Interviews with Nana Watanabe

I have always loved creating things by hand since I was a child. I would gather materials from nature to make small gifts and crafts, and I still remember the joy I felt when those pieces brought a smile to someone’s face. That experience deeply connected creation with happiness in my mind. After studying art and design, I started my career in fashion design, which eventually led me to jewelry as a form of wearable art. It all feels like a natural extension of that early joy.

What matters most to me is expressing a unique perspective that only I can see, and creating things I genuinely desire myself. I don’t follow trends or established frameworks but instead try to stay true to what I feel in the moment. Structurally, I apply knowledge from pattern-making that I developed in fashion, aiming to create sculptural, body-hugging forms. I don’t usually sketch—instead, I start by physically working with paper or fabric to develop prototypes, then refine the embroidery details to bring balance and completion to the design.

There’s a special kind of exhilaration that comes when an initial idea begins to take shape. As I work, I often imagine who the piece will reach and how they’ll feel when wearing it—and that thought alone brings a smile to my face. For me, design is both a form of self-healing and a bridge to connect with others.

My greatest inspiration comes from being in dialogue with nature and from the spiritual qualities of Japanese culture. Growing up surrounded by the sea and mountains in Japan shaped my sensitivity to color and form. The sound of the wind, flickering light, and the quiet presence of small lifeforms all live in my creations. The Japanese aesthetics of "ma" (negative space), restraint, and harmony with nature are at the core of my design philosophy. Beyond design, I rely heavily on observation and intuition, which help me stay authentic while exploring new forms of expression.

What is your dream design project?
I would like to expand beyond jewelry to explore more immersive forms of expression. I'm currently interested in creating embroidered art installations and functional yet poetic bags that combine artistry and utility. I hope to present my work in more countries and draw inspiration from new landscapes, cultures, and people. Traveling is an essential part of sowing creative seeds for me. Breathing in the air of different regions and reconstructing it through design is how I grow—as an artist and as a brand.

Trust your intuition and keep working with your hands—that’s what I still live by. Don’t be afraid to fail. Try many possibilities. The expressions that only you can create don’t come from thinking alone; they emerge through repeated prototyping and exploration. Even when you feel lost, keep moving. Progress lies in action.

Dig deep into what only you can create, and find meaning in offering that to others. I believe in the ripple effect of joy—when a piece touches someone’s heart, that joy spreads to others. Design has the power to light up small corners of the world. As professionals, we must turn our beliefs into form and communicate them through our work.

I wake up at 4 a.m. every day. Before breakfast, I spend time stretching, meditating, and studying. In the morning, I handle emails and shipping tasks. When I have time, I also experiment with colors or small design trials. The afternoon is for more routine tasks and meetings. After that, I prioritize spending time with my 4-year-old son. A well-balanced, mindful routine helps me stay creative and centered.

To what extent do design trends matter?
Rather than chasing surface-level design trends, I pay close attention to shifts in social atmosphere and people’s emotions. I make a conscious effort to understand the broader cultural and ideological movements happening around the world rather than relying on design magazines or trend-based social media. In doing so, I find a deeper relevance and uniqueness in my own work. I believe it’s more valuable to express the “now” in my own voice than to follow what’s currently popular.

How do you define good design?
Good design, to me, is something that stays in your mind for no apparent reason. It’s not just about function or visual appeal—it’s about a strong, clear idea that is beautifully resolved. When a piece moves your heart at first glance and brings a story to life upon touch, that’s when I know it’s good design.

I know a design is ready when I feel there’s nothing more to take away. Through a subtractive process, I aim to leave only the essence. To be honest, I always carry a sense of "it could be better," but that feeling is what drives me to the next creation.

One of my most iconic works is the "SHRIMP" earrings, which won the A' Design Award. In this piece, I focused on maximizing the qualities of the materials. The design integrates origami-like structure inspired by Japanese aesthetics with the fabric-handling finesse I developed in fashion. It combines lightness with sculptural strength and has become one of my most beloved wearable sculptures.

I’m not sure he would be classified as a designer, but I was deeply inspired by German zoologist Ernst Haeckel. His illustrations of natural forms taught me about the mystery and harmony of life. In fashion, I’ve been profoundly influenced by the color sensibility of Dries Van Noten—his work feels like poetry made of fabric.

I grew up in a coastal town in Kanagawa, Japan, where I was constantly surrounded by nature. This proximity to the natural world shaped my worldview and continues to influence the structure and color of my work. I’m also deeply moved by the concepts of "ma" (negative space) and quietness in Japanese culture. Music is an important creative companion for me—I often work while listening to classical or ambient sounds.

I primarily run my brand alone, though in recent years I’ve begun collaborating with trusted assistants and project partners. I value sincerity and open dialogue above all and choose collaborators based on whether we can dream and build something meaningful together.

I aim to practice ethical jewelry design by choosing low-impact materials and incorporating recycled polyester in my pieces. At the same time, I believe that simply making something that brings a smile to someone's face is one of the most sincere forms of contribution. If my work can lighten hearts and create small ripples of joy, then I believe it is helping to shape a more peaceful world.

Participating in the A' Design Award has been a major turning point for me. The exposure of my winning work on an international platform allowed more people to discover my brand and see my work from new perspectives.

What struck me most was how the process of verbalizing the background and intention behind my design helped clarify my brand's worldview. It was not only a way to communicate outwardly, but also a valuable opportunity to reflect on why I create and what I want to deliver.

Though major changes and reactions may still be ahead, the award has already given me strong confidence and encouragement for my next steps.

My main focus was to reconcile two opposing qualities: lightness and presence. The brooch measures 16 x 18 x 15 cm, yet weighs only about 10 grams. I wanted to create a piece that instantly transforms an outfit into an artistic statement, while remaining comfortable enough to wear all day without weighing down even delicate fabrics. Another major goal was to express, using only thread and fabric, the translucency, fluidity and soft movement of creatures living underwater.

I plan to expand this work into a series of marine- and botanical-inspired pieces that apply the same structure and techniques. I also intend to present Flora Octopus at exhibitions and galleries in Japan and abroad, to show a wider audience that embroidery can stand alongside metal and gemstones as a true medium for jewelry. I am also scheduled to exhibit in New York in 2027.

I began the project in April 2025 at my studio in Fujisawa, Kanagawa, and completed it in June 2025. Over those three months, I went through many rounds of structural studies, prototyping and material adjustments. The finished piece was first unveiled that same June at my solo exhibition in Tokyo.

It was an entirely self-initiated project. I have long created pieces inspired by marine life, and among them the octopus has always fascinated me, with its soft body that constantly changes shape. I thought it would be exciting to capture that "beauty without a fixed form" in three dimensions using embroidery, which is itself a soft material. I also wanted to push the techniques I developed for my previous work, Shrimps Earrings, which assembles embroidery into three-dimensional forms, toward a larger and more complex structure.

The brooch is currently produced in small quantities under my own brand, NANA WATANABE. I handle the design and hand assembly myself, and the embroidery is created in collaboration with a trusted embroidery craftsman in Japan with whom I have worked for many years. To preserve the quality and nuance of each piece, I plan to continue with this approach.

I believe the value of jewelry should not be defined only by the rarity of its materials. I wanted to create "wearable art" that moves the wearer emotionally, using only thread and fabric instead of metal or gemstones. Embroidery has been used for ornamentation for centuries, but by placing it at the center of jewelry-making, I hope to propose a new value system for jewelry. By avoiding mineral resources and using recycled polyester, I also wanted to show a more sustainable way of making jewelry.

There was no specific designer or piece that directly influenced this work. My greatest source of inspiration is nature itself; the movement, colors and textures of creatures I have observed at aquariums and by the sea form the foundation of my work. That said, my years on the ISSEY MIYAKE collection team, where I explored materials and structure, have deeply shaped my approach to building three-dimensional forms from soft materials.

Anyone who resonates with this world, regardless of age or gender. I especially envision people who value self-expression and love both art and fashion. I also hope to reach collectors who wish to own jewelry as a work of art, as well as those who care about sustainable craftsmanship.

What makes it distinctive is that embroidery is treated not as surface decoration, but as the very material that builds the three-dimensional structure. Inside the layered organza exterior, I loosely placed tulle instead of tightly packed wadding. This creates an airy volume and a soft gradient as the inner colors shine through the outer layer. It captures a translucency and gentle movement unique to sea creatures, something conventional stuffing techniques cannot achieve. Its lightness, only about 10 grams despite its size, also sets it apart from other jewelry.

"Flora" means flowers and plants in Latin, and is also the name of the Roman goddess of flowers. "Octopus" is, of course, the sea creature. The name directly expresses how this imaginary creature was born, from two worlds, flowers and marine life, merging into one. I wanted a name that is simple, yet immediately conveys the world of the piece.

I began by exploring the form through hand-drawn sketches and paper patterns, then used Adobe Illustrator to refine the shape of each part and create the embroidery data. The embroidery was produced with high-precision embroidery machines, and finally, I hand-assembled each component into the three-dimensional form.

Its most unique aspect is that it achieves both sculptural dimensionality and the translucency of an underwater creature using only soft materials: thread and fabric. The layers of organza and tulle change their expression as they catch the light, and the colors shift depending on the viewing angle. Although it is jewelry, it carries the presence of a work of art, and I believe that is its greatest character.

I collaborated with an embroidery craftsman in Japan with whom I have built a trusted relationship over many years. To balance lightness with durability, we went through many rounds of prototyping and discussion about thread density and embroidery specifications until we achieved the right nuance. This piece was made possible by carefully bringing together the craftsman's high level of skill and my vision as a designer.

High-precision embroidery machines allow me to reproduce fine, accurate embroidery consistently, which would be difficult with hand embroidery alone. The assembly into a three-dimensional form, on the other hand, is done entirely by hand. This combination of technological precision and the soft expression of handwork is what supports the quality of the piece.

Rather than market research, I rely on the observation of nature and my own sensibility. However, I conducted extensive material research, testing which materials and structures could hold their shape while remaining light and safe to wear on delicate garments. I also reflected feedback from my customers regarding comfort and lightness in the design.

The greatest challenge was creating a three-dimensional form that could hold its structure using soft materials like thread and fabric. Conventional methods did not provide enough stability, so I had to develop an original sewing and assembly technique. Balancing lightness and durability at this size was also difficult. It took a great deal of trial and error before I arrived at the solution of loosely filling the interior with tulle instead of packing it with wadding.

Winning an award for Shrimps Earrings gave me confidence that my work could be appreciated internationally. This time, I wanted to see how the techniques and expression I had further developed since then would be received on an international stage. I also wanted to share embroidery as a medium for jewelry with a global audience.

Taking on a larger and more complex form made me realize how much potential soft materials still hold. I learned once again that moving back and forth between intuitive expression and structural logic is what raises the quality of a work. Through this piece, I also reaffirmed the importance of believing in my own world and giving it form, even through repeated failures.

It is said that countless creatures still unknown to humankind live in the ocean. Flora Octopus is an imaginary creature that might be dwelling somewhere in those unexplored depths. I hope that wearing this piece brings a small paradise and a sense of nature's wonder into everyday life. I will continue to explore new possibilities for jewelry through the art of embroidery.

I aimed to create a form that is both light and impactful. My goal was to achieve a sculptural beauty that harmonizes with the body and brings a sense of joy when worn.

I plan to create derivative pieces that apply the same structure. I also aim to present this series in international galleries and art spaces.

Including all refinements and adjustments, it took about six months to complete.

It was a completely self-initiated project. I started to see a kind of cuteness in shrimp—something I regularly ate—and thought it would be fun to recreate their form using organza, a material I often work with. I also wanted to explore origami-like structural techniques.

Currently, the design is produced in-house in small quantities, and I plan to continue this approach for the foreseeable future.

I wanted to explore the potential of jewelry as wearable art—something that transcends conventional materials like metal and gemstones. I also wanted to propose a new value system in jewelry-making.

I don’t think there was a specific designer or design that influenced this piece directly.

Anyone who resonates with the aesthetic—regardless of age or gender. I envision customers who value self-expression and are drawn to both art and fashion.

The combination of delicate embroidery textures with a sculptural, poetic form is what makes it unique. Every aspect—from materials and structure to expression—has been pursued with originality.

I chose a simple and straightforward name that clearly conveys what the piece represents.

I started with hand-drawn paper patterns and then used Adobe Illustrator to adjust the forms and create the embroidery motifs.

The balance between the tactile quality created by textiles and embroidery, and the sculptural dimensionality of the form. Though it is jewelry, it carries the presence of an art piece.

I collaborated with a long-trusted embroidery craftsman in Japan. We went through many rounds of prototyping and communication to achieve the right nuance.

By utilizing advanced embroidery machines, I was able to achieve precise and repeatable results that would be difficult with hand embroidery alone.

Rather than market research, I rely more on my personal sensibility and interaction with nature. However, I did consider material research and customer feedback when it came to comfort and lightness.

It was technically difficult to give shape to embroidery—a soft material—in a three-dimensional structure. A lot of trial and error went into developing a framework that could hold its shape.

I wanted to see how my expression would be received on an international stage. I also hoped to build credibility for my brand and reach a broader audience.

I realized that by integrating sensitive intuition with structural logic, I could elevate the overall quality of the work. I also gained confidence in standing by my unique worldview.

Shrimp is a familiar ingredient for most Japanese people, and because we see it so often, we tend to overlook its beautiful, intricate form. This piece also serves as a quiet tribute to the beauty of the natural world around us.

I’ve been fascinated with creating things by hand since I was a child. I used to gather natural materials to play with or make gifts for people and feel great joy when they smiled. That sense of joy in creation is at the root of my motivation. Designing is the most natural way for me to express myself—it moves people and adds meaning to everyday life.

I chose this path on my own. But looking back, I realize that creating was always a part of me since childhood—so in a way, I may have been guided by something within. While others pursued different careers at university, I never doubted that I wanted to be in a creative field. It wasn’t so much a decision as something that felt inevitable.

I design jewelry using embroidery and textile techniques. I draw inspiration from the colors and forms found in nature, and I aim to express them in abstract, poetic ways. Moving forward, I want to go beyond the boundaries of jewelry and explore larger-scale installations and spatial design.

Stay true to what you love and to the sense of discomfort or curiosity that only you notice. Having your own perspective is key. Don’t rush the results—trust your instincts and keep going, even if it feels like a detour. In the long run, every experience becomes part of your unique design story.

A good designer can create technically excellent work. But a great designer has the power to influence an era and move people’s hearts. It’s not just about beauty or functionality—it’s about raising questions, offering new perspectives, and connecting with society on a deeper level. That’s where greatness lies.

A truly great design touches people emotionally and withstands the test of time. It’s not about fleeting trends, but about reaching the deeper layers of why we’re drawn to something. When a design resonates with people on that level, it becomes truly meaningful.

Good design enriches our daily lives and emotions in positive ways. It has lasting value because it’s loved over time and doesn’t become waste. I also believe that when our hearts are fulfilled by beautiful things, even conflict can be reduced. Design can make the world a more peaceful place.

Good design enriches our daily lives and emotions in positive ways. It has lasting value because it’s loved over time and doesn’t become waste. I also believe that when our hearts are fulfilled by beautiful things, even conflict can be reduced. Design can make the world a more peaceful place.

It’s been a dream of mine to develop fabric starting from the thread itself. By designing texture, color, and weaving from scratch, I believe I can expand the expressive range of my work. I want to one day take on a project where the materials themselves are part of the artistic world I build.

I trust my intuition. I treasure the fleeting moments when inspiration strikes, often unexpectedly. Honoring those impulses has led me to my most authentic and meaningful creations.

Issey Miyake. Although I worked under him only for a short period, it was one of the most formative experiences of my life. His approach to creation was always groundbreaking, and he constantly reminded me of the essence of what design truly is.

I’m deeply inspired by Ernst Haeckel’s perspective and observation skills. His ability to capture the structures and forms of nature with such precision—and transform them into art—resonates strongly with the way I approach my own work.

My Shrimps Earrings are one of my most iconic creations. They appear humorous at first glance, yet each detail holds intricate craftsmanship and strong intention. Their lightness and poetic form seem to linger in people’s memories, which makes me believe they’ve achieved something special.

To nurture your sensibility, it’s important to look beyond design. Visiting museums, traveling, spending time with children—everyday experiences become your creative toolkit. Personally, I always ask myself: “Am I observing the world closely enough before I start creating?

I think I would have worked with children—teaching them art. I love seeing how freely they express themselves, completely unbound by rules. Their creativity would have inspired me just as much as I hope I could have inspired them.

For me, design is a way to communicate emotions and beauty that cannot be fully expressed through words. It’s the act of translating feelings, discomforts, or wonders into tangible form. It overlaps with art, but for me, it’s more like a bridge that connects people on a deeper level.

Design, to me, is something that makes people smile. When someone wears my work and lights up, those around them often smile too. That chain of joy becomes a loop that also comes back to me. That sense of shared happiness has supported me more than anything.

I wouldn’t call myself a great designer yet. But what has guided me is the belief in my own instincts. I create not based on trends or external judgment, but on what feels “right” to me personally. That internal compass keeps me grounded.

I’m far from being a master. But one of the biggest challenges was the fear that my work wouldn’t be accepted. Especially in Japan, where “jewelry” is often equated with precious metals or gemstones, it took time for my textile-based expressions to be understood. But by continuing to share my work without giving up, I slowly found people who resonated with it—and that’s how the path opened up.

I believe it’s essential to share the background and emotions behind the design—especially the feelings that went into it. By expressing the worldview through visuals like photography or video, you can convey emotions that words alone cannot reach. This helps shorten the emotional distance between the work and the viewer.

In the future, I plan to explore new forms of expression beyond jewelry—such as bags, hats, and other wearable objects, as well as spatial installations. I want to expand from wearable art into art that can be experienced, engaging more senses and emotions.

My ultimate goal is for my work to quietly warm someone’s heart, regardless of generation or cultural background. I don’t want to simply make “things”; I want to create experiences that resonate with people’s memories and emotions and stay with them for a long time.

I think people expect “new perspectives” and something that stirs their emotions. That’s why I always try to sharpen my own sensitivity and stay true to my expression without conforming too much to trends. I want to create pieces that offer beauty, surprise, and a gentle question to the viewer.

What I believe in through design is the power of joyful connection. When a piece touches someone’s heart, that joy spreads to others—and that small ripple of happiness can nourish souls. If we multiply those moments, I truly believe the world can become a more peaceful place. It might sound idealistic, but I believe in it deeply.

I’m currently preparing for a solo exhibition at a gallery I connected with through a mysterious and serendipitous encounter. I feel I’ll be able to show work in a way I never have before. I’m excited to explore new forms of expression and create a space that gently loosens the hearts of visitors.

My exhibition at the Museum of Arts and Design (MAD) in New York was a truly fulfilling experience. Showing my work in a different country and culture, I felt a strong sense that my expression “reached” people. It reminded me of the joy of connecting through sensation rather than language.

In Japan especially, I sometimes sense an unspoken tendency to form cliques or rigid categories that exclude anything different. I hope the industry will open up more—where freedom of expression is valued, and creators support each other across boundaries and labels.

With the rapid evolution of AI, I believe design is about to transform significantly. AI can help analyze, think, and execute at a high level—but that’s precisely why human intuition will become more valuable. I’m convinced that the most human part of us is our ability to say, “I don’t know why, but I love this.” Designs that appeal to that instinct will define the future.

It takes me quite a long time to refine the details after an idea comes to me. It’s common for a piece to take three to six months—or even longer. But for me, what matters most isn’t time—it’s whether I’m truly satisfied with the final piece.

I start by shaping something that catches my intuition—like a vague discomfort or a beautiful form or color I encountered in nature. I don’t begin with sketches. Instead, I create with paper or fabric directly, and from there I let the image gradually expand in my mind.

To cherish the perspective only I have, and to trust my intuition. Rather than relying on external validation, I always ask myself whether my heart is moved by what I’m creating.

I believe both influence each other, but I’m more drawn to design that creates trends. Designers should feel the edge of what’s to come and give shape to feelings that haven’t yet found words. That’s the essence of the job.

I value the warmth of handmade work, but I also incorporate technology, especially in embroidery production. Machine embroidery allows for precision, lightness, and delicacy that are hard to achieve otherwise. Balancing the charm of both hand and machine is a key part of my expression.

I mainly use Adobe Illustrator and Photoshop.

Color and materials are essential to directly communicating emotion and atmosphere. Because they’re sensed before they’re understood, the choices we make with them define the worldview of a piece. I especially focus on lightness, transparency, and the way colors interact.

I’m always happy when someone asks, “How did you come up with this?” Behind every piece is a story—a memory from a trip, a moment of discovery in daily life, a fleeting emotional shift. When someone wants to hear those stories, the dialogue deepens and becomes more meaningful.

I feel a pure sense of awe—“How did they come up with this?” And it makes me feel free, like I can let go of my own limitations. I love that moment when someone else’s work makes me realize I can be more open in my own expression.

One of my ideal partners is the photographer Terukazu Sugino, who I regularly collaborate with. His sharp, intuitive sense beautifully and precisely captures the world I’m trying to express—sometimes even better than I imagined. He often understands the intention behind my work just by seeing it. I truly believe in the creative potential of co-design, where different perspectives merge and elevate the result.

The senior designers I worked with during my time at ISSEY MIYAKE, and also the friends and clients who supported me when I first started my brand. The people who offered me honest feedback helped shape who I am as a designer today.

Ernst Haeckel’s art books. He beautifully captured the structures and forms of the natural world at the intersection of science and art. Just looking at his works fills me with endless inspiration. His way of abstracting nature has greatly influenced how I approach my own creations.

By simply continuing to create. Through producing a large volume of work, I began to see my own quirks and tendencies. By refining them, my personal style gradually emerged and evolved.

Taro Okamoto. His words and works deeply resonate with me. I’m always inspired by his ability to break through conventions and express the essence of life itself through art. If I could, I’d love to have a quiet conversation with him, just the two of us.

I’m very grateful for the awards, but what matters even more to me is the feeling that my work has truly reached someone. Being recognized comes with responsibility, but instead of pressure, I try to see it as encouragement—that someone out there is waiting for my next creation.

My favorite colors are yellow and green. I love places like forests, the seaside, and the peacefulness of shrines. I enjoy seafood, and early summer is my favorite season. Naturally, I love jewelry. As for brands, I’m deeply drawn to Dries Van Noten’s use of color and immersive world-building.

At an overseas exhibition, someone mistook one of my earrings for food and nearly put it in their mouth! It looked so realistic to them. I was surprised and delighted—it was a moment where art and humor met in the best way.

When I see someone wearing my work and smiling radiantly, I feel fulfilled beyond words. When I’m tired, I recharge by spending time in nature or visiting a quiet shrine. That calms my mind and rekindles my creative energy.

Not at all. But I was always “the kid who was making something.” I wasn’t seeking praise from others—I simply kept creating until I felt satisfied. That mindset hasn’t changed.

I hope humanity will live in harmony with nature and value emotional and spiritual richness. Even as technology evolves, I want to believe that we’ll still retain the ability to “feel” deeply and genuinely.

Through my work, I hope to spark people’s imagination and emotions—to create space for each person’s own stories to unfold. That relationship between the viewer and the piece is something I’ll always hold dear.

I currently operate on my own, and I have recently hired an assistant. I work in an area near the sea.

Design is something that brings smiles to people. It is the way in which I can fully express my abilities and find my sense of purpose.

I love creating unique pieces that no one has seen before—designs that appeal intuitively yet are the result of thorough conceptual thinking and are not easy to produce.

My favorite design is the award-winning SHRIMP earring. It maximizes the properties of the material, featuring an origami-like structure reminiscent of Japanese art combined with the refined fabric handling I developed during my fashion design days.

My very first professional design work was when I worked as a designer for ISSEY MIYAKE.

I feel most creative in the morning when I’m at my desk in a quiet room.

I pay special attention to whether the design is intuitively beautiful.

I feel so much joy—it’s incredibly fun.

I feel overwhelmingly happy.

A successful design requires a genuine consideration for others.

I look at whether the idea and aesthetics are well balanced.

I believe that there is no true value in creating something unless it comes from a place of kindness—towards the environment, society, and people. While environmental consciousness is essential, I also believe that bringing joy to others can help make the world a better place. In that sense, making people smile through design is one of the most meaningful contributions a designer can offer to society.

With the development of AI, I believe the field is undergoing major changes. AI assists with analysis, thinking, and tasks, paving the way for higher-quality creations. Moving forward, I am convinced that intuition will be the aspect that keeps us truly human. Design that appeals to one’s innate feelings—where the sense of 'liking' is at its core—will become increasingly important.

My last exhibition was held in May in Osaka, Japan, and I am planning a solo exhibition in June in Tokyo.

My inspiration comes from my childhood experiences in nature and the hands-on experiences I had visiting production facilities during my time as a fashion designer.

My design style is all about creating pieces that spark a sense of “I love this” at first glance—something that resonates intuitively. The forms are unique and airy, with a sculptural quality that sets them apart, even within the realm of jewelry. Drawing on my background as a fashion designer, I apply techniques from pattern making and garment construction to develop highly structural and distinctive designs. I don’t rely on sketches; instead, I work directly from inspiration, cutting fabric or paper by hand to create three-dimensional samples.

I live in Japan and have experienced various regions here. The richness of Japan’s nature and cultural heritage greatly influences my work. Japan offers unique cultural perspectives and sensibilities that lend distinct originality to designs influenced by Japanese culture. On the downside, being far from overseas can be a challenge—if I were based in Europe, for instance, I might have broader opportunities for international exhibitions.

Currently, I rarely work on corporate projects, although I have occasionally designed uniforms for companies.

I believe strong communication skills are essential.

I don’t usually create design sketches. Instead, I go straight from inspiration to cutting paper or fabric to make samples. Since my final pieces are three-dimensional, I don’t feel that preliminary sketches are necessary.

Some examples include an object made by my child, vintage sunglasses, the Nothing smartphone, RIKI clock, Fellow Carter Move Mug

Since my child is young, I go to bed at 8 p.m. and wake up at 4 a.m. Before breakfast, I devote time to stretching, meditation, and study, then work from 9 a.m. to 5 p.m. On my days off, I spend time with my child and husband.

I believe that gaining as much experience as possible through sheer volume of work will not only broaden your design range but also improve its quality.

I think it’s the best job ever, so I can’t really point out any negatives.

First and foremost, create something that genuinely excites you.

Not giving up until the very end.

I use my MacBook, pencils, a cutter, copier paper, Photoshop, Illustrator, scissors, and glue.

I work until I am completely satisfied with the result.

Approximately six months.

How did you create it?’

Last year, I had the opportunity to sell my work directly overseas at the MAD Museum in New York.

Many of my clients are creative professionals, such as artists and musicians.

I particularly enjoy the process of choosing colors."

I’m interested in designing not only jewelry but also bags.

I work on my own.

I’m currently working on a large octopus brooch.

They can reach out via email or through social media.

One of the central challenges in creating the Shrimps Earrings was achieving a delicate balance between air-like lightness and the durability required for wearable jewelry. Working with fragile materials such as organza and rayon thread demanded a thoughtful approach to structural integrity.I began by introducing folds into the fabric, allowing the natural tension of the material to create volume and form. More importantly, I carefully calculated the placement and density of embroidery stitches—not simply as decorative elements, but as integral reinforcements that would give the piece its internal “skeleton.” In this design, embroidery itself becomes a structural component, contributing to the overall strength of the form.To prevent deformation after wear, I also incorporated subtle reinforcement stitches and backing materials, hidden from view, down to the millimeter. These elements ensure that the shape remains stable over time, without compromising the visual lightness of the design.Through this process, I was able to create a structure that is both extremely lightweight and strong enough for repeated use. Beneath the delicate and ephemeral appearance lies a precisely calculated framework—an invisible layer of engineering that gives the piece its quiet resilience.

The color palette of the Shrimps Earrings was inspired by the layered and shifting hues found in marine life. Underwater creatures often appear translucent, and their colors change subtly depending on light refraction and movement. I wanted to express that same sense of fragility and life through a gentle gradation, rather than using a single flat color.I worked with pre-dyed gradient rayon threads, but the placement of each color transition was carefully considered. The way the hues shifted depended on the direction of the stitching and how the thread interacted with the surrounding materials. While there is some degree of unpredictability in how the color will appear once stitched, I used that element of chance intentionally, guiding the embroidery to create a visual flow across the surface.To achieve a natural transition of color, I approached embroidery not as a line-based technique, but as a painterly, surface-building process—layering stitches like brushstrokes to create blurred edges and soft shifts in tone. My goal was to evoke the feeling of light shimmering through water or the iridescence of living organisms.This subtle yet complex use of color plays a key role in giving the Shrimps Earrings their sense of vitality and poetic presence.

Growing up in Japan, I was always familiar with the sight of shrimp carrying eggs beneath their bellies. Shrimp is a very common ingredient in Japanese cuisine, and I often encountered it in everyday cooking since childhood—so rather than conducting formal biological research, this detail was something that had been imprinted in my memory through lived experience. Of course, I did consult some reference photos during the design process to refine the details.What fascinated me about the egg-bearing form was the quiet symbolism it held—a moment of nurturing, of potential, of life suspended in time. In the Shrimps Earrings, I wanted to incorporate this subtle yet powerful image not in a hyper-realistic way, but as a poetic gesture that adds both narrative and structure.Interestingly, the embroidered “eggs” also serve a practical purpose: they reinforce the form and add structural stability to the abdominal area. I appreciate how this element brings together meaning and function—offering a small, somewhat whimsical detail that also quietly strengthens the overall piece.

In my work, there is always a coexistence between tactile intuition and digital technology. For the Shrimps Earrings, I used Adobe Illustrator to create flat folding diagrams in the early stages of the design. By combining these digital sketches with hands-on paper prototyping, I explored where to fold, where to stitch, and how to shape the structure until the final form emerged.That said, I see digital tools simply as instruments for thinking—what matters most to me is how those lines on screen are translated into fabric and thread. Materials are alive, and even a slight change in how I apply the embroidery can shift the overall impression. During production, it is always my hands that hold the final authority in decision-making.I view digital technology as a way to bring structure and clarity, while handcraft introduces spontaneity and emotion. The Shrimps Earrings were born from the tension and harmony between these two forces. By moving back and forth between the precision of technology and the expressiveness of traditional craft, I aim to explore a form of jewelry that reflects the complexities of our contemporary era.

To me, sustainable design is not simply about using environmentally friendly materials—it’s about how we can make ethical choices without compromising the beauty or meaning of a piece. It’s an ongoing question I ask myself throughout the creative process.In the Shrimps Earrings, I used organza to achieve a sense of lightness and transparency, and selected a version made from recycled PET bottles. I also intentionally avoid materials that may exploit people or the natural environment. In fact, I consider the decision to create jewelry without minerals at all to be an ethical choice in itself.My material philosophy plays a quiet yet central role in how I make design decisions. Even if no one notices these details on the surface, I believe that staying true to my own values creates a kind of inner integrity in the work. These invisible layers of intention are what give the piece its strength and depth.

The idea for the structure of the Shrimps Earrings began with a realization: the translucent, lightweight quality of the organza I often use reminded me of the texture of a shrimp’s shell. That connection sparked a sense of curiosity—what would happen if I tried to recreate a shrimp form using this material?During the development process, I had a key insight: instead of assembling the shape from multiple small parts, I could use a folding-based structure to create a three-dimensional form from a single piece of fabric. This not only reduced unnecessary steps but also led to a unique and original silhouette. The result felt both efficient and visually fresh—an approach that was meaningful on multiple levels.I did create paper prototypes to sketch out the folding structure, but I didn’t encounter major issues with fabric deformation. Thanks to my past experience, I already had a good sense of how the fabric would behave and where tension would naturally occur. It was a process of “reading” the material and letting it guide the form.In the end, I fixed the folds in place using adhesive, which allowed me to retain the softness of the material while maintaining a stable structure. I feel this piece captures a strong sense of presence, precisely because it balances flexibility and definition so effectively.

With the Shrimps Earrings, my intention wasn’t to deliver a complex message or theory—it was simply to create something that makes your heart skip a beat the moment you see it. I believe that art, fashion, and jewelry don’t need long explanations. What truly matters is whether it sparks a sense of joy, instinctively and immediately.Shrimp, as a motif, is something we usually associate with food. But when you take a moment to really look, you realize how beautiful and delicate their forms are—the curves, the translucency, the hidden strength. This shift in perspective can transform how we see the world, and, in turn, make us feel more connected to it. That sense of wonder is something I wanted to capture through this piece.We live in an era where AI can generate “well-crafted” concepts and artist statements for anyone. And precisely because of that, I believe instinct matters more than ever. You can explain anything with the right words, but the feeling of “I just love this” can’t be manufactured. For me, creation starts not from logic, but from the reaction of the heart—and that, I believe, is the most honest and powerful guide.Choosing not to use minerals or metals also felt natural. The earth’s resources are finite, and the global population continues to grow. It no longer makes sense to rely solely on traditional definitions of luxury. I believe we can redefine beauty and value by embracing materials and expressions that are kinder to the planet. Luxury, for me, is no longer about rarity—it’s about resonance.When someone wears something that genuinely delights them, their expression softens, and joy radiates outward. I believe those small moments of joy—those personal sparks of wonder—have the quiet power to make the world a more peaceful place.

The Shrimps Earrings require a great deal of time, focus, and delicate handwork. It’s not a piece suited for mass production—but that’s exactly why I want to deliver it thoughtfully, to people who truly appreciate the value of finely crafted objects.In terms of scaling production, I’m focusing on building a trusted team of skilled artisans and stitchers. Rather than creating everything by myself, I believe in clearly communicating the intention and design, and then entrusting the execution of certain details to experienced hands. This approach feels like the most realistic and sustainable path forward.At the same time, I see potential for pieces like the Shrimps Earrings to exist both as expressive art objects and as wearable fashion jewelry. I’m exploring ways to expand the product line while preserving the overall aesthetic and spirit of the work. By offering different tiers within the same conceptual world, I hope to make it more accessible without compromising its identity.Ultimately, it’s a balancing act—between craftsmanship and communication, between artistic expression and practical distribution. I’m still in the process of finding the best way to let this piece reach a wider audience, while staying true to what makes it special.

To me, luxury is not defined by expensive materials. Through the Shrimps Earrings, I want to share the idea that perhaps the true essence of luxury moving forward is the feeling of joy—or what I call “sparkle in the heart.”Traditional jewelry has long been associated with rarity—gold, gemstones, and other limited resources have symbolized value. But in today’s world, where environmental concerns and resource limitations are urgent realities, I believe it’s time to rethink those assumptions.The Shrimps Earrings are made without any minerals. They’re light, delicate, and yet carry a sense of presence that lifts the spirit when worn. I hope to offer a new perspective: that value can come not from the rarity of the material, but from the emotional resonance it creates—the way it shifts your perception or simply makes you smile.Luxury doesn’t have to belong only to a select few. It can be something that moves someone’s heart, regardless of price or origin. If this piece can encourage even a small shift toward a more open, intuitive, and joyful understanding of jewelry and fashion, I’d be truly happy.