This is the first step in our journey with Kobayashi Manami as she takes flight onto the world stage.
Compiled, interviewed and written by Kensuke Yamamoto
One Year Since the Chopin Competition
A little over a year ago, during the coronavirus pandemic, the Chopin Competition was being held. I feel a little nostalgic now, thinking back to the time when I enjoyed streaming performances by young, elite musicians from around the world almost every night. Aimi Kobayashi gave a wonderful performance at the competition, winning fourth place.
©Darek Golik / Chopin Institute
I read somewhere that the gold dress she wore in the final, which showed various expressions as the light hit it differently with each movement, was made of Nishijin-ori fabric, and after a little research I found out that it was made with HOSOO textiles. The dressmaker that Manami asked to make her costume for the competition happened to use HOSOO fabric, and I told Masataka Hosoo about it right away, and we shared our surprise and joy.
I was also impressed by the many celebrities who wore outfits made with HOSOO textiles at the reception for the special Cartier high jewelry order event held in Kyoto this spring. That's why I thought it would be interesting to challenge myself to make dresses made with HOSOO textiles the standard for special occasion attire for Japanese people who are active on the world stage, like Manami. I immediately discussed the idea with Hosoo, which led to the discussion of whether HOSOO could officially provide Manami with outfits.
Starting the project
In May, I went to see Aimi's performance in Osaka with Hosoo and experienced her wonderful piano playing. Soon after, I visited the HOSOO showroom in Kyoto with Aimi. She showed me samples of a huge variety of fabrics for making costumes, and this project began.
Finding a fabric sample from the costume worn in the competition, Manami's eyes sparkled as she exclaimed, "This is mine!" From classic concepts to more modern tastes, Hosoo took his time to explain the textiles for about an hour, and they considered which fabric to use to make their next costume.
In the end, two pieces were selected, and it was decided that the costumes would be made from this fabric, to be unveiled at the solo performance at Suntory Hall on November 22nd. The dresses were designed by Yuima Nakazato, who has his own brand YUIMA NAKAZATO and continues to be active in the Paris Haute Couture Collection.
After about four fittings and some minor updates, the dress was finally completed in early November. We spoke to Manami again ahead of the show on the 22nd, in addition to fitting and photoshoot.
Impressions of HOSOO fabric
I knew that the fabric of my dress for the final stage (of the Chopin Competition) was Nishijin-ori, but at that point I didn't know it was from HOSOO. However, I thought it was modern and Japanese, which was nice.
Afterwards, I had the opportunity to visit the showroom, and there were so many fabrics, I was overwhelmed (laughs). When I hear Nishijin-ori, I originally think of kimonos, and I thought there would be more fabrics that would evoke more traditional kimonos, but I was surprised to see that there were also many modern items.
In particular, the black fabric I chose this time has such a modern feel that you wouldn't know it was Nishijin-ori unless I explained it to you. It was also an opportunity to broaden my perspective on Nishijin-ori.
I think that how to make it look modern while maintaining a traditional commitment is an important part of HOSOO's identity, but just because it's new doesn't mean it's eccentric, but rather you can feel the history. It's wonderful that it adds new elements based on the origin. It may have something in common with what I want to express with the piano.
The first separate, pants-style dress
This time, the dress has pants instead of a skirt as the bottom, and I initially imagined it would be a normal dress. However, when I checked the sample that came out, I thought it would look cooler with pants, so I decided to try a pants style for the first time. It's also the first time I've made a separate type with a top and bottom. At first glance, it's hard to tell whether it's separate or pants, but I'm looking forward to this new dress in many ways.
Before it was completed, we had a total of four fitting opportunities, and each time I shared my opinions and it gradually got closer to my ideal, so it felt like we had been working together to create it.
Since I'm petite, I often have my size tailored to my specifications, but up until now I've mostly had ready-made items slightly customized or semi-ordered. Rather than creating something through an exchange of opinions, I've mostly just checked out the almost-finished product.
Because I didn't have a clear image of the goal, this was the most difficult dress I've ever made, but it was a new challenge for me, and I'm glad I was able to make an artistic dress. It was the first time I was involved in making a dress from scratch, so it was a good experience. There are still not many people who wear this kind of glamorous yet modern outfit in a classic style, so I hope I can spread that feeling, including the textiles.
What to look for in a stage dress
I don't really like the old-fashioned dresses that are still often worn on the classical stage in Japan. I like sensational dresses like Yuja Wang, but I don't need to show off my legs that much (laughs).
Of course, the most important thing is that everyone should wear what they like. It's best to play in your favorite design and comfortable clothes. When I go on stage, I feel better in something flashy, and I want to wear a dress because I'm a girl after all. Most men wear suits, and I sometimes think that's easy and good, but it's hard, but it's one of the fun things about being a woman. I hope I can enjoy it.
About this performance at Suntory Hall
The last performance at Suntory Hall was in March, so it's been about 8 months. For us musicians, it's a special thing to be able to perform at Suntory Hall, so we've changed all the songs from last time and hope to show the audience a new side of us. The final program was decided around September. This time, we will mainly focus on Bach and Brahms.
German classical music gives the impression of going back to the basics. The music has a strong classical aspect, but I would like to add a modern essence to the performance. There seems to be a synchronicity with the image of HOSOO and the fabric.
Actually, I don't like Bach that much, but after the competition, I wanted to try new composers, and Bach was one of them, along with Schubert, who I performed at the last Suntory Hall concert. Oh, and of course I'll include Chopin in the repertoire (laughs). And I thought Brahms would fit in that lineup, so that's how I decided on the repertoire for this concert.
Brahms tends to be played by men. It has a hard, heavy sound, and the pieces themselves are long. I feel that I am better at the ennui-filled, thin pieces that are often found in the works of Mozart, Chopin, and Schubert than the masculine pieces of Brahms, but the Brahms Op. 119 "Four Pieces" that I'm playing this time is a work that mixes those elements, so I decided to give it a try. Although I say that I'm not good at it, I rank Brahms, Bach, and Schubert along with them, so I guess I like classical music and German-speaking music after all.
How to approach composers you think you might not be good at
Like Bach, even if there are parts of a composer that I don't really like, I think it's better to challenge myself to face the pieces of those composers while I still can. If I don't do it now, I might not be able to remember them.
I was often told to learn difficult pieces by the age of 20, but now that I'm 27, I understand that very well. If you don't get input while you're young, you'll get slower and slower at learning. There's probably a line between 25 and 30.
I think it will be really hard to tackle new composers and their works after I'm in my 40s, so I hope to have input into my mind the characteristics of the composers before then. A few years ago, I heard Mitsuko Uchida play Beethoven's Diabelli Variations. There may be pieces like that that I want to play when I'm older, but while I'm still young, I want to set a high percentage of challenges and continue learning every day.
Being active on the world stage and being aware of being Japanese
A year has passed since the competition, and the media coverage of my work has changed a little, and I'm glad that I have more opportunities to perform abroad. I've also started to feel a sense of responsibility for my life.
I started living in Paris this summer, and it was perfect timing for me to realize the desire to make Europe, and especially Paris, my base of operations. While living and performing abroad, I don't always feel strongly conscious of being Japanese. Classical music originated in Europe, and from that perspective, we are inevitably outsiders, so I don't feel that I have to express myself as Japanese.
However, I also feel the good things about Japan, where I was born and raised, and I am proud to be Japanese. As for the costume, I am very happy to be able to wear a dress like this time that makes use of the good things about Japan, and I think that is something that can only be done because I am Japanese.
As for music, I also like the composer Toru Takemitsu, who is also popular in France. It would be fun to be able to play his music, and I hope to be able to include it in my program in the future. In that respect, I envy the Germans, who can play a lot of music by composers from their own country (laughs).
It's been a year since the competition ended. I feel a little relieved now that I'm free from the obligation of having to participate in the competition. However, I still feel a little impatient, but I want to take my time and continue doing my best, cherishing my current feelings.