Meet Kei Ninomiya

hube: You use incredibly complex color palettes in your designs. Where do you draw inspiration from—painting, photography, movies, nature?

Kei Ninomiya: I always use different colours to make the black stand out in a different way. It was my first time using these kinds of colours inr my latest AW2023 collection. I do not have any specific inspiration. It comes mostly from my daily life, and through my everyday experiences at work. Trying to create something new for every new collection is what drives my creation process. 

h: Each of your collections presents as a distinctive artistic statement: expressive, complex, and meaningful. Have you considered giving your collections names? How significant are words and text to you? 

KN: I do not feel the need to title my collections. Words are not really significant to me. Each person has their own way of interpreting my collections, and everyone can put their own words to them depending on how they feel about them. 

h: Many of your pieces evoke fantasy worlds or alternate realities. Do you follow what is going on in the gaming industry, and are you interested in the creation of new digital worlds? 

KN: I find new technologies and the recent development of metaverse and new digital worlds very interesting, although they are not necessarily related to my creations. 

h: How would you describe your relationship with music? 

KN: Although I do like music in general, I actually do not listen to so much music in my free time and I prefer a quiet environment when I am working. 

h: Clothing takes on a new life once it has been purchased. Are you interested in how your customers interpret your designs? Do you have any expectations about the dialogue between your work and its audience?

KN: I do not have any expectations of how customers will interpret my designs. I want people to be able to wear my clothes the way they like. Each person is different and has their own interpretation. 

h: All artforms have limitations. In fashion, the human body is one of them. Does the human body—its proportions and its plasticity—affect your creativity? 

KN: I do not perceive the body as a limitation to my creations. I try to create new things regardless of the proportions of the body, so it does not affect my creativity. 

h: How have technological advances impacted your creativity? Have you experienced an increase in creative freedom over the past 10 years? 

KN: I feel that technological advances have had a positive impact on our productivity at work. Compared to 10 years ago, some tasks are now simpler, and it takes less time to achieve certain things. Tasks like researching or drawing are now easier thanks to computers and software. However, while they do have an impact on productivity, I do not feel that they have had an impact on my creative freedom. My goal is to create new things that people have never seen before, and that has nothing to do with these new technological developments. 

h: How would you describe your emotions when contemplating the future? 

KN: Nothing specific, I tend to focus on my work day-to-day, so I don’t really think about the future.

h: Given that humans’ visual experience is predominantly spontaneous and has been with us since our earliest moments in life, do you think it is possible to cultivate a type of visual thinking that allows one to perceive and appreciate beauty more fully?

KN: First, what is beauty? The criteria of beauty might be different depending on our society, culture, environment, and education. I feel like it is mostly personal. It depends on each person’s feeling and perception, so I guess that some people might be able to develop their perception and appreciation of beauty, while some might not be able to. 

h: The architectural aspects of your garments, such as their forms and construction methods, are particularly striking. What is your relationship with architecture?

KN: I do not have any specific relationship with architecture. I do not use it as an inspiration either. I do not construct clothes with a visual in mind, but the final shape of the clothes comes from the way it is constructed. In that way, I can say that the way I construct the clothes can be relatively close to architecture, as it is quite concrete and logical.

h: What is your stance or perspective on digital fashion and the possibilities that arise with the advent of new technology? Are these areas of interest to you?

KN: I am interested in new technologies and the new possibilities that emerge from them, however I have no specific interest in using them. Regarding digital fashion, as my work is to create physical clothes to be worn by humans, I feel like the work of creating digital fashion is different from my own work and my way of making. 

h: We live in a world where rigid concepts of gender still heavily impact many aspects of our lives. Exploring and observing the evolution of women’s and men’s fashion, how do you envision the future of fashion in terms of gender?

KN: I think that these rigid concepts of gender are starting to get blurred and might continue to weaken in the future. I feel like this is a positive change for our society. Regarding fashion, I hope everyone can have the freedom to wear what they want and express themselves freely.

h: Have there been any teachers or mentors who have significantly influenced the trajectory of your life, creatively or otherwise? 

KN: Rei Kawakubo is the mentor who had the most influence on my life and my creativity. I learnt a lot from her, especially regarding pattern making and how to explore new ways of expression in order to create things that people have never seen before.

h: How would you describe the process of creative collaboration? Are you ever apprehensive about embarking on a new project with another creative person?

KN: I think that it is a challenge for both parts to create something new together. At first, I am always apprehensive about whether I will be able to create something good enough, but as I collaborate with very creative and positive people, I know that there will never be any negative outcome.

h: What frustrates you about the modern fashion industry and what gives you hope?

KN: I hope that the fashion industry can learn to be more aware of our resources and be able to keep creating while remaining careful about our environment. I hope that we can all find ways to make creations in harmony with the world we live in.