Interview with Margaret Howell for 'Kenji Umeda: a journey'

I wasn’t aware of Kenji Umeda’s work before being contacted by Kettle’s Yard but the discovery of his trunk and its contents really struck a chord with me. It’s a rare opportunity to have such a personal insight into another creative person. Subconciously, you start building your own narrative about who he was.

What was your first reaction upon seeing the clothes and other items that Umeda had left with Jim Ede at Kettle’s Yard when you visited last year?

The quality and practicality of his clothes resonated with me. I admired the choice of cloth and his practical approach to clothing. Umeda obviously had an appreciation of good quality fabrics, in the same way that he was drawn towards natural materials in his artwork.

Kenji Umeda moved to England from Japan in the early 1970s, and was obviously glad to have found a home away from home at Kettle’s Yard. What do you think Umeda saw at Kettle’s Yard that made him feel at home?

I would imagine that he saw the same things that so many of us respond to when visting Kettle’s Yard: an asthetically pleasing, comfortable, inspiring space to be shared with like-minded people.

I have built very special relationships with our Japanese teams over the years. We share a similar outlook towards design. There is a strong appreciation of natural fabrics and quality of make. I have lovely memories of the early days, working with a dedicated team. When the work was done, Sam Sugure (the managing director of Margaret Howell in Japan at the time) would often take me travelling to different areas. These were such special experiences and an insight into a different culture. This influenced me greatly.

And finally, what lessons in design do you think Kenji Umeda’s suitcase of clothes has for us today?

The longevity of quality and good design.