The unchanging concept behind Graphpaper's BASIC collection is "normality".
That doesn't mean the design becomes too safe or worse, uninteresting.
While avoiding an excessive presence that draws too much attention,
we aim for a balance that slowly reveals its refinement.
A plain, tubular-knitted mock-neck T-shirt in cotton jersey.
At first glance, it's unlikely to generate a strong response.
But once you put it on, you'll notice the proportions and comfort,
and realize it's something that can't easily be replaced.
Perhaps because we've always taken unconscious quality for granted,
this standard took a long time to arrive - an iterative, slow-burning process.
A new essential has finally joined the lineup, and we go behind the scenes to discover more.
Photographer: Junpei Fukushi
Text: Rui Konno
―You've had crew-neck tees and long sleeves for a long time, but the mock-neck is relatively new - added only last season. Was there a reason for that?
Minami: We just forgot to make it.
―…I was expecting something like "after years of planning, it's finally complete!"
Minami: No, we just forgot. Personally I'm a big fan of mock-necks and used to wear them a lot. So I wondered why we'd never made one until this point.
―So only the shape is new - the fabric is the same as the usual crew-neck T-shirts?
Minami: Exactly. People already know this fabric by now and we have many customers who come back to us, but at first people would say, "How is this different from Hanes?" Actually, it's produced with a very difficult method - using a slow loopwheel machine and knitting it as densely as possible.
―Even though the machine runs slowly, you intentionally knit it tightly?
Minami: Yes. Even at the ultimate density, the firmness ends up "just right." With a sinker machine you could pack it even more, but you wouldn't get this dense yet soft feel - that's the unique charm of loopwheel. If the fabric is too stiff it becomes stressful to wear. This one feels fluffy and springy, opaque, and works to wear on its own.
―And you manufactured the mock-neck using that fabric.
Minami: Actually, we once made a mock-neck using a different fabric - only for one season in a collection. Some customers even said "Please make it a standard item!" But that fabric was from another mill that can't produce it anymore. That's why we didn't have mock-necks for a while.
―Once you decided to make it again, was it completed quickly?
Minami: No - because I'm the type to get picky. There are many mock-necks out there, so I tested repeatedly to see what kind of neck looks best.
―Was the rib width the difficult part?
Minami: The width too - but also making sure it doesn't collapse after wear, making sure it isn't so tight that your head doesn't go through, and so on. Rib tension is very important. The factory that knits the body and the factory that knits the rib are separate.
―Is it common for one long-sleeve tee to involve different factories for parts?
Minami: Not very (laughs). Both are in Wakayama, though - and mills in Wakayama are very close. In other regions mills feel competitive, but in Wakayama they go out to eat together. The one who knits the ribs - we call him "Aniki" (Japanese slang for older brother). His mill specializes in small-diameter knitting, what we call kosun. And the body is knitted by someone who used to work at Loopwheeler.
―So let me guess, you were quite demanding when it came to making this neckline right?
Minami: Yes (laughs). I said, "You know how some mock-necks curl inward at the neck? I hate that." And Aniki said, "Then I'll make one that doesn't curl." Later our production guy brought back the finished rib saying, "This is no joke… no matter how many times you wear it or wash it, it still doesn't curl." We were like, "Aniki…!" (laughs)
―He sounds like a guy you can depend on.
Minami: It really is like that. Our pack T is also a standard item, but whenever we're not satisfied with something, we fix it. The current version has solved all the rib issues. At the right timing we ask Aniki to knit the neck part, and when we explain the intention he fulfills all our expectations. That's Aniki.
―What exactly did you adjust in the rib to make it ideal?
Minami: I think only he understands that. I just say things like "I don't want it to curl," "I want it to retain its shape even after you've passed your head through countless times," "I want it to resist stretching out," "I don't want the tension to be super tight when sewing," etc. Everyone involved in this cut-and-sew business is incredibly professional - they're even more particular than I am. They go out of their way for us - thanks to them our clothes are made beautifully. Honestly, I do almost nothing - these craftspeople do everything. It's like at a sushi restaurant: 70~80% of the design is decided by the textiles we use. The best way is to make something simple that brings out the quality of the material.
―So minimal seasoning, like salt only.
Minami: Yeah, don't cover it in sauce - just salt.
―This model has no side seams as well. You prefer tubular construction?
Minami: Since it's loopwheel, if we don't cut the fabric we naturally get tubular bodies. And it feels better without the seams at the sides. But chafing seams is more of an issue with tight underwear; ours are not fitted at all. Especially our oversized "Size F" uses a 24-inch machine - a very large setting rarely used. They run it just for us.
―Right, with loopwheel, body width equals machine diameter.
Minami: Exactly. At first they refused - preparing and adjusting a 24-inch machine took a lot of work. They said, "Size 3 is enough." But I insisted, "No, 24-inch," repeatedly.
―So they gave in, as always.
Minami: They said, "If you use it for only a few production runs then stop, we'll be in trouble." I said, "We'll keep using it, no matter how skinny I get!" And now the machine is running all the time.
―What kind of reaction did you get from the factory staff when you said that?
Minami: They had a look on their faces that said I was never going to get skinny.
―(Laughs) I just noticed how long the print is inside the neck.
Minami: It's meant to be worn on its own without an inner layer, so we print the label instead of using a tag. With no side seams, we can't attach the care label there - so everything goes on the neck. If there's a tag, it can be scratchy and I don't like that. Because it's printed, it must go to a print shop - more work - but that's something we won't compromise on.
―It's a simple plain tee, but knowing this makes you feel the effort behind it.
Minami: Really. Without these people, we can't make anything. Even with COVID making visits difficult, I try to see the production sites each season as communication is important. I want them to think about whose clothes they are making. They handle many brands - but between "just a factory order" and "Minami's clothes," the result differs. You might be surprised how much that shows.
―It really does feel like a job done by human hands.
Minami: They always try to make things better and propose improvements - that's how we can improve our standards. They continue doing things that aren't so cost-effective for them, so what we can do is sell the product well and return value to them. For basic items, unless we change the fabric drastically, they don't go on sale. Preserving the value of the product is also our role.
―It must be so moving when you give them a difficult request, and the product comes back with even higher quality.
Minami: Yes, the staff are like a god. Japan is full of gods. Graphpaper's clothes are made by gods.
―So this mock neck is made by two gods, the rib god and the body god.
Minami: Exactly. I want this article to convey that. Normally we don't talk about these things out in the open, but by sharing the background, I hope people won't throw the garment away, but cherish it for a long time. Everyone talks about sustainability now, but I think this is what it truly means.
Graphpaper
L/S Mock Neck Tee
¥19,800
Graphpaper
S/S Mock Neck Tee
¥16,600
