One and only

What does it mean to create a fashion line that defies trends, speaks to deeply personal history, and embodies a spirit of defiance? Hideaki Shikama, founder of Children of the Discordance, has spent his career transforming raw fabrics and memories into a brand that champions individuality over convention. Known for bold patchwork designs and a blend of street and high fashion, Shikama’s work draws on the rich cultures of hip-hop, skateboarding, and Tokyo’s vibrant streets. Now Shikama reveals the driving philosophy behind his designs, his lifelong pursuit of authenticity, and his belief in crafting pieces that “give courage” to their wearers, even years down the road.

hube: Your designs are known for their bold patchwork and use of vintage fabrics. How do you take something as iconic as the bandana or military fabric and turn it into a piece that speaks both to street culture and personal history?

Hideaki Shikama: I have believed throughout my career that my interpretation of Discordance is One and Only. The biggest reason for using patchwork and vintage materials is that each piece is unique, thanks to the faded fabric and distinctive patchwork, which are difficult for other brands to express. I like how Discordance has an overwhelming ‘strength’ in its clothes. The brand’s signature material selection and patchwork sewing techniques will remain even if the brand grows a little in the future. Many of the COTD atelier team members share my background, and I think the cultural feel of the clothes is exuded in the production because of the influence of many members who have been successful in a similar era.

Our collection does not fit into a genre. Our experience of living with music and fashion as a part of our lives for over 30 years is reflected in various designs, details, textiles, and graphic designs. I believe that we can maintain strong production because the staff in the atelier share the same sensitivity as I do. It’s a great environment.

h: Your collections seem to exist at the intersection of streetwear and high fashion, all while maintaining a raw, rebellious edge. How do you balance the spirit of non-conformity with the demands of the fashion world’s commercial landscape?

HS: I have been wearing and touching a huge variety of clothes since I was 11 years old while street skating and many of my collections have become archives that have continued to this day, which has led to the position of this brand. Since 1991, I have been exposed to skatewear, American vintage, Tokyo street culture, LA and NYC street culture, London street culture, and fashion brands. I have collected not only clothes but also records, posters, stamps, coins, and banknotes from all over the world. I think this is why I feel that I have a wider range of designs and a broader cultural sensibility than other designers.

I believe the rough and rebellious nature of my designs is heavily influenced by my own background.

When it comes to business balance, I work hard every day to ensure the success of the brand, but perhaps this is because I’m not the type of person who wants to acquire a lot of money and own luxury watches and cars.

h: Street culture and music, especially hip-hop, seem to be foundational to your creative vision. How does music, specifically the rhythm and energy of hip-hop, inspire your designs and influence the way people move in your clothing?

HS: I first encountered hip-hop when I was 12 years old. My parents introduced me to it, and I started to enjoy listening to it. I was born in the port city of Yokohama, and during my student days in the 1990s, I grew up surrounded by music such as hip-hop, reggae, hardcore, and house. Music helped me when I was struggling in life. My favourite thing to do in recent years is to wake up in the morning, choose a chillout 8-beat that suits my mood from a playlist, and start working while looping it for a few hours. There is always music flowing through my collection. Music is constantly evolving. My collection is the same; it evolves every day, drawing energy from music.

I hope that people who pick up and wear my clothes will feel happy. It’s incredibly gratifying to be able to make clothes while listening to great music.

h: You’ve worked with companies like UMBRO, UGG and SALOMON. How do you approach collaborations, and how do you ensure that the raw, unfiltered DNA of Children of the Discordance remains at the forefront when working with such iconic brands?

HS: Working with large companies brings energy and a lot of experience to the brand. We learn about the history of the other brand and dig deep into the features that resonate with us. We believe that what is required is a one-of-a-kind Children of the Discordance-like design that has never been seen before. We do not do anything special but work to bring out the charm of the other brand to the fullest while adding the essence of Children of the Discordance.

h: There’s an undeniable sense of individuality in each of your collections, with no two pieces ever feeling quite the same. What drives this commitment to creating one-of-a-kind designs in a world obsessed with mass production?

HS: Ever since I was a student, I have had a strong desire not to wear the same clothes as the people around me and to play different music than the people around me at clubs. As I grew up, I wanted to ‘make one-of-a-kind clothes that no one has ever seen before’. I think that’s what Discordance became.

Just like playing a record, I choose and incorporate design sources from the various cultural experiences I’ve had up until now. I think that by upgrading them further, I can create designs that have never been seen before.

It’s probably a similar feeling to that of a beatmaker.

h: Your brand often taps into the subcultures of youth – skating, hip-hop, and street art – while reinterpreting them in fresh ways. How do you see these subcultures evolving, and what role does Children of the Discordance play in this shifting landscape?

HS: When it comes to skate culture, there are brands such as Supreme and the UK’s PALACE that have made great strides by breaking through preconceived notions. However, while much of the hardware and apparel has not evolved much, trick techniques have improved dramatically. Hip-hop is evolving every day; new beats are being born, genres are being formed, and it is spreading all over the world. Here too, many stars such as Kanye West, Travis Scott, A$AP Rocky, Drake, and Tyler the Creator have been active in the past decade and have had a major impact on fashion. Graffiti and other street cultures are also evolving day by day. In the art world, STASH and FUTURA began their activities in the 1990s, while KAWS emerged in 2000. Takashi Murakami, Banksy, and Jose Parla are also often connected to fashion and remain active today.

These cultures have always been close to me and have influenced me. Children of the Discordance will continue to pursue one-of-a-kind clothing with a diverse cultural background. We want our clothes to be valuable and loved by their owners even 10 or 20 years from now. We want our clothes to give courage to the wearer.

h: The concept of ‘discordance’ is intrinsic to your brand’s identity. What does ‘discordance’ mean to you, and how do you manifest this philosophy in your design process and the clothes themselves?

HS: The concept is ‘Discordance = One and Only’. Therefore, our collections make extensive use of vintage materials and intricate patchwork.

h: You’ve gained global recognition, with runway shows from Tokyo to Paris. How do you adapt your collections for international audiences while staying true to the cultural roots and personal stories that shape your designs?

HS: From 2005 to 2011, I worked in merchandising and buying at a store in Harajuku, Tokyo. I can’t really explain it, but I definitely developed the ability to read the times and a sense of balance that I learned there during those six years. I think it’s an important element in forming a collection. It’s difficult to explain because it’s a matter of individuality, but I think it’s important not to be influenced by others, not to look at social media more than necessary, and to do work that only you can do.

h: You’ve described your journey as a constant search for authenticity, whether through fabrics, craftsmanship, or storytelling. How do you see this pursuit evolving in the future of Children of the Discordance, especially in a fashion world increasingly influenced by technology and trends?

HS: Every day, I interact with artists, creators, and vintage dealers from all over the world, collaborating and sourcing, and coming into contact with Japanese craftsmanship and cutting-edge technology, all while hoping to further improve my own brand. This desire never ends.