Hana Mitsui

My father is an architect, so I grew up surrounded by architecture and design from a very young age. Being exposed to drawings, materials, and spatial thinking on a daily basis made me naturally curious about how things are made and how form can express ideas. That environment sparked my desire to create with my own hands. Eventually, I became drawn to textiles — I found something very powerful in the way fabric holds memory, carries tradition, and interacts closely with the body and space. I studied textile design at university and later pursued my MA at the Royal College of Art in London, where I explored how traditional craft and contemporary expression could intersect. Textiles have limitless potential across industries. I was especially fascinated by how they can move fluidly between architecture, fashion, and interior design — how one material can tell stories in many forms. At ISSEY MIYAKE, I had the opportunity to learn how traditional textile techniques can be transformed into innovative, forward-thinking design. That experience taught me the importance of both honoring heritage and pushing creative boundaries. Today, my work exists at the intersection of art, design, and craft. I see textiles not just as materials, but as mediums for cultural storytelling — ways to visualize memory, place, and identity through texture, color, and form.

HANA LAB, short for Hana Material Design Laboratory, is a research-based design studio where I explore the potential of traditional materials and techniques from across Japan. The focus is on collaboration with local artisans and industries — reinterpreting heritage craft through a contemporary lens. Through this lab, we develop both products and experimental works that bridge art, design, and culture. On the other hand, Hana Textile Design Studio is where I offer textile design services for clients including fashion brands, architects, and interior projects. It’s more focused on commissioned work and professional collaborations, drawing on my background in textile development and surface design. Together, these two platforms allow me to balance research and experimentation with practical design application. One is more exploratory and self-initiated, and the other is more client-oriented and collaborative. Both are deeply connected by a shared commitment to material storytelling and cross-disciplinary expression.

My favorite design is the “Pixel Weave Monalisa”. This work is very special to me because it merges traditional Japanese igusa weaving with a modern pixelated interpretation of the Mona Lisa. By using a classic craft material like igusa, traditionally used in tatami mats, I was able to create a contemporary piece that connects Japan’s rich cultural heritage with digital-age aesthetics. This design embodies my passion for exploring and reinterpreting traditional techniques in new and innovative ways, which is at the heart of my creative work.

My favorite design is based on Kurume Kasuri, a traditional Japanese textile. In Japan, it is said that this weaving technique was originally inspired by the idea of a young lady, which gives the fabric a unique sense of origin and creativity. What I find most fascinating is its soft, blurred patterns—created by pre-dyeing the threads before weaving. These subtle shifts and imperfections bring a warmth and human touch that cannot be replicated by machines. Through my work, I aim to reinterpret Kurume Kasuri for contemporary life, blending traditional craftsmanship with modern design.

I feel the most creative when I visit traditional textile regions and observe the artisans at work. Seeing their techniques, tools, and dedication up close always inspires me with new ideas and a deeper appreciation for the materials. It’s in those quiet, focused moments—watching the rhythm of handwork—that my own imagination starts to grow.

I focus on the story behind the material and the cultural context in which it exists. As a textile designer, I pay special attention to the structure of the fabric, the techniques used by local artisans, and how the design can convey a sense of place or history. I also consider how the design will interact with light, movement, and the human body, depending on its final use—whether in fashion, interiors, or art installations.

When I design, I often feel a mixture of excitement and quiet concentration. There’s a moment of joy when I discover a new combination of materials or techniques that feels just right. At the same time, I also feel a deep sense of responsibility—especially when working with traditional crafts or collaborating with artisans—because I want to honor their skills while bringing something new to the table. It’s a balance of playfulness, respect, and curiosity.

When my designs are finally realized, I feel a quiet but profound sense of fulfillment. It’s not just about seeing the finished piece—it’s about witnessing the journey from an abstract idea to something tangible that can be touched, used, or worn. Especially when traditional techniques or regional materials are involved, I feel deeply moved, as if the voices of the materials and the hands of the makers are speaking through the work. There’s also a sense of humility and gratitude, knowing that a design is never realized alone—it’s always the result of collaboration and trust.

For me, a successful design is one that resonates with people on both an emotional and practical level. It should not only be visually compelling, but also carry meaning—whether through materials, technique, or cultural context. I believe a design is truly successful when it creates a dialogue: between tradition and innovation, between maker and user, or between past and future. If someone feels a connection or curiosity through the design, then I consider it a success.

The first thing I consider is whether the design has a clear intention and if that intention is communicated effectively. A good design doesn’t have to be loud or complicated—it can be quiet, subtle, or minimal—but it should carry a sense of purpose. I also look at how well the design is executed in terms of craftsmanship and material choices, and whether it feels honest to its context, whether cultural, social, or environmental. In short, I value clarity, integrity, and emotional impact.

I believe designers have a deep responsibility to be conscious of the impact their creations have on both society and the environment. Our role is not just to make something beautiful or functional, but to question what, why, and how we produce. This includes being mindful of materials, working methods, and the long-term life cycle of the product. Especially in a time of overproduction and environmental crisis, I feel it is essential to design with care, intention, and empathy. Designers can also play a role in preserving and reinterpreting traditional knowledge, supporting local communities, and encouraging more sustainable ways of living.

I believe the design field is becoming increasingly interdisciplinary and values-driven. Designers today are not working in isolation—they are collaborating with scientists, engineers, artisans, and communities. The boundaries between design, art, and research are also becoming more fluid. I think the future of design will focus less on creating new things and more on rethinking existing systems, regenerating materials, and repairing relationships—whether with nature, culture, or each other. Emotional resonance, ethical awareness, and cultural depth will become just as important as form and function.

Last Exhibition was in Fukuoka,Japan and next will be in China and in Singapore.

My design inspiration often comes from exploring traditional crafts and local materials in Japan. Visiting production sites and meeting with artisans allows me to understand the history and techniques behind each material deeply. Nature and the changing seasons also inspire me, especially how light and color shift throughout the year. To feed my creativity, I combine hands-on research with moments of quiet reflection, allowing ideas to grow organically. I also draw inspiration from various fields such as architecture, art, and even digital technology, which helps me blend tradition with innovation in my work.

I would describe my design style as a thoughtful blend of tradition and contemporary innovation. I am deeply inspired by traditional Japanese textiles and craftsmanship, but I aim to reinterpret these elements through a modern lens—experimenting with materials, structures, and subtle patterns that evoke a sense of place and time. What led me to explore this style further was my desire to connect the past and present, honoring the skills of artisans while creating something relevant for today’s world. The main characteristics of my style include a focus on texture, the interplay of light and shadow, and an understated elegance that invites quiet contemplation rather than loud statements. My approach to design is research-driven and collaborative; I spend time understanding materials and techniques and work closely with artisans to co-create. I also emphasize sustainability and cultural storytelling, aiming to make designs that resonate emotionally and ethically.

I live in Japan, a country with a rich cultural heritage that deeply influences my work. The traditions, craftsmanship, and natural environment here provide endless inspiration and a strong sense of connection to history. This cultural context allows me to explore and reinterpret traditional techniques in contemporary ways, which is central to my design philosophy. One of the advantages of living in Japan is the close proximity to skilled artisans and production sites, which enables direct collaboration and hands-on research. However, sometimes the expectations to honor tradition can be a constraint, requiring a delicate balance between innovation and respect. Also, the local market can be niche, which challenges me to think globally while staying true to local roots. Overall, living in Japan offers a unique environment that enriches my creativity but also pushes me to navigate between preserving heritage and embracing new ideas.

When working with companies, I approach each project with a collaborative mindset. I begin by understanding their brand values, goals, and target audience to ensure the design aligns well with their identity. I value clear communication throughout the process, from initial concept development to final production. Often, I integrate traditional craftsmanship or local materials, so I coordinate closely with artisans and manufacturers to maintain quality and authenticity. My goal is to create designs that not only meet the company's needs but also bring meaningful stories and cultural depth to the products.

My suggestion to companies is to approach collaboration with openness and respect for the designer’s creative process. It’s important to communicate clearly about your goals and constraints, but also to trust the designer’s expertise and give them space to explore ideas. A good partnership is built on mutual understanding and flexibility. When selecting a designer, companies should look beyond just technical skills or portfolio aesthetics. It’s crucial to find someone whose values and vision align with the company’s mission. Consider how the designer approaches research, collaboration, and problem-solving, as these aspects often determine the success of the project. Meeting and talking with candidates to sense their passion and professionalism can also be very helpful.

Certainly. My design process begins with deep research and observation. I often start by exploring traditional materials, techniques, and cultural contexts related to the project. Visiting artisan workshops and production sites allows me to gain hands-on experience and inspiration. From there, I sketch and experiment with patterns, textures, and structures, always keeping in mind the balance between tradition and innovation. Collaboration is key in my process—I work closely with craftspeople and manufacturers to refine the design and ensure quality. Throughout, I pay attention to how the design will be experienced in real life—its tactile qualities, durability, and emotional impact. The process is iterative, and I value time for reflection and adjustment before finalizing the work.

Traditional Textile from China and Laos and Thailand. Two cups designed by my husband who is also a designer

A typical day starts with reviewing my ongoing projects and checking emails. I spend a lot of time researching materials or visiting artisan workshops. Afternoons are usually for sketching, experimenting with fabrics, and meetings with collaborators. Evenings are for reflection and planning the next steps. Every day is a balance of creativity, learning, and collaboration.

My advice to young designers is to remain curious and open-minded throughout your journey. Don’t be afraid to explore different materials, techniques, and cultures, as these experiences will enrich your perspective. At the same time, be patient with yourself—creativity often takes time to develop. Building strong relationships with artisans and collaborators can greatly enhance your work, so value teamwork and learning from others. Lastly, stay true to your own voice and values, as authenticity is what makes your design meaningful and unique.

Being a designer is incredibly rewarding because it allows me to bring ideas to life and create meaningful connections between people, culture, and materials. The positive side is the opportunity for continuous learning, exploration, and collaboration with talented individuals. However, it can also be challenging—there is often pressure to constantly innovate, meet deadlines, and balance creative vision with practical constraints. At times, this can feel overwhelming, but these challenges also push me to grow and deepen my craft.

My golden rule in design is to always respect the story behind the materials and the people who create them. Design is not just about aesthetics or function; it’s about honoring the cultural and human context that shapes every piece. Keeping this in mind ensures that my work remains authentic, meaningful, and connected to a larger narrative beyond just the object itself.

I believe that beyond technical skills, the most important abilities for a designer are curiosity, adaptability, and communication. Curiosity drives exploration and innovation, encouraging designers to seek new materials, methods, and ideas. Adaptability allows one to navigate changing trends, client needs, and unexpected challenges. Communication is essential not only for sharing ideas clearly but also for collaborating effectively with artisans, clients, and teams. Together, these skills enable a designer to create meaningful and successful work.

I use Adobe Illustrator and CAD software for digital design, along with traditional tools like sketchbooks and fabric swatches. Books on textile history and craft inspire me, as do visits to artisan workshops. Nature and everyday life are also key sources of creativity.

I prioritize tasks and set clear goals for each day. Breaking projects into smaller steps helps me stay focused. I also make sure to take breaks to refresh my mind and keep creativity flowing.

It depends on the complexity, but typically it takes several months—from research and prototyping to final production and refinement.

People often ask how I balance tradition and innovation in my designs.

Working at Issey Miyake was crucial—it taught me how to blend traditional craft with modern fashion.

I have worked with brands like GOLDWIN,and some architecture studios creating textile art works for big hotels in Japan.

I enjoy working on projects that involve blending traditional craftsmanship with contemporary design. This type of work allows me to explore the rich history and techniques of local artisans while bringing fresh perspectives and innovation. I find great satisfaction in creating pieces that connect past and present, bridging culture and modern life. It’s rewarding to contribute to preserving heritage while making it relevant and accessible to today’s audience.

I primarily develop my designs myself, as I deeply value personal exploration and hands-on research with materials and techniques. However, design is rarely a solo endeavor—especially when working with traditional crafts or large-scale projects. I collaborate closely with artisans, manufacturers, and sometimes other creatives to bring the concept to life. These collaborations enrich the design process and allow me to blend my vision with expert craftsmanship and diverse perspectives.

Yes, currently I am working on a project called “HAMA,” which explores the unique material called “hama”—the clay supports used in traditional pottery firing. I am fascinated by how this material, usually hidden in the background, can inspire textile design through its textures and colors. This project is a collaboration with ceramic artists and other creatives, aiming to reinterpret “hama” as a new kind of material expression that bridges ceramics and textiles. It’s an ongoing exploration of materiality and cultural connection.

People can contact me through my official website, where I share my portfolio and news about upcoming projects and exhibitions. I am also active on social media platforms such as Instagram, where I post updates and interact with followers. For professional inquiries, email is the best way to reach me, and the contact details are available on my website. I always welcome conversations about collaborations, exhibitions, or creative projects. my address is studio@hanatetiledesign.com

One thing I’d like to add is the importance of continuous learning and curiosity in design. The field is always evolving, and as a designer, staying open to new materials, techniques, and perspectives is essential. Also, I want to emphasize the value of preserving traditional crafts while exploring how they can be adapted to contemporary contexts. This balance between honoring the past and innovating for the future is at the heart of my work.

I was born in 1990 in Connecticut, USA, and completed my Master’s degree at the Royal College of Art in London in 2014. During my time there, a fabric I designed was selected by Alexander McQueen and featured in their Spring/Summer 2015 collection. After returning to Japan, I spent seven years working on textile and bag design at ISSEY MIYAKE. In 2023, I established Hana Textile Design Studio in Tokyo. To further realize my creative ideas through hands-on material development, I also founded Hana Material Design Laboratory, Inc., where I explore the potential of various materials and turn my inspirations into tangible designs and products. In addition to running my studio, I currently work as a visiting lecturer in the Textile Design Department at Tama Art University. My practice extends beyond fashion to include textile design for interior and architectural contexts, always aiming to bridge traditional techniques with contemporary applications.

I decided to become a textile designer because I found the field of textiles to be uniquely flexible and full of creative potential, allowing my designs to transcend industry boundaries and take on many different forms. Textiles are used in every aspect of daily life—from architecture and fashion to interiors and even automobiles. Their ability to softly transform form and atmosphere, while having a profound impact on space and perception, deeply fascinated me. After receiving foundational training in Japan, I completed my master’s degree at the Royal College of Art in London. This experience was a major turning point in my life, expanding my worldview and allowing me to believe in the potential of my own textile design through exposure to diverse cultures and values. One of the fabrics I created during my studies was selected by Alexander McQueen and used in their Spring/Summer 2015 collection—an experience that solidified my belief that craft and concept can coexist. I later joined ISSEY MIYAKE, where I spent seven years designing textiles and bags. This time taught me the importance of deep material understanding and research-driven design. In 2023, seeking more creative freedom and personal expression, I established my own design studio. In addition, I founded a research-focused lab dedicated to exploring the possibilities of materials and turning ideas into tangible design outcomes.

When it comes to my design process, there are three key aspects I prioritize: material exploration, concept-driven design, and the fusion of traditional craftsmanship with modern technology. Material Exploration For me, the first step in any design process is understanding the material itself. I deeply believe that the characteristics of the material I work with shape the final product. Whether it's fabric, textile, or other mediums, my focus is on studying the material's texture, durability, and its possibilities for transformation. I enjoy exploring how materials can be manipulated or combined in new ways to create innovative designs. This hands-on experimentation often drives the direction of my work, allowing for unexpected outcomes that feel both fresh and authentic. Concept-Driven Design Every project begins with a clear concept or idea. I strongly believe that a design should tell a story or evoke a particular emotion or feeling. I draw inspiration from a wide range of sources, from traditional Japanese textiles to modern art, architecture, and nature. My designs are often rooted in cultural themes or social contexts, giving them a deeper meaning beyond their aesthetic. The concept becomes a foundation upon which the material, form, and function are built, ensuring that the design is not only visually pleasing but also rich in significance. Fusion of Traditional Craftsmanship and Modern Technology I integrate traditional craftsmanship techniques with modern digital tools to create unique designs. While I am deeply connected to handcraft and the tactile nature of creating physical prototypes, I also embrace the use of digital tools and technologies, such as computer-aided design (CAD) software, to enhance precision and push the boundaries of what’s possible in design. I feel that combining these two aspects—tradition and innovation—gives my work a distinct character and an edge in the contemporary design world. When starting a new project, I usually begin by researching and gathering inspiration, whether through travel, studying different cultures, or diving into the historical context of materials and techniques. I sketch my ideas, experiment with different materials, and often create mock-ups or physical models to get a tactile sense of how the design feels. I believe in the importance of hands-on creation and constantly refine my designs through physical experimentation before finalizing them digitally. In essence, my approach to design combines a deep respect for materials, a strong conceptual foundation, and a balance of traditional craftsmanship with the latest technology to create designs that are innovative, meaningful, and timeless.

When designing, I experience a range of emotions, with the most prominent being excitement, curiosity, and a sense of accomplishment. Excitement and Curiosity The initial phase of design, when ideas first emerge, is particularly thrilling for me. There’s a rush of excitement when I start exploring new concepts, materials, and their possibilities. At this stage, it feels like the potential is endless, and I get caught up in the excitement of the ideas expanding in my mind. There’s a sense of curiosity about venturing into unknown territory, and a thrill in seeing where that can take me. The Journey of Exploration The design process itself is also incredibly fulfilling. As I work to bring an idea to life, I enjoy the trial and error, discovering new solutions, and pushing the boundaries of what I can create. While there are moments of frustration, the joy and satisfaction that come from overcoming challenges or finding an unexpected solution are immeasurable. The journey of exploration itself gives me a deep sense of fulfillment and keeps me motivated. The Sense of Accomplishment at Completion The moment when a product or project is finished and I see the final result is truly rewarding. To see something that started as an idea in my mind come to life and take a tangible form is an indescribable joy. I also get immense satisfaction imagining how the design will be used and appreciated by others. The feeling of accomplishment at the end of the process is one of the most fulfilling aspects of being a designer, and it brings me a deep sense of happiness. Designing fulfills me by offering continuous learning and discovery. The act of solving problems, bringing ideas into reality, and seeing my work have an impact is what drives me. The freedom of creation and the joy of seeing my ideas take shape, along with the possibility of influencing others, is what makes design such a rewarding pursuit for me.

Several aspects of my background have significantly shaped me as a designer: Educational Experience and Cultural Exposure My education at the Royal College of Art was a pivotal moment in my design journey. It not only provided me with the technical skills and knowledge to refine my craft, but also exposed me to diverse perspectives from around the world. The cross-cultural environment of London, along with my studies, allowed me to approach design from a broader and more inclusive standpoint, which encouraged me to integrate both tradition and innovation in my work. This exposure to different ideas, materials, and design philosophies was essential in shaping my approach to textile design. Early Work Experience with ISSEY MIYAKE My time at ISSEY MIYAKE for seven years played a crucial role in refining my design sensibilities. The brand's commitment to exploring new materials, pushing boundaries, and prioritizing functionality alongside aesthetics taught me the importance of both artistry and pragmatism. The experience deepened my understanding of materiality, as well as the importance of research and experimentation. It also instilled in me a sense of discipline in executing designs at a high standard and working on collaborative projects that bridge various disciplines. The Influence of Craft and Tradition I have always been drawn to the balance between craft and conceptual thinking. My background in traditional Japanese textile techniques, coupled with my curiosity for modern design possibilities, has been a cornerstone of my work. I’ve always believed that craft and concept can coexist harmoniously. This belief was reinforced during my time at the Royal College of Art, especially when one of my designs was selected for Alexander McQueen’s 2015 SS collection. It taught me that high craftsmanship can amplify conceptual designs, making them not just functional but also deeply meaningful. The Entrepreneurial Drive and Establishment of My Studio Establishing my own design studio and research lab was a turning point that helped me further shape my identity as a designer. The desire to express my creativity freely and to explore materials in-depth pushed me to create a space where I could experiment without limitations. It’s this entrepreneurial spirit that now fuels much of my design work, whether it’s through experimenting with new materials, exploring various disciplines, or collaborating with other designers and artists. In sum, my educational background, hands-on experiences at ISSEY MIYAKE, my belief in the intersection of tradition and innovation, and the entrepreneurial drive to create my own design studio all contribute to who I am as a designer today. These experiences have shaped my philosophy that design is about finding balance—between creativity and functionality, tradition and modernity, and craft and concept.

I studied textile design at the Royal College of Art in London, where I was deeply immersed in both traditional craft techniques and contemporary design approaches. After graduating, I was fortunate to have my textile work selected by Alexander McQueen for the Paris collection, which was an incredible experience. Returning to Japan, I worked at Issey Miyake, contributing to textile and bag designs before establishing my own studio. This diverse background has shaped my holistic approach to design, balancing heritage and innovation.

My motivation to design comes from a desire to connect people with materials and culture in meaningful ways. I became a designer because I believe design can tell stories and bridge past and present. The tactile nature of textiles and the stories behind traditional craftsmanship constantly inspire me to create new expressions that honor heritage while speaking to today’s world.

I chose to become a designer. It was a natural path for me, driven by curiosity and passion for textiles and craft from an early age. While the road has had its challenges, I have always felt a strong personal calling to explore design as a way to express culture and creativity.

I design textiles and products that explore traditional Japanese materials and craftsmanship, often blending them with contemporary techniques. Going forward, I want to design more sustainable, everyday-use items that people can connect with emotionally, such as wearable textiles and home goods, always grounded in cultural stories.

I would encourage young designers to stay curious and open to learning. Embrace experimentation and do not fear failure. Building relationships with artisans and understanding materials deeply are also essential. Most importantly, stay true to your own voice and values—authenticity resonates more than anything.

A good designer creates well-executed work, but a great designer brings a unique perspective and emotional depth that moves people. Great designers challenge conventions and connect deeply with culture and context, creating work that lasts beyond trends.

I evaluate design based on clarity of intention, execution, and emotional impact. A really good design communicates its purpose clearly, is crafted with care, and evokes feelings or thoughts in the viewer. It balances aesthetics and function while telling a story.

Good design enriches our daily lives by bringing beauty, meaning, and functionality together. Investing in good design means valuing quality, sustainability, and cultural connection. It creates products that last, tell stories, and contribute positively to society.

If I had more time, I would like to design community-centered projects that involve local artisans and reflect regional culture. I want to create pieces that support and empower traditional craftspeople while resonating with contemporary users worldwide.

My dream project is to create a large-scale installation or environment that fully integrates traditional materials like igusa (rush grass) with digital technology, exploring the dialogue between nature and modernity. It would be an immersive experience connecting craft, design, and space.

My secret is deep respect for materials and people. Listening carefully to the stories behind materials and collaborating closely with artisans brings authenticity and depth to my work. Patience and continuous learning also play vital roles.

I am inspired by designers who blend tradition and innovation, such as Issey Miyake and Alexander McQueen. I also admire craft masters who dedicate their lives to preserving techniques. Their passion and integrity motivate me.

I admire works that tell stories through materials and craftsmanship. For example, Issey Miyake’s pleating techniques and McQueen’s theatrical textiles inspire me because they merge technical mastery with emotional expression.

ne of my greatest designs is the “PIXEL WEAVE MONALISA” tatami project, which combines traditional igusa weaving with pixelated digital aesthetics. It embodies a successful fusion of heritage and modernity and evokes conversations between old and new.

Improvement comes from curiosity and hands-on experience. I spent time visiting production sites, working with artisans, and continuously experimenting. Staying humble and open to feedback helped me grow.

If not a designer, I might have pursued a career related to art history or cultural preservation, as I am deeply interested in heritage and storytelling.

Design is a way to give form and meaning to ideas, bridging function, culture, and emotion. It’s a language that communicates values and connects people.

My biggest supporters have been my family and mentors, as well as the artisans who shared their knowledge. Their trust and encouragement gave me strength.