In the fickle world of fashion, where players come and go with the regularity of the seasons that their working lives are firmly pinned to, there are fortunately just a few who hang in there to lend some sense of continuity.
While Paris, the world's undisputed fashion capital, boasts big names by the dozen, Japan's fashion scene since the early '80s has been dominated by just a few luminaries -- notably Hanae Mori, Issey Miyake, Rei Kawakubo of Comee des Garcons, Yohji Yamamoto, the Koshino sisters (Hiroko and Junko), Yukiko Hanai and Yuki Torii.
However, thanks to such creations as Mori's haute couture extravaganzas and Miyake's fashion-meets-art pleated pieces, Japanese fashion has long been on the world's radar. And, of course, Kawakubo and Yamamoto are famously responsible for teaching the world how to wear black.
While such big names have brought new inspiration and ideas to wardrobes around the globe, few Japanese have stayed at the top of the fashion-world heap as long as Tokyo-based designer Yuki Torii, who this year marks her 30th year of showing work in both Paris and Tokyo.
Commenting on Torii's work and career, Nao Oishi, a respected fashion journalist who covers shows in both Paris and Tokyo, was quick to praise the way Torii "seems to infuse her designs with a genuine 'Parisian spirit and ambience' in a very natural and easy way."
In contrast, though, she recalled that "Torii's first collections emphasized Japanese themes, graphic motifs and color. But later she redefined them with a personal and vividly modern interpretation.
"Now, without relying heavily and obviously on her Japanese heritage, she continues to express her designs in gradual and subtle stages of refinement.
"As a fashion designer I believe she has marshaled her talents in the pursuit of refinement, beauty and -- yes -- even poetry."
Perhaps such plaudits -- and her success under the microscope of the Paris shows -- are in part due to Torii having fashion in her blood, since both her mother and grandmother were prominent seamstresses.
Torii's success ensures that she is nothing if not busy, juggling her time between designing and managing a business that includes 25 trademark items under license agreements with 18 companies. The past few months have been even more hectic than usual due to all the preparations for her landmark anniversary show, held last Tuesday at the Yoyogi National Stadium before an appreciative crowd of almost 4,000.
In the middle of all that, at her atelier in Tokyo's upscale Minami-Azabu district where she was auditioning a bevy of lanky European models for her show, Torii nonetheless found time last week to answer a few questions from The Japan Times.
That was only after this writer had had the pleasure of watching her at work for an hour, fussing over a model like a concerned mother, dancing around the statuesque form towering over her, rearranging a belt here, tugging on a skirt there and standing on tiptoe to turn up a collar as she ensured the clothes all fitted perfectly and the ensemble was faultlessly coordinated.
Finally stepping back to give the wasp-waisted model a final once-over from head to toe, Torii utters a triumphant "hai" before, satisfied that everything was in order, she broke off for a coffee and a cigarette -- and our relaxed chat together.
Thirty years ago, when you first went to Paris to show, what do you think was the biggest obstacle facing you?
An important point in showing one's designs in the Paris Collections is to underline one's own strongest characteristics. Although I want to make various things, I have to express something that is sufficiently strong and charming. In the first show, it was difficult to concentrate on the essence in order to express qualities peculiar to me. That was the obstacle. After the first show, I understood what to do.
Why do you use mostly European models? Do you prefer a certain kind of model to showcase your designs on the catwalk?
The answer is simple. In the Paris Collections, models from all over the world gather and designers choose ones suitable for expressing their ideas. They are from the United States, France, Russia, etc. Each piece is specifically tailored to a model's height and balance. That same ensemble is then brought back here to use in the Tokyo collections. So, we look for a model of the same size. Naturally, I would prefer the model to be a foreigner, but if there is a Japanese model whose size is the same, we use her."
Do you think it is true to say that Japanese are some of the most fashionable people in the world?
I think these days, there is no difference from country to country.
What is your assessment of some of the trends and styles that young Japanese pick up on?
It is natural for young people to enjoy fashion to the fullest extent. I value them for expressing the individuality of people who live in their age, as I did when I was younger.
Are you worried, as a businesswoman, by the growing strength of China?
I feel a strong energy from China. In my work, dealings with China are increasing -- especially in the areas of sewing, embroidery, processing and raw materials. China has great potential that has not yet been tapped. Rather than having any worries, I am interested in the possibilities.
Do you design your own fabrics, or do you buy them from Japan and overseas?
I sometimes use kimono-style fabric designs. But I do not deliberately incorporate Japanese characteristics into my work. But journalists in Paris still seem to find exotic Japanese or Oriental qualities in my designs. Maybe they see them in the use of colors and prints.
I also use polyester quite a lot. In most cases, the other fabrics are original, Japanese-made ones.
What inspires you to create a collection?
I receive inspiration for designs from my daily life. I believe that in order to be able to create the next collection, it is very important to be in tune with nature.
I may get inspiration from Asia for some seasons, while things Russian or Latin American may look fresh in other seasons.
In your spare time what do you like to do? Where is your favorite spot for relaxing?
My hobby is tending trees in my garden. To me that time is precious, because I can really get a feeling of relaxation, which is irreplaceable. On my days off, I go to a nearby park and spend time under a large tree; I think it is a good way to keep healthy.
I actively enjoy my free time -- I often go to Karuizawa for a short vacation or visit Kyoto with close friends for the weekend. Golf is also a hobby of mine -- although it is very hard to find time to play it.