As I write down my resume, my vague memories begin to come back to me more and more clearly.
Although we go back in time, I can't help but mention his relationship with Yumin.
Mr. Kondo, a founding member of TOOLS and still active as a stylist, has been styling Masataka Matsutoya and Mr. and Mrs. Yumin since I was working as an assistant.
With that in mind, I gradually started getting more work, and ended up working as a regular stylist for TV shows.
I worked with Yumin on ``Mezamashi TV'' from 1998 to 2001, where they had a section where they critiqued haiku from viewers, and I was given the opportunity to style them.
It was by chance that I was working during the Millennium (year 2000) that I received a wonderful job of filming on location in Egypt.
Although there were some tie-ups for this shoot, the medium was a magazine.
Again, back then, there was power in print media and it was possible to go overseas for magazine shoots.
But even so, they had the momentum to go all the way to Egypt.
I don't think readers of Houyhnhnms understand it well today, but at the time there was a lot of talk about the ``millennium problem.''
The moment the eras crossed from 1999 to 2000, computers would cause an error and panic would spread all over the world.Now that I think about it, it's a silly story, but it was a topic of serious discussion.
I don't know if that was the reason, but I left Narita Airport on the 3rd of the New Year and arrived at Cairo Airport late at night via London.
I checked in while walking down the pitch-black road and feeling exhausted.
The next day, feeling dazed and exhausted from jet lag, I opened the hotel curtains and saw the pyramids right in front of me! ! ! Intuitively, it's like looking at the skyscrapers in front of the station from Dogenzaka in Shibuya.
It was a strange feeling, more fake than grateful.
However, as I continued with location scouting and shooting, the feeling of being surrounded by real things grew stronger and stronger.
There were countless white tents spread out on the edge of the desert, and when I asked them what they were, I was shocked by the scale of them when I was told that they were the remains of Pink Floyd's Millennium Live.
Is it really okay to have so much fun seeing the Sphinx and the Pyramids, cruising the Nile and traveling to Luxor even though it's a real photo shoot? I spent my days like that.
It was the end of Ramadan, and we, as foreigners, drank Egyptian wine at a restaurant and danced around with women in traditional costumes.
On the other hand, there had been an incident a few years earlier in which a Japanese tourist was attacked and killed by terrorists, so the tour was full of tension.
This was taken during the recording of "Mezamashi TV".
Stylists and entertainers often don't take pictures together because of the important distance between them in their work.
I searched a lot but could only find this one.
Another memory that remains is that I was allowed to appear on "All Night Nippon."
Yumin was a regular DJ and he casually asked me, ``Ozawa-kun, come on too!'' and we talked a little bit on the live broadcast.
I still feel the elation I felt when I got a taxi and crossed the Rainbow Bridge in the middle of the night.
I actually wanted to write about Masataka Matsutoya, but
Seriously, I don't have a single photo. He's a really interesting and unusual person, but maybe someday if I could go back in time...
Next time, I would like to turn the clock even further and think about the overseas artists I witnessed when I was an assistant.