Over time, REPRODUCTION OF FOUND has become a well respected figure in the footwear industry. The company shows a clear dedication to craft, and operates in a very deeply thoughtful manner, placing a special emphasis on maintaining longstanding relationships with their factories and partners. We had the opportunity to meet with the founder, creative director, and product director Masato Ueda at their head office, where we explored the brand's philosophy and direction beyond what's publicly shared. 

The environment of the office is decorated with a charming display of vintage shoes and furniture, which hark back to the brand's affinity for European military ephemera. These physical mementos combined with the wafting incense, shimmers of natural light, and slow dancing shadows of potted plants, a sense of passion is evident.

In today’s day and age, being the creative director for a brand often makes you the face of the brand. Is there a reason why you have decided to remain anonymous and behind the scenes?

REPRODUCTION OF FOUND's shoes are based on the concept of reconstructing vintage military trainers and footwear in a modern, high-quality way, while respecting their essential functional beauty and background. Rather than exaggerating the design, we value the atmosphere shaped by the production background and the materials themselves, pursuing the highest level of craftsmanship in the product. In creating shoes that naturally integrate into a wide range of fashion styles, we ultimately arrived at the conclusion that there is no need to put the maker's image or individuality at the forefront.

Tell us about how REPRODUCTION OF FOUND started, and about your role as the Creative/Product Director.

REPRODUCTION OF FOUND was originally launched by three people including myself, and we each share distinct roles and responsibilities in the company structure. My personal perspective has been shaped by a longstanding affinity for collecting vintage military goods, especially from Europe. When I met an Italian individual with a firsthand knowledge of factories that once produced true military footwear, my perspective deepened, and this led me to further consider how the history and inherent purpose of historically important products could be reinterpreted for the modern era.

Naturally, the roles of Creative Director and Product Director evolved from my daily tasks as I’m consistently involved in every stage of brand development, design concepts, and production strategy. I believe that having the same person work continuously with the factories, from initial planning through to mass production, allows intentions and subtle details to be communicated accurately, ultimately leading to the creation of highly refined products.

What were you doing before you began REPRODUCTION OF FOUND?

From 1997 to 2009, I worked as Director of the menswear department at n°44 a now defunct select shop in Harajuku, Tokyo, with the concept of mixing European vintage clothing with designer brands. In addition to buying duties, I was also in charge of designing and planning original apparel and footwear styles, overseeing everything from product assortment to the overall creative direction.

After leaving n°44, I took part in launching new ventures within the apparel industry and worked as a designer for a shoe manufacturer. Through these experiences, I felt a growing desire to express my own perspective and values more clearly, which ultimately led to the founding of REPRODUCTION OF FOUND.

Did anything growing up impact your love for military garments?

Since my twenties, I have worked as a buyer, visiting warehouses dealing in military items from around Europe several times a year to make large-scale purchases. At this time, the aesthetic of European military wear and footwear wasn’t fully established in Japan yet. I was deeply influenced by the refined designs and functional beauty of the many items I encountered during these years, and without these experiences as well as the opportunity to collect so many vintage military trainers and shoes during that time, I don't think REPRODUCTION OF FOUND would have been born.

From our previous conversation, it seems that factory visits are quite a journey. What’s this experience like, and was it difficult to create a bond with the factories such as in Slovakia and France?

Visiting factories takes a long time, up to 24 hours from the point of leaving Japan. I may have previously spoken about how physically demanding the journey is, but now, about 10 years after starting the brand, I feel that distance in a different way. What I feel most strongly now is the importance of "continuing production" itself, more than the difficulty of traveling.

Through my work as a buyer, I have worked with many European shoe brands including Birkenstock, Paraboot, and Converse, and have been involved in various collaboration projects. Through these experiences, a friend helped develop connections and I slowly became familiar with the backgrounds of factories that have long produced military boots across Europe. When I launched REPRODUCTION OF FOUND, I was able to begin building grassroots relationships with the help of this friend.

In the early days, we developed products without knowing whether they would sell or not, and I'm sure it was not an easy task for the factory either. Even so, as a footwear brand committed to making shoes every season, we believe that there will always be good times and tough times. That's why, rather than focusing on short-term results, we have always placed great importance on long-term partnerships where we can grow together and support each other.

"Choosing a production location is not simply a matter of cost or efficiency – it is a fundamental decision about how to incorporate the brand's philosophy and values into the product." 

Since all of the brand’s shoes are produced in the originating country’s factory, are there any technologic limitations and manufacturing challenges you face?

Our approach to production factories is slightly different, and actually not all of our models are manufactured in factories located in their country of origin. While some models are indeed produced in those original countries, it would be more accurate to say that our shoes are made in European factories with a history of producing military boots for various European nations.

Naturally, technical limitations and manufacturing challenges are always present. However, I believe that it is these constraints that allow us to create better products. Each factory has its own suitable manufacturing method and specialized skills that have been cultivated over many years. By carefully considering which model should be made using which materials and through which manufacturing method, we engage in ongoing dialogue with our partner factories as we develop each product.

I feel footwear production is very advanced in Japan, with many new and exciting brands arriving in the market every year. Would you ever consider moving production domestically, or would you prefer to keep production local to the factories each shoe silhouette originates from?

We fully recognize that there are many excellent shoe factories in Japan, but at this time, we are not considering moving our production here. What we truly value is the historical background and technology that factories in Europe have cultivated through decades of producing military footwear, as well as the silhouettes and presence of the products that emerge from this heritage, and the distinct characteristics unique to each factory.

We believe that making the most of these resources is the most accurate way to express the essence of REPRODUCTION OF FOUND. Choosing a production location is not simply a matter of cost or efficiency—it is a fundamental decision about how to incorporate the brand's philosophy and values into the product. In this sense, creating our products in collaboration with European factories has been a natural and inevitable choice for us.

 
When thinking of Reproduction of Found, the image of iconic German military trainers in an array of colours and materials comes to mind. Can you take us through the exploration of colour choices and details?

When creating our classic German military trainer, the most important consideration, even before colour or detailing, was selecting the leather to use for the upper. Vintage German military trainers used a material made from solidified scrap leather with a thin film on the surface, but its texture did not align with the worldview that REPRODUCTION OF FOUND seeks to express.

After numerous material tests, we decided to use nappa leather imported from Italy. The appeal of soft nappa leather lies in its ability to retain the rugged character of military shoes while offering a delicate, modern comfort suitable for everyday life. Rather than focusing solely on durability, we prioritized flexibility designed for long periods of wear.

The lining and insole are made from pig leather sourced from the Netherlands, which complements the softness of the nappa leather and further enhances the modern comfort and refinement of the product—qualities not present in typical vintage trainers.

Lastly, colour choices reflect my personal sensibilities at the time, and are often inspired by the landscapes and architecture of Eastern.

Are there any other countries’ military trainers that Reproduction of Found will be exploring?

We are constantly developing new models inspired by military trainers and shoes from around the world. Which country and model will come next? We can’t wait for you to find out when they’re released.

Editor: Jason Liang  |  Translator: Airi Nishioka
View more of REPRODUCTION OF FOUND products here.