SAGE NATION is an emerging label based out of London that has been quietly building an international fanbase around its curious, cross cultural take on modular clothing. We paid founder and creative director Sage Toda-Nation a visit at the brands east London Studio to discuss founding principles, his family’s influence and what drives his approach to functional design /
TNO: Let’s start with your background and family… You are half Japanese and English.. but your parents met in Japan and you were born there?
SN: Yes, I am half Japanese. I have a bit of a complicated story because my mum is British however she was born in Japan and grew up there until she moved back to the UK for Secondary School. She then moved back to Japan and met my Father. My British grandad was a missionary which is why she was born in Japan in the first place. My British grandad is not a normal man for his generation, he went by boat to Japan not long after the war to teach about god, I mean it’s pretty unorthodox. The older I get the more he inspires me. Making big life decisions from a very altruistic approach to life. It's selfish in a way but also so selfless, I think this is what it feels like when pursuing a creative career sometimes.
TNO: And your Japanese Grandfather was an artist as well right? Did he have a big impact on you?
SN: Yes my Japanese Grandfather was a fine artist working with mainly heavy paints and canvas. Yoshisaburo Toda is my grandfather. He was a Judo teacher when he was younger but spent the majority of his life as a fine artist. Because of family circumstances I never actually managed to meet him, but it's weird going back to Japan and realising how much we have in common. He used to design all his clothes and get the woman down the road to make them. He also designed the house he lives in and worked with one of the only female architects in Japan at the time to make it happen. This was unheard of at the time. Yeah I mean it definitely inspires me learning about my deeper rooted connection to the creative world that I didn't even know too much about until I got older.
TNO: A lot of western kids rarely get to experience different cultures such as Japan in their younger years, how do you feel that exposure affected your approach to your creative output? Did you always look at things kinda differently because of those cross of cultures ?
SN: I was having this conversation with a good friend of mine the other day. I would say the way my dual nationality influences me the most is through my ‘approach’ to design and output. I try to use the strengths and weaknesses from both cultures to my advantage. There is much I admire from both cultures and much that needs changing, so I tend to draw on the positive elements. For example in Japan there is this inherent approach that you should strive to learn the rules before you break the rules. Whereas in the UK the way is more to learn the rules by breaking the rules. I think it is important to find the right balance. I think the Japanese approach can stunt growth sometimes, and sometimes the British approach is refreshing.
Then of course it also influences me aesthetically. But I think that goes the same for so many designers in all disciplines, I think you will struggle to find a designer that hasn't drawn on Japanese influences at some point in their career in some way shape or form.
TNO: When did you become interested in clothing and what led you to study fashion design?
SN: The progression happened very naturally. From a young age I learnt that I was no good at working hard at something I wasn't passionate about. I have a very short attention span. To begin with I had a big interest in design in general and I initially thought that architecture was going to be the right way to manifest this interest, but I soon worked out I just didn't have the right level of patience at the time for architecture. I like how instantaneous clothing can be compared to buildings and products of that nature. It is all the same to me really, both buildings and clothing have a very direct and everyday relationship with the consumer which I love.
TNO: Is then when your fascination with functional / modular clothing came to the fore, or was that always an interest?
SN: I would say this fascination developed over time through refinement and finding a reason to give clothes a meaning to me. I almost like the fact that the fashion world is such a superficial materialistic world because it's a challenge to stand out within this world. When I think about designers that inspire me I am normally drawn to product designers such as the likes of Kenneth grange and Dieter Rams. With product design, design has to have meaning otherwise it doesn't need to exist. I like this idea.
We focus on our own set of key principles for the brand that are centred around 3 points. Purpose, Perspective and Balance. If something doesn't align with these principles then it does not happen.
TNO: We are seeing more and more emerging designers take the power away from the traditional shackles of wholesale and show schedules. What's your take on this and where would you say SAGE NATION sits in the ecosystem of today's emerging & established labels?
SN: Yes this is something that is important to me. This idea of the traditional way of putting out collections in this seasonal structure makes no sense to me. Especially for a brand of my size. I want my collections to be like albums, in the way that artists only bring out a new album if it's necessary and the albums should be remembered and not be forgotten. I don't know why Fashion seems to be one of the only areas where this idea has not crossed over, yes we do have different weather depending on the seasons, but if the clothes are designed to be timeless and last then it makes no sense to present the collections for the seasons.
Also, SAGE NATION is self-funded. I started it in my second year of university, therefore I am not on one of these fashion conveyor belt programs churning out young designers. I am not under pressure to meet other people's demands. I like to do things at my pace for our customers.
TNO: Would you say the brand is more of a personal portfolio and a documentation of your ideas and work as a creative director? Is there a bigger plan beyond this?
In some way I would say the brand is a result of my own frustrations within the industry. Also the fact that the brand is under my name means it is a commitment to myself, it can never be detached from me. It's almost like a contract to myself, there is no way to separate myself from it. I aim to do more work on a consultancy basis for other companies, I would love to have an impact on projects that aren't attached to me directly but I feel I can bring something to. Different goals, means and starting points.
TNO: You have an ongoing partnership with Keen, what drew you to their uneek line?
SN: I love Keen’s as a brand. The way they operate and what they stand for resonates with me. It is important that if we do work with another brand in collaboration that our core values relate to each other more than anything. I have always seen my brand as something that is moving in this direction of having one step in the outdoor world and one foot in the urban world, and that's something that I think Keen’s does so well. As a big company they do a lot for communities and aid for different causes.
Over lockdown they did this scheme where you could send 3 free pairs of shoes to a friend or a family member who was an essential worker and really on the front line during the Lockdown. I mean I could never possibly do something like this as a small independent brand that we are, but I can raise awareness and bring Keens into my world of things and support a brand like that rather than some of these other huge brands that are doing nothing like this.
TNO: You seem to have a solid group of creatives around you working in different disciplines of music, art, design etc… Does this immersion in other fields act as a springboard for your own work or is it more a creative family support system?
SN: The people around me inspire me greatly. I'm very blessed to have the people In my life. I have friends that I feel are really pushing a very authentic approach to what they do. I have a lot of friends that do music, I admire the way they approach what they do. It is sometimes very different to me but I think the ultimate goal is still the same. I find the thing that unites us is the same understanding of a ‘limitless approach’. It is important to not let the structures and barriers that are placed by others get in the way. It's a mentality. I mean we have to do this through our actions more than anything, and sharing information.
TNO: What can we expect from collection 2?
SN: Further refinement of what we do and the formula that works best for us.
