In Conversation: visvim

At UP THERE,we’ve been long-time admirers of visvim. To celebrate the brand’s introduction to the store, we sat down with Joshua Longmore—a curator, collector of Japanese antiques and long-time wearer of visvim.

Josh, your relationship with Japan runs deep: antiques, aesthetics, fashion and more. Where did this all begin?

My father. He has a deep appreciation for Japanese culture and an inherent understanding of, and feel for, the aesthetic and design language of its arts and crafts. Growing up, our house was full of fine Japanese antique furniture and ceramics. Being immersed in that environment from such a young age allowed me to soak it all up and develop my own appreciation.

You’ve built 357 Gallery out of an interest in curation. Where do you source, what draws you to a piece, and what makes something worth keeping?

At this point, 357 is really a personal collection of items I’ve sourced over two and a half decades: pieces that have stuck around because they have an enduring charm or a character all their own. Most have come from all over Japan, from antique stores, flea markets, auctions and private collections. I also have a love for Chinese and Korean antiques, particularly ancient and antique pottery.

I’m drawn to a piece by its simple beauty. I look for a maker with an intimate understanding of the material, and for a sense that the human experience is somehow instilled in the piece. It’s hard to put into words because, like any good art, when you see it, it has the power to move you in a way that other art can’t.

Nearly ten years ago, late one night, I met a master potter in an izakaya called Yaburegasa (the Broken Umbrella) in Tajimi, a city where I lived. His name was Tsubusa Kato, and he was sitting at a big table with a group of artists, celebrating one of their students’ first exhibition. I had coveted his work for a long time. I introduced myself, bought him a drink and asked him, “How do you know when you’ve made a work of art?” He replied with one word: “Heart.” To illustrate his point, he started picking up the ceramics they’d been using at the table, all handmade. “This one has no heart. This one, a little heart. This one has heart.” And so on. It was the most direct demonstration and explanation of art I’ve ever witnessed, and it’s the guiding principle I have for collecting in general.

What’s something people might not realise about the process of collecting? Is there a philosophy or art to it?

I don’t know whether people realise it, but I like to think of collecting as a question that needs to be answered, with every piece shedding a little more light on the answer. The question is: what do I think beauty is? I’m drawn to this object, but why? Why does it resonate with me? What quality does it possess? Can I define it? A good friend of mine, the antiques collector Sarah Atwell, and I have discussed this at great length over the years, and maybe we’re a little closer to the answer than when we first started the conversation.

Tell us about your first encounter with visvim. What stood out?

It was sometime in the early 2000s, at Supply in Sydney. I remember seeing the FBT moccasin and just couldn’t stop thinking about it. I didn’t particularly love the design at first, but it stuck in my mind. My mother has always loved Native American culture, so my brain was probably processing that nostalgia. Of course I loved the attention to craftsmanship and materials that the Japanese are known for, but ultimately what stood out was originality executed with perfection.

Hiroki Nakamura’s vision is making products that last generations, garments that change with the wearer over time. How have your pieces aged, and what does that relationship with garments mean to you?

Most of my early pieces I’ve either grown out of and passed on to my wife, or archived in a drawer. Because the materials were chosen so carefully, they’ve all aged well. My favourite is a sky-blue Giza cotton T-shirt with elk leather detailing. We retired it last year because it had become more holes than garment. I think any object you keep over time becomes a vessel for memories of that period, and maybe that’s why we become sentimental about, or attached to, them. Hard-wearing garments like jeans are especially good for this, because they last and only get better with age. I also value buying the right thing once: the perfect pair of jeans will last me a lifetime, and potentially my son’s as well.

What is your favourite visvim piece in your collection, and what makes it special? Is there a certain material, technique or natural process that you admire?

The FBT collaboration with Undefeated from 2005. The material selection was wild at the time, and the colourway was distinctly American. In my mind it referenced the Jordan 3. I haven’t worn them in years, but they remind me of fun times living in Sydney in my early twenties, with very little responsibility.

Do you have a dream visvim piece, or something you’ve had your eye on?

It’s not a dream piece per se, but I’ve found myself thinking about the Christo slip-on in fringed suede lately. After living in Japan, we became a shoes-off household, and I’m always looking for the perfect sandal for practicality and comfort. The fringed Christo would inject some fun into that.

visvim sits at the intersection of craft, Americana and Japanese tradition, which mirrors a lot of your own interests. Does wearing the brand feel like an extension of how you already live and your own identity? Has it shifted your perspective on clothing in any way?

The brand’s ethos and aesthetic definitely resonate with me. I love that Hiroki Nakamura draws his inspiration from cultural craft traditions and subcultures with very human practices, and that he recognises what’s inherently cool about them. Twenty-five years on, visvim is still doing that well.

It did shift my perspective, and it goes back to that first pair of FBTs. I didn’t love them at first, but I couldn’t stop thinking about them. That taught me that being original means taking a risk and making something people may find ugly.

We know you’re big on hobbies like foraging, getting outdoors, fishing and more. Has anything new caught your attention lately?

My current obsession is green-wood carving. I’m endeavouring to make bowls as beautiful as the ones I’ve been looking at for the last 20 years.

What are you looking forward to on your next sourcing trip? Anything you’re on the hunt for?

On my last buying trip, I went to northern Japan and was exposed to some remarkable work by the Ainu, the Indigenous people of Hokkaido. In Shiraoi, I found a carved wooden platter, simply decorated with traditional motifs. The wood had a rich patina from centuries of use, but what stood out to me was its raw honesty. It wasn’t made to be sold. It was made to be used, and valued through that use: a thing of true beauty. I’m interested in understanding Ainu craft more deeply. Beyond that, I’m always motivated by the idea of finding something undiscovered or forgotten by time.

You’ve been shopping at UP THERE for some time now. What keeps you coming back, and where do you see visvim fitting into the broader selection?

What keeps me coming back is the curation and the people behind the business. I remember when Brendan, James and Jason opened their first store, and I was impressed by their passion, service and selection of brands. That’s served them well over the years, and they’ve only gone from strength to strength. UP THERE stocks a thoughtful selection of Japanese brands, so visvim is a wonderful fit moving forward.

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In Conversation: visvim

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