The Bite Magazine - Spring/Summer 2025 - Issue 37

Giedre Jackyte admires Japanese CFCL designer Yusuke Takahashi’s handmade knitting designs, which typically incorporate computer technology. bitefashion C FCL (Clothing For Contemporary Life) designer Yusuke Takahashi’s latest collec- tion, ‘Vol. 9 Knitware Handbuilt’, offered a meditative escape from the chaos of fashion week. Unveiled at the Pavilion in Tokyo, the show presented garments that balanced structure with softness and blended ancient craftsmanship with contemporary digital design. While renowned for his expertise in 3D computer-programmed knitwear, Takahashi pushed the boundaries even further this season. The designer founded CFCL in 2020 during the pandemic, following several years of designing menswear at Issey Miyake. Rather than expressing the tastes of an individual designer, CFCL creates clothing designed to serve as practical tools for everyday life. The brand emphasises sophistica- tion, mindfulness, comfort, and ease of sharing. It allows its styles to fit seamlessly into various scenarios, from daily activities to dining out, while easily maintained at home and made responsibly. Takahashi first encountered CFCL’s core technol- ogy for computer programming-aided knitwear during his studies and has incorporated it into his products since its inception. Traditionally, knitwear is viewed as casual clothing and is seldom worn for special occasions. However, today’s consumers prioritise comfortable clothing for freedom of movement. CFCL’s designs are stretchy, uncomplicated, cosy, and adaptable to various body shapes, making them ideal for contemporary living. The brand’s commitment to sustainability is evident in its programming-aided knitwear, which minimises material waste by eliminating the need for cutting. Additionally, using recycled and cer- tified materials, CFCL reduces its environmental impact. While the fashion industry is one of the most polluting sectors globally, the brand believes clothing is essential and holds significant influ- ence, so it aims to create fashion that positively impacts people’s lives. Many items in the collection appear almost two-dimensional on hangers but come to life when worn. They feature details like curled sleeves, flared hems, and sculptural silhouettes with no vis- ible seams or stitching. The collection showcased a calming palette of ecru, charcoal, seafoam, and Klein blue, accentuated by mandarin orange and mauve bursts. A standout piece was a square-cut knit tunic made from recycled polyester and dyed in warm gradients using a centuries-old Japanese liquid dyeing technique. While much of CFCL’s work begins with code, this season also celebrated the craftsmanship of the human hand, such as individual threading of fringes instead of machine stitching. A hand-crocheted dress, meticulously created loop by loop, paid homage to folk craft while seamlessly integrating into modern wardrobes. Takahashi successfully blended machine and handmade techniques, allowing them to coexist harmonious- ly. Movement was another key focus; the fabrics swayed without losing their architectural integrity. The body was subtly accentuated with fluid lines in tunic dresses, softly expanding pants and high necklines that elongate without constriction. The designs exuded elegance effortlessly. Sustainability was central to Takahashi’s vision, with garments made from recycled yarns, crafted through zero-waste processes, and designed for complete recyclability. He approaches sustainabil- ity not as a marketing strategy but as an integral aspect of the design process, as naturally as choos- ing a colour or silhouette. The final look, a gown adorned with thousands of hand-looped fringes, flowed like water. CFCL embodies clever knitwear, sustainability, and intelligent, thoughtful design ethics. Through its ‘Vol. 9 Knitware Handbuilt’ collection, the brand exemplifies what the future of fashion can look, feel and function like. https://cfcl.jp/en CFCL Images courtesy of Lucien Pagès PR