LA MUSEUM is revolutionising the way we engage with fashion history— transforming archival study into an interactive, open-access experience. When I first discovered the platform, I was fascinated by its novel concept and commitment to preservation. As a vintage fashion enthusiast, the idea of navigating decades of design through a sleek digital interface felt both timely and visionary.It is a digital playground for those of us who find joy in studying the cut of an iconic Margiela piece or the origami folds of an Issey Miyake pleat!

Founded during the pandemic by the team behind LAILA, the platform combines cutting-edge 3D scanning technology with curatorial precision to digitize an extensive selection of archival garments and accessories. Now, LA MUSEUM brings its archive into the physical realm with an exhibition in Shibuya running until June 29th, bridging the gap between digital innovation and the tactile nature of fashion. In this exclusive interview, Vogue Hong Kong speaks with LA MUSUEM’s founder Hideo Hashiura about redefining fashion’s cultural value, the possibilities of virtual exhibitions, and what’s next for this pioneering digital archive. 

 

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What inspired the creation of LA MUSEUM? What gap did you feel existed in the fashion world that this platform could fill, and how did the concept evolve into a fully realized digital museum? 

The idea for LA MUSEUM came during the COVID-19 pandemic, when international travel came to a halt and opportunities to view historically significant garments disappeared. I thought—what if there were a virtual museum that could make such works accessible to people around the world? That was the initial spark. 

We began by digitizing the garments through 3D scanning—something we had no prior experience with. We placed around 200 DSLR cameras in a 360-degree setup to capture the garments as faithfully as possible. However, certain materials don’t translate well to 3D imaging, so we went through a year of trial and error to build a functioning system—one we’re still updating today. Since the scanning equipment isn’t perfect, any distorted areas are manually corrected by hand before the garments are exhibited in the virtual space. There were many more challenges along the way, but this is how the project gradually took shape.

Do you consider fashion as art, or something distinct from it? In what ways does LA MUSEUM redefine that boundary, particularly within an industry where commercialism often overshadows craftsmanship and creative intent?

I don’t believe all fashion is art, but I do think there are works worth preserving for future generations. While each museum archives and presents fashion in different ways, LA MUSEUM focuses more on academically valuable garments than purely visually striking ones. We archive pieces that speak to detail, material, pattern-making, and sewing techniques—works that resonate with those who truly love fashion.

With a database of over 20,000 garments and accessories, how do you decide which pieces to feature in exhibitions? Does the flexibility of unlimited digital space allow for broader representation, or are there still creative or logistical factors? 

Each exhibition is organized around a specific theme. And since the exhibitions are held in a digital space, we’re able to experiment with layouts and presentation methods that would be impossible in a physical environment. We use a game engine to build the virtual exhibitions, but certain materials and decorative elements remain difficult to recreate faithfully within those digital limitations. It takes a significant amount of time to fine-tune these elements, and in some cases we’ve had to forgo showing a piece altogether because it couldn’t be accurately represented. I hope continued research and technological advancements will make it possible to include more pieces in the future.

LAILA is both a vintage store and the founding force behind LA MUSEUM. Fashion has always been rooted in commerce, but you introduce a new model by treating archival pieces as both cultural artifacts and collectible items available for purchase. What are your goals in making the archive shoppable, and how does this approach support— or complicate— the museum’s mission to preserve, educate, and elevate fashion’s cultural and historical value?

In recent years, the act of archiving has begun to extend beyond institutions to individuals, and many shops around the world now sell garments that should ideally be preserved in more formal settings. At LAILA, we’ve been running brick-and-mortar stores and building an archive for over 20 years, constantly thinking about whether each piece should be preserved or sold.

Many of the garments we offer for sale hold historical significance, but we believe that clothing can fulfill its purpose not only by being exhibited but also by being worn and bringing joy to the wearer. Preserving fashion through museum-style exhibitions and experiencing fashion through wearing it—both are equally meaningful and important.