Nana Watanabe

I have loved creating things since childhood. Every time I made something, I received compliments from others, and seeing the joy on people’s faces when I gave them my creations made me feel truly happy.

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 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 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.

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

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.

fter working as a designer on the ISSEY MIYAKE collection team, I launched my own brand, NANA WATANABE. I currently work both as a designer and artist, creating textile-based jewelry pieces. My works have been exhibited in New York at the MAD Museum, as well as in London and Milan. I actively participate in international exhibitions and pop-up events.

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.

I studied fashion design at a university in Japan. After graduation, I joined the design team at ISSEY MIYAKE, where I worked for about four years on collection development. The three-dimensional sense of form and material approach I cultivated there have deeply influenced my current jewelry designs. I later launched my own brand, NANA WATANABE, which focuses on artistic jewelry using embroidery and textiles.

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.