Rewrite
Textiles are also an imperative part of this process. “As our shapes are quite classic with just a design twist that makes it very particular, wearable and understandable, textiles are extremely important. Actually, the textiles define the pieces we’re going to make with them. That’s why, even if we were very small and young, we strategise to develop our materials with suppliers from the start,” says the designer. “At first all the colours, then knitwear, and now jacquard – we find print too decorative. We also narrow down the colour game as much as possible in order to be extremely precise with having the exact same colour on all materials.”
Nouchi adds, “I’m also obsessed with the meaning and names of colours, and all the implicit connotations linked to them. It’s really how you can play with mainstream and almost unconscious ideas with a very cerebral creative process.”
Starting off as a menswear-focussed fashion brand, LGN launched womenswear during the AW24 season, delivering looks that effortlessly fused sharp tailoring with bold femininity. “Our men are so fierce, I wanted the girl to be the same,” he says. Who is she? “She’s friends with the LGN men, colleagues, best friends, rivals… I don’t want a couple situation; she doesn’t need anyone to get what she wants.”
Nouchi wasn’t always on the path to fashion, though he was always interested in it. “It might be a cliché, but as far back as I can remember I was drawing silhouettes and looks; creating my inside’s characters…[but] I was very afraid of the fashion world. I’m not from a place where it was something [that] mattered or [was seen as] important. So I never imagined I would have access to it,” says Nouchi. “My first emotion [around it] was watching people in the street, coming out of stores like Colette or Yohji Yamamoto; it was a complete shock for me, just to know that it was possible to dress like that.” Nouchi only veered into the fashion industry after a stint studying medicine and later, gaining a bachelor’s degree in law. “I graduated quite young from high school, and it wasn’t possible for me to pay for [the] expensive school in France at the time so I did a classic university course. After the bachelor in law, I was like, ‘What I’m going to do with my life?’” he says. “So I tried to reach out to all the fashion magazines ([I] didn’t have any access to any brand, and also didn’t know how to stitch a button) and finally got an internship at Vogue Paris – Carine Roitfeld was in charge at the time. They advised me on fashion schools to apply to and after that, I got my bank credit to go [to uni] in Belgium. That’s how the adventure started!”
But, having studied, in depth, these polar subjects before departing for Belgium, his perspective on fashion is undeniably multifaceted. “I realise now that it helped me in a more diverse way than what I’ve learned directly there: it’s a public French university system so you need to be independent and autonomous in your way of working. You can choose if you attend or not to class, where you go, how much time you study,… there’s a lot of work and memory. I spent all my days at the library surrounded by books, carrying books and reading/writing all the time. Interacting with people was key, and all my close friends are from that period. It gave me stability and a hardworking base. It made me learn that it’s ok to fail, you just have to continue and find a new way. There’s always more gifted people, but it’s not because of this that they will be happier or can succeed more than you.”
In 2023, Nouchi was awarded the ANDAM prize. A prestigious achievement that celebrates young designers set for success. “Winning such an iconic prize with this particularly high level jury was a real surprise for me and huge joy for my team. It felt like a real validation from the industry for all the work we put so far in the brand. It gave us more confidence to push more and stretch ideas we had. But it’s also pressure to not disappoint, and that you need to transform this chance into reality.”
in HTML format, including tags, to make it appealing and easy to read for Japanese-speaking readers aged 20 to 40 interested in fashion. Organize the content with appropriate headings and subheadings (h1, h2, h3, h4, h5, h6), translating all text, including headings, into Japanese. Retain any existing
tags from
Textiles are also an imperative part of this process. “As our shapes are quite classic with just a design twist that makes it very particular, wearable and understandable, textiles are extremely important. Actually, the textiles define the pieces we’re going to make with them. That’s why, even if we were very small and young, we strategise to develop our materials with suppliers from the start,” says the designer. “At first all the colours, then knitwear, and now jacquard – we find print too decorative. We also narrow down the colour game as much as possible in order to be extremely precise with having the exact same colour on all materials.”
Nouchi adds, “I’m also obsessed with the meaning and names of colours, and all the implicit connotations linked to them. It’s really how you can play with mainstream and almost unconscious ideas with a very cerebral creative process.”
Starting off as a menswear-focussed fashion brand, LGN launched womenswear during the AW24 season, delivering looks that effortlessly fused sharp tailoring with bold femininity. “Our men are so fierce, I wanted the girl to be the same,” he says. Who is she? “She’s friends with the LGN men, colleagues, best friends, rivals… I don’t want a couple situation; she doesn’t need anyone to get what she wants.”
Nouchi wasn’t always on the path to fashion, though he was always interested in it. “It might be a cliché, but as far back as I can remember I was drawing silhouettes and looks; creating my inside’s characters…[but] I was very afraid of the fashion world. I’m not from a place where it was something [that] mattered or [was seen as] important. So I never imagined I would have access to it,” says Nouchi. “My first emotion [around it] was watching people in the street, coming out of stores like Colette or Yohji Yamamoto; it was a complete shock for me, just to know that it was possible to dress like that.” Nouchi only veered into the fashion industry after a stint studying medicine and later, gaining a bachelor’s degree in law. “I graduated quite young from high school, and it wasn’t possible for me to pay for [the] expensive school in France at the time so I did a classic university course. After the bachelor in law, I was like, ‘What I’m going to do with my life?’” he says. “So I tried to reach out to all the fashion magazines ([I] didn’t have any access to any brand, and also didn’t know how to stitch a button) and finally got an internship at Vogue Paris – Carine Roitfeld was in charge at the time. They advised me on fashion schools to apply to and after that, I got my bank credit to go [to uni] in Belgium. That’s how the adventure started!”
But, having studied, in depth, these polar subjects before departing for Belgium, his perspective on fashion is undeniably multifaceted. “I realise now that it helped me in a more diverse way than what I’ve learned directly there: it’s a public French university system so you need to be independent and autonomous in your way of working. You can choose if you attend or not to class, where you go, how much time you study,… there’s a lot of work and memory. I spent all my days at the library surrounded by books, carrying books and reading/writing all the time. Interacting with people was key, and all my close friends are from that period. It gave me stability and a hardworking base. It made me learn that it’s ok to fail, you just have to continue and find a new way. There’s always more gifted people, but it’s not because of this that they will be happier or can succeed more than you.”
In 2023, Nouchi was awarded the ANDAM prize. A prestigious achievement that celebrates young designers set for success. “Winning such an iconic prize with this particularly high level jury was a real surprise for me and huge joy for my team. It felt like a real validation from the industry for all the work we put so far in the brand. It gave us more confidence to push more and stretch ideas we had. But it’s also pressure to not disappoint, and that you need to transform this chance into reality.”
and integrate them seamlessly into the new content without adding new tags. Ensure the new content is fashion-related, written entirely in Japanese, and approximately 1500 words. Conclude with a “結論” section and a well-formatted “よくある質問” section. Avoid including an introduction or a note explaining the process.
