ENO

 

Born in Kitakyushu and based in Miyazaki, Japan.
Graduated from Musashino Art University.

After gaining experience working with textile importers in India, he worked as a designer at KAPITAL, and later as a menswear pattern maker at Yohji Yamamoto Inc.

In 2024, he launched MANU FABER.

Positioned outside the urban-centered fashion scene and rooted in Miyazaki, a regional area of Japan, ENO explores expressions born from a different sense of place and physical awareness.
Through clothing, he seeks to connect the local with the global, while expanding garments into a new medium of expression—questioning the boundary between everyday life and art.

At the core of his practice is a belief that creation does not begin in the head, but in the hands.
Even when working toward a preconceived form, ENO values the unexpected shapes that emerge through the process—allowing accidents, shifts, and in-between moments to guide the final outcome.
Design, for him, is not the execution of an idea, but the discovery that occurs while making.

 

 

 

 

 

MANU FABER

 

MANU FABER is derived from the concept of Homo Faber—
the human as one who shapes the future through labor and creativity.

“MANU” comes from the Latin word meaning “by hand,” symbolizing a commitment to thinking through making, and to creation rooted in physical process rather than abstract concepts.
At the same time, Manu appears in Hindu mythology as a figure who survived a great flood with the guidance of the god Vishnu, standing at the beginning of a new world.

MANU FABER develops two main lines:
one-of-a-kind reconstructed garments made from vintage clothing (White Tag), and a timeless basic line centered on black (Grey Tag).

The White Tag line is conceived as a single strand of art introduced into an otherwise simple way of dressing.

Each piece is created through the dismantling and reconstruction of vintage garments, entirely made by ENO.
The original forms are resized, transformed into new patterns, and rebuilt into entirely new structures.
On a textile level, the time embedded in the vintage clothing intersects with the time ENO himself has lived, and through this crossing, the garment is reconstituted.
As a result, every piece is a one-of-a-kind artisanal work—something that can never be recreated in the same way again.

In contrast, the Grey Tag line draws inspiration from kuroko—the stage assistants in traditional Japanese Noh and Kabuki theater who dress entirely in black in order to remain unseen, allowing the performance itself to come forward.

(KUROKO https://en.wikipedia.org/wiki/Kuroko)

In the same way, Grey Tag garments are designed to remain unobtrusive to the wearer’s daily life, emphasizing comfort, quiet details, and forms that do not assert themselves, but instead support movement and presence.

MANU FABER embodies the belief that working with one’s hands—and remaining open to what emerges along the way—is a fundamental act that opens paths toward the future.