Can you tell us about what that experience would be like for a customer in your store?

Yeah, of course.

So, um, I think that's kind of the interesting thing about kimonos.

So I think I said briefly before, there's no kimono in their made form in the shop.

So what usually happens is a customer comes into the store and then they say, "Okay, I want a kimono for this event," or, "I want...

I'm looking for this artist," or they come in and they kind of tell us what they want, and then we show them what we have.

And then once you've looked through all the kimono, then we have the obi as well, so you can choose the obi, and then, 'cause they're all bolts of fabric, so you'd lay them down and take a look at them all, and then you say, "Okay, I'm thinking this one or this one." And because they're just a bolt of fabric, you can't just, like, throw it on in, like a, like in a changing room, right? So what you do is you come up onto kind of, we have, like, a little, like, a dressing area, I suppose, and then the, one of the staff will then drape the fabric on you and make the shape of the kimono.

Can you talk about if you wear kimono in your daily lives and kind of about the current state of kimono?

And while we're on the subject of delicate and minute textile patterns, can you talk about Edo komon and what it is, and maybe a little bit about its fascinating origin story in the Edo period?

Edo komon is a technique that is really, really popular in Japan, and formality-wise, it comes in in, like, the semi-formal.

You can kind of wear it casually, and you can wear it a little bit more formally.

Um, but the technique itself is really, really unique because you, first of all, have your white fabric, and then it's dyed with a stencil.

So the stencils themself or the katagami, they're cut by hand by an artisan, and these are called isse katagami.

So they're only about, like, 10 centimeters by 30 centim- like, 35 centimeters wide, so they're, like, really, really small.

And then what the artist does is they place the hand-cut stencil on the fabric, and then they put on nori, which is kind of like a resist paste, and then they remove the stencil and then add the stencil again.

Can you tell us what is a living national treasure, and then maybe tell us about a couple of these artists and what distinguishes their work?

Can you tell us a little bit more about how cities are approaching this?

Well, open banking is a big term and can be interpreted by many in many different ways.

First and foremost, when we think about either open banking, whether we think about digital assets, we think about all the evolutions that are happening around us.

This is a continuation of a journey that we've been on for a long time.

And what that journey is, is in essence, how do we deliver to our institutional clients and our clients are the largest corporations around the world, the largest e-commerce companies, the largest banks, the largest investment.

How do we deliver what they're requiring? And what they're asking for is frictionless, near-instant, 24-7, 365 payments, more and more, whether it's domestic or cross-border.

So when we think about how do we deliver in terms of or take advantage of open banking or digital assets, it's always focused on that use case.

What are you seeing most actually being used in a real case scenario?