sex Pistols, designer Jun Takahashi witnessed music transcending boundaries. How does he absorb the immense energy inherent in music, fashion, film and other creative realms, then channel it into his work? We delve into the influences that stir his soul.
Celebrating its 35th anniversary with the brand’s AW25 collection, Undercover has been a pivotal force in Japan’s fashion history. In 1993, designer Jun Takahashi, alongside Nigo, founder of A Bathing Ape and a junior at Bunka Fashion College in Tokyo, opened Nowhere in the Harajuku area. This store ignited the Ura-Harajuku movement, a significant local subculture. Takahashi’s hand-printed T-shirts sold at Nowhere were so popular that production couldn’t keep up with demand.
Immersing himself in various cultural experiences, Takahashi, 55, transforms what moves him into his designs and creations. The SS25 men’s collection drew inspiration from Glass Beams, aka Indian-Australian musician and producer Rajan Silva, who tours with two unnamed members. A large monitor was set up at the venue, showcasing live footage shot in New York specifically for the show, which served as a backdrop for the collection’s presentation. For Undercover, music plays a crucial role not only as a source of design inspiration but also in the staging of their shows.
Undercover’s Jun Takahashi
How did you get in touch with Glass Beams?
Through mutual friends on Instagram, I connected with them and conveyed my thoughts. Direct communication between individuals remains the strongest form. Meeting in person or talking on the phone leaves no room for evasion [Laughs]. The show footage was shot in New York, so I couldn’t attend, but I met them for the first time at Fuji Rock [a festival at a ski resort]. They were very approachable and their performance was excellent.
What does it mean for Undercover to incorporate an artist into its designs?
With Glass Beams, their music and visuals already had folk elements or an Indigenous aesthetics feel. Sonically, they incorporated modern electronic elements – a well-rounded world. I wanted to reinterpret that through my lens. Also, their attire was very stylish and their visuals had a high-fashion quality.
When an artist isn’t the theme, at what point do you consider the music for the show?
When planning a runway show, it’s relatively early, concurrently with the design process. I also think about the runway presentation, which naturally leads to considerations about the music. For menswear, the design and musical worlds are closely aligned, often resulting in a more intense atmosphere. In contrast, womenswear tends to be more fantastical, akin to a movie soundtrack.
For the SS25 women’s collection, you held a presentation in the basement of Dover Street Market Paris. Was music played?
We played music by German band Einstürzende Neubauten. I wanted to incorporate non-human elements like fetishism and machinery into daily life. That band, active since the early ’80s, use mechanical and industrial sounds with noise elements, which I found fitting. When creating visuals or staging shows, adding such effects is one of the highlights for me. Especially in womenswear, since I don’t wear the clothes myself, there’s a sense of detachment from reality, allowing for a masculine effect to be introduced.
The concept of the SS women’s collection is ‘fetish’. Dresses that transform everyday items like T-shirts and hoodies by cinching the waist into corset-like shapes symbolise the essence of Undercover. “I’ve been thinking a lot about how to add effects to everyday clothing,” says Takahashi. “Even if the design is somewhat strong, I want it to still function as everyday wear.” When this daily life passes through the Undercover filter, it merges with foreign elements. What kind of inspiration does music, one such foreign element, provide him?
Undercover’s SS25 menswear collection drew inspiration from the musician Glass Beams
What was your initial encounter with the relationship between music and fashion?
In my mid-teens [in the early ’80s], I became aware of the punk movement. The fact that the Sex Pistols collaborated with Vivienne Westwood and Malcolm McLaren on clothing was striking. Closer to home, brands like Hysteric Glamour, which emerged in the mid-’80s, linked culture and music with fashion. This resonated, as I was fond of music, art, subcultures and pop culture. Before discovering punk, I listened to Japanese music and Western bands like The Beatles and Led Zeppelin. However, the Sex Pistols’ album artwork [created in 1977 by Jamie Reid] was a revelation; it was aggressive and unlike anything I’d seen before. The anti-establishment lyrics were also stimulating for a teenager.
You said “the power of music supports your clothing design”. What role does it play?
Music has been a constant presence since my childhood. Undercover’s creations are deeply rooted in my early inspirations – music, films, art – and I aim to convey these through my own filter. Rather than designing purely high-fashion pieces, I strive to blend cultural elements into my work, a hallmark of Undercover. For instance, the German band Can have been a significant influence. Their experimental approach to a balanced sound parallels my design philosophy. Over-calculating designs can lead to routine, so incorporating abstract methods can result in unexpected creations.
more Glass Beams-inspired looks seen on the Undercover SS25 catwalk
Were there any pieces in your recent collections that were created with an abstract approach?
Dresses from the SS24 women’s collection. I envisioned a glass dress with clouds floating inside the skirt. But we couldn’t maintain the shape. I came up with a terrarium dress of plants, animals and insects. In terms of ideas that emerged from a failure, it was something I hadn’t anticipated. If we had managed to make the clouds work, I don’t think it would have created as much buzz!
Last November, Undercover released T-shirts and sweatshirts for Thom Yorke’s first solo tour. Yorke provided music for Undercover’s AW21/22 women’s collection, Creep Very, while his other band, Atoms for Peace, have also collaborated on designs. For this collection, Takahashi selected materials from an archive of sketches and poetry that Yorke compiled in his scrapbook. The results offer a glimpse into the enduring friendship the two have built.
As you worked on collaging his sketches and words, did you discover anything new about Thom Yorke?
I used quite a lot of his drawings, and as someone who also draws it was fascinating to see the art he creates. I did ask, “What does this drawing mean?” but he’d say, “I don’t remember”! Thom expresses dark or complex emotions in his work and I found it fascinating to see those elements reflected not only in his music but also in his artwork.
Since childhood, Takahashi has excelled at drawing, which led him to pursue a career in fashion. Painting has had a significant influence on Undercover, with works by artists like Robert Bosisio, Neo Rauch and Helen Verhoeven playing a key role. Around 2013, however, Takahashi began painting with oils. A decade later, he held a solo exhibition titled ‘They Can See More Than You Can See’ at Gallery Target in Tokyo. The following year he debuted his first solo exhibition in Hong Kong, Peaceable Kingdom, at WKM Gallery.
Was there a reason you started painting again?
When creating clothes, I began to expand my interests and focus more on different forms of creativity. Music is one of those areas, but while I DJ, I’m not on the production side. With painting, I started to develop a desire to create something similar to how I make clothes as I continued to draw. Fashion is a team effort. There’s a process where my design sketches are brought to life by pattern-makers and others. But with painting, it’s almost entirely a solo process from conception to completion.
from left: Takahashi’s merch for Thom Yorke; Undercover has also designed merch for Thom Yorke’s band Atoms for Peace
Do you ever feel fear about how your emotions might translate?
Starting from nothing is scary, difficult and filled with uncertainty. I often feel uneasy about how things will turn out. It’s only when I start to see a shape emerge that I feel a bit of relief. Sometimes I even question why I’m doing this and feel like stopping midway. But as I keep painting, a form gradually begins to take shape, then the process becomes much more enjoyable.
Takahashi’s atelier features a wooden structure with floor-to-ceiling glass windows offering a panoramic view of Tokyo. The space is adorned with striking elements such as lighting by William Guillon, an ‘anarchy chair’ and oil paintings created by Takahashi himself. There are two high-quality speakers, while a massive painting hangs just in front of the desk, a breathtaking presence that seems to make the city’s noise vanish. The tranquil atmosphere, reminiscent of a museum, feels like the perfect setting for jazz or R&B to play in the background.
In today’s digital age, where boundaries between genres and the volume of information feel blurred, has your relationship with music changed?
It has. In the early ’90s, when I started DJing, a genre called ‘mixture’ started to emerge in music and hip hop was part of that. Sounds were being created by sampling and collaging existing music. The same thing was happening in fashion – sampling became a key element. The way I approach making clothes is very similar to DJing. It’s all about how you blend.
Do you go to live shows often?
All the time. Just yesterday I went to a live house in Shimokitazawa to watch a band made up of my son’s classmates. They’re 17! Clearly, they’re serious music fans. When I run into them at clubs, they’re wearing Undercover, which is cool. Their sound is a mix of punk, noise and even elements of post-punk and techno, all things I was influenced by. Back in the day, punks listened to punk, skaters listened to house or hip hop, and you could tell what music someone liked just by looking at them. But now, you can’t tell at all. It’s less about appearance. Sometimes I’ll see someone in a slightly outdated suit and wonder what kind of music they’re into, then it turns out they’re super knowledgeable, then their outfit starts to look cool! The unpredictability is what makes it so fascinating.
Takahashi’s creative process, driven by his hands-on approach and search for inspiration, has matured with time. For the SS24 women’s show, Undercover was ranked second on Business of Fashion’s list of the most impressive shows of the season. With each collection, the brand’s worldview continues to solidify and captivate.
Undercover’s SS25 menswear collection drew inspiration from the musician Glass Beams
How do you perceive the current state of your brand?
After so many collections, I’ve come to understand how to shape a cohesive vision, even after many failures. On the flip side, I do feel like I’ve become more polished. My passion for fashion design hasn’t changed, and that’s a reassuring sign. That said, there’s still instability. My instincts are often off the mark, but I’ve come to accept that. It’s part of who I am. I’ve learnt to embrace my mistakes. In the past, I didn’t have the composure to handle them. But now, I feel a little more at ease. Maybe it’s just age. I’m okay with the idea that I’ll miss the mark sometimes.
The fashion world is polarised between brands and independent designers. As someone who has upheld an independent and unique approach, you’ve become a representative figure for such designers.
Rei Kawakubo is a great example. Despite the scale, she continues to create as an independent. I believe we owe everything to the trailblazers who came before us. But working without any support at all isn’t my ultimate goal. Having resources makes it possible to choose better show venues, provide better accommodations for staff and execute more ambitious projects. What matters most is having the freedom to create in an environment that aligns with my vision.
Both sides can thrive in a mutual relationship – one depends on the individuality of the other.
Exactly. The big players have a lot of respect for brands like ours that maintain individuality, and we, in turn, respect the maisons that produce more refined and elegant fashion. I think the line between independent labels and those backed by a major capital is one of the most fascinating aspects of this industry. Feeling respected by them is incredibly gratifying and it motivates me even more.
Taken from 10 Men Issue 61 – MUSIC, TALENT, CREATIVE – on newsstands now. Order your copy here.
INCOMPARABLE EXPRESSION
Photographer YASUTOMO EBISU
Fashion Editor MITSUKO WATANABE
Text REI SAKAI
