Grand Seiko designer Akira Yoshida strikes you as a deep thinker while you meet him within the flesh. Whereas it was not my first time seeing him in individual, it was my first time talking to him formally over an interview, after which informally in the course of the touch-and-feel session whereas wandering across the Grand Seiko sales space. I informed him I used to be carrying a 100 yen coin in my denims pocket, which he discovered reasonably amusing. The chuckles it introduced broke the ice and language barrier, however extra profoundly, it spoke to him of dwelling. We had been each, in spite of everything, distant in a overseas land, jetlagged and disadvantaged of homely comforts. Fukuoka is the place Yoshida-san calls dwelling. Born in a Japanese temple, he attracts inspiration for his watch designs from its tradition, together with Ikebanaand uterconventional Japanese homes.
His journey as a designer for Grand Seiko started in 2018, and he has since been credited with a number of notable designs, together with the Grand Seiko Tentagraph SLGC001, the Heritage Assortment Re-creation of the 45GS Restricted Version SLGW005, in addition to the Sport Assortment SBGE295. “I design watch instances, and maybe the most important problem is putting a stability for mild and shadow to coexist,” explains Yoshida-san. This side of coexistence or, higher nonetheless, concord, generally known as “wa” (and), finds itself on the coronary heart of Grand Seiko, as defined by Yoshida-san. These are heavy hitters amongst Grand Seiko’s large SKU vary, and it speaks volumes about Yoshida-san’s pedigree and potential. “Oh, I’ve many concepts!” shares Yoshida-san with a chuckle when requested if he has a dream Grand Seiko watch he wish to design “however possibly the (Grand Seiko) 61GS.”
Your design journey with Grand Seiko started in 2018. How has your design philosophy advanced through the years, and the way does it align with Grand Seiko’s signature aesthetic?
Grand Seiko has a stable design philosophy, and we design in accordance with that precept. Since 2018, after I began designing for Grand Seiko, I’ve turn out to be extra acutely aware of the efficient expression of sunshine and shadow, in addition to the significance of long-term usability with complete after-sales service care. We design each half, from the case and dial to the band, with an consciousness of the attractive distinction between mild and shadow.
Moreover, to make sure that the watch can be utilized for many years and throughout generations, we undertake design rules that emphasise the robustness of components and the power to resist a number of disassemblies and reassemblies. We base our designs on genuine varieties and appearances that aren’t influenced by developments. Nonetheless, to keep away from being too critical, we incorporate a contact of playfulness.
Among the many Grand Seiko timepieces you’ve designed, is there one which stands out as your favorite or most memorable? What makes it significantly particular to you?
There are a number of designs that I’m keen on, however one among my favourites is the re-creation of the 45GS SLGW005. I’ve at all times been interested in the allure of the hand-wound calibre, and the design utilizing the cutting-edge 9SA4 was very intriguing. Moreover, I felt a way of accomplishment in with the ability to recreate an essential Grand Seiko historic timepiece with trendy expertise. By exactly crafting the classical type with sharp surfaces, we succeeded in giving it a contemporary impression.
How do Grand Seiko’s “Nature of Time” and “Spirit of Takumi” philosophies resonate with you as a designer?
As a Japanese model, we at all times intention to advertise Japan’s lovely tradition by Grand Seiko. We create tales that enable folks to expertise Japanese tradition and aesthetics — tales that transcend simply wristwatch design. I’m joyful to see Japanese tradition mirrored in Grand Seiko and its watches, and to see it gaining reputation all through the world.
Grand Seiko is famend for its distinctive mix of technical mastery and artistry. When designing a timepiece, do you begin with a useful idea, or is it led by an aesthetic imaginative and prescient?
We don’t have to decide on between performance and aesthetics; they will coexist. In Japan, there’s a idea known as ‘magnificence in utility,’ which implies that useful and significant designs are naturally lovely. Once we give attention to performance, the ensuing shapes typically turn out to be lovely and streamlined.
Watch design typically combines precision and inventive freedom. How does Grand Seiko encourage creativity whereas sustaining its distinct identification?
The Japanese aesthetic on the core of the model, generally known as the great thing about utility, focuses on refining parts reasonably than indulging in extreme ornament. With Grand Seiko, there’s a specific emphasis on the expression of the dial, incorporating textures that evoke the attractive nature of Japan. Whereas adhering to the great thing about utility precept, creativity is very demonstrated within the design of the dial.
With the development of watchmaking expertise, how do you assume Grand Seiko’s design language will evolve sooner or later?
Whereas the strategies of design expression could change with the development of expertise, the imaginative and prescient of Grand Seiko is not going to. The newly introduced adjustable buckle is one such instance, because it solely pursues the intrinsic worth of a wristwatch. By staying near our prospects and preserving the essence, we’re consistently exploring new design potentialities.
This text was first seen on MENS-FOLIO SG.
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