Born from a "heart that cherishes things," sashiko embroidery is a craft that Japan proudly presents to the world. This fabric transcends time and generations, still exuding a warm charm today. What are the thoughts behind sashiko embroidery, a work that Katsuyuki Yoshida calls his "final life's work"?

Born in Tokyo in 1947, he has created numerous iconic bags over many years. His influence extends beyond the bag industry, consistently leading the apparel industry as well. In 2007, he co-founded PORTER CLASSI with his son, Reo Yoshida. The brand's flagship "KENDO" series has become a staple item with fans not only in Japan but around the world. Throughout his career, he has consistently championed "MADE IN JAPAN."

I've loved "things" since I was a boy.

When you're little, most kids are interested in toys, but I was a little different; I think I liked "objects." Things like tofu vendors' horns, medicine scales, and incredibly intricate fishing rods and reels. I seemed to want things that most kids wouldn't be interested in. I still love museums, and I think my strong attraction to sashiko embroidery is not unrelated to my love of objects.

My father's teachings and my own sense of mission

In the 1960s, I traveled to many different countries and frequently visited flea markets. As a highly impressionable person in my 20s and 30s, I was exposed to cultures from all over the world, so I was quite the go-getter back then. I was already in charge of bag design, so I think those around me probably thought I was arrogant. Even back then, my father always told me to "cherish the creators" and "properly protect the craftsmen." I never considered myself to be involved in fashion; I'm involved in classical fashion, so I've always had the mindset of doing work that will last for generations, even my grandchildren's generation. Now that I'm older, I've started thinking about what I could do with the next generation of creators and craftsmen, and that's when I encountered sashiko embroidery. It felt less like I encountered it and more like I was called to it.

A shocking encounter that I even felt was destiny.

I remember my first encounter with sashiko embroidery very well. It was at a folk museum in Aomori, and they had slides showing scenes of daily life with sashiko, and when I saw them, I was so shocked I felt like I'd been punched in the face. I couldn't believe that Japan had a technique so deeply intertwined with survival. You can somehow get rid of hunger, but there's nothing you can do about the cold. That's why sashiko is like a means of survival for the people of Tohoku.

I instinctively felt that reviving sashiko embroidery would be my final life's work, but it wasn't easy. I spent five years researching how to reproduce the thread, fabric, strength, and even the overall feel. Funding was uncertain, but I had this burning desire to do it, to preserve sashiko. It was my destiny. This time, in addition to reproductions, I'm also releasing one-of-a-kind jackets made from vintage fabrics from 70 to 80 years ago, which I soaked in hot water to remove dust and dirt, patched together, and repeated incredibly painstaking work to make them as close to the originals as possible. The feeling is almost the same as restoring works of art or buildings. I was able to do all of that because I wanted to leave something for the next generation.

I'm satisfied, but this isn't the finish line.

I believe I've finally been able to revive a sashiko stitching technique that I'm truly satisfied with, and I can only express my gratitude to the people who understood my selfishness and cooperated with me. They really did an amazing job. We've created something truly incredible. I am certainly proud that this revived sashiko stitching is a culmination of my work. However, I don't consider this the end. While it is the culmination of my efforts, there is still much more to come. I plan to showcase everything I have at this point at Isetan Shinjuku Store, Men's Building so please look forward to it. Although I've called this my final life's work, this is also just the beginning. I would be incredibly happy if the next generation could carry on this tradition and it continues to exist for 50 or 100 years to come.

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