Distinctive Normality: A Brief Chat with Takayuki Minami of Graphpaper
Discussing Graphpaper’s philosophy, and why some of the most meaningful clothing today exists in a space between simplicity and intention.
Before We Start
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Why This Designer Is Creating Quite the Buzz In Menswear: Before diving into our next PFW recap, let’s take an in-depth look at this Swedish designer’s philosophy, and why buyers and critics see the brand as one to watch.
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Takayuki Minami of Graphpaper
Photography by Mackai Sharp
There are people who, the moment you step into their orbit, carry an unshakable sense of confidence. The kind that comes from years of trial and error, persistence, and an unwavering belief in what they do.
It’s rare to see, and one we all strive for through the work we do.
While waiting in an open area just outside the Graphpaper showroom in Paris, I saw it firsthand when I met Takayuki Minami, the founder of Graphpaper, FreshService, and AlphaPR.
At a glance, it can feel a bit intimidating, but once we started speaking — after a quick introduction — that feeling quickly shifted. What comes through isn’t ego, but clarity. This is someone who knows exactly what he’s building, and why it matters. It’s why Graphpaper has long held a strong presence in Asia, and why it’s steadily gaining traction in North America, with stockists like Ven Space, Mohawk General Store, and Neighbour carrying the brand.
At its core, Graphpaper focuses on everyday garments, but nothing is ever just “basic.” Through the use of top-quality fabrics, elevated materials, and subtle adjustments to proportion and construction, each piece feels considered. Familiar, but sharper, refined without trying too hard. The brand releases two collections a year on a six-month development cycle. Alongside its ongoing Basic line, this can amount to hundreds of SKUs per season.
With that scale in mind, the team continuously reviews and refines their Basic line: adjusting shoulder slope, proportions, topstitching widths, and more. It’s a process that reflects Minami’s meticulous, almost obsessive approach to design.
It’s what makes the brand a go-to for Japanese locals, their store a destination for tourists, and why people like myself in this space have been paying closer attention. This isn’t just any other brand, it’s one that built on a genuine dedication to making something meaningful. It may appear simple at first glance, but it’s anything but.
As one retailer put it in an introductory feature on the brand, Graphpaper fuses “excellent fabric selections with sophisticated production methods — each piece carrying a sense of quality and emotion that sits quietly within daily life. Clothing isn’t a distraction, but a form of enrichment.”
Now, back to their Paris showroom.
The temporary showroom itself was split in two: one side dedicated to their FW26 collection for buyers, the other functioning as a pop-up space. What caught me immediately was the structure at its centre: a large, black, almost alien-like wall that concealed the garments behind it. Unfortunately, I left behind a Blue Oversized Oxford Shirt that fit wonderfully, only because my card was not working at the time.
Lovely.
As one of Minami’s colleagues explained, the idea was simple: intrigue. Rather than revealing everything at once, the wall invites passersby to step in, to spend time, to look a little closer. Nothing is handed to you outright
There’s a subtle intention to it. A space to sit, to take it in slowly, and to engage with the capsule collection on your own terms. Personally, it let me move through each garment without that usual sense of being watched. That subtle, almost voyeuristic feeling when people pass by and glance at what you’re doing.
While at the showroom, I spoke briefly with Minami.
It was a short exchange, but one that offered a clearer window into his process, and the thinking behind Graphpaper as a whole.
To start, has your perspective on design remained consistent each season, or has it evolved over time?
TM: Over time, I think I’ve come to balance opposing elements: lightness and ease on one side, and elegance on the other. Those things can coexist.
What defines Graphpaper? Things like intention, utility, fabric. What are the core elements?
TM: For us, the design is already about 70–80% complete at the fabric stage. Our role is to take that material and translate it into clothing.
That’s our strength, working closely with people who create these materials. Being based in Japan, and producing with Japanese manufacturers, is very important to us.
There’s been a lot of discussion about clothing starting to look similar across brands. What are your thoughts on that?
TM: I don’t focus on what other people are doing. I’m more interested in expressing what moves me.
You’ve mentioned before that clothing is a fundamental necessity like food or shelter. Could you expand on that?
TM: Clothing should exist naturally in daily life. Sometimes what we see online, images of brands, styling, etc, feels very different from how the clothes actually exist in reality.
Do you think the internet has changed how people perceive clothing?
TM: Yes.
Today people consume fashion through images — Instagram, YouTube — and things can start to look similar. But in reality, when you see garments in person, they are very different. Details, texture, and feeling can’t always be communicated through a screen.
There’s more emphasis now on image and status, but Graphpaper focuses on quality, comfort, and real-life wearability.
You’ve expanded internationally. What do you think about maintaining production scale and integrity?
TM: We now have a base in Europe, and I’m interested in producing outside of Japan as well. At the same time, Japanese factories are facing challenges, especially as the workforce ages. It’s not something I can solve alone, but I’m thinking about what I can do.
We want to continue supporting Japanese manufacturing, but also explore what can only be done outside of Japan. Both need to coexist.
Graphpaper’s retail spaces feel like a natural extension of the brand. How do you approach designing those environments?
TM: I actually start by thinking about the space.
The clothing itself is quite simple, so it can fit into many environments. Because of that, I focus more on what kind of space we want to present.
If you prioritize the clothes too much, it becomes a typical retail store. Instead, I want people to create an environment where customers can feel something — an experience beyond retail
Outside of fashion, what influences you the most?
TM: I’m more inspired by design outside of clothing: architecture, sound systems, ceramics, and other forms of design. I don’t really take inspiration from fashion itself.
What kind of music do you listen to?
TM: A wide range of music.
I own a bar in Tokyo [Yose Tokyo], a space that encompasses the Japanese concept of “Yoriai”, where music plays an important role. Being in that environment, listening to music, drinking, experiencing the atmosphere; all of that feeds into my creative process.
Experience is very important. Traveling, visiting different places, and living those moments all contribute to the my ideas.
A classic question. Where do you see the brand in five years?
TM: I’m not entirely sure yet, but one reason for establishing a company in the Netherlands was to explore possibilities in Europe.
There’s potential for expansion there, but it’s still something I’m figuring out.
(Cont’d)
I also had the chance to speak with George Cole, part of Graphpaper’s Design & Planning team. Before sitting down with Minami, he walked me through their FW26 collection, and overall ethos behind the brand.
To start, could you walk me through the collection?
GC: We’ve got these military motifs that we’ve used for this collection. Like this Deck Jacket, made with shearling.
This is coming from the Pacific Northwest, and then we’ve got more of a kind of synthetic; a little bit techy, which takes advantage of the functional aspects of the fabric. Generally, it’s designed to be worn in city environments, things you can integrate quite easily into your everyday life. Nothing with too strong of an impact.
For Minami, this idea of universality is quite important. The fact that it is oversized, regardless of body type or gender or age. It’s got a flexibility.
He talks about this idea of a kind of distinctive normality — something that’s unique, yet basic at the same time. That contrast is important for him.
That’s one of the many reasons why I love Graphpaper. It’s a very welcoming brand. You feel invited. It’s not size-restrictive, it’s inclusive.
GC: Yeah, that’s definitely what Minami is trying to do.
We’ve started to do international sizing as well, since the last collection. You’ve got, for example, a size 2 in Japan compared to a size 2 internationally. There’s an extra three or four centimetres.
And everything’s made in Japan. Japanese fabrics. We’ve got quite a well-established relationship with mills, so from all the fabric development, everything is exclusive. We don’t use stock fabrics.
Out of curiosity, how long did it take to get to that point? In terms of development?
GC: I think one of the reasons why we do the basic line as well is because it’s good for the factories to have our running fabrics, things they’re producing every season for us, in cuts that they know.
Having these two lines working together means it’s efficient for the factories to get large orders in, and we can continue good business relationships.
I think right from the start, that was his approach.
GC (continued): Generally, in Japan, at least from what I’ve been told, and from my career, has been based there in menswear product development — you have to be very, very specific. From the tech packs to the patterns.
This is in comparison to overseas brands, where the factories seem to do a lot more for you. They have a lot of that know-how in-house. That’s kind of one of the main differences.
It’s funny. I feel like that’s a sentiment that’s been shared at least four times over the last couple of days. From a creative standpoint, it can feel like you lose a bit of that integrity when factories start chiming in.
GC: Yeah, and I think some of our specifications, even if they improve durability, can be time consuming to sew sometimes. Factories have more efficient ways of doing things.
But we’re really committed to trying to make the best products at the most reasonable price point that’s still viable for the factories. That balance is important.
Every time a reader reaches out to me about Graphpaper, it’s always about the price point. It feels like it just can’t be beat, especially for the quality and design.
GC: For example, the shirting over there: we use this cotton from ALUMO, which is Swiss.
It’s the exact same fabric that fashion houses are using as well, and it’s really expensive. We actually don’t make that much profit on it, but it’s really good for the consumer.
They get very, very good value products.
How does it feel seeing the brand’s audience evolve? Especially on the Western side? I’ve been seeing more creators highlight Graphpaper recently.
GC: That’s one of the interesting things for us.
In the Japanese market, I don’t know if you’ve been to Tokyo, but oversized silhouettes are very common. Once you get used to that, it feels more dynamic, bolder. It really highlights the fabric quality, but compared to overseas, it’s much more reserved.
When I go back to London, it’s more heritage, more fitted, maybe slightly relaxed, but not as oversized as Graphpaper.
It’s about navigating that difference.