"We made these sneakers because we wanted to produce something different from the traditional image of Nishijin-ori textile strips, and create a product that can be easily accepted for everyday use. We wanted a design that is not immediately reminiscent of Nishijin-ori at first glance, so we came up with this camouflage pattern. We had also wanted to avoid traditional Japanese designs known as yusoku-monyo and go for something that has never been depicted before. This is because of our strong conviction that by doing this, we can showcase the powerful aesthetic possibilities of Nishijin-ori and expand its growth potential in the rest of the world. "

However, these ideas of Kamiya were initially deemed to be impractical by Nakae in terms of actual fabric production. The fabric Kamiya initially had in mind needed yarn of five to six different colors. However, Nakae believed that it would have been difficult to use the resulting fabric in sneakers as incorporating such a large number of different yarns would create a thick fabric that creases easily. In view of this, efforts were made to repeatedly modify the fabric by reducing the number of yarns as well as changing their thickness and color, which eventually gave rise to the current three-color fabric that is ideal for sneakers. Even the craftsmen of URBAN SUN in Italy were impressed by the excellent quality of the final fabric, and the Nishijin-ori sneakers were included as part of the brand's lineup in Italy as well.

Kamiya also sees Nishijin-ori as a form of "technique." "Nishijin-ori used to be exclusively woven from silk in the past, but we are now also using synthetic fibers such as polyester. Of course, it is true that there are some debates as to whether a fabric made from polyester can still be regarded as Nishijin-ori. Some people say that fabrics that are not actually made from silk cannot be called Nishijin-ori, but I disagree because I believe that Nishijin-ori is unique for its technique instead of its underlying material or design. In fact, the only way we can pass on Nishijin-ori to future generations is to go beyond silk and incorporate the use of yarn made from other materials in weaving Nishijin-ori. If we do that, we will be able to lower its price and create a material that has more diverse applications. Nishijin-ori will remain expensive if we insist on using silk only, which will make it challenging for the fabric to cater to new demands. In addition to aesthetic value, we also want to create something that can be used from day to day. What can we do to expand the possibilities of the technique of Nishijin-ori? That is the perspective from which we often approach this problem. In that sense, what I have said is also true for these sneakers. For instance, if we use Nishijin-ori to make T-shirts and jackets, it is surely the best proof of its expressive power for us to be creating items that Nishijin-ori was never used to create in the past. Through these efforts, we can showcase the magnificent potential for aesthetic expression of Nishijin-ori as well as its unique texture that is completely different from print and embroidery work. "