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　　说时装圈里有这么一位创意总监，创作的时候，既能保持日式工匠的精湛工艺，又能够完美融汇意大利男装的极致精髓，并且作品还具有相当高的识别度。你可能会说，能做到这一点的人挺多的，但能做到不表明能做精，而就因为这一点，那不勒斯客场取胜，继续保持领先优势他备受尊敬。

　　他就是NG体育日本零售业巨头United Arrows的现任创意总监，同为创始人的

　　Yasuto Kamoshita

　　鸭志田康人

　　作为United Arrows 的联合创始人，与同为创始人的栗野宏文还是有相当大的不同之处。整体来看鸭志更为西化，西服的剪裁上更为考究。颜色与款式的搭配上趋于保守的同时，也体现出了他对经典致敬的穿衣理念。2007年，鸭志田康人在UA旗下发展出了个人男装品牌Camoshita，而大家可能对这品牌比较陌生，总体来说，Camoshita的风格更趋于南意化，传统与创新做工相互集合，但产品生产线都在日本本土，算是真正意义上的国产，而且产品更适合亚洲男性的上身效果。是新晋男装界又一个精品焦点。

　　我们有机会得到鸭志先生的采访，一起来看看他对于2015年Camoshita的设计思路和整体的展望吧。

　　S：巧合创始人Simon

　　YK：Yasuto Kamoshita 鸭志田康人

　　S：Hi Kamoshita， I noticed on the jacket that you’re wearing and on a couple of the Camoshita jackets from the S/S ‘14 season, the fabric isn’t a traditional glen plaid or check you might find for sport coats. How do design these fabrics that end up as jackets?

　　Hi Kamoshita，我注意到你现在穿着的夹克就是来自之前14年春夏系列当中的款式，我发现这款面料并不属于传统格子面料的范畴，还是说你找到了更适合于制作运动款的料子，你是如何将这种新型面料来运用在夹克上的呢那不勒斯客场取胜，继续保持领先优势？

　　YK： I have a huge archive in my mind and experience of classic fabrics, which I then modernize or update. Those jackets you mentioned are based on madras fabric.

　　其实在我脑海里有一个巨大的经典面料档案，创作时我会选择其中最适当的面料将其优化和更新，你提到的应该是我最热衷的madras（马德拉斯布）面料制作的夹克。

　　S： Does it take a lot of trial and error when trying to modernize a classic before arriving at something you like?

　　所以当你想要做出新的款式或者使用新的面料时，是不是要经过很多试错的过程才能实现？

　　Camoshita S/S 15

　　YK： I start out with a strong vision in my head of what I want. Then it’s just a matter of turning that vision into reality.

　　我在开始创作时时，脑海里就已经有了很清晰的概念，然后就是把想象的概念转变为真实的形态。

　　S：Do you design with the Japanese physique in mind?

　　所以你会在自己的设计当中更注重参照本国人的版型么？

　　YK：Yes，We are a Japanese brand, so of course we began with the idea of selling to Japanese customers. But now that we are selling in other countries as well, I am considering creating another fit for customers with broader physiques.

　　对，我们是日本品牌，所以我们刚开始时，在设计理念和售卖理念中肯定要照顾本国人的情况，但现在我们的货品也开始逐步在其他国家售卖，所以有些不同的版型我们也要尝试着去做。

　　S：I noticed sometimes you only button the bottom button - how did you start doing that?

　　我发现有时候你仅仅只会扣上最底下的纽扣，什么时候开始这种穿法的？

　　YK： I love Fred Astaire’s style, and saw him wearing jackets in that style. For that reason also I have the buttons on my jackets a little bit higher, almost like a paddock jacket.

　　我喜欢Fred Astaire的风格，看过他穿过类似风格的外衣，基于这个原因，我也调整了我外衣纽扣的高度，看起来很接近paddock jacket.

　　S： Is there something about Japanese design in general or your design sense in particular that motivates your interest in American style?

　　日式设计中的哪些设计规则触发了你对美式风格的理解，或者说是你怎么将二者融合在一起的？

　　YK：Japanese tailoring history was originally based on English tailoring. After WWII, Americans came to Japan and Japanese culture was heavily influenced by the American one. In the 60s and 70s, there was a lot of influence and interest in how Americans made and wore clothes. In the 80s Italian style started to gain influence, through United Arrows. I was a part of that and among the first wave of Japanese buyers to come to Pitti and bring brands like Attolini and Kiton to Japanese customers.

　　日式剪裁工艺原先是遵从英式剪裁的传统而来，二战之后，美国人来到了日本本土，这样一来美国人的美式剪裁风格给日本国内的服装设计带来了很深远的影响。在60和70年代里，我们开始对美国人平日里的穿衣风格产生了很浓厚的兴趣，而80年代后期，意大利风格也开始进入日本并影响了我们的穿衣理念，然后你知道，我们就创立了 United Arrows，通过UA我成为了首批参加了Pitti Uomo的日本人，同时也为 Attolini 和Kiton品牌带来了首批日本客户。

　　S：Why do you think Neapolitan tailoring has been so successful in Japan? As you say, there is a kind of “culture shock”. Neapolitan tailoring tends to be softer, more rumpled, more casual, and the culture more chaotic and improvised. Whereas my impression of Japanese culture - at least business culture - is that it’s more buttoned-up and proper.

　　为什么你个人会认为意大利那不勒斯剪裁在日本是成功的吗？向你所常说的这属于“文化颠覆”，一般那不勒斯剪裁更加柔和，更凌乱，更随意甚至更加即兴，但据我了解，日本的传统剪裁文化是更趋于保守和平和的。

　　YK：It is true that Neapolitan tailoring is in a sense looser, but it’s also noble and sophisticated. And cool, in a way that I hadn’t seen yet. If something is good, it will be accepted anywhere.

　　确实，那不勒斯剪裁更加自由宽松，但实际上却非常尊贵和精细，而且非常cool，而且某种程度上来讲还有些更加精髓的东西我都还没有领略过，有句话说得好，好的东西在哪里都是受敬仰的。

　　S：The Emperor of Japan still wears English clothes. Is there a class difference in Japan that aligns with style in tailored clothing somehow?

　　日本皇室现在依旧穿着英式风格的服饰，在日本是不是似乎遵从着某种明显阶级差异的剪裁风格呢？

　　YK：The Emperor has an old relationship with his tailor that I’m sure it would be difficult for him to break even if he wanted to. But it’s the older generation in general that still likes English tailoring, whereas the younger generation is the market for Camoshita.

　　皇室们身边是有很老资格的裁缝在身边，我们想要打破常规其实很难办，老一代人比较热衷传统英式风格，而Camoshita在年青一代的群体里就很受青睐了。

　　S：Younger generation in the sense of the current descendants of the ancient upper class or families that have gotten rich since WWII?

　　二战后，那一代人的后代是不是有的富裕阶层或者上层人士中的开始领会到了潮流的精髓？如果是，是什么时候开始的呢？

　　YK：Certainly after WWII, many people were working very hard to rebuild the country and gain wealth. That work industrialized Japan, and made ‘Made in Japan’ into what it is today. But the old families that control the big conglomerates always had people who were fashion-conscious, and at that time they were influenced by the American style of companies like Brooks Brothers.

　　确实在二战后，很多人开始努力工作重建国家来获得巨大财富，慢慢造就了早期工业化的日本，并保持“日本制造”至今，这其中或多或少影响了一些大财团的创始人物的时尚意识，早年前这里很多品牌创始人都是受到布克兄弟等美式创春藤风格品牌的影响吧。

　　S：Why do you think that Japanese brands tend to make clothing more in the American or Italian style, rather than continuing to emulate the English style?

　　为什么你会不会认为日本品牌制作的服饰更多的开始走美式或者意式风格呢？而不是遵从较早之前的传统英式风格？

　　YK：After the war, Western dress, and Western culture in general, was more and more adopted. But it had to be learned - the indigenous Japanese style of the kimono is obviously very far from the Western suit. And what was around at that time to imitate was the American style, because they were in Japan. Then in the 80s when Japan was very wealthy, Japanese people started to travel more, and at that time gained more exposure to other styles such as Italian.

　　通常来说，战后西方服饰和文化在日本国内被更多的应用，但是学术上讲，那时的日本本土服饰只有和服，其风格就和西方服饰有着非常明显的差别，后来美国人最先进入日本，大家开始慢慢效仿美式风格，而80年代后，日本人开始逐渐变得富裕，有些人开始了各个国家的旅行，那会儿很多人就开始接触并且喜欢上了更随性的意式风格了。

　　S：Often in a post-war culture, there is a progression from a focus on the military, to a focus on wealth, and then to arts and literature. Do Camoshita customers come more from any of those backgrounds than others?

　　那么我们知道通常战后文化，起先是重点发展军事，然后增长财富，再然后才是艺术和文学作品，所以，你的Camoshita的客人是不是要比别人更加有背景呢？

　　YK：Our customers come from all different backgrounds. But a typical Japanese office worker, in fashion, is like a professional. Already they have their style. Japanese people in general are very fashion-conscious. I want those people to understand what Camoshita is doing, and also let the world know about Japanese style.

　　我们的客人实际上包含很多不同的社会背景，但大多数属于日本上班族，也有时尚圈里比较专业的人或者从事时尚职业的人，他们已经有了自己的风格，况且日本人都很时尚，我其实想让更多人了解Camoshita在干什么，也想借此让全世界了解日本风格是什么样子。

　　S：Do you think dressing in Japan is very competitive?

　　你觉得穿衣服这门学问在日本会很有竞争力吗？

　　YK：Yes, very! Everyone wants to be better dressed than their friends.

　　那必须的，每个人都希望自己比自己朋友更会穿啊。

　　S：‘Made in Japan’ has become such an indicator of quality, and I’m sure being made in Japan makes Camoshita resonate with Japanese customers. Are there other ways you try to keep the brand close to home and recognized as a Japanese brand?

　　日本制造已经成为了衡量产品质量的保证指标，也让Camoshita和客户产生了良好的共鸣，你还有其他方式来让Camoshita品牌更加接近全日本公认的优质品牌吗？

　　YK：I want to be proud of contributing to Japanese business - both in creating jobs in the manufacturing of the clothes, and in showing the world the attention to detail that Japanese workers have. There are some things that Italian workers maybe do better, and maybe an American designer wants things to be made in America, but as a Japanese person, I would never want to produce anywhere but Japan. It’s where the heart is for me. And I think Japanese consumers appreciate that.

　　日本制造让整个日本的时装制造企业为之骄傲，并向全世界展示日本人对于工艺细节的重视，可能有些东西意大利人做的会更好，美国制造也或许只是满足美国人民的品味，但是我想要让日本制造不单单只属于这里，我想我的心在哪里，日本制造就在那里，我相信这是我们本国消费者更加欣赏也愿意看到的。

　　S：What do you think it communicates in a social setting to wear a casual suit as opposed to jeans or other streetwear?

　　你怎样看待穿牛仔裤或者其他街头服饰在正式社交场合下穿成休闲风格出席？

　　YK：I think these suits fit in with the current movement, so they’re fashionable in a nice restaurant or cafe’. So it projects fashion-consciousness. But not too “dressed up”.

　　我倒觉得挺符合目前的文化潮流，一些时尚咖啡厅或者餐厅就比较适合这种休闲风，这种穿搭意识很时尚，但是重点是不能太过于招摇。

　　S： Can fashion become art?

　　时尚能否成为艺术？

　　YK：I don’t think so.

　　我不这么认为。

　　S：Even Designing.

　　那么设计呢？

　　YK：Well, some people say it’s art, some people say it isn’t. I can’t really say.

　　嗯，有人说是，有人说不是，我也没法定义这个。

　　S：Thank you so much for your time.and then my last question - What do you like about Camoshita?

　　非常感谢您抽出时间做这次专访，最后一个问题，你自己最喜欢Camoshita什么呢？

　　YK：AHAHA， It’s like when you have your friends over for dinner, and cook a nice meal for them, and they tell you that it’s delicious. That’s the way I feel about designing clothes for Camoshita. And that feeling is the thing I like most about the brand.

　　哈哈哈，这就好比你请朋友们来家共进晚餐，大家都夸赞你厨艺非凡，我要的就是这种感觉，Camoshita就能给我这样的感觉，这种感觉就是我喜欢Camoshita的原因。

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