Interview: Kenta Miyamoto & Kunimasa Odagi

This spring, the newly reimagined ENGINEERED GARMENTS TOKYO opened its doors in Jingumae. The building, unified in shades of grey, stands out with a striking modern presence, but also stands on the spot where Nepenthes was originally founded in 1988.

In this new space, we spoke with Engineered Garments director Kenta Miyamoto and designer Kunimasa Odagi, both visiting from New York. They shared their thoughts about the new space and the ideas behind the latest collection.

NEPENTHES: The new ENGINEERED GARMENTS store, with its grey palette, has a simple aesthetic that feels distinct from previous locations. Could you tell us about some of the key design details and what you focused on when creating the space?

Kenta: The new store is built around an industrial aesthetic, designed to evoke the atmosphere of a downtown New York gallery. With its raw, minimal feel, we wanted the clothing to stand out, almost like works of art.

Even though we’re in Jingumae, it carries an artistic sensibility that subtly reflects New York, which I really like. In addition to showcasing the EG collection, we hope to use the space to present related art and photography, creating a platform to share our broader worldview with the audience.

Kunimasa: I think it turned out to be a simple and very well-balanced space. The large windows let in plenty of natural light, giving it a real sense of openness, which is one of its key attractions.

Whether they’re already familiar with EG or discovering it for the first time, I hope people can experience the garments here firsthand, feel something, and connect with them. This space both reflects the established world of EG and allows us to express new directions more fully. Moving forward, we see it as a base from which we can actively share and communicate that vision.

NEPENTHES: The EG collections are created by a two-person team; Mr. Miyamoto and Mr. Odagi. Could you tell us how each of you approaches the creative process and what roles you take on?

Kenta: I begin by directing the overall vision of the collection, and then work closely with Odagi to refine each piece one-by-one. At the same time, since EG uses around 70 to 90 different fabrics each season, we’re also selecting and sourcing materials in parallel.

From the early stages of sampling, I already have a fairly clear image of the seasonal visuals in mind, and we build the entire process around that vision. Because the brand involves a large number of styles, it feels like assembling a puzzle: gradually fitting each piece together over the course of two to three months to complete the larger picture of the season.

Kunimasa: Miyamoto usually leads the seasonal theme, materials, and overall flow of the collection, while I focus on structuring the garments; refining the silhouettes, patterns, and details.

That said, we fundamentally build the collection through ongoing dialogue. In practice, we’re constantly exchanging ideas as we review samples, images, and references together, so rather than a strict division of roles, it feels more like we’re gradually shaping the collection through small shared adjustments. Ultimately, I think that process of dialogue is exactly what gives the collection its unique character.

NEPENTHES: This marks your second season since taking over design of the brand from its founder, Daiki Suzuki. How do you feel about continuing and carrying forward the brand’s legacy?

Kenta: Under Daiki’s direction at EG, I believe his personality was expressed to the fullest. This is something I came to understand through many years of working closely with him, and is one of the most important things I learned under his guidance. I also believe that the process of making things may look simple on the surface, but in reality it’s a very difficult thing to achieve.

Moving forward, I’d like to continue exploring how to project and express myself to our audience whilst staying within the framework of the brand.

Kunimasa: Taking over a brand certainly comes with a sense of pressure. EG has such a strong foundation built upon years of archiving and such a clear philosophy, so I also find it interesting to reinterpret that history through a newer lens.

On a personal level, I focus on organising the particulars of the products, such as silhouette and detailing, while respecting the existing designs and only introducing updates gradually. Rather than making abrupt changes, I believe the ideal approach is for the brand to evolve naturally, preserving the atmosphere that EG has come to embody.

NEPENTHES: This season’s collection featured a particularly striking use of black and white. What was the concept behind the collection?

Kenta: Compared to previous EG collections, I think this season takes on a somewhat unique direction. In a meeting prior to development, the topic of ska music came up, and when we explored that further, we arrived at the concept of two-tone, a palette strongly associated with ska.

Ska as a theme had been in the back of my mind for some time; the attached culture has always had a very distinct sense of style. Given that this is a summer collection, I thought it would be interesting to explore how that style could work within the context of EG. In the end, it became more expansive than I had initially imagined [laughs], and we made the bold decision to restrict more than half of the collection to just black and white.

Through creating this collection, I learned a great deal. Even though it sounds simple, there are countless variations of “black and white” when it comes to fabrics, and selecting and balancing them across the collection proved to be more challenging and time-consuming than we expected. Precisely because the palette is limited to such simple tones, it made it both enjoyable and challenging to bring depth to the concept through fabric variation and translate the concept into individual pieces.

Ultimately, I feel this collection respects EG’s existing worldview and reconstructs it into something that presents a new perspective.

Kunimasa: The contrast of black and white, along with a free-spirited atmosphere, is something that I feel resonates with the sensibilities EG has long valued. In that sense, rather than directly quoting ska itself, we approached the collection looking to express its mood and rhythm through the garments.]

Since the collection is based on a monochrome palette, we intentionally kept the number of colours to a minimum and focused on allowing the character and texture of the materials to stand out more clearly. For example, tropical wool is lightweight and breathable; while it carries a composed and structured impression, it also feels light and relaxed depending on the silhouette. Meanwhile, Indian fabrics have a distinctive weave and texture, creating a soft, dimensional atmosphere even without a wide palette. Crocheted-like materials, which haven’t appeared often in EG collections, add a fresh sense of openness and airiness. The custom checker printed ripstop fabric serves as a visual two-tone motif inspired by ska, acting as an accent throughout the collection. Linen blends offer a light weight with a soft hand, and along with knitted materials and jersey have a summery, comfortable feeling.

During the development process, we were reminded that even black and white fabrics can vary greatly in thickness and texture. Working through samples and carefully adjusting combinations was a fascinating challenge. With a limited palette, the collection is structured so that the layering of contrasting materials can be more fully appreciated.

NEPENTHES: Which items are you each particularly fond of this season?

Kenta: Personally, I’m fond of the Painter Pants featuring our original checker pattern. The cotton ripstop is one of EG’s classic materials, and the process of printing a checker pattern onto a base that already features a grid pattern is something I feel is very characteristic of EG.

Painter pants have been a staple in my own life in New York – I wear them almost every day – so this piece, in particular, carries a strong personal attachment for me.

Kunimasa: One piece I really like is the Claigton Jacket in the same checker print. It’s relatively short with no lining, and it can be fastened with both a two-way zipper and snap buttons, so you can style it many different ways. It’s simple in design, and even for outerwear it’s light enough to be easily wearable through the spring and summer.

Another piece I’m fond of is the Referee Jacket in grey micro houndstooth tropical wool. It’s a new style for the season season, and carries a casual sensibility that lines up well with the overall theme. It’s easy to wear, and details such as the rib panels at the shoulders add some subtle visual interest. The bomber/referee design strikes a good balance between functionality and style, meaning it fits naturally into everyday wear.

NEPENTHES: As a final question, what have each of you been interested and immersed in outside of your work recently?

Kenta: Lately, one of the things I enjoy most in my daily life is visiting bookstores. What I find fascinating about New York is that you can experience underground trends in the scale of a (relatively) small city. While it sometimes feels like there are fewer interesting clothing stores these days, independent and creatively driven spaces like restaurants and galleries are still emerging, and I often draw inspiration and stimulation from places like these.

I’m particularly interested in the way art books are curated and presented. Each selection reflects a distinct curatorial perspective, and there’s a kind of richness unique to books that you can’t often experience in the age of social media. The types of books I choose vary widely, and I try to approach each trip without a preconceived plan, selecting whatever resonates with me in the moment.

Kunimasa: Recently, there haven’t been any major changes in my life; I’ve been enjoying the small moments in my day-to-day. I always enjoy visiting vintage clothing stores and thrift shops, where the items and details I come across by chance often inspire my work. Moments like that have always been an important part of my routine.

I’m also drawn to outdoors products, and rather than focusing on specific brands, I enjoy wearing and using them as a way to test and experience them firsthand. Beyond their design appeal, I love considering how their functionality integrates into everyday life.

Football is another important part of my life that I’ve been engaging with for a long time. The rhythm and sense of awareness gained through physical movement, the ability to make split-second decisions and feel the flow of the game; it all feels closely connected to my approach to design. Everyday observations whilst walking around the city and the physical sensibilities I gain from playing football form small hints of inspiration for me, and ultimately coalesce into my ideas for the next collection.

The new Engineered Garments Tokyo store can be found at 5 Chome-45-12 Jingumae, Shibuya. The latest collection can be shopped online here.