My inspiration was the journey of finding beauty and tension within imperfection, celebrating the asymmetry in nature. Growing up in Japan, I was always inspired by the concept of timeless Japanese beauty. My grandmother used to tell me since I was a kid: “Women preserve beauty naturally and age gracefully.” I believe that women gain more power and become more resilient as they gain knowledge and experience. I think the clothes I design should be spiritual and sensorial. The frustration of admitting that it is human nature to age, meanwhile believing the idea of aged beauty, led me to explore this unspoken “tension” by using fabric manipulation such as stretched and ruching technique on top of foam structures and crinoline, two ways crystal pleats technique and stretched knit lace to express my culture and the emotions towards the idea of youthful beauty, the contemporary obsessions with youth and status.
This collection could be described as a realisation of myself. It was very challenging to try to evoke a very specific thing that departed from an abstract feeling. I’ve always been a detail seeker, focusing on very well-made finishings and tailoring during my first and second years. Experimenting with material. Being inspired by Christo’s work, I had a lot of experimentation associate with stretched fabrics such as jerswy and stretched knit lace been wrapped on the top of foam and crioline structures to express my laguage of culture and the emotion I am trying to provoke. It brought me to realize that I was trying to explore the fragility within women, but expressed in a very powerful context from my designs. It is also an exploration of sillhoutes that trying to present the uncerntain messages women are delivering everyday.
The collection has a unified theme, yet each piece comes with a different recombination of unconventional pattern cutting and finishing. Throughout the collection, I have reference a lot about the classiness of women from the 50s, but it is also a collection to redefine the maiperceptio about the feminity, maybe it is something that tells 50s or 70s are the past tense, it is a real aspect of reimagiend women’s wardrobe that modern isn’t representative or historical. I want to make pieces that are timeless, which won’t be replaced by changes in trends. Fashion should have a purpose, and mine is to deliver pieces that are very well-made, refined, and made in high-quality fabric; pieces that you could wear for 10 years, just like how my mother still wears a jacket she purchased when I was born — and it’s still in such good shape! And, as a woman, I think it is crucial to think about my own experience — how clothes make me feel; how the drapes and the cuts of a silhouette, for example, can defend against fear, vulnerability and insecurity. I want the women I am designing for to feel confident.