I've done it, no holds barred!

I have confidence in this work!

Enough talk about the past, please take a close look at the photos.

I think there are many shirts which features the work of artists. But if I hadn't asked Anekawa to do something with embroidery I doubt I would've become so excited about the project in the first place. I have no plans to sell printed shirts either.

Anekawa's needle wasn't simply creating graphics on a surface, but a world with such a force it seemed it might walk straight out of the frame.

The fabric that was touched by his needle takes on a new life, sometimes wrinkled or folded, but never the same.

I was a bit concerned when embarking on this project, which involved making clothing rather than art. Would it be best to choose a fabric that wouldn't wrinkle? Maybe try some new technique on the work?

In the end we arrived at the conclusion, "Don't think, just make".

Looking at the result, I don't think that was a mistake. The bulges of the embroidery, the wrinkles of the fabric... To include this feel in clothing gives the work an interesting, rich impression. Depending on the shirt we used different fabric, each time lending the piece a completely different personality.

The depth of the work comes from the embroidery.

All the way

If I'm going to ask Anekawa to collaborate on a project, there are no stops barred. And especially if we are going to sell it on Mitsubai. I didn't want to make something half-baked. Like adding embroidery to an existing shirt.

So I asked a friend to make an original pattern for the shirt. Ms. Watanabe Naoko was kind enough to accept the commission. I'm pretty sure everyone has no idea who she is. Let's just say she's a personal friend.

We did not compromise on quality. We took our time. First we made the pattern. Before cutting we did the embroidery. Next we cut then sewed and finally added more embroidery and made minor adjustments.

The shape of the shirt is actually not the same between the left and right. That is so the seam didn't interfere with Anekawa's embroidery. And so we ended up with a piece of clothing that had a personality unique to Anekawa's colorful style.

The embroidery itself is multidimensional and expressive. I wonder if it isn't more interesting than his canvas based work.

There's one more unique characteristic: threads which seem to flow from the shirt itself. At the end of the threads are cute charms.

The charms flutter with the wind and as you walk. In other places the thread seems to flow like a waterfall.

As I wrote earlier, the theme was to go all the way, and all the way we went.

I wanted to make something you can't buy or sell elsewhere. So for the thread I also advised, "Go all out".

Wait, can you wash this? Um, actually, can you wear it?
I'm sure the thought has crossed many peoples minds.

Of course you can wear it. Please do.
But if you're riding on a packed train or going somewhere super crowded be careful.
It wouldn't be good if you snagged someone.

And of course, if you wear the shirt please wash it.
I think you've already guessed by now, but wash it by hand. I don't think the "hand wash" mode of washing machines will go over well either. I wouldn't trust the dry cleaners either. Carefully dry it in the shade, and once dry, line the threads back up.

A pain? Yup.
But that's part of the fun.

Between analog and digital

Anekawa works with embroidery.
The sewing machine clicks and clacks away stitching, but the inspiration for the work comes from digital data. That's why the motif for each work has a different taste. There are motifs from previous exhibitions included in the shirt, I couldn't help but smile when I noticed.

Making copies is a speciality of the digital realm, but as you know Anekawa's output is a world of analog where threads flow from fabric. From what was a flat figure sometimes grotesque scenes spring to life, or the flow of thread changes the shape of the work into something else completely.

What was suppose to be a copy of something digital develops its own unique personality.

That gap between digital and analog makes you think as you gaze at the work, and that feels good. Anekawa developed interest in this sensation, and thus came to love embroidery.

Besides making embroidery art as an individual, Anekawa also runs a company, Kanikapira, K.K. which undertakes art, design and art direction projects.

The separation between "work" and "art" is distinct for Anekawa who's "work" mostly transpires in the digital realm. Anekawa thinks he finds balance by combining this with the creation of analog art.

The "work" he does is also amazing.
Amazing, but really difficult to explain.

When you see a collection of his work it's surprising to think that one person created it. Such a variety! What sticks out in my mind is, "The Mysterious Vegetable Aliens Appear".

Anekawa's approach at work is organic in a way, trying to find as many different solutions for a problem with a set parameters, rather than moving straight from start to finish. In order to take such an approach Anekawa founded his company.

It's fascinating to think he takes a bit of everyone's essence at the company and works from there. That's how the company is organized. That's why there's such a variety of work. Then there's the personality of Anekawa which shifts like the magma at the earth's core. Sometimes that personality appears in his work as a volcanic explosion. I wouldn't be surprised if the artist himself doesn't see the whole picture.

That's why I can't take my eyes off Anekawa and Kanikapira's work while I think about another reckless endeavor.
> Anekawa's homepage (Japanese)

The gallery Anekawa belongs to, Nanzuka Underground. There is other interesting art posted on their site.
> Nanzuka Underground (Japanese)

You can also see his work from here:
> phil co., ltd. (Japanese)