15 Minutes With Masayuki Ino Of Doublet

Originating from Japan, Doublet was established seven years ago by Masayuki Ino who decidedly wanted to create streetwear attire that subverts itself from the typical. The gender-fluid label has gone from strength to strength, from winning the highly coveted LVMH Prize for Young Fashion Designers to being worn by celebrities such as Kendall Jenner and Travis Scott. We chat with Ino and find out what he has to say about how the business has evolved, his fascination with technology in fashion and more.

How has winning the LVMH Prize last year affected the brand?

It has been very impactful. A lot of people all over the world now know about Doublet or want to know more about Doublet. Before this, if we did something like the horror funhouse mirror installation [for Dover Street Market Singapore], people would probably think that Doublet is just about shock or gimmicks. Now, people think differently; they dig deeper into what the brand is about.

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What is Doublet about?

It’s not just about fashion; it’s also about creating an experience. Like the Polaroid film T-shirts that revealed hidden images when photographed with a flash, it’s about fun, but also about something that stays in people’s minds. In each of our garments, there is a tag that details the whole process and a description of each piece. We do these special tags and messages [in the hope] that customers will love and wear the clothes for as long as they can.

From the Polaroid shirts to the just-add-water expanding pieces, it seems that technology and innovation is a huge part of the brand— has that always been a fascination?

I’m interested in technology, but not in the sense of something very advanced or futuristic. I like discovering materials or techniques that have not really been used in fashion. When I find that, I get very excited and I will keep researching; like finding suppliers that are able to do what I have in mind. I usually get inspired by something I have seen or experienced in daily life or my childhood.

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Do those materials and techniques determine the start of your creative process each season?

It always starts with ideas. I would write down a list of ideas that I have, and then decide which ones can actually be executed. Once I’ve settled on an idea, I would dig deeper and brainstorm on the details even more.

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