The feelings that overflow from an individual, pure and unclouded, are like the “water” that fills a depleted vessel. Hiroaki Sueyasu, ruminating on his fundamental mindset toward creation, strongly reconnects with his “core,” which he assures eternal, through the Fall-Winter 2023 collection.
Sueyasu being devoted to the masterpieces and countless films of Spike Jonze, Harmony Korine, Danny Boyle, and the documentaries of the Z-Boys capturing the precarious atmosphere of teenagers, depicting a dangerous connection between the sense of loss and the everyday life of youth-including skating and punk, creating empathy on a spiritual level to find all the beauty and ugliness in the unevenness of each life, the confusion and salvation, shadow and light. The events that coincide with the old skate are the most proximate to the collection.
Through the collaboration with DC SHOES and DC skaters, Sueyasu’s most present-tense emotions are clearly expressed in the collection. He applies multi-prints to military materials that evoke the DIY atmosphere of old skateboarding which landed a meet of the tweeds and tulles and pursued on to the unexpectedness of the combination of the bijoux and the ribbons. Foregrounding the do-it-yourself spirit more than ever was a manifestation of the skaters’reverence for a mindset that values freedom, and the most unrestrained approach to conjure the “core” of Sueyasu more than ever.
In addition to the ample perceptions captured by the ongoing dialogue with many collaborators, and with the noise ambience of Wong Kar-wai’s films – the smoky air, the dreary grass and flowers, the decadent and chaotic mood, the sharp gaze gliding the gender gap eliciting the texture of a deteriorated wall paper reflected in the combination of denim and girl prints adding to the quintessential of KIDILL’s interpretation of the boy’s look inducing the masculinity and the charm at the crux of the collection.
Thus the image of each individual living their days and immersing themselves in skating as to fill the void of depletion, and dissatisfaction, only then can they discover another reality and desire of their own, developing a connection with their peers to be saved. The decisive purity being the outset of their actions synchronizes with the “essential freedom” that Sueyasu himself continues to covet throughout his life. “Fashion saved me,” he said, recalling the fateful initial impulse that led him to start his creations in London, following his own feelings alone.
“I am saved as in the past by moving my hands as I desire to customizing vintage clothes without refrains. I can plunge my frustrations both residing in reality and imagination to form a structure to my “likes”, a fact that will never not change.
Although the “likes” sometimes binds us, at the same time brings out freedom. What is certain for oneself is to be eternally connected to one’s “core,” which is pure, and believable. This is the beauty of one’s own style. Whatever name may be given to, processing on updating, never standing still, and never feeling left to run dry to construct a new counterpoint. The enfants terribles is the current statement of KIDILL.