diaments colour designer, Daisuke Oguchi, uses social issues surrounding immigration as a backdrop for his upcoming collection. While the term ‘immigrants’ could mean a body of people forced to move due to unavoidable reasons such as conflicts, persecutions, and disasters, the majority of immigrants could be culled as a result of work relocation, familial needs or the pursuit of higher education. Current realities of the pandemic have also transformed the conventional ideas of work and living spaces, limiting our exposure to the stresses of day-to-day, to a much more digitized experience, centered around the internet. Oguchi, proposes historical issues along with conversations around immigration, conterpointed by his modern-day take on social progress and change. In parallel, ‘migration’ can also be viewed as a movement of thought- the evolution of a way of thinking, and the alteration of preconceived notions. The idea of moving could also mean going from an old place to a new place - comparable with moving from past to the future. These principles sit at the core of this collection.

Oguchi, had many opportunities to make clothes in Shinjuku and Denenchofu, and often traveled back and forth from his home and atelier in Edogawa Ward. While in Denenchofu, he worked in a small company that made samples for the Parisian shows. During his commutes he would witness the disparity among class systems, from his home is Edogawa Ward, which is generally composed of people with lower socioeconomic means, contrasted by the opulence of Denenchofu - inhabited by the wealthy. While only a short commute away, their large differences only amplified Oguchi’s point-of-view.

At work, the President's grandson would play house or pretended the leftover yards of fabric were actual garments. He often wondered how much the unused yardage, that failed to be made into hundreds of thousands worth of clothes, actually costs. While watching him play, he would imagine the purity of a child’s mind, completely naive to the idea of a capitalist society. It was a fresh and untainted experience for him. He identified the vast margins in life quality, juxtaposing the abundance of luxury cars and well-kept individuals to the harsher imagery of the working class. The defining line that separated the two worlds was clear, but also their choices in fashion were too. He was intrigued by utilitarian design found in his hometown, which differed from Shinjuku - which was mostly tailored suits, and Denenchofu where the quality of the garment outweighed any ideas surrounding taste level.

One perspective, through the eyes of one man seeing two worlds - the differences were apparent. With the gradation of capitalism only miles away from each other, Oguchi explores the idea of how immigration can alter the workings, ideas, and way of life of an entire people. He mixes this narrative with modern-day dressing and his own life experiences, while maintaining the originality of the Japanese aesthetic.

Oguchi, encourages the viewer to experience the collection much like the plot of a movie. He designs clothes that paints a general idea, but upon closer inspection the true story unfolds. At first glance it may seem joyus, but the closer you look you begin to fall. The details, blurry from a distance, gradually come into focus the closer you look, so that the gravity of the emotion can be felt. His aim, by simplifying or over-decorating the universal silhouette, is to galvanize a deeper exploration of his designs, which he hopes will embody a sense of discomfort and melancholy.

We can now fix contemporary issues by using problem-solving methods learned from the past - acquired knowledge that formulate what clothes were or should be, and informing us on how we dress today.

Contemporary Art, particularly, sculptor Katsura Funakoshi, and Skate culture, combined with the delicate hand of Haute Couture are all what continues to inspire the designer. A culture clash of different experiences are unified by functional silhouettes and chic detailing. Men’s pieces have elements of femininity that reference a medieval aesthetic. This can also be said about his designs for women.

Because of his smaller frame, Oguchi has always embraced a more gender-fluid design language. He often manipulates the wearer to be viewed in an elevated way, rather than just clothes. While his past experience was centered around womenswear, his own collection reflects a gender-neutral voice he hopes will reach broadly.

diaments colour presents an aesthetic for the “new normal” by making genderless and timeless pieces, unconfined by the rules of fashion.

Born in 1997 in Nagano, Japan, Oguchi enrolled at Tokyo Mode Gakuen College of Fashion & Design, majoring in the Advanced Diploma Courses, in 2016. In 2018, he received the 19th Millennium Grand Prize Jury Special Award, the 92nd Soen Award, the New Designer Fashion Encouragement Award, and Nippori Design Contest Juki Sales Co., Ltd. Award. In 2019, Oguchi also received the Intreccincantiere Award Semi-Ground Prix in Italy, The 93rd Soen Award Semi-grand Prix, and Nippori Design Contest Tokyo Chamber of Commerce and Industry Arakawa District Chairman Award. He presented his collection at the Kansai Yamamoto Nihon Genki Project in Japan, and Kansai Yamamoto International Project at the British Museum Gray Court in England. In 2020, he received JASSO Japan Excellent Student Incentive Award. He designed and produced 10 looks as featured costumes for the Gotsu Pro’s 5th Performance, "Hazama no Wadachi” - performed in Tokyo, Osaka, and Taiwan.