意識流影像日記 SAYAKA MARUYAMA
在 2011 至 2019 年間，SAYAKA 進行了一個名為《#MEMORANDOM》 的長期項目，項目的名字由「MEMO」和「RANDOM」兩個單詞編造而成，顧名思義，就是以視覺方式隨機地捕捉那些曾經浮現在她腦海裡的想法和思緒，作為她的記憶的記錄，也同時作為一項長時間的藝術實踐。後來，她更將系列中包含的相片、素描、繪畫、拼貼、物品，以及從短片中擷取的影像，彙編並出版成為一本同名的藝術書。對於 SAYAKA 而言，《MEMORANDOM》系列是她自己歷來最喜歡的一輯作 品，因為在這本書的製作過程中，就等如對自己的大腦進行一次全面整理，而最後得出來的成果，亦等於在這段時間裡由她親自以影像撰寫的視覺日記。
與其說此系列中包含的圖像是已完成的作品，SAYAKA 更傾向說它們是 一個流動的、抽象的、不斷變化的想法集合，欠缺語言的有序性、確定性和邏輯性，可以在波動和試圖保持平衡之間被重新編輯，用另一種語言再說一遍。《MEMORANDOM》的圖像就好像意識流一般隨機地連接，帶著殘缺的美感，尚在邁向完成的過程之中。所以它們無法歸類為特定的形式，也沒有既定的感知方式。
今年年初，SAYAKA 曾獲策展人 EUNICE TSANG 的邀請在 #香港 舉行兩場展覽。其中一場主題為「FANCY CREATURES」，於 #逸東酒店 舉行， 展出 SAYAKA 與假髮藝術家 TOMIHIRO KONO 二人一起合作創造的可穿戴藝術雕塑。展出的作品雖以假髮為名，實際上從人體、動物和植物的概念取材，化身為具有超現實主義風格的前衛藝術裝置（TOMIHIRO KONO 的作品曾獲時裝品牌 BALANCIAGA、音樂人 BJÖRK 和 GRIMES 的垂青）。至於另一場名為「FLORAL BEINGS」的展覽則在都爹利會館舉行，主題同樣與 TOMIHIRO KONO 的可穿戴藝術有關，但展出媒介則以繪畫、設計及攝影為主。
✍︎ 完整文章刊於 ISSUE 566
Text by 葉葦 @misterreedleaf —
#號外雜誌566 #號外雜誌 #cityhowwhy #citymagazine #photography #visualstory #painting #design #SayakaMaruyama
Maruyama #SAYAKA (SAYAKA MARUYAMA @sayaka_maruyama_ ) was born in Niigata, Japan and grew up in Tokyo. When he was twelve years old, his family moved to Amsterdam, the Netherlands, with his father who was working overseas. ．
From 2011 to 2019, SAYAKA conducted a long-term project called "#MEMORANDOM". The name of the project is made up of the two words "MEMO" and "RANDOM". As the name suggests, it randomly captures in a visual way those that have floated in the past. The thoughts and thoughts in her mind now serve as a record of her memory, but also as a long-term artistic practice. Later, she compiled and published the photos, sketches, paintings, collages, objects, and images taken from the short films into an art book of the same name. For SAYAKA, the "MEMORANDOM" series is her all-time favorite series of works, because the process of making this book is like a comprehensive organization of her brain, and the final result is also A visual diary written by herself during this period. .
Rather than saying that the images included in this series are completed works, SAYAKA prefers to say that they are a fluid, abstract, and ever-changing collection of ideas that lack the orderliness, certainty, and logic of language and can fluctuate. and trying to maintain a balance between being re-edited and said again in another language. The images in "MEMORANDOM" are randomly connected like a stream of consciousness, with incomplete beauty and are still in the process of being completed. So they cannot be classified into specific forms and have no established way of perceiving them. ．
At the beginning of this year, SAYAKA was invited by curator EUNICE TSANG to hold two exhibitions in #Hong Kong. One of them, themed "FANCY CREATURES", was held at #EATONHotel, showcasing wearable art sculptures created by SAYAKA and wig artist TOMIHIRO KONO. Although the works on display are named after wigs, they are actually drawn from the concepts of the human body, animals and plants, and transformed into avant-garde art installations with a surrealist style (TOMIHIRO KONO’s works have been awarded by fashion brand BALANCIAGA, musician BJÖRK and GRIMES). favor). As for another exhibition called "FLORAL BEINGS", it was held at Duddell Hall. The theme was also related to TOMIHIRO KONO's wearable art, but the exhibition media was mainly painting, design and photography.
Wigs for the Musicians - Björk
musicians :
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bjork dress @delcoreofficial @danieldelcore
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Wigs for the Musicians - Björk
musicians :
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bjork dress @kevingermanier
silver dress @coperni
white bodysuit@hectos
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Wigs for the Musicians - Björk
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Pink Topper for Björk by Tomihiro Kono
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bjork outfit @maison_kimhekim
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hair pieces @tomikono_wig
makeup @isshehungry
styling @eddagud
photos @santiagraphy
Spaziando da bouffants e cotonature che riportano lo stile delle anime giapponese, acconciature in stile rococò, fino ad arrivare all'introduzione di elementi biomorfici. L'artista delle parrucche Tomihiro Kono si impegna a rinnovare continuamente i suoi hairstyling e le sue wigs. All'inizio della sua carriera, Tomihiro Kono ha iniziato come parrucchiere in Giappone prima di intraprendere il suo viaggio come parrucchiere e wig artist. Dopo aver affinato le sue competenze complete, ha iniziato ad espandere il suo repertorio e la sua esperienza al di fuori del Giappone. Mentre cercava di cogliere uno stile personale e distintivo, si è trasferito a Londra, ha lavorato come hairstylist e ha iniziato a realizzare oggetti di scena e headpiece strabilianti. Nel tentativo di offuscare i confini tra i due, l'artista autodidatta ha deciso di lanciare il suo omonimo marchio nel 2016, Tomikono Wig, specializzata nella creazione di parrucche e nella progettazione headpiece.
Oggi Tomikono Wig è diventato un nome come il punto di riferimento per lo styling dei capelli. Per Tomihiro Kono, le parrucche sono al di là di un accessorio, sono diventate parte integrante della trasformazione delle identità. L'interpretazione creativa e moderna dell'artigiano nella produzione di parrucche è sempre in continua evolizione sia per l'artista che per coloro che le indossano.
Tomihiro Kono ha collaborato al fianco di designer straordinari come Junya Watanabe, Collina Strada, Maison Margiela e Jil Sander, e ha lavorato per artisti famosi dal calibro di Björk e HYUKOH. Essendosi affermato come un abile wig artist, con le sue tecniche creative gli parliamo della più grande svolta nella sua carriera e di come porta avanti la sua arte.
Sei stato spesso descritto come un wig artist e oggetti di scena all'avanguardia, nonché un maestro del travestimento. Come descriveresti l'estetica di Tomikono?
Contemporanea, stimolante, creativa e unica.
Qual è il più grande malinteso che le persone hanno su di te o sul tuo mestiere?
Non credo che ci sia un malinteso tra me e i miei clieti o spettatori. Ma a volte i giovani pensano che io abbia solamente 20 anni, ma sono più vecchio. Mi piace perché significa che l'estetica e l'idea del mio lavoro sono giovani, fresche e al passo con il tempo.
Hai continuato a spingere i confini della creazione di headpiece, parrucche e acconciature. Quale pensi sia la tua più grande svolta?
Quando ho presentato il mio libro PERSONAS111 — un libro sull'arte di creare parrucche pubblicato nel marzo 2020 subito dopo il lockdown di New York. Quella pubblicazione ha permesso alle persone di conoscere il mio lavoro e la mia filosofia ed è stato allora che ho ricevuto il miglior feedback dai colleghi del mio settore.
In che modo il tuo background ha contribuito ai tuoi successi a New York, Londra e poi a ricevere uno statment nel mondo intero?
Ti direi che tutto è avvenuto grazie alle mie abilità base sui capelli che ho imparato in Giappone prima di partire per Londra nel 2007. Sono state basi che hanno poi portato a sviluppare le mie tecniche.
I capelli sono sempre stati conosciuti per essere un elemento delicato con cui lavorare. Come vi assicurate che i dettagli e le complessità parlino da soli?
I capelli sono infatti molto delicati e sono molto più difficili da controllare di quanto si pensi. Ho acquisito varie tecniche durante la mia carriera da parrucchiere, capo artista e produttore di parrucche. Quindi la totalità di tutte quelle tecniche e le mie esprienze si sono aggiunte al mio duro lavoro.
Cosa fai nei giorni in cui ti trovi di fronte al burnout creativo?
Ho un giardino nel mio cortile in cui mi piace passare il tempo. Mantengo le mie piante e nutro i miei pesci. Mi piace toccare e annaffiare le piante e piantare alcune erbe. Amo concentrarmi sulla natura quando non sono dell'umore giusto per lavorare. È davvero rilassante e terapeutico.
Se non ti dedicassi alle arti, in cosa ti vorresti specializzare?
Giardinaggio.
Come interpreteresti la moda o il beauty con parole tue?
Soffermati sulla bellezza della trasformazione.
Cosa possono aspettarsi gli accaniti seguaci del tuo lavoro?
Mostrerò le mie parrucche all'Hair Power, dal 9 luglio 2022 all'8 maggio 2023 al Wereldmuseum Rotterdam. E attualmente stiamo lavorando ad un nuovo libro, che probabilmente uscirà il prossimo autunno.
2023年10月7日(土) - 2024年3月17日(日)予定
2023年1月1日の能登半島地震の影響のため、急遽中止
10:00〜18:00（金・土曜日は20:00まで）。
概要 デジタルを食べる!? ―身体と一体化するテクノロジー デジタルテクノロジーによってこの地球という惑星、そこに住む「私たち」の生き方や感性はどのように変わっていくのでしょうか。20世紀から繰り返されてきたこの問いに対して2023年、いままでとは全く違った惑星の姿が出現しようとしています。人新世とよばれ、見えないネットワークやAIによるコントロールにひたされたこの惑星DXPでは、テクノロジーと生物との関係が日々新たに生成されています。 DXP展は、アーティスト、建築家、科学者、プログラマーなどが領域横断的にこの変容をとらえ、今おこっていることを理解し、それを感じられるものとして展開するインターフェースとなります。注目のテクノロジーであるAI、メタバースやビッグデータで構成される一つのリアリティ、そしてヴィジョンとしてのDXPは衣食住も含めた総合的なライフの可能性を提案します。 金沢21世紀美術館 長谷川祐子、髙木遊、原田美緒、杭亦舒、本橋仁
Eating the digital!?Technology that integrates with the body
How will digital technology change our way of life and sensibilities? This question has been asked repeatedly since the 20th century. In 2023, we may answer this question: a completely different planet is about to emerge. On this planet which has entered the Anthropocene, we are immersed in an invisible network. Our lives are partly (and getting more and more) controlled by AI, and the relationship between technology and life is being generated anew every day. DXP is an exhibition/interface that brings together artists, architects, scientists, programmers, and others to capture this transformation across disciplines, understand what is happening now, and propose it as something that can be sensed. The contemporary realities of AI, metaverse, and big data are the technologies of the moment. DXP is a vision of the future that follows it, explores the possibility of a comprehensive way of life that includes food, clothes, and habitation.
金沢21世紀美術館で、「DXP（デジタル・トランスフォーメーション・プラネット）─次のインターフェースへ」展が10月7日〜2024年3月17日の会期で開催される。 本展は、AI、メタバース、ビッグデータなど、現代においてもっとも注目すべきテクノロジーにアートの視点から焦点を当てるもの。これらのテクノロジーがどのように進化し、私たちの生活や感性にどのような影響を与えるかを予見するような作品を紹介する。
企画者は同館館長・長谷川祐子をはじめ、髙木遊、原田美緒、杭亦舒、本橋仁の5名であり、アドバイザーはハンス・ウルリッヒ・オブリスト（サーペンタイン・ギャラリー ディレクター）が務めている。レフィーク・アナドールや松田将英、ジョナサン・ザワダなどのアーティストをはじめ、建築家、科学者、プログラマーなど、11ヶ国から様々な分野の専門家23組（29名）が参加し、領域横断的なアプローチからテクノロジーと人類との関係を多角的に探求する。
展覧会は8章構成。第1章「GAMEの新しい見方：Play-Theater」では、ロンドンとベルリンを拠点に活動しているアーティスト集団・Keikenによる最新作 RPGゲーム《Morphogenic Angels: Chapter 1》を展示し、鑑賞者がゲームをプレーできると同時に、没入型インスタレーションを通してゲームの世界観も体験できるという。
第2章〜第4章では、それぞれ「衣」「食」「住」の側面から、河野富広（ウィッグ・アーティスト）やアンリアレイジ（ファッションブランド）、GROUP（建築コレクティブ）、明治大学宮下芳明研究室などのアプローチを紹介する。
第5章「AIと生きる：AIがどこまで人間性を獲得できるか」では、東京大学池上高志研究室やシュルティ・ベリアッパ＆キラン・クマールなどの取り組みを通じ、AI技術の発展によって提示された新しい人間性の可能性を探る。第6章「デジタルを買う：デジタルの中の新しい物質性」では、NFTという「価値」と「交換」のインフラ／システムによる芸術、文化価値の新しい循環に注目し、第7章「データと新しい表現：絵画・インスタレーション」では、リサーチ結果や情報などのデータと創作の新しい関係を探求する。
終章「ラディカル・ベタゴジー（新しい教育学）」では、スプツニ子!、草野絵美、メルべ・アクドガン、デイヴィッド・ブランディなどの実践を紹介。鳥の飛び方を教えるチュートリアルビデオから、廃墟をAIで再生する修復プログラム、バイオシミュレーションまで、未来を生き抜くための斬新な教育学をみせる11のプログラムを提案する。
Information
DXP（デジタル・トランスフォーメーション・プラネット）─次のインターフェースへ
会期：2023年10月7日〜2024年3月17日
会場：金沢21世紀美術館
住所：石川県金沢市広坂1-2-1
電話番号：076-220-2800
開館時間：10:00〜18:00（金土〜20:00）
休館日：月（ただし10月9日、30日、1月8日、2月12日は開場）、10月10日、31日、12月29日～1月1日、1月4日、9日、2月13日
料金：一般 1200円（1000円） / 大学生 800円（600円） / 小中高生 400円（300円） / 65歳以上 1000円
※（）内はWEB販売料金・団体料金
近年は＜Maison Margiela（メゾンマルジェラ）＞、＜Heaven by Marc Jacobs（ヘヴン バイ マーク ジェイコブス）＞、＜Collina Strada（コリーナ ストラーダ）＞, ＜Yueqi Qi（ユェチ・チ）＞などのブランドとのコラボレーション、XG, New Jeans, HYUKOH、黒柳徹子、フジコ・ヘミングなどの名だたるアーティストへのオーダーメイドのWigで、2010年代より世界から注目を集め続けている日本人アーティストのTomihiro Kono（河野富広）。 東京のファッションシーンにおいては、最近では、23SSの＜WATARU TOMINAGA（ワタル トミナガ）＞、23AWの＜Yueqi Qi＞と2シーズン連続でRakuten Fashion Week TOKYOに登場しており、コレクションの世界観により没入させるWigが話題を呼んだ。
Tomi Kono Fancy Wigの魅力は、なんといっても既に完成されたピースを装着するだけで一気にスタイリングが華やぐお手軽さ。
ヘアピンのように髪に留めて着用するタイプや、ヘアゴムのタイプなど、様々な種類があり、髪の長さを問わずに自由な発想でスタイリングに取り入れられる。
23年秋冬コレクションでコラボレーションした＜YUEQI QI（ユェチ・チ）＞とのコラボピースは、コレクションの洋服と合わせて着用することで、ブランドのコレクションの世界観をそのまま取り入れることができるファッションフリークなら垂涎ものの逸品。
Tomihiro Kono（河野富広）
愛媛県出身。ウィッグ・アーティスト。美容師としてキャリアをスタートし、セッションヘアスタイリスト、ウィッグアーティストと自身の肩書きをアップデートしながら活動と表現の幅を広げる。Björkの新作Fossoraのためにウィッグを制作。Maison Margiela,Comme des Garçons,Instagramなどとのコラボレーション及びNew Jeans,XG,HYUKOH,YEAH YEAH YEAHSなどアーティストにウィッグを提供する。Tomi Kono Fancy Wigというラインで、ヘアアクセサリーとしてのウィッグをストリートファッション的に提案している。
例年より早い桜の開花と共に、ビョークが6年ぶりに来日。3月20～31日の間に、『orchestral』と『cornucopia』と題されたそれぞれに趣向の異なるコンサートを2公演ずつ行ない、ライヴ・パフォーマーとしてのスケールを改めて見せつけた。このうち『orchestral』では32人編成のストリング・オーケストラと彼女のヴォーカルだけでグレイテスト・ヒッツ的なセットを披露し、“ビョーク・アンプラグド”と呼ぶべきスタイルをとったのに対して、『cornucopia』は2017年11月に発表したアルバム『Utopia』にフォーカスし、アルバムの世界をステージの上に表現。計20曲のセットの半数が同作の収録曲によって占められ、自分が描くユートピアそのものをテクノロジーとイマジネーションを駆使して作り上げた、と言うべきなのかもしれない。結果的には、40年近くにわたるキャリアを振り返っても過去に例のない、『Biophilia Live』以上にコンセプチュアルで、かつ極めてシアトリカルな試みとなり、我々オーディエンスは2時間にわたってその非日常空間に完全に没入したのである。
そもそもビョークが、『Utopia』で重要な役割を担ったフルート、エレクトロニクス、パーカッションという編成で、シンプルに『Utopia Tour』と題されたツアーをスタートしたのは2018年4月のことだ。以後4カ月間に11公演を行なったのち一旦休止し、翌年5月にその進化形として『cornucopia』をニューヨークにてローンチ。新たにアルゼンチン人の映画作家ルクレシア・マルテルを監督に迎え、デジタル・アーティストのトビアス・グレムラーによるデジタル映像、バルマンのオリヴィエ・ルスタンらが用意した衣装、英国の演劇界で活躍するキアラ・スティーヴンソンによるセット・デザイン、アイスランド人ダンサーのマルグレット・ビャーナドッティルによる振付で、マルチメディア・スペクタクルへとスケールアップさせたのである。
その後2019年内に21公演、パンデミックを挿んで2022年初めに5公演を行ない、ここにきていよいよ日本に上陸した『cornucopia』。この間に最新作『Fossora』をリリースしたことでさらにアップデートされ、同作から2曲（「Atopos」と「Ovule」）がセットに加わった。日本初演にあたる28日、開演前の東京ガーデンシアターのステージを覆うスクリーンにも『Fossora』のジャケットの延長にあるヴィジュアルが映し出され、『Utopia』にフィーチャーされた鳥たちのさえずりが響き渡り（フランス人の鳥類学者ジャン・C・ロシェによってベネズエラで採集された）、ふたつのアルバムの世界が交錯している。
音と色彩と光を司るクイーン
そして開演時間になると、まずは日本から『cornucopia』に参加した、男女混声の合唱団サマディが登場。ミニ・オープニング・アクトとして、大胆なアレンジを施した『さくらさくら』や八木節を聞かせ、いよいよ本編が始まる。オープニング曲は『Utopia』への入り口だったシングル曲「The Gate」だ。この夜は、noir kei ninomiyaのドレスとヘア・アーティストの河野富広が手掛けたヘッドピースで日本の才能をオマージュしていたビョークを取り巻くのは、『Utopia Tour』の時と変わらず、アルバムでも起用した7人編成のアイスランドの女性フルート・アンサンブルViibra、ハープ奏者のケイティ・バックリー（アイスランド・シンフォニー・オーケストラの首席チェリストでもある）、エレクトロクスを一手に引き受けるほか多数の楽器を弾きこなす、やはり同郷のベルガー・ソリソン（『Fossora』でエンジニアを務めた）、『Biophilia Live』以降毎回ツアーに参加しているオーストリア出身のハングドラム奏者／名パーカッショニストのマヌ・デラーゴという、4組のミュージシャン。曲によってサマディも歌声を添え、「Atopos」では共作者であるガバ・モーダス・オペランダイのカシミンが、トモコイズミによるレインボー・カラーの衣装で姿を見せた。
またステージ上には、『Fossora』のヴィジュアル・インスピレーションでもあるキノコを象ったプラットフォームを、高低差をつけて配置。ゆらゆら揺らいでいる可動式のロープ状のカーテンも相俟って奥行きのある空間が作り出され、そのカーテンやステージの左右のスペースも用いて映像をダイナミックに投影する。植物や人間の体をモチーフにした艶めかしい映像は音楽と完全にシンクロして躍動し、シンクロと言えば、Viibraの面々はダンサーも兼任。踊りながらフルートを奏でる様子はユートピアの精さながらで、「Pagan Poetry」や「Isobel」といった旧作からの曲も彼女たちのフルートとダンスによってセンシュアルに生まれ変わっていた。他方の「Body Memory」では、ビョークを包み込むようにして環状につないだ4本のフルートを4人が同時に演奏するという演出で驚かせたが、マヌのほうも、各曲にリズムのアイデンティティを与えるようにして古今東西の様々なパーカッション楽器をプレイ。「Blissing Me」では巨大な水槽の中にカラバッシュ（瓢箪で作ったマリの伝統楽器）を浮かべて、それらを打ち鳴らしたり、水をすくってはこぼしてサウンド・テクスチュアを構築したり、環状フルート共々、『Biophilia Live』 の時と同様にビスポーク楽器でもオーディエンスを楽しませる。
音と色彩と光を司るクイーン
そして開演時間になると、まずは日本から『cornucopia』に参加した、男女混声の合唱団サマディが登場。ミニ・オープニング・アクトとして、大胆なアレンジを施した『さくらさくら』や八木節を聞かせ、いよいよ本編が始まる。オープニング曲は『Utopia』への入り口だったシングル曲「The Gate」だ。この夜は、noir kei ninomiyaのドレスとヘア・アーティストの河野富広が手掛けたヘッドピースで日本の才能をオマージュしていたビョークを取り巻くのは、『Utopia Tour』の時と変わらず、アルバムでも起用した7人編成のアイスランドの女性フルート・アンサンブルViibra、ハープ奏者のケイティ・バックリー（アイスランド・シンフォニー・オーケストラの首席チェリストでもある）、エレクトロクスを一手に引き受けるほか多数の楽器を弾きこなす、やはり同郷のベルガー・ソリソン（『Fossora』でエンジニアを務めた）、『Biophilia Live』以降毎回ツアーに参加しているオーストリア出身のハングドラム奏者／名パーカッショニストのマヌ・デラーゴという、4組のミュージシャン。曲によってサマディも歌声を添え、「Atopos」では共作者であるガバ・モーダス・オペランダイのカシミンが、トモコイズミによるレインボー・カラーの衣装で姿を見せた。
またステージ上には、『Fossora』のヴィジュアル・インスピレーションでもあるキノコを象ったプラットフォームを、高低差をつけて配置。ゆらゆら揺らいでいる可動式のロープ状のカーテンも相俟って奥行きのある空間が作り出され、そのカーテンやステージの左右のスペースも用いて映像をダイナミックに投影する。植物や人間の体をモチーフにした艶めかしい映像は音楽と完全にシンクロして躍動し、シンクロと言えば、Viibraの面々はダンサーも兼任。踊りながらフルートを奏でる様子はユートピアの精さながらで、「Pagan Poetry」や「Isobel」といった旧作からの曲も彼女たちのフルートとダンスによってセンシュアルに生まれ変わっていた。他方の「Body Memory」では、ビョークを包み込むようにして環状につないだ4本のフルートを4人が同時に演奏するという演出で驚かせたが、マヌのほうも、各曲にリズムのアイデンティティを与えるようにして古今東西の様々なパーカッション楽器をプレイ。「Blissing Me」では巨大な水槽の中にカラバッシュ（瓢箪で作ったマリの伝統楽器）を浮かべて、それらを打ち鳴らしたり、水をすくってはこぼしてサウンド・テクスチュアを構築したり、環状フルート共々、『Biophilia Live』 の時と同様にビスポーク楽器でもオーディエンスを楽しませる。
そんな中でビョークは、音とムーヴメントと色彩と光を司るクイーンのごとく君臨し、自然との共生、家父長制の罪、全能の愛といった『Utopia』の多岐にわたるテーマを歌で束ねていく。『Medúlla』からの「Show Me Forgiveness」など、曲によってはステージの左奥に設置された繭型のリヴァーブ・チェンバー（彼女の細かなリクエストに則って作られたビスポーク装置で、国際的なエンジニアリング・コンサルティング会社のアラップと共同で開発）に入って歌い、限りなくナチュラルなリヴァーブ効果は、どこかプライベートな空間から漏れ聞こえる声に耳を傾けているような錯覚に陥らせる。
最後に届けられた、壮大な愛の賛歌
そして彼女は、機能不全に陥っている現在の社会のシステムを取り除き、世界をまっさらな状態に戻して子どもたちに引き継ぎたいと願う「Tabula Rasa」で本編を終えるが、アンコールでこの曲へのアンサーを提供するのが、映像で登場するお馴染みの環境活動家グレタ・トゥーンベリだ。グレタは地球温暖化の危機に対処しようとしない大人たちへの怒りを露わにし、やるべきことを見極めて行動を起こせば変化は訪れると訴え、次いで衣装を変えて現れたビョークは、「Future Forever」で彼女のメッセージを引き継ぐ。より良い未来を想像し、女性の力でそれを形にしよう――と。
が、これがフィナーレかと思いきや、セットを締め括ったのは、『orchestral』でも聞かせてくれた「Notget」だった。『Vulnicura』が描く悲劇の最終章であり、癒えない傷を抱えながらも“Love will keep us safe from death（愛は死から私たちを守ってくれる）”と宣言する、壮大な愛の賛歌だ。全キャリアで最も野心的なパフォーマンスの終わりにごくシンプルなメッセージを残して、ビョークはステージをあとにしたのである。
Editor: Hiroko Shintani
#Repost @chalkak__magazine with @use.repost
Semi Art Community Project : Boogie Woogie Art Museum ・・・
Boogie Woogie Art Museum
2023. 6. 8 ~ 9. 3.
ULSAN ART MUSEUM
Harry Chan
Kanrapee Chokpaiboon
Kenta Cobayashi
Kohei Kawatani
Masumi Ishida
Nuri Yeon
Sayaka Maruyama
Steak film
Suan Lee
Yoko Kusano
지금의 ‘사진, 이미지’는 무엇일까. 사진의 시작은 ‘기록’을 수행하는 매체였지만 지금의 사진은 ‘표현하는 수단’이자, ‘유희의 도구’다. 이미지, ‘질의 시대’에서 ‘양의 시대’로 그 축이 이동하는 지금, 그 새로운 흐름을 만들어 가는 이들은 누구인가. 그들은 어떤 문화를 배경으로 탄생하였으며, 어떤 미래를 혹은 어떤 오늘을 살아가고 있는 사람들인가. 오늘날의 사진과 이미지는 넘쳐나는 이미지들의 양적 에너지를 기반으로 극단적 미장센을 쫒고 있다. 1990-2000년생의 멀티컬처를 기반으로 성장한 이들은 디지털 플랫폼 생태계를 완벽하게 체화하여 미디어 환경에 최적화된 이미지와 영상을 쏟아내고 있다. 이것이 공감각적이고 다감각한 것에 익숙한 지금의 세대와 지금의 세상에 각광받는 것이다. 이들이 보여주는 세상은 지난 역사적 분류 또는 계보의 연장선에 있는 것들이 아닌, ‘사진이란 무엇인가’라는 과거의 질문에서 한 걸음 더 나아갈 수 있는 새로운 질문을 던질 사진들이다.
What is the 'photos, images' today? The beginning of photography was a medium for "recording," but today's photography is a "means of expression" and a "tool of amusement." Image, who are the people creating the new trend when the axis moves from the "era of quality" to the "era of quantity". What kind of culture were they born in, what kind of future or what kind of today are they living in?
Today's photographs and images are chasing extreme mise en scène based on the quantitative energy of the overflowing images. Growing up with multiculturalism since born in 1990-2000, they are fully embodying the digital platform ecosystem and pouring out images and images optimized for the media environment. This is what gets the spotlight on the current generation and the current world, which are accustomed to synesthesia and multi-sensitivity. The world they show is not an extension of the past historical classification or genealogy, but images that will ask a new question that can take a step further from the past question of "What is photography?"
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#엘로퀀스 #시티카메라 #닷슬래시대시 #전시회 #전시정보 #울산시립미술관 #exhibitionposter #포스터 #매거진 #asianartist
曾在多國 MUSEUM 展出的 TOMIHIRO KONO（河野富広）早前攜手攝影夥伴 SAYAKA MARUYAMA 在香港打造攝影展覽。 TOMIHIRO KONO 充滿前衛趣味而不失藝術感的假髮設計，讓他在時尚圈有「假髮鬼才」之稱。2001 年，KONO 推出個人品牌「KONO」，他那匠心獨運、鋪張豪華的作品經常在他參與設計的時裝秀、MV、或是展覽中大放異彩，更曾在 ALTERNATIVE HAIR SHOW 等盛事連獲多座殊榮，並且見諸各大時尚雜誌。無論是BJÖRK、 LADY GAGA、NICKI MINAJ、KATY PERRY 甚至現在流行全球的超級女團 NEWJEANS都大愛 KONO 的獨特創作。KONO 的創作正是時尚、藝術、設計、自我呈現的完美結合。 1. 你最初對假髮產生興趣是從什麼時候開始的？
在搬到倫敦並開始擔任髮型師時期，我就曾經考慮假髮創作將會是我事業的終極目標。我認為這是將所有我所有技共融為一的完美藝術。
2. 你的假髮靈感從何而來？時裝、藝術、自然形態都有影響嗎？
是的。 我過去常常受到時裝和音樂人的啟發，但最近我的靈感主要來自天然生物，例如深海生物、昆蟲、鳥類等。還有日本動漫。
3. 你如何將前衛藝術概念結合到假髮設計之中？
我一邊創作，一邊在過程中才尋找概念或靈感。
4. 你曾在世界各地生活和工作，在各種不同的文化背景下，你的經驗和觀察如何讓你的設計有所裨益和啟發？
我曾在倫敦、紐約市和東京生活。 環境的變化，或是遇到不同文化的群體都會影響我的表達方式。我有時會旅行，參觀不同的城市，如 AMSTERDAM 和 REYKJAVIK，最近在二月底時，我更首次探訪香港。每座城市都有其不同的能量，繼而影響了我的作品風格。例如，當我以前住在倫敦時，我的風格更為陰暗、哥德式的浪漫。自從我搬至紐約後，我的風格更流行、色彩豐富和 GRAPHICAL。自從我開始與 BJÖRK 合作之後，我更傾向創作與自然相關的元素。但我覺得我的作品始終如一也是很 AVANT-GARDE，而且獨一無二，這是必然的元素！
5. 你曾在香港舉辦過展覽，能否分享你在香港的經驗以及對未來在香港展出的期許？
展覽資訊正在進行，到 23 日為止，務必前來 @currentplans ！這是我們首次在香港 （日本妁外的亞洲地區）舉辦展覽，所以感到非常興奮。 我們真的很喜歡這個畫廊的氛圍，所以我們很高興在這空間辦展，辦了這個華麗又精緻的 POP UP 假髮店，大家可以試穿試戴，來賓們似乎也喜歡試試不同的髮型。
還未離開已經期待下一次的香港之旅，或許到時再舉辦其他展覽或與其他藝術家合作。我們住在香港佐敦，好似很混亂，但我們喜歡在附近散步。 街上有人在唱 karaoke、有人在街上攏帳篷做占星算命，在夜晚街上散步觀看很有趣，發現在香港晚上仍然是非常忙碌和充滿活力。
6. 你如何將日本傳統美學元素融入現代的假髮設計？
我將傳統日本相撲選手的髮型融入假髮設計，我為 JUNYA WATANABE MAN PARIS FASHION WEEK SS15 系列創作的就是一個例子。這些假髮就像一種嶄新的 HAIR-HAT。GLOSSY 的黑色頭髮非常傳統，但我以現代風格重塑了這款髮型。
7. 你最喜歡的作品是哪一件？
BJORK《FOSSORA》專輯封面的髮型！
8. 你最滿意的合作案例是哪一個？跟哪位藝人或品牌合作？
雖然很難選擇「最」，但我已經與不同的單位也進行過很愉快的合作。藝人明星方面有 BJÖRK 和 NEWJEANS。品牌方面，也很喜歡與 MAISON MARGIELA 和 HEAVEN 的合作。
9. 你有什麼未完成的心願或目標？在假髮設計領域還有什麼想要嘗試或達成的？
如果硬要想的話，想以「雀巢」和頭髮結合，進行創作，有種叫做園丁鳥科的雀會在森林收集藍色物料的東西築巢，我想以此為靈感。
Text by Cherie Kong
今回の来日公演でアーティスト、ビョーク（BJÖRK）の世界観を牽引し、ステージでの大きな鍵となっているのがヘアだ。公演毎に異なるウィッグひとつひとつが圧巻のクリエイティブ。幻想的なワールドを演出するためのトランスフォーメーションツールとして欠かせない河野富広のウィッグは、一体どのように生み出されたのだろうか。
根底にあるコンセプトは【変容と進化】です。今回のツアーのためのウィッグは、2021年にビョークさん本人から声をかけられて制作し始めたFancy Creaturesシリーズの延長線上にあります。
まず、2022年9月にリリースされたニューアルバム『Fossora』のためのキャラクターづくりを行うところがスタート地点でした。メールでビョークさんと直接やり取りしクリエイティブの方向性を探りながら、さまざまなウィッグをデザイン。『Fossora』のためのウィッグのシリーズを"Fancy Creatures"と名付けており、自然界の生物からインスパイアされた新しいハイブリットな生き物をイメージしています。ビョークさんの音楽性もキャラクターも、その都度進化していく印象を持っており、私が制作するウィッグも、彼女の表現や存在の進化のためのひとつのツールとなればという想いでデザインしています。
Fancy Creaturesシリーズの制作が始まった当初、まず『Fossora』のアルバムの撮影に向けてビョークさん本人とメールで直接やりとりししながら、たくさんのデザイン案のなかからウィッグのスタイルを詰めていきました。今回のライブのウィッグも含め、そこからは基本的に同シリーズの延長上のデザイン展開になっています。公演だけでなく、DJするときや出かけるときなど、デイリーウェアとしても日常的にかぶってくれているみたいで嬉しいです。
チームBJÖRKと私との仕事の仕方はとてもオーガニックで、私が作成したものを現場に持ち込み、どのウィッグをかぶるかは、最終的に当日の衣装に合わせてコンサートが始まる寸前に決まります。
20日のライブで着用した着物の打掛のようなドレスのときのウィッグは、深海魚をイメージしたもの。続く25日の神戸のライブでは、純白のドレスに合わせてエキゾチックな食虫植物をイメージしたとてもカラフルなウィッグを採用。28日は鳥をイメージしたもので、フクロウやタシギなどの羽根や羽毛の質感を表現しました。これは、20日の東京の公演のときビョークさん本人に実際に会ってインスピレーションを受け、いちから制作した新作です。
最終日のライブのウィッグについてはまだ明かせませんが、先日28日と明日の「コーニュコピア」の公演では、7人のフルート奏者とハープ、ドラマー、ミュージック・ディレクターのウィッグも私が手がけていますのでご注目ください！
Editor: Rieko Kosai
展覧会概要
本展「Glitches in Love: A New Formula/愛のグリッチ:新しい公式」では、「愛の新しい公式」をテーマに日本、イギリス、中国、アイルランド、そしてスロベニアから12組のアーティストを紹介します。 人類の歴史において長きにわたって語られてきた「愛」。しかし、その愛の枠組みから溢れてしまった形の愛が多くあることを、現代の私たちは徐々に認識し始めています。本展ではそのような愛を「グリッチ」とし、それらを含めた包括的な新しい「愛の公式」とは何かを探っていきます。グリッチとは、システム上の不具合やバグなど取り除かれるべき対象を表す言葉です。クィアをはじめとする性自認にまつわる愛、異種間の愛、自己愛、ヴァーチャルな愛など、これまで定義上軽視されてきた愛の形「グリッチ」に目を向け、現実世界に限らず仮想世界なども含めたあらゆる世界における愛の「新しい公式」を考えます。既存の愛の枠組みの外に置かれてきたトピックに着目し、それらを包括的に考察することで見えてくる愛に対する認識への課題や可能性をグローバルな視点から捉える事を試みます。
Tomihiro Kono河野富広
愛媛県出身。日本で美容師として10年ほどキャリアを積み、十日会にて日本髪(結髪)の手ほどきを受けたのち、 2007年に渡英。作品のコンセプトに基づいたウィッグやヘッドピースを制作し、ほどなく「ヘア・アンド・ヘッドプロップアーティスト」という独自の肩書を確立。2010年にLondon fashion weekにてTOMIHIRO KONOコレクションを発表。拠点をニューヨークに移した2013年〜2016年の間はJUNYA WATANABE コムデギャルソンのパリコレのショーのためのヘア＆ヘッドプロップディレクションを担当。近年はヘアの表現の幅を広げ、美術館などでインスタレーションを制作。アーティスト活動と並行して、自身が立ち上げたクリエイティブ・プラットフォームkonomadのディレクターとして展示、プロジェクト、ポップアップイベントの企画を手がける。2023年2月に4冊目の本、Fancy Creatures を発表。
会 場
東京藝術大学上野キャンパス 陳列館
〒110-8714 東京都台東区 上野公園12-8
キュレーター
杉山明理朱/ 王皞哲/ Yuheng Wu/ Ryan Finn Michael/ Lucy Fleming-Brown/ Mengke Guo/ 前田宗志/ 徐葦
サポーター
Cleo Verstrepen/ Gamze Baktir/ Ghada Hadil BenFredj/ Katrin Bjorg Gunnarsdottir/ Thomas Vauthier
監 修
長谷川祐子［東京藝術大学教授、金沢21世紀美術館館長］
アートイベント「EASTEAST_TOKYO 2023」が開催される。さまざまなギャラリーが一堂に集まりアート作品を展示、販売をするという形態はアートフェアを思わせるが、それ以外のコンテンツも多く用意されており、アートに関心を持っているがそんなに詳しいわけではない…という私のような人でも楽しめるよう。本イベントのアソシエイトディレクターとギャラリーリレーションを務める渡邉憲行さんとアソシエイトディレクター、コミュニケーション統括担当の倉沢琴さんに話を聞いた
――私がアートに明るくないこともあると思うのですが、約25の参加ギャラリーのラインナップを見ても知っているところがあまりなく…。どのような基準で選ばれたのでしょうか？
倉沢 アートの世界では、売り出し方や、インスタグラムのフォロワーの増やし方などを積極的に考えるのは好ましくないとされているのかも、と個人的に感じています。だから、超トップレベルにならない限り、多くの人たちに見てもらったり、横のつながりを持つのは難しい。そこで、「EASTEAST_」を、今成長過程にあるギャラリーがまとまって世の中にアピールできる機会にしたいと考えています。
渡邉 アートの世界に限らずなのですが、今「PRやビジネスがうまく、有名人とのつながりがある」といった付加価値的な要素を得意とするところに力や富が集まっていくような感覚があります。それに、関心が若手の青田買いか超ベテラン作家に二極化しているような気もする。だからある程度年齢も重ねて、作品を安売りもできない中堅が一番難しい立場にあるのですが、その中にもすばらしい人たちはたくさんいて、まだまだ知られていないトピックがあるはず。それらを紹介したいと思っているんです。
――では知る人ぞ知るギャラリーが集まっているのですね。
渡邉 中でも、作品の売買をするだけではなく、作家との関係性を大切にしてコミュニティを築き上げ、新しい価値観を皆で醸造しているギャラリーを選定しました。そして、市場の動向や貨幣価値関係なく、独自の美意識を持っているということも重要視しています。本イベントでは、さまざまなテイストを横断して感じることができ、東京を中心とした日本のアートシーンの生態系のようなものもわかってもらえるはずです。余計なお世話かもしれませんが、彼ら同士のつながりも生まれてほしいな、と思っています。
――個性豊かなギャラリーが多いのでしょうね。
渡邉 ヘア＆ヘッドプロップアーティストの河野富広さんとアーティストのSayaka Maruyamaさんが手がける「konomad」のスペースを初めて訪れた時は衝撃を受けました。アートを展示してあるので画廊と言えるのかもしれませんが、民家だったような場所に作品が所狭しと設置されていて、僕が見たことのあるそれとは雰囲気も運営の仕方も違うんです。
倉沢 昨年東日本橋にオープンしたばかりの「Ritsuki Fujisaki Gallery」はギャラリストの藤崎律希さんが個人で経営しており、同世代である20～30代の新進気鋭のアーティストをメインに展示しています。
そして2020年荒川区の西尾久に誕生した「LAVENDER OPENER CHAIR」は、アーティストが集まって運営しているギャラリーで、食堂も同居しています。皆全然毛色が違うんです。
渡邉 ZINEを取り扱ったり、出版を手がけながら一角で展示をやられているような「VOYAGE KIDS」や「stacks bookstore」などにも参加してもらっています。美術館やギャラリーと言われて想像するような何もないスペース、“ホワイトキューブ”とは異なるあり方を知っていただくのは、きっと刺激になるのではないでしょうか。本イベントでは、「アートってこういうものでしょ」という既成概念を裏切るような出会いがたくさんあるはずです。 画像: 2015年にオープンした大阪にあるショップ「VOYAGE KIDS」から出展する®️寫眞の作品。「走馬灯at 長堀通」®️寫眞 ©®️寫眞 COURTESY OF VOYAGE KIDS
――展示スペースにもそれぞれの色が出そうですね。
渡邉 アートフェアは通常白壁で仕切られていることが多いのですが、それぞれのギャラリーが街の雰囲気や建築の個性を活かして展開していることを踏まえて、今回は数種類の壁をみなさんに提案して、展示空間をどう構成するかは各々に考えてもらっています。
倉沢 ギャラリーには、本質を薄めずに、ありのままで理解してもらえるようなプレゼンテーションをしてもらいたいんです。
――私のような初心者は、どのように会場を巡るのがおすすめでしょうか。
倉沢 トークイベントやビューイングツアー、身体表現や音楽のライブパフォーマンスなども企画しています。山梨県・河口湖に昨年オープンした、自らの置かれた環境について能動的に思考・実践を重ねるためのアーティスト・ラン・レジデンス（アーティスト自身が運営する滞在施設）「6okken」のチームによる「アート、その周辺の向かう先」という問いを来場者と共に考える参加型プロジェクトなど、アートに関わるプロジェクトショーケースも。あとは「キッチン」と呼んでいるのですが、フードコートもあって、食で独自の表現をされている「AC HOUSE」「TYON」などが出店します。そこで、ギャラリーやプロジェクトの展示をばーっと周った後に何か1個ぐらいアクティビティに参加し、最後に「キッチン」でゆっくりして、隣り合わせた人と喋って、みたいなプランではどうでしょうか。展示を見に行く、と気負うよりは、気軽に来てもらえるとうれしいです。
渡邉 一気にたくさんのギャラリーの絵画やインスタレーション、彫刻といった多種多様な作品が見られておいしいご飯も楽しめる。最高の休日の過ごし方だと思います。
倉沢 エリアが決まっているロンドンやNYと違って、東京のギャラリーは各地に点在しています。それを1箇所でまとめて見られるのはお得ですよ！
渡邉 気になる作品があったら深掘りしてみてもいいし、高揚感を味わうだけでもいい。自由に楽しんでもらえたら。
――頭でっかちになる必要はないのですね！ふらりと行ってみたくなりました！最後に、このイベントを今後どう展開させていきたいかお聞かせください。
渡邉 引き続きアートに関わる人たちがコミュニケーションできる機会を設けたいです。そして、「EASTEAST_」がアジアのアート界の母艦のような存在になって、皆の海外進出の手助けができれば。日本・アジアのアート・カルチャーシーンの生態系をアートギャラリーなどのコミュニティ単位にフォーカスして紹介するマガジンも作る予定です。
倉沢 視点を変えるためにも、運営チームを新陳代謝しながら継続していくことが目標です。
渡邉 「EASTEAST_」 は2年に1回くらいのペースでの開催を目指しているのですが、３回で運営メンバー総入れ替えが健全かな、と考えています。
Editor: Itoi Kuriyama
Exploring the tradition and innovation behind Japanese hair art, photographer Prissilya Junewin and writer Makoto Kikuchi travel to Tokyo to visit artist and wigmaker Tomihiro Kono in his studio. This, the third stop in their journey, follows visits to geiko wigmakers in Kyoto, and to a retro-themed Osaka salon.
Japanese hair art: inside Tomihiro Kono’s studio, Tokyo
In the ever-changing city of Tokyo, artist Tomihiro Kono embodies the Buddhist concept of shogyō-mujou (諸行無常), meaning ‘nothing stays the same’, with his own lifestyle and artwork. His studio is an old house located in a quiet residential area of the city. The tidy rooms are furnished in a minimalist way. ‘Once I finish a project, I have to clean up the whole room before I start the next one,’ he says, having just finished a major project as Björk’s hair stylist during her recent visit to Japan. ‘It is a habit of mine to keep things in order,’ he continues, showing us the private and rarely seen collection of wigs he made for Björk, carefully displayed on one of his desks. ‘I hate to have something in the same place in my room all the time. I like to change the mood.’
In the 1990s, Kono trained at a hair salon in Harajuku, Tokyo, and then moved to London and New York, where he worked as a session stylist with numerous magazines and fashion brands, including Comme des Garçons and Junya Watanabe. For the past few years, he has been based in Tokyo, working remotely as a wigmaker on various projects around the world.
Kono starts his day quite early. He wakes up at 6am and then spends an hour or so watering the plants in his room and feeding the killifish in his garden. ‘Taking care of my plants is a kind of meditation for me,’ he says. ‘This is something I never miss, no matter how busy my day is.’
A self-proclaimed ‘caffeine addict‘, he also never misses his morning coffee ritual. After answering emails and checking social media, he starts working around 8am ‘Once I start working, I keep going until I lose focus. I rarely take short breaks. Unless I am working on a big project, I finish work in the afternoon and take a bath. After that, I don’t work.’ This work-and-life balance, which he describes as ‘like a bakery’, has only been established in recent years. ‘There were times in the past when I worked without sleeping, but not anymore. On my days off, I don’t work at all; I don’t touch my wigs or even think about it. I feel more balanced this way, and it’s also better for my work.’
Although he is self-taught in Western wigmaking, he also has a deep insight into traditional Japanese hair art. He recalls, ‘I studied traditional Japanese hair art 20 years ago as I wanted to learn more about my own culture before going abroad to the UK. I found the Tokakai, a course that taught people how to master one traditional Japanese hairstyle in ten days. I made copies of a textbook that was not allowed to be taken out of class, and I still have them today,’ he continues.
The copybook he shows us is covered with countless scribbles. ‘I was impressed by the craftsmanship that went into making something [like the styles in the book] out of hair,’ he says. ‘I learned that every single process has its own meaning.’ Because of this experience, he is extremely cautious about incorporating elements of Japanese hair art into his work. ‘I have too much respect for the tradition; it is a fully realised art in its own context,’ he reflects.
His activities are not limited to wigmaking; his motto is ‘to constantly evolve with the times’. He recently published Fancy Creatures, an art book about his nature-inspired headpieces, with Konomad, a creative studio he founded with his partner, photographer Sayaka Maruyama. At Konomad, in addition to publishing, he also organises exhibitions in collaboration with younger artists and holds offline talk sessions that anyone can attend.
‘As an artist, I want to remain anonymous, so I don’t make public appearances, but that doesn’t mean I close the door to fans of my work,’ says Kono. ‘I would rather have a lot of young people come to Konomad. I want it to be a gateway for them to approach this closed industry.’
tomihirokono.com
Text by Makoto Kikuchi
あまりにも当たり前にあるものだからこそ、「ヘア」とはこういうものであると思い込んでいないだろうか？ そんな常識を打ち破る、または逆手に取ることで私たちを驚かせてくれるクリエイターたちについて。vol.2はウィッグアーティストの河野富広。（『Numero TOKYO（ヌメロ・トウキョウ）』2023年3月号掲載）
クリーチャー系ウィッグの制作は、まずヘアをカラフルに染めるところから始まる。ウィッグ制作の傍らで楽しんでいる趣味のパルダリウムの前景にカラーリング後のヘアを配置した『Fancy Garden』。一見アヴァンギャルドに見える独特の配色も自然界からインスピレーションを得ている。
トランスフォーム力が高い魅力的なパーツ
──河野さんは様式にとらわれず、独創的で刺激的なヘアスタイルを数多く生み出されていますが、髪の毛で表現する魅力をどう感じていますか。
「ヘアは内面と外面を表すものだと思っています。顔まわりが変化するだけで見た目の印象もガラリと変わりますし、気持ちも変化して、その人の個性も変えられる。人から見ても、自分の内面的にも、トランスフォーム力が高いところが魅力だと感じています」
──ファッションショーやアーティストに提供するヘッドピースだけでなく、2020年頃から発表し続けているファンシー・ウィッグはクリップで簡単に着脱できると人気ですね。作るようになったきっかけは？
「ウィッグは海外ではファッションの一部として親しまれていますが、日本ではそういうふうに親しまれていないと思っていました。脱毛した頭を隠すためのものだったり、ステージ上で役者やアーティストが身に着ける特殊なものという認識がほとんど。もっと一般の人が気軽に日常で楽しめたらと。ただ、オーダーメイドのフルウィッグだとどうしても高額になってしまうので、若い人も買いやすい価格で考えて、地毛にプラスアルファで着けてアクセサリー感覚で楽しめるファンシー・ウィッグを作るようになりました。メイクなら自分で上手にできるまでそれなりの時間が必要ですが、これならクリップで着けるだけで地毛を傷めずに、その日の気分やオケージョンに合わせて簡単に見た目を変えられる。着ける位置を自由にできるところも特徴です。ファンシー・ウィッグを着けた方のインスタの投稿を見て、『こういう着け方があるんだ』と自分でも発見があって面白いですね」
──河野さんのウィッグは独特の色使いやフォルムがとても印象的ですが、インスピレーション源は？ 「人工的なものよりも自然界にあるものに惹かれます。特に鳥や昆虫、深海の生き物などの姿形、色がとても参考になりますね。一瞬驚くような色の組み合わせでも、不思議と魅力的になるし、それぞれが持つユニークさを自然の生物から学びます」
──髪の扱いで苦労する点は？
「苦労は尽きません。切る、巻く、染めるといったいろいろな作業があって、切った髪も散らかって、扱うマテリアルとしては非常に難しいと思います。髪の毛である程度表現できるようになるまで最低10年はかかるし、面白いものを作れるようになったとしても、その技術が定着するまで時間がかかる。最初にできていた表現ができなくなることも。だから、ヘアで表現することに飽きないのだと思います」
「髪の毛ってある意味、半永久的に残りますよね。その人の体から離れてもマテリアルとして再利用できる。そこに面白さを感じています。いつか自然と共存したものを作ってみたいですね。青いものだけを集めて巣を作る鳥がいるのですが、ブルーの髪の毛をそばに置いておいて、鳥の巣を作ってもらうとか。動物とコラボレーションができたら面白いだろうなと思っています」
Fashion’s hair vanguard
Tomihiro Kono is fashion’s favourite hair artist. A close eye to magazines, album covers, and all things pop culture reveals his presence everywhere. Kono is able to use a wig to elevate an outfit, a moment, or a character to the status of art. Now, he has curated a collection of his works for a brand-new book project, Fancy Creatures. It is hair as fine art, a genre that Kono himself has pioneered. He works exclusively with real human hair, but his final products often look nothing like their original material. Kono is inspired by the most fantastic creatures this planet has to offer; his wigs make as much sense photographed upon a person’s head as they do a beachside boulder. Kono is a favourite collaborator of Björk, his works is the perfect complement to her avant-garde fashion and boundary pushing music.
Since the last time we caught up with Tomihiro Kono the artist has released a series of books, and has pushed his craft further than ever. Fancy Creatures brings human expression to the limits, “this time Tomihiro's avant-garde vision has upgraded humans to a whole new level of hybrids which we call Fancy Creatures - imaginary hybrid creatures inspired by various organisms on the Earth, ranging from deep sea creatures and furry moss, to endangered moths.” The fantastic, otherworldly, and imagined converge in a dazzling array of new work by the artist.
His work has appeared in museum collections as well as the runway. At its heart, Kono’s wigs bring a fine art mode to a genre that has so often gone overlooked as a mere accessory. When his pieces appear, they are often the star of the show. Instead of merely covering the hair, Kono’s wigs are often also engaged as masks. In our interview, Tomihiro Kono describes his hope that his work can help a person express their identity and allow others to see them as they see themselves. Kono’s new book will be launching at East East Tokyo, 2023, where his work will be accompanied by a slate of exciting artists and programming. The event opens February 17 and will run until February 19, so make sure to stop by if you find yourself in Tokyo then.
Hello Tomihiro, could you introduce yourself and tell us a bit about your recent work?
I’m a wig maker. Recently I’ve worked with Björk for her newest album Fossora. I’m back from NY and am now based in Tokyo. I work remotely with international clients and artists such as Björk, Yeah-Yeah-Yeahs, Marc Jacobs, Heaven, Martin Margiela, Yueqi Qi, Instagram, etc. Now I’m exhibiting my wig at Wereld Museum Rotterdam and next year I’m exhibiting at Tropenmuseum in Amsterdam. Along with my wig work, I’m also a director of konomad, a new creative platform I’ve created with my partner Sayaka Maruyama. We curates pop-up events and started our own publications.
You have said that childhood experiences at your town’s salon provided as your first creative hair memories. What reference photos did you show for your haircuts? Did you have any favourite styles you received?
Ryota Miyagi Slam Dunk. I loved it but it was against school rules.
Tell me a bit about the Heaven collaboration. What references were you working with here? How did this project differ from others you have done for Marc Jacobs?
Firstly, I worked with Marc Jacobs for their Instagram post consisting of 3 images. Then I got another offer from Heaven to create and sell our collaborative fancy wigs. I came up with 3 designs of hair extensions that they launched on their website. We also created images with models of our choice in Tokyo which we shared with them. For the first time ever, we made a collaborative piece which we sold to Marc Jacobs customers.
Tell me a bit about your Ha!r Power exhibition with Wereldmuseum Rotterdam. Where do you see your work as fitting into the show’s curatorial focus?
My piece was in the contemporary section in the history of hair. I’m very happy with how they categorised my work along with the historical pieces I’ve admired.
You often pull aesthetic queues from London’s youth culture and the Harajuku movement. These are DIY movements with an eye for imperfection and roughness. Your hair seems to borrow from these trends, but you make artisanal products. How do you balance these impulses –DIY inspiration and fine art methods?
Maybe it’s the combination of colours, textures and styles (or forms) that makes my work eye-catching and, in some sense, young and new. I have a variety of techniques and ideas I’ve gained in my long career that makes my work uncopiable.
Tell me a bit about your creative partnership with Sayaka Maruyama.
Sayaka is a visual artist who traverses the mediums of photography, drawing and graphic design. We’ve worked together for a long time. She takes almost all of the photos of my work on my Instagram. We also publish books together. We are currently working on our new book Fancy Creatures which we will publish February of this year.
You often post references alongside your work on Instagram? How do you manage and gather work references personally?
I have a bunch of inspiration archives in my brain, so I pull out select ones for each post. Sometimes I search for new ones.
What is a film everyone should see?The Goonies.
How do you approach a bespoke project with someone?
Mostly I get a great deal of creative freedom, so I come up with my own ideas inspired by clients and artists.
Often hair and makeup are components of one-off looks, used once for an event or photoshoot. Yet your wigs are pieces of art. What kind of life do you hope your wigs have? What kind of life do they usually have?
At the beginning of my career, I was simply happy to make a hairstyle for a photo shoot or editorial. But then I started questioning how a life of hairstyle can be extended longer than just a one-off usage. I started making wigs for mainly 3 reasons. First, I can change the model’s character completely. If the model has black hair, I can instantly change it into any other colour with a wig, avoiding damage to their real hair. Second, the wig can be used again and again. I can upgrade them by re-colouring or changing the hairstyles (cutting or curling). I can keep them all my life if I want to. And third, the wig can be exhibited in a gallery without models. At some point, I noticed a fourth option, that I can work with international clients remotely. If my wig has a musician as its owner, I hope it will enjoy gigs along with them.
Hair is personal as well as political. So often in the United States, as well as elsewhere, people who have hair that breaks from white beauty standards receive undue attention. How does your work navigate racialised conceptions of hair?
I propose different hairstyles with my wigs, but I don’t suggest or regulate who wear them. Anyone who likes my wig can wear in their own style. I know it’s sometimes controversial who wears what kind of hair, but I want wearers to be happy anyway.
Your hair has been described as mask, a “mask-thrix” more precisely. How do you see your work as revealing invisible, internal traits, and also transforming materially real exterior traits?When we talk about personality and character, the wearer is the main subject, not the wig. So, the person can select the wig by considering what they want, how they want to change, how they want to present themselves, and how they want to be looked at by others.
You released your latest book project, Personas 111: The Art of Wig Making 2017-2020, during the beginning of the Covid-19 pandemic. This was a time in which many people were rethinking their identities and self-presentation, and yet, had far less of an ability to express themselves socially. How did your work change during this period? What was the experience of releasing a retrospective project during this period of the pandemic like?
I published Personas 111 coincidentally in the beginning of Covid-19, which I was totally not expecting. In some sense it matched with the social background. The way I suggest hairstyles with wigs can be related to searching for new identity. I started to post one or two images a day on Instagram because I couldn’t do the book launch because of the lockdown in NY, and I got so much feedback and reactions from people. It was when people were staying at home worldwide, so they were looking out for something inspiring. I made AR filters of my wigs from the book, and I got so many reactions from many people.
What are you working on now? Do you have any dream projects or collaborators you have yet to undertake?
As I mentioned above, Sayaka and I am now working on a new book Fancy Creatures : The Art of Wig Making 2020-2022 featuring new wigs. It will be published this February! We've been working on this book for a year now, and this project contains the new wigs that I designed for Björk too.
mitsukoshiisetan.com>
自分らしく、かつ新たな自分と出会う7つの体験
□2023年1月25日(水)～1月31日(火)
□伊勢丹新宿店 本館3階 ステージ#3
□2023年1月25日(水)～2月7日(火)
□伊勢丹新宿店 本館3階 リ・スタイル
Culture’s
favorite hair whiz, Tomihiro Kono, has revealed the official launch date for his upcoming book, Fancy Creatures. In collaboration with his partner, Sayaka Maruyama, the project showcases his most recent inventive wig series, designed between 2020 and 2022, an honest depiction of his undisputably striking and characteristic style. Kono and Maruyama have always been attracted by the power of hair and the beauty of transformation; this series seemed like the perfect next step for them to continue their creative endeavors. Fancy Creatures is inspired by various micro-organisms on Earth, from deep sea creatures to endangered moths, a unique series of hybrid creations that hold an ineffable quality.
Ancient but contemporary, familiar yet eery, desirable yet uncertain, the book contains a new dimension of unforeseen beauty. To commemorate the occasion, the Japanese duo behind Konomad is hosting a launch event during EASTEAST_Tokyo 2023 at the Science Museum in Kitanomaru Park from February 17-19.
This initial release will be followed by a unique wig installation exhibition at Current Plants in Hong Kong, along with a photo exhibition of the portrait series from the book at Eaton Hotel, starting at the end of February and continuing for two months. As for the global release, Fancy Creatures will be available to purchase via konomad’s website from February 8.
Japanese hair artist Tomihiro Kono has an undisputably striking and characteristic style. You’ve probably seen his playful creations on the likes of Björk and Grimes, as well as taking over Junya Watanabe and COMME des GARÇONS’ runways. After exploring hair artistry for over two decades, Kono has become the industry’s favorite hair whiz. Through his distinctive and evocative style, the now-New York-based hair stylist has gained a reputation for creating otherworldly worlds that sway the mind.
Kono’s irreverent
creations invite you on a transformational journey and prove that maximalism is no longer a fashion faux pas. By finding beauty in imperfection, like the Japanese motif of wabi-sabi, his work never fails to exalt beauty through a rich subcultural spectrum — full of pastel Kawaii hints and edgy cyberpunk references. His nuanced view of physicality has proved to possess the power of transforming humans into hybrid creatures. In April 2017, Kono released HEAD PROP Studies, 2013-2016, a book immortalizing his early work as a head prop designer and sharing the craft behind his creations through personal photographs, sketches and photo grids. Three years later, the creative released “Personas 111 – The Art of Wig Making,” which explored the power of transformation by documenting one model in 111 different wigs. Kono is now returning with his third book, “Fancy Creatures,” showcasing his most recent inventive wig series, designed between 2020 and 2022.
“Fancy Creatures” goes beyond the architecture of hair artistry or the beauty of form; this time, Kono explores the relationship between humans and the organism of planet Earth. Inspired by the magical materiality of deep sea creatures, furry moss and even endangered moths, the Japanese wig maker finds unforeseen beauty in things that are often considered ugly. “Fancy Creatures” delivers a visual vitality that follows Kono’s avant-garde vision, exploring the unique power and intimacy of human hair, as an ancient but contemporary, familiar yet eery, desirable yet uncertain element.
For Tomihiro, “it’s through imagination and creation that fulfill our everlasting human desire to metamorphose, to transform our earthly bodies into something else. We hope you, the reader, will enjoy our vision of human’s new metamorphosis.” To mark the occasion, the creative is hosting an exhibition in Hong Kong at Current Plans gallery starting in mid-January 2023. As for “Fancy Creatures,” we might need to wait a little longer, as the book’s official release date is yet to be announced.
Hypebae had the chance to speak with Tomihiro Kono to learn more about his upcoming book and exhibition, sources of inspiration and what’s next for his career.
Keep scrolling to read our exclusive interview.
You have such a distinctive and nuanced aesthetic. What is your biggest inspiration?
Nature.
How did your upbringing influence the artist you are today?
I grew up in the countryside, by the mountains and the sea. My parents didn’t give me any toys as a kid, so I often made up my own games. Maybe that is the reason why my mind is constantly full of ideas and I always find inspiration in nature.
Your wigs often cover your models’ faces. What is so fascinating about not revealing human features?
I always seek to spotlight the purity of my wigs. I perceive my models’ faces as plain canvases. I find human faces to have so much information and a very clear identity, which is why I prefer to not reveal them and explore the notion of transformation.
What do you want people to feel when they wear your wigs?
I want people to feel the excitement of instant transformation.
Who or what is your muse?
Björk.
Tell me more about your new book and exhibition coming up in Hong Kong.
It is my third book and I’ve built it by working with my partner Sayaka Maruyama.
What is next for you?
I’d like to start doing exhibitions worldwide and keep on documenting my work through books. tomihiro kono hair beauty books exhibitions fancy creatures release bjork comme des garçons björk
富永航が手掛ける「ワタル トミナガ（WATARU TOMINAGA）」が国内初のショーを行い、大きな反響を得た。セントラル・セント・マーチンズなどを経て、イエール国際モードフェスティバルでグランプリを受賞するなど国外でも認められている富永のクリエイションスタンスは「全てに期待をしないで、全力を出す」。今回同ショーでヘアを担当したヘッドプロップウィッグアーティストの河野富広と、プロップを手掛けた山縣良和の3人でコレクションを振り返りながら、表現のモチベーションは「不満」と語る富永のアイデンティティに迫る。
1988年熊本県生まれ。武蔵野美術大学を卒業後、文化服装学院服飾研究科を経て2015年にセントラル・セント・マーチンズ、BAファッションプリント科を卒業。在学中にはジョン・ガリアーノ、ブレス、エディ・ピークのアシスタントを経験。卒業時に発表したコレクションは仏イエール国際モードフェスティバルでグランプリを受賞。2016年にチェルシー・カレッジ・オブ・アーツ、MAファインアートを卒業し修士号を取得。その後、パリの現代美術館パレ・ド・トーキョー のレジデンシープログラムLe Pavillon Neuflize OBCに参加。2018年、Forbes 30 Under 30 Asia - The Arts に選出。2019年、ロサンゼルス・カウンティ美術館（Los Angeles County Museum of Art）に作品が収蔵される。現在、ファッションデザインを中心に、国内外で継続的に作品を発表している。
河野富広
1980年愛媛県生まれ。日本でのサロンワークで美容師として10年ほどキャリアを積む。十日会で日本髪（結髪）の手ほどきを受けたのち、2007年に渡英し、セッションヘアスタイリストとして活動を始める。自己のスタイルを追求していくうちに、作品のコンセプトに基づいたウィッグやヘッドピースを制作し始め、ほどなく「ヘア・アンド・ヘッドプロップアーティスト」という独自の肩書きを確立。ニューヨークに拠点を移した2013年からジュンヤ ワタナベのパリコレショーでヘア＆ヘッドプロップディレクションを担当。2016年頃から現在は主にウィッグメイキングに集中的に取り組みながら、ヘアの表現の幅を広げている。また、数多くの国際的な雑誌、広告・キャンペーン等で活躍しつつ、konomadのディレクターとして展示、プロジェクト、ポップアップイベントの企画や総合クリエィティブ・ディレクションを手掛けている。
山縣良和
1980年鳥取生まれ。2005年にセントラル・セント・マーチンズ美術大学ファッションデザイン学科ウィメンズウェアコースを卒業。在学中にジョン・ガリアーノのデザインアシスタントを務める。2007年4月に自身のブランド「リトゥンアフターワーズ（writtenafterwards）」を設立。2009年春夏から東京コレクションに参加。2012年に日本ファッション・エディターズ・クラブ賞で新人賞を受賞。2015年に日本人として初めてLVMH Prizeにノミネート。デザイナーとしての活動のかたわら、ファッション表現の実験と学びの場として「ここのがっこう」を主宰。2019年にThe Business of Fashionが主催するBOF 500に選出。2021年度毎日ファッション大賞「鯨岡阿美子」賞受賞。
河野富広（以下、河野）：オファーを頂いた時、僕はビョーク（björk）の撮影でアイスランドにいて。湖のほとりで穏やかな気持ちだったのもあって、快諾しました。忙しかったらもしかすると断っていた可能性があるので、とてもタイミングが良かったんです。
山縣良和（以下、山縣）：わかります。タイミングって大事だよね。
河野：最近ストリート寄りのブランドが気になっていて。その辺を歩いている男の子や女の子が身につけているリアリティのあるファッションに興味があるんですよね。それで航君のストリート感のある服を見た時に、「あー、自分と合いそうだな」と思ったんです。
ー山縣さんが担当したのはスタイリングですか？
山縣：服のベースのスタイリングは航君がメインでやっていたんですけど、インスピレーションをシェアしてもらって、それに合わせる形で恐竜や枕、電話、カーテンなどのプロップを提案、制作しました。
富永：山縣さんのショーの演出がすごく好きで。「The seven gods」の時もよくわからないものが沢山登場しましたが（笑）、でももしそれができたら面白くなるんじゃないかと考えたんです。それで話を詰めていったんですが、昔好きだった本を見せたりしながら、一緒に構想を考えて頂きました。
山縣：お話を頂いてからショーまでの時間が約1ヶ月もなかったので、スピーディーに物事を決めていくしかなかったんですよ（笑）。航君がやりたいことを最優先に、「こうゆうのはどう？」とアイデアを投げながらブラッシュアップしていった感じです。
富永：僕は自分が育った90年代のファッションがやっぱり好きで。よく「キューティ（CUTiE）」や「スマート（smart）」「ケラ（KERA）」の部屋の特集を読んでいたんですが、その雰囲気を作れないかと山縣さんと相談しながら進めました。
山縣：だから「ああ、わかる、わかる」って感じで懐かしさを感じながら制作できましたね。もらった軸っていうのは、それこそ僕や河野君にとってはリアリティがあるものなので。
ー90年代という軸がある中で、河野さんはへアでどんな提案を？
河野：僕の中で90年代はDIY的な感覚があって。当時はみんな自分たちでカスタムして、カッコよく仕上げていたと思うんですよ。それこそ髪の毛も。だから、雑誌「フルーツ（FRUiTS）」や「ストリート（STREET）」が全盛期の面白かった時代のDIYとパンクを混ぜたアウトプットがいいんじゃないかと考えたんです。
山縣：90年代の空間から服装、髪型まで全部DIYでやっちゃって楽しんじゃう感じを新しい形で表現したかったんですよね。
富永：あとストリート感を出したかったというのはあります。僕がキューティや「セブンティーン（Seventeen）」などの雑誌を読み始めたのが10歳くらいで。12歳の時にグリーンの「マッキントッシュ（Macintosh）」が家にあって触っていたので、それもショーに登場させました。
山縣：12歳でマックは早くない（笑）？
富永：早かったのかも（笑）。マックは1999年の発売の時に家に来て。それで12歳の時からヤフオクをずっとしていたんですよ。
一同：早いな（笑）。
富永：でもその時は服は買っていなくて、服をヤフオクで見始めたのは多分中高生くらいの時。それまではアメリカのおもちゃばかり買っていました。イーベイ（eBay）もよく使ってましたね。父が英語が得意だったから、助けてもらいながら色々購入していました。
山縣：お父さんはどんな仕事をしている人？
富永：父は大学で免疫学を研究しています。あとアートが好きなんですよ。だから、よく美術館に連れていってもらいました。
河野：それはいい影響ですね。
富永：そうですね。僕自身、絵を描くのが好きでしたし。
山縣：その時は高知に住んでいた？
富永：高知です。7歳まで熊本で、その後から高知に住んでいました。
河野：7歳って、広末涼子が出てきたときくらい？
富永：そうそう。すごかったですよ。高知からあんなトップアイドルが出るなんてと思っていました（笑）。
山縣：ショーで僕らがやったのって、航君のこういう過去の経験を掘り起こしながら、イメージを作っていった感じでしたよね。
富永：そうですね。本当はもっとゆっくり話しながら決めたかったんですけど、本当に時間がなくて。ミーティングもほぼオンラインで、ショーまで計2回しか会えなかったですもんね。正直ファッションショーをすることは、とても怖かったんです。果たしてうまくいくのかって。でも旧知の仲の山縣さんや世界で活躍する河野さんと一緒に進められて本当に心強かったんです。
ーショーの反応はどうだったんですか？ ショー終わりにユナイテッドアローズの栗野宏文さんやファッションジャーナリストの麥田俊一さんが大きな拍手をしていたのが印象的でしたが。
山縣：そうだったんですか。それは本当に嬉しいことですね。
富永：良かったです。もちろん反省点はいっぱいありますが、やって良かったと思いましたし、河野さんと山縣さんのおかげでルックの強さが出たなって。
河野：傍から見ていて思ったのは、僕がロンドン時代にものづくりをしていた感覚に近かったなと。
ー僕もロンドンファッションウィークの空気を感じたんですよね。
山縣：僕もそれは感じましたね。あと多分僕らが学んだ地でもあるロンドンでショーを開催していたらまたちょっと違う反応だったんじゃないかと思います。日本はまだまだ人数制限があるし、会場設計の限界もあってどうしても硬くなってしまう。今回のショーはそれこそ若い人たちにもっと見てもらった方がリアリティがあって良かったと思うんだけど、若い人ををたくさん呼ぶことは規則的に難しかったですからね。あとバックステージのモデルたちのテンションがすごく高かった。
河野：そうそう。セルフィーを楽しんだりと、やらされてる感がなかった。
山縣：バックステージの感じもロンドンコレクションのような空気感がありましたね。
河野：僕のフォロワーからの評判もすごく良かったんですよ。髪の毛が頭以外についているっていうのも、おしゃれ感度の高い人たちから反応が良くて。
富永：パンツやカバンに付けたりしましたね。
河野：そうそう。「買いたい」って言ってくれる人も結構いました。なので今後コラボアイテムの発売も計画しているところです。あと僕は、ショーにおいはマテリアルのシェアが大事だと思っていて。ある程度信頼関係がないとできませんが、コラボレーションの一つのあり方として良いと思うんです。
ーマテリアルのシェアが大事な理由とは？
河野：リファレンスってやっぱりイメージだから伝わりにくいんですけど、実際にそのショーで使用する生地を前もって共有できればやれることの幅も広がるわけですよね。なかなかパリコレという舞台だと難しいんですが、ストリートのブランドって基本的に仲間同士で作っているから、事前共有ができちゃうわけじゃないですか。それはロンドンのニューブランドのやり方と同じで。だからビューティとファッションの一体感が出るんだと思うんです。今回はゼブラ柄の生地を使うことを事前に共有できたから、髪もピンクのゼブラ柄にして。髪の柄がすごいから、一緒に混ざるとどうかなって思っていましたが、スタイリングもあわせてくれて。あのルックはすごくよかったと思っています。
ー富永さんはショー終わりに「新しい発見があった」と言っていましたが、その言葉の真意は？
富永：正直に言うと、元々僕は今回のように派手なヘアやプロップを持ってランウェイを歩くことに、リアリティを感じないタイプの人間でした。僕自身シャイな性格だし、たまには派手な格好をしますが、いつもそうかと言えば違う。ただショーを作っていく中で、リアリティ云々じゃなくて見ていてワクワクするショーが良いなと思うようになったんです。それが新しい発見です。
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Monday, November 14, 2022 6:00 PM
Hong Kong
Duddell’s is delighted to announce the upcoming exhibition of Sayaka Maruyama, her first solo presentation in Hong Kong. Born in 1983 in Niigata, Japan, Maruyama grew up in Tokyo, moved to the Netherlands with her family and has been working in between London, New York and Japan. A fresh talent, Maruyama is a multi-disciplinary artist who realises her notions of beauty into photography, drawings, books, and short films.
Curated by Eunice Tsang, Floral Beings will exhibit 13 works by Maruyama, and will be on view from August 18 to November 14. Maruyama shows us a glimpse into her surreal world, where human, animal and plants are mingled into one. Her dreamlike photography, sometimes integrated with digital drawings, translates human beings as floral creatures, using Tomihiro Kono’s hair creatures as a main motifs. Maruyama works closely with her partner Kono on sculptural wigs made of real human hair, which they hand-dye and fabricate into intricate animal-like structures. An installation exhibition of their iconic wigs will be held as a sequel of the current show at Current Plans, an alternative art space in Sham Shui Po.
Presented by: Duddell’s
Principal Art Patron: Ruinart
Eyeliner, ciglia finte e capelli in colorazioni neon. Il mondo degli anime conquista il beauty. Ma anche il mondo della cultura dove i fumetti giapponesi sono i nuovi bestseller «Se sono uno scrittore lo devo ai fumetti», ha detto Daniel Pennac in una recente intervista. Ma lo aveva già dichiarato nel lontano 1993, in Come un romanzo, quando aveva sdoganato la lettura delle Bande Dessinée equiparandola a un'attività intellettuale di alto livello. Le sue parole tornano attuali più che mai, proprio adesso che gli italiani si sono rivelati dei grandi (anzi grandissimi) fan dei Manga. Nel corso dell’ultimo inverno, infatti, le classifiche dei libri più venduti nel nostro Paese sono state dominate dai diversi volumi della saga One Piece di Eiichiro Oda e l’Associazione Italiana Editori ha segnalato un +175% di negli acquisti di narrativa a fumetti.
«In Italia i manga hanno sempre avuto molto successo, ma essendo venduti solo nelle edicole e nelle fumetterie, non rientravano nelle rilevazioni del mercato editoriale. Da quando però, nel 2019, sono entrati nelle grandi librerie sono diventati un vero fenomeno», spiega Paolo La Marca, docente di lingua e letteratura giapponese all’Università di Catania e curatore di collane manga per Coconino Press. «Sicuramente il lockdown ha dato un'ulteriore spinta: molti ragazzi si sono appassionati a serie di animazione trasmesse da Netflix e da lì hanno iniziato a leggere i fumetti dai quali le storie erano state tratte». I lettori però non sono solo giovani: «l’audience è abbastanza trasversale. Soprattutto quando si parla di Gekiga: storie più introspettive e strutturate che hanno fatto avvicinare un pubblico più adulto».
Che i manga siano entrati di diritto nelle preferenze narrative degli italiani lo dimostra anche il fenomeno Cosma & Mito, altra saga di grande successo, 100% made in Italy. «Creato dal fumettista italiano, Vincenzo Filosa, riprende la struttura e il linguaggio visivo delle storie giapponesi, ambientandole nel nostro Paese e arricchendole di elementi culturali tratti dal folklore calabrese: favole, mostri e folletti del paese d’origine dell’autore prendono così il posto di quelli originari delle strisce jap», spiega La Marca.
L’immaginario delle graphic novel giapponesi ha conquistato non solo il mondo della narrativa e una community sempre più ampia di lettori, ma anche l’universo della moda e, a seguire, quello del beauty. E se la prima ha prodotto capsule collection ispirate ad anime iconici come Il mio vicino Totoro (Loewe) e Doraemon (Gucci), la bellezza ha puntato su personaggi come Hello Kitty (Pixie e Shu Uemura) e le Superchicche (Revolution).
«In generale sono tornati di tendenza gli anni 2000», dice Michael Nolte, Creative Director di Beautystreams, agenzia di trend forecast. E continua: «Sono anni colorati e molto giocosi che riportano la generazione Zeta a ricordi legati all'infanzia. I manga erano infatti estremamente popolari in quel periodo ed è normale che i ragazzi siano attratti da look ispirati a quelle atmosfere. Parliamo soprattutto di eyeliner e ciglia finte, look stile anime, che negli ultimi mesi hanno spopolato su Doyin, la versione cinese di TikTok. Questi make-up inoltre si ritrovano spesso anche negli avatar dei videogame e i giovani, affascinati dal gaming, trasferiscono quei look dal mondo virtuale alla vita reale».
Il make-up manga è un infatti un grande trend sui social dove artisti digitali come Felina Hernàndez Del Barrio e Valentina Li propongono le loro sperimentazioni creative tra make-up e nail design.
Più difficile, invece, trovare riferimenti cromatici specifici nelle texture dei prodotti firmati dalle grandi maison del trucco. Secondo Tom Pecheux, Global Beauty Director YSL Beauty, il motivo è tecnico: «I pigmenti neon che evocano i colori delle graphic novel contengono spesso degli elementi che nei nostri mercati – europei e americani – sono vietati». Questo però, non ha ostacolato il diffondersi di una tendenza estremamente diffusa nel trucco e che influenza moltissimo anche gli hairstyling. Su TikTok spopolano i tutorial su come farsi acconciature alla Sailor Moon o pettinature ispirate a Tokyo Revengers, altra saga editoriale di grandissimo successo: le visualizzazioni di video inerenti arrivano a circa 300 milioni.
Più difficile, invece, trovare riferimenti cromatici specifici nelle texture dei prodotti firmati dalle grandi maison del trucco. Secondo Tom Pecheux, Global Beauty Director YSL Beauty, il motivo è tecnico: «I pigmenti neon che evocano i colori delle graphic novel contengono spesso degli elementi che nei nostri mercati – europei e americani – sono vietati». Questo però, non ha ostacolato il diffondersi di una tendenza estremamente diffusa nel trucco e che influenza moltissimo anche gli hairstyling. Su TikTok spopolano i tutorial su come farsi acconciature alla Sailor Moon o pettinature ispirate a Tokyo Revengers, altra saga editoriale di grandissimo successo: le visualizzazioni di video inerenti arrivano a circa 300 milioni.
Per chi poi ama esperienze ancora più immersive, ci sono le colorazioni ad hoc in tinte fluo, come quelle proposte da Matrix. Dai laboratori del brand consigliano, prima di farsi capelli fucsia o verde smeraldo, di scegliere la nuance giusta tenendo conto delle regole dell’armocromia perché, in effetti, il neon è dona proprio a tutte/i. Alternative meno impegnative sono gli Spray Colorista di L’Oréal Paris che durano il tempo di uno shampoo: l’effetto è meno intenso ma i ripensamenti sono consentiti.
In apertura:
“Anime-inspired Kira Kira eyes”
Wig : Tomihiro Kono @tomikono_wig
Photography: Sayaka Maruyama @sayaka_maruyama_
Model: Yunn @i_am_yunn
Art direction konomad @konomadinc
ジュンヤ ワタナベ コム デ ギャルソンのヘッドピースを手掛けたことでも知られるアーティスト、河野富広の「これまで」と「これから」。
河野富広は変化を恐れないアーティストだ。2000年代初頭から、大阪、東京、ロンドン、そしてニューヨークの四都市を舞台に、美容師、セッションスタイリスト、ヘッドプロップアーティストといった数々の肩書きでファッション・ビューティー業界に君臨してきた。2014年から9シーズン連続で彼が制作したジュンヤ ワタナベ コム デ ギャルソンのヘッドピースを知る人も少なくないだろう。2017年頃には「キャリアの初めごろから興味があった」というウィッグメイキングを本格的に開始した河野。独創的でカラフルな彼のウィッグは、インスタグラム上で人気を博し、近年ではビョークやグライムス、マーク・ジェイコブス、メゾン・マルジェラといった超ビッグネームとのコラボレーションも果たしている。 河野は1980年、愛媛県宇和島市にあるみかん農園の長男として生まれた。家業を継ぐため農業学校に進学することを期待されていたが、高校卒業後は大阪で美容師としての修行を積んだ。その後原宿のサロンで働くため、上京。雑誌『FRUiTS』が街中でスナップ撮影をしていたり、裏原ブームがあったりと、ストリートカルチャーが色濃く残る当時の原宿は、彼にとって原風景と呼べるものだという。
イギリスのカウンターカルチャーに憧れていた河野は、2007年に舞台を東京からロンドンに移し、セッションスタイリストとしてのキャリアを本格的にスタートさせた。『i-D』を含む現地のファッション・カルチャー誌で多くヘアスタイリングを手掛けた彼だが、その最初の糸口となったのは、東ロンドンのオールド・スピタルフィールズで毎週木曜に開催されるアンティークマーケットに参加したことだった。同マーケットで仕入れたビンテージのパーツを組み合わせて制作したヘッドピースを展示していたところ、『Dazed & Confused』（現『DAZED』）の編集者に見いだされたのだそうだ。
その日は、河野にとって生涯忘れられない一日となった。同じ日にマーケットを訪れていたアイスランドを代表するポストロックバンド〈シガー・ロス〉のフロントマン、ヨンシーにも、彼のソロアルバム『Riceboy Sleeps』のローンチイベントのためにヘッドピースを貸してほしいと声をかけられた。「ほんとにその数日後にイベントが開催されて、僕の作品を使ってくれたんです。その様子は『DAZED』の記事にもなりました」
2013年にニューヨークへ拠点を移した河野は、ピーター・リンドバーグやマート&マーカス、アルバート・ワトソンといった著名な写真家と撮影を共にしたり、雑誌の表紙撮影や広告を手掛けたりと、ここでもキャリアを大きく飛躍させる。ファッションデザイナー、渡辺淳弥と出会ったのもこの頃だ。輝かしい経歴を重ねていた彼だが、同時に自分のアーティストとしてのあり方に対する漠然とした焦燥感を抱えていたと本人は振り返る。「ファッション業界は、次々と若いクリエイターが現れてひっきりなしに世代交代が行なわれていく世界。自分がどんどん歳をとっていくなかで、ずっとそれを追い続けていかなきゃいけないことに対する疑問のようなものは感じていました」
「どんな仕事をしたかよりも、誰と仕事をしたかが評価基準になりがちでした」と河野はニューヨークでセッションスタイリストとしての日々を反芻する。「2000年代以降のファッション業界では、作為的でない、ナチュラルな表現が主流になっています。それ故に、モデルの地毛を生かす表現を求められることが多く、髪をいじる必要がほとんどないような撮影も少なくありませんでした」。もともと、被写体を大きく「変身」させることで生まれる写真表現に興味を持っていた河野。この頃から、ナチュラル趣向のトレンドに反して、よりキャラクターメイキングに特化した技術を身につけたいといと考えるようになったのだという。
そんななか、河野が新たな表現方法の模索としてはじめたのが、イギリスにいた頃から興味があったというウィッグ制作だ。「画家や彫刻家など、なにかをイチから作るような職業に強い憧れがずっとあって、それに最も近いものとして、独学でウィックメイキングを始めました」。2020年、ロックダウンの最中にあるニューヨークで、彼はこれまで制作したウィッグ111体を集めた作品集『PERSONAS 111』を発表した。“Transformation is beautiful. （変身は美しい）”というテーマのもと、千差万別のウィッグ作品を一人のモデルに着用させた同作品集。このために制作したウィッグの画像とインスピレーション源をインスタグラムに一日一投稿し始めたところ、瞬く間に世界中の注目を集め、フォロワーも急増した。
作品をオーダーしたいとの連絡が河野のもとに続々と来るようになって、課題となったのがその価格帯だった。「ハンドメイドのフルウィッグは、洋服でいうところのオートクチュールのようなもの」と彼が言うように、土台を作るところから始めるという伝統的な技法で制作するウィッグは、作業に膨大な時間が必要となるうえに、往々にしてかなり高価だ。そのため、比較的手に取りやすい価格の着脱可能なウィッグとして河野が提案したのが、クリップやゴムなど、アクセサリー感覚で簡単に地毛に取り付けられる〈ファンシー・ウィッグ〉のシリーズである。「このウィッグであれば、例え職場や学校では付けられなくても、帰り道に気軽に取り付けることができる。顔周りに一束明るい髪色があるだけで、人のマインドは相当変わるんですよね」
自身の作品のなかで、〈ファンシー〉は言わば「コム デ ギャルソンにとってのプレイ、マーク・ジェイコブスのヘブン」のような存在なのだという河野。街を歩いてる人が実際に自分の作品を身に付けていることほど、インスパイアされるものはないと語る。「振り返って考えると、ストリートカルチャーは僕の原点。でも雑誌やショーをやっていたときは、それがうまく理解できていなかった。自分はアートを作っているんだ、と驕っていたからかもしれません。ファンシーを作って、いまようやくストリートと密接になれた気がしています」
河野は現在、東京に拠点を置いている。「最近では海外のクライアントとリモートで仕事をしたり、ミュージシャンのためにオーダーメイドのウィッグを作りながら、アトリエで新作を制作しています」と話す。上海発の〈Yueqi Qi（ユキィ・キィ）〉やニューヨークを拠点にする〈Collina Strada（コリーナ・ストラーダ）〉といった世界中の気鋭ファッションブランドのショーをリモートで手掛けることもあるのだという。昨年末には、ビョークがリリースする詳細未発表のとあるプロジェクトのためにアイスランドにも訪れた。
河野は多才だ。ウィッグアーティストとして活躍する傍ら、キュレーションやキャスティングも行なう。パートナーであり写真家の丸山サヤカと共同で設立した〈konomad〉は、彼らが実際に制作を行なうオープンスタジオ兼コミュニティスペースだ。今年1月、konomadでは『自然界のドラマ』と題された合同展示会が行なわれた。写真家の遠藤文香や、ファッションデザイナー、ユキィ・キィやジュエル Yが参加したこの展示会では、自然をテーマに制作活動を行なう様々な若手クリエイターによる作品が揃った。他にも、ニューヨークでヘアサロン〈Vacancy Project〉を運営する細野まさみを招いて完全オフラインのトークセッションを行なうなど、国内外の若手クリエイター間のコミュニティの構築に尽力している。
しばらくは日本に拠点を置きつつ、海外のクライアントとの仕事も続行する予定だという河野。今後の展望を尋ねると、少し間をあけて「模索中」との返答があった。「逆に確固たる展望がないからこそ、いま実験的なことができているのかもしれません」といいつつ、彼の口からは洪水のように新しいアイディアが溢れ出す。「ファッションやビューティーに拘らず、広告などのクリエイティブディレクションもしてみたいです。ファンシー・ウィッグを購入できるコミュニティ型ヘアサロンを作るのもいいですね。自分と感性が合いそうな美容師たちがアイデアを出し合い、楽しく働けて、お客さんもギャラリーみたいにふらっと立ち寄れるような美容室をコンセプトから作っていきたいです」。今年7月にはオランダ、ロッテルダムのウェールト美術館で開催される企画展「Hair Power」への参加も控えている河野。最後にインタビューをこう締めくくった。「僕自身も、konomadで作っているコミュニティも、今後そうやって進化していったら面白いですね」
In Hair Power, human hair is covered from many angles. Through the lens of identity and beauty, for instance. Who decides what beautiful hair is? Where do these beauty ideals come from? Or from the sense of intimacy evoked by a piece of mourning jewellery or while sitting in the hairdresser’s chair. And let’s not forget hair as a commodity. Since hair is strong and won’t decay for centuries, we incorporate it into objects, keepsakes, and designs. And finally: empowerment. We celebrate the positive impact that hair can have on people and entire societies! From headdress to hair rug
Extraordinary objects from the collection of the Wereldmuseum are combined with contemporary works by leading artists and designers. For instance, a Papua New Guinean headdress of human hair, with beads and green beetle shields, is exhibited alongside the exuberant work of celebrity wigmaker Tomihiro Kono. And a unique hat from Alaska, waterproof because of the threaded hair yarn, is shown next to a woven hair tapestry by Antonin Mongin.
Intimate photographys
Several photographers pay intimate tributes to people and their hair. New York-based Yelaine Rodriguez comments in her series on the complicated relationship between the colonized and the colonizer, whilst celebrating the Afro Dominican spirituality. Sarojini Lewis from Rotterdam explores how her identity is perceived by the outside world – depending on her chosen hairstyle. And how she manages to free herself from these perceptions.
Artist Clémence Hilaire creates the final piece of the exhibition exclusively for the Wereldmuseum: an impressive hair installation which reflects upon the exhibition as a whole.
Hair Power, 9 July 2022 to 8 May 2023 - Wereldmuseum Rotterdam Spatial design: Maison the Faux & Serana Angelista
Prachtig versierde haarkammen, gedurfde pruiken, minutieus gevlochten sieraden en een warme trui gemaakt van haar. Wereldmuseum Rotterdam opent op 20 mei de nieuwe tentoonstelling Hair Power. Een unieke en omvangrijke expositie over de kracht van menselijk haar. In de spotlight geplaatst met topstukken uit de museumcollectie én hedendaags werk van makers als Tomihiro Kono, Yelaine Rodriguez, Clémence Hilaire, Antonin Mongin en Sarojini Lewis. In Hair Power brengen meerdere thema’s de gelaagdheid van ons haar naar voren. Via identiteit en schoonheid bijvoorbeeld. Wie bepaalt wat mooi haar is? Waar komen die schoonheidsidealen vandaan? Of het gevoel van intimiteit, zowel bij een rouwsieraad als in de kappersstoel. En denk ook aan haar als materiaal en koopwaar. Want haar is sterk en gaat eeuwenlang mee, dus verwerken we het in objecten, aandenkens en design. Tot slot: empowerment. Het vieren van de positieve impact die haar kan hebben op mensen én hele samenlevingen!
Hair Power is vanaf 20 mei 2022 t/m 8 mei 2023 te zien in het Wereldmuseum Rotterdam
Klik hier voor meer informatie.
Since early societies until urban counter-cultures, hair has always been defined as both an armour for protection and a way to express identity. To hide or to reveal, they can help to play a social role, a character of the imagination or just show an inner side of the self. Tomihiro Kono’s bizarre wig creations encourage transformation, impermanence and a fun approach to self-discovery. Each wig is a unique piece of craftsmanship, made from scratch on the base of an instinct, they cannot be reproduced by machines so in this way they celebrate physicality and presence. Spray-painted in acid or pastel colours pop graphics, they can be long straight extensions, tiny, cute braids, spiky points, soft backcombing or curled structures inspired by nature and animals.
Influenced by a mixture of historical European references - from 18th Century French decadence to the 1980s color palette of New Romantics - Tomihiro’s creations revisit the Japanese heritage of handcraft with lots of punk attitude. Before leaving Japan for London in 2007, he spent ten years training on classical haircutting and color techniques in Tokyo’s hair salons, even learning ancient Geisha hair techniques as Takashimada. After meeting Harajuku’s street culture and falling in love with British youth culture, he embraced a more experimental and creative approach to hair design. In London, he became an artist of head props and hair styling, featured in plenty of fashion editorial for magazines such as Dazed and i-D. One of his first encounter with a fashion designer was the one with Junya Watanabe in 2015, for which he designed head props inspired by structuralism and abstractionism in a long-lasting relationship of nine catwalks.
Now Tomihiro has made a name of himself, realising stunning pieces of craftsmanship as beautiful as meticulously made.
His work has been also exhibited in New York, Tokyo and Paris, and will be featured in a new upcoming exhibition this July at HAIR POWER exhibition @ Wereldmuseum Rotterdam, ND.
He’s also been published on two personal publication: PERSONAS 111 - The Art of Wig Making 2017-2020 and Head Prop - Studies 2013-2016, both by konomad editions (www.konomad.com) - an artist-run platform to support creatives with pop-up events and exhibitions alongside with independent publishing, founded by Tomihiro himself and Sayaka Maruyama.
You were born in Ehime, a Japanese prefecture in the northwest of Shikoku Island. How was growing up there and then moving to Tokyo between the 90s and 00s?
I grew up surrounded by nature. I used to make up games as a child, creating hand-made tools. I loved to watch Hollywood films and imagining myself to be a movie character. Because I was living in such a countryside, I also started to long for the urban life. Back then, Harajuku’s street culture was mainstream. I got so much inspiration from it that my dream became to work in Harajuku one day.
Do you remember a specific moment you fell in love with the world of hair design?
It was very impressive when I experienced a hair salon for the first time, besides the simple hair cut in the barber shop: in hair salons, a real consultation was held before cutting hair, taking into account the quality of the hair and the bone structure of the face. After all I tried many different hairstyles as a teenager. I had them coloured, permed, twisted up.
Your creations blend hairstyling, art and fashion accessories. I read you first started as a hairdresser. What brought you to a more experimental approach?
I started my career as a hairdresser, only after I acquired basic cutting and perming skills, I became interested in the more creative world of photo shoots as a hairstylist. At that time, most of my inspirations came to me through the international fashion magazines. Since then, I moved on to the next stage, making head props, then eventually wigs. I’ve never been satisfied with my creation because there is still so much to learn about new hair techniques. Also the notions of beauty change from time to time, so there are so many ways for creative expressions, which keep pushing me to more and more experimental approaches.
It’s quite evident you englobe Japanese pop heritage (such as the latest anime-inspired wig series: “Kira Kira eyes” and “Love eyes”) and a pinch of historical references twisted up by a punk attitude. What inspires you to create such a layered mixture?
I really enjoy taking inspiration from culture and history, mixing them to create a new vision. There are still many spaces for new expressions which people have never done or seen before. I'd like to continue making new visuals and new beauty.
Natural shapes and animal creatures are also a very personal source of inspiration for you. Which is your favorite creature that inspired one of your pieces?
Portuguese man o’war. Such an amazing creature.
From ideas to materials… Unravel your process from scratch.
When I create wigs, I simply start by making a lace base and knot the hair strands into the mesh laces using wig ventilating needle. Sometimes the hair extensions are coloured before, or after stitching them. Either way. Once the wig is made, I start to think about the style and character. When I create head props, I use any materials. Sometimes I get inspired by the materials first. But sometimes I design first and find the best material to realise the design. I try to make the head props as light as possible, because that’s more comfortable.
Your art has been worn by Bjork and Grimes to name a few, and has been featured in brands like Junya Watanabe and recently Collina Strada, Maison Margiela, Marc Jacobs, Yueqi Qi. Your dream collaboration that hasn't happened yet?
My dream collaboration would be for Tim Burton’s films. I’m a huge fan.
You are also part of Konomad - an artist-run platform that exists both online and offline. How did this project come about and with what aspirations?
It’s a space for dreams, for independent artists to make a creative community, where they can make connections with creators by doing collaborative projects, events and exhibitions. I’ve always been an independent artist, working on my own, so I thought it could be nice to make a space for artists to meet up with new creators. Offline events are actually very important and meaningful to physically connect / talk with people, and I find both artists and visitors are enjoying konomad pop-up events. I plan irregularly and update information on @konomadinc. We also operate as an independent publisher for our own books, and we do art direction and design for clients.
As they’re linked to identity expression, hair can hide and reveal. Imagine do design a wig for your own persona. How would it be?
It would be just a simple black topper. Which is similar to my hair style.
Is there something you haven’t done yet that you wish you’ll do?
I’d like to open a new type of hair salon + gallery space. I’m thinking to keep doing exhibitions and konomad popup events, but at some point I’d like to combine that with hair salon. I think people would appreciate that.
Model Sea
Rotterdam - Prachtig versierde haarkammen, gedurfde pruiken, minutieus gevlochten sieraden en een warme trui gemaakt van haar. Wereldmuseum Rotterdam opent op 20 mei de nieuwe tentoonstelling Hair Power. Een unieke en omvangrijke expositie over de kracht van menselijk haar. In de spotlight geplaatst met topstukken uit de museumcollectie én hedendaags werk van makers als Tomihiro Kono, Yelaine Rodriguez, Clémence Hilaire, Antonin Mongin en Sarojini Lewis.
In Hair Power brengen meerdere thema’s de gelaagdheid van ons haar naar voren. Via identiteit en schoonheid bijvoorbeeld. Wie bepaalt wat mooi haar is? Waar komen die schoonheidsidealen vandaan? Of het gevoel van intimiteit, zowel bij een rouwsieraad als in de kappersstoel. En denk ook aan haar als materiaal en koopwaar. Want haar is sterk en gaat eeuwenlang mee, dus verwerken we het in objecten, aandenkens en design. Tot slot: empowerment. We vieren de positieve impact die haar kan hebben op mensen én hele samenlevingen!
Van hoofdtooi tot haartapijt
Bijzondere objecten uit de collectie van het Wereldmuseum komen samen met hedendaagse werken van toonaangevende kunstenaars en ontwerpers. Zo vind je een hoofdtooi van menselijk haar, kralen en groene keverschildjes uit Papoea-Nieuw-Guinea bij het uitbundige werk van celebrity haarartiest Tomihiro Kono. Of een unieke muts uit Alaska, waterproof dankzij geregen garen van haar, bij een gewoven haartapijt van kunstenaar Antonin Mongin.
Intieme fotografie
Verschillende fotografen brengen intieme odes aan de mens en hun haar. New York-based Yelaine Rodriguez zoekt in haar serie naar het verband tussen bepaalde haarstijlen en wat in Europa wordt gezien als ‘heilige’ gemeenschappen. De Rotterdamse Sarojini Lewis onderzoekt hoe haar identiteit –afhankelijk van haar gekozen kapsel– door de buitenwereld wordt waargenomen. En hoe ze zich van deze blik weet te bevrijden. Als sluitstuk van Hair Power maakt kunstenaar Clémence Hilaire een indrukwekkende haar-installatie, reflecterend op de hele tentoonstelling.
Art direction Konomad Model Yunn
Tomihiro Kono
Interview Anthony Turner
Anthony Your way of interpreting and manipulating shapes is something so unique – I’ve never seen it before in hair styling. Where did your influences come from and how did you develop your techniques?
Tomihiro I was very influenced by British culture when I first started. My first hair salon was in Harajuku and my teacher was an art director for Vidal Sassoon, bringing the signature Sassoon techniques to Japan. There is a difference between head shapes in Japan and England, so we had to redefine how to create those hair styles on a rounder shape of head – that was my start in the industry. Vidal Sassoon did such incredible work in the Sixties and he transformed hairdressing into art. I also remember when I first saw Julien d’ys’s work. No one was doing what he was doing, like pulling references from figures like Marie Antoinette – it felt so new and exciting. Everything before was too ‘done’ and too perfect – it just didn’t speak to me, so seeing his hair stories changed my perspective completely. When I went to a bookshop and opened the pages of his Victorian couture story, that is when I began doing what I do now and experimenting with everything. The technique I used to do before was very mathematical and calculated, thinking about neat cutting and perfect layering – it was just too perfect.
When I started out working and cutting, all my teachers would request this perfectionism of the same shape and cut – I would even get my hand smacked with a comb if it was not up to the specific method set out. However, I later realised that it is not about the perfection, it’s about the person sitting in front of you – matching their personality, their likes and their unique feeling towards their hair. In the long run, I do believe that we are lucky to have had such strenuous training, because it gave us a good foundation to create our own creative ways. A lot of people have the vision without having the foundation, so it ends up falling short.
I do agree, because you have to know the rules in order to break them. You need to know the fundamentals and proportions of something as specific as hair; you need to get that experience with different shapes and textures in order to know how to experiment later. I started working with Comme des Garçons and Junya Watanabe, later creating a book with the hair shapes I had created for them; in it, you can see the process of my work, how the foundation is based on classic hairdressing skills with the identity layered on top of it. For example, if I worked with someone who used to be a doctor, I would have this really deep representation of their past in my mind and bring it to the story.
Your story for Perfect magazine reminds me of the aquatic world, combined with something very otherworldly. Do you take a lot of inspiration from nature?
I grew up in the countryside in the south of Japan, so I was always surrounded by nature. When I look at sea creatures, I almost want to showcase them as something completely different and new, which is why I spent last year really immersing myself in studying the different types of nature. Those themes combined with your use of colour creates something really phenomenal. Your way of combining neons with pastels brings a different feeling to the story. I have always been inspired by imperfection and experimentation. I really dislike the ‘hairdresser touch’ – I think people often try to play safe and bring the same thing over and over. As a professional, you want to show off your skills, but also be creative and true to your references. And I love bringing a punk touch that feels very DIY.
Do you prefer working on wigs or on a model’s natural hair?
I always used to be ready to go either way to create what was asked of me. However, since Covid happened I started to reflect back on the classic way of doing shoots where there is so much input from so many people, and that didn’t allow me to fully express my vision. When I work with conceptual designers like Junya Watanabe, I am able to be as creative as I want to be and present my full vision, which is what excites me most. The pandemic really allowed me to be my own team and just start playing around with my own imagination. I also started using social media to showcase myself more as a hair artist – especially with Instagram, using it as my own vision board.
Your work is so influential to so many people and gets brought up in so many conversations – you really have inspired a lot of young creatives. How do you feel looking back at it?
It’s good to hear that, because I was working in an era where becoming a well known hair stylist was seen as almost impossible, especially in London, coming from Japan. Something I’ve learned is that the way each person reacts to wigs is extremely individual and unique. Some are scared of wigs and how that changes their appearance; for others it is a creative outlet for them to showcase the different layers of themselves. I also sometimes work by blending their natural hair with wigs, in order to keep the feeling of self-expression and their own identity intact. Moving forward, I really am pushing my passion for wig-making. I absolutely love seeing hair as an object you can create and form from scratch. I am trying to achieve the natural feeling of this sculptural object that still looks and feels like hair, which does not compromise the idea I have in my head. I always aim to show through my work how exciting and exploratory it can be.
‘I have always been inspired by imperfection and experimentation.
I really dislike the “hairdresser touch” – I think people often try to play safe and bring the same thing over and over’
By now we thought this year had brought back chunky highlights in every way imaginable. We’ve seen everything from Cristina Aguilera’s early 2000's black streaks to face-framing two-toned bangs. But thanks largely to TikTok, emo and scene culture is making a comeback and so too are horizontal highlights (aka raccoon tail hair), although, thankfully, the look is a bit different this time around in 2021. If you were on Tumblr during the golden days of scene culture (the early 2000s), you would have come across the glorious world of clip-in two-toned hair extensions. Usually black (because, of course, emo) and another lighter color, these gave a horizontal effect and were usually clipped in the under layers of the hair or in a sweeping fringe. With this current decade kicking off with hype for the “rawring ’20s” and a call to bring back MySpace culture (there was even a petition), nostalgic trends from early 2000s emo and scene culture are bound to come again. After Instagram’s outage on October 4, the return of MySpace seems more likely than ever. So start ranking your top eight friends and fire up your hair straightener. But lucky for us, it seems horizontal highlights have taken on a far more subtle rebirth.
Two-toned hair has been circulating in a variety of ways for the last couple of years, it’s even been approved by the likes of Dua Lipa on her Future Nostalgia album cover. Now’s is coming back in the form of dip-dye for fall. On the fringes of the trend, some people are getting more creative, opting for chunkier highlights. Most often, people compare the trend to the end of a raccoon tail, while wig artist Tomihiro Kono compared it to Polish Viennetta ice cream.
The revival has already had the designer stamp of approval as Collina Strada’s SS22 runway show at New York Fashion Week featured a clip-in variation, as well as larger highlights. Off the runway, colorful party clip-ins are the perfect temporary fix. Larger blonde (or lighter brown) horizontal highlights are a more subtle everyday look for those who are excited to try the trend IRL.
Raccoon tail hair comes with the added bonus of not having to deal with regrowth, as the highlights or lowlights grow out as your hair does. You can also opt for whatever placements you want without worrying about sticking to the usual hair rules—because this trend clearly bends to none. Who’s to say highlights can’t also be diagonal? At this point, anything goes.
The extravagant wigmaker on the power of transformation. Jump into our new series featuring fresh faces who are on the way to define the sounds and aesthetics of the, not so distant, future. The cultural revolution is happening now. We don’t want you to miss any of it. Let’s push boundaries together.
Change of hair usually comes with a desire for a personal revolution: by transforming the outside, we’re manifesting a process happening inside, abandoning the old and stepping into a new reality. We’re addicted to the newness, a constant state of the flux: wanting to be everything at once and finding the physical limitations an annoyance. Luckily, there’s someone who found a loophole to let us serve unique fantasies every day. Meet Tomihiro Kono, a Japanese wig designer whose creations skyrocketed beyond the boundaries of hair, creating a whole new universe full of magical realism and natural symbolism dipped in every shade of the rainbow.
From Junya Watanabe, Proenza Schouler, COMME des GARÇONS’ runways to Partick Demarchelier and Jil Sander’s editorials, Kono’s craft has appeared everywhere. His diverse work, seemingly inspired by the whole subcultural spectrum – edgy punk cuts and sugar-candy Kawaii aesthetics – is still instantly recognizable. Tomi Kono’s creations would be at home in art galleries next to the most experimental contemporary sculptures.
Having worked with hair for most of his professional career, he knows it’s a powerful medium for storytelling that would often be overlooked in that context. Kono bridges that gap, producing ready-to-wear pieces for anyone craving an instant metamorphosis. He immortalised his creative journey in two books so far, first Head Prop, a documentation of his work from 2013 to 2016, and Personas 111 – The Art of Wig Making which features one model in 111 different wigs: direct proof of the power of transformation.
What is your earliest memory connected with your craft?
In the 1980s when I was born, I used to love making plastic models of Gundam. I was also into making swords out of bamboo, inspired by Hollywood films. Looking back on those memories, I think I loved making props as a child.
How did your journey with creating wigs begin?
Creating wigs is the 4th chapter of my life. 1 – hairdresser, 2 – hair stylist (session work), 3 – head prop making, 4 – wig making. I’m gradually expanding what I can do as a hair professional.
Do you think that wigs have the power to transform the person that wears them not only outwards but inwards?
To begin with, changing hairstyles has such a power to transform the person inwards. I started my career as a hairdresser and felt customers who want to change their look want to change their mood and feelings. So, changing hairstyle is very closely related to our mind. Wigs function in a kind of similar way mentally, but it can change our look much faster with no risk of cutting/colouring our actual hair. We can explore more possibilities and enjoy the instant changes. I feel people who wear my wig enjoy transforming into different characters both outwards and inwards.
What makes you want to create?
Passion: I’m an explorer of frontiers. Also, inspiration from nature and creatures.
You’ve done some amazing collaborations from Junya Watanabe to Björk, have you got any favourite projects that hold a special place in your heart?
I have something more to come with Bjork, which is VERY exciting. I simply admire her existence.
Every artist has their muse. Who is a source of inspiration for you?
Ken Shimura – the biggest Japanese comedian who passed away last year with COVID-19. He was the professional who taught me ‘Transformation is beautiful’. He was using different wigs and that may have inspired me in my childhood.
What should be the role of the new-gen creators in modern society?
To energise the world.
The creative industry is built on odd part-time jobs, free internships, all-nighters and tons of energy-boosters to get through all the turmoil of making or breaking it. Was it a struggle to get to this point in your career?
Yes, such a long struggle. I’ve gone through both positive and negative experiences. Honestly, I was tired of the fashion industry’s system when I worked as a hair stylist.
What’s the message that you want to send to the industry?
Take it easy. Where do you want to see yourself in five years?
I’m hoping to see myself in my lovely garden with a cat.
What are you working on right now?
I’m working on a project with Björk.
Generation Tomorrow features new faces who are on the way to define, not so distant, creative future and shake society up a little. Who would be your choice?
Yueqi Qi.
«Wigs have traditionally been used to disguise as a character. However, wigs can bring us closer to our own identity.» (ﾉ◕ヮ◕)ﾉ✧*:･ﾟ✧ ✧ *:･ﾟ
Wigs allow us to instantly transform and play with who we are. However, for most of us, they are not commonly used accessories or a way to express ourselves. Tomihiro Kono (@tomikono_wig) has proposed modifying this conception and taking it to the next level. His handmade wigs are, more than a fashion accessory, a creative work that can turn us into fantastic creatures beyond our reality.
The Japanese artist has collaborated with Junya Watanabe’s Comme Des Garçons, Maison Margiela, Collina Strada, Jil Sander, or Yueqi Qi. He has held wigs exhibitions in New York, Tokyo or Paris. Personalities such as Björk or Gigi Hadid have worn his creations, inspired by nature and the traditional geisha hairstyle arts, which the artist knows in depth.
Far from keeping his creative techniques a secret, Tomihiro Kono regularly publishes books that collect his work, documenting and transmitting to the world art that not many develop. I spoke to Tomihiro Kono about his creative process and his journey and asked for his advice on incorporating wigs and hair accessories into our style.
Chorareii: How did you become interested in styling hair?
Tomihiro Kono: I was always trying different hairstyles when I was a teenager. Once, I cut my hair as Ryota Miyagi from the manga ‘Slam Dunk’ and my mom got mad!
I wanted to become a hairdresser, so I moved to Tokyo in the early 2000s. I apprenticed to Takahiro Uemura, a landmark hairdresser who had opened his own hair salon in Harajuku called Dada Cubic. chorareii_tomihirokono_wigs_yueqiqi_Aw21_6_1
Harajuku was inspiring and cool, but I wanted to learn Japanese traditional hairstyles, the ones that geishas wear. I feel that Japanese traditions have influenced me very much.
Definitely, designing wigs is not as common as being a hairdresser or a hairstylist. What led you to start creating your own wigs?
After I learned the traditional Japanese techniques, I moved to London in 2007. There, I started creating head props. The London atmosphere made me dare to be more creative.
In 2013 I moved to New York. I collaborated with Junya Watanabe’s Comme Des Garçons for several years with my head props. Around 2016 I started to create my own wigs.
Some of your pieces are so creative that I would never imagine they are wigs if I just saw a picture! What inspires you when you are creating them?
I mainly get inspired by nature and natural creatures, that is a huge inspiration for me!
How is the process of creating a hand-made wig?
My process starts making a lace foundation. After that, I have to knot the hair one by one into it. It’s natural, hand-dyed colored hair, so the color comes first most of the time.
I have to knot, knot, knot … so much hair into the lace foundation to create a wig! In this process, I might mix several different colors to make the wig iconic.
When I finish knotting, I cut the hair and then I style it at the very end. Sometimes I adjust volumes or add even more different colors on top.
Throughout your professional career, you have worked with well-known designers. You mentioned Junya Watanabe earlier. Tell me about your collaboration!
I had dreamed about working with Comme des Garçons for a long time. In 2014, Mr. Watanabe asked me to collaborate for his then-upcoming Autumn/Winter 2014 collection. That was only the beginning! I worked as a head prop for nine Junya Watanabe collections.
Working on these projects was good training for me. Mr. Watanabe never explained to me what the next collection would be like, not even the concepts, themes, colors… I myself had to come up with ideas that fit with what he expected. It was a challenge, but also a great opportunity to develop my vision.
How do you feel about Björk wearing your creation? I know that you admire her very much!
I feel so honored to hear that she likes my work. It’s truly a dream collaboration, as it was my goal to work with Björk.
What other projects have been a milestone for your career or have marked the way you approach your art?
A wig project that I was asked to do by Dazed for Maison Margiela has been very special for me. This project was a part of the series of artist’s interpretations of the codes of Maison Margiela. I reinterpreted their “Code: Genderless” and made around 40 wigs.
For this project, I played making characters by layering the model’s own hair, masks, and wigs. This expression plays with the concept of the layered identity we all have. I have published a book of the project, titled “Layered Personas – The Art of Wig Making 2020.” In the book, you can have a look at all the wigs I made for them!
Actually, you have published several books about your work. Tell me about them! Do you feel that there is a lack of information about this kind of product in the fashion and beauty (or even art) industry?
I feel that yes. There are some books about wig making, but not so many.
My first book was called “Head Prop: Studies 2013–2016.” I wanted to document my work, show my creative process and share some of the Japanese traditions behind my head props designs. It was published in 2017.
Then, I published “Personas 111 – The Art of Wig Making 2017-2020.” This book is not about head props, but about the wigs that I created through those years. I wanted to show the possibilities of transformation that wigs can give us.
My latest book, published at the end of 2020, is “Layered Personas”, the one I was telling you about earlier. I would also like to make a proper book about the wig-making process in the future.
I don’t know if it’s easy to study or learn how to create wigs, but I feel that your books may be great material for anyone that wants to try. What do you think based on how you learned yourself?
In my case, when it comes to craftsmanship, I’m self-taught. My mentor when I learned Geisha hairstyles and Japanese traditional hairdressing was self-taught. That made me think that I also could learn by myself. chorareii_tomihirokono_wigs_collinastrada_angeliccreature_green
Could tell me more about konomad, your project alongside the photographer Sayaka Maruyama?
konomad (@konomadinc) is a multidisciplinary platform and independent publisher I established with my partner Sayaka Maruyama (@sayaka_maruyama_). We both believe in the power of visual images to convey creativity.
Through konomad we have worked on very different activities and fields, including fashion, design, pop-up events, exhibitions, and publications. We also have created experimental artwork, including short films and photography series.
I know that some of the artists that I like wear wigs, but I don’t see my friends wearing wigs often … Will wigs become something of our daily lives soon?
My viewpoint is centered on pushing the idea of wigs to the masses, always thinking of them from the transformational aspect. I think more and more people are starting to enjoy wearing wigs as a part of their fashion, and in the future, they will be an accessory like a hat.
Wigs have been frequently used to disguise a character. However, wigs can bring us closer to our own identity. They can function like clothes, hats, or accessories for daily life.
If you think a full wig is too much for you, then I suggest you try on hair accessories. My advice would be: just simply enjoy your transformations with wigs!!
Learn more about Tomihiro Kono by checking his website
Buy Tomihiro Kono’s books on konomad website
Follow Tomihiro Kono (@tomikono_wig) on Instagram
༼✷ɷ✷༽ ༼✷ɷ✷༽ ༼✷ɷ✷༽
Having worked for the likes of Björk and Junya Watanabe, Japanese hair artist Tomihiro Kono defines hairstyling as a conduit to personal transformation, giving wearers a new identity.
This is A HOT MINUTE WITH, a quick-fire interview series championing all the rising talent catapulting into fashion, art and music’s fickle stratosphere. From pinch-me moments to bad dates and even worse chat-up lines, think of it as an overindulgent conversation – like the ones you have in sticky club toilets at 4.A.M. Except these guests don’t regret the overshare…
NAME TOMIHIRO KONO
LOCATION Japan
STAR SIGN Aquarius
Shriya Zamindar: Was becoming a hairstylist always your dream? What brought you into this line of work?
Tomihoro Kono: I’ve always liked animals so at first I wanted to be a trimmer. Then my mum suggested I begin with human hair instead because she said humans would say thank you to me, so I decided to be a hairdresser.
SZ: Thinking back to your journey from starting out as a hairstylist, shifting cities, styling editorials, and now creating legendary wigs, how did you deal with all these transitions? What was the main life goal for you?
TK: I’ve followed my creative journey as I shifted cities and it was a kind of a natural transition, I would say. It’s mainly my passion that leads me through, and I was basically searching for the mission of my life as a hair artist.
SZ: What is a memorable moment from your time (hair)styling for JUNYA WATANABE?
TK: The process of working with Junya Watanabe was quite unique, as he never showed me any clothes until we got into Paris. So I was proposing hair designs without seeing the clothes, let alone the concept of their new collection. As a result, when I found out that my hair and head designs with Watanabe’s clothes were the best matches, it was very impressive.
SZ: You released your second photobook Persona 111 last year, what was the idea behind publishing these books?
TK: Hairstyles are closely related to our identity, they create both our inner and outer self. This can reflect our personality or, in some way, can hide our true self. We can suddenly make ourselves look like a different person by wearing a wig. A wig is a kind of mask, designed on one hand to make a definite impression upon others, and on the other to conceal the true nature of the individual. Changing how we look is an act of self-reflection, self-assertion, and self-defence. We live in the spiral of the world by defining ourselves and being defined by others. Tomihiro Kono finds the diverse possibilities of instant transformations with wigs.
SZ: What was the message you wanted to communicate?
TK: My wigs are artefacts to encourage and foster continuous transformation. So, ask who you want to be, choose your wig and step into your new life.
SZ: What is the philosophy behind your practice?
TK: Continuity is the father of success, persistence pays off.
SZ: Describe your aesthetic in three words.
TK: Nature, Punk (mentally, not visually) and Tradition.
SZ: One personality you’d love to create a wig for?
TK: BJÖRK (surprisingly my dream came true recently so I can’t think of any other at the moment).
SZ: Favourite city you’d love to live in?
TK: I’d love to be surrounded by the beauty of nature with birds and creatures.
SZ: If you had to live in a past era, what would it be?
TK: The 1920’s.
SZ: You explore your work in a lot of colours, but if you had to choose only one colour to work with, what would it be?
TK: Black. I’m going to explore shape, texture, and haircut.
SZ: Instagram or Tiktok?
TK: #carnivorousplant.
SZ: A song you’re playing on repeat?
TK: The Homeless Wanderer by emahoy tsegue-maryam guebrou.
Wigmaker and hairstylist Tomihiro Kono's brightly colored creations play with ideas of identity and character. Modelled by Cameron Lee Phan. Credit: Sayaka Maruyama/The New Beauty/gestalten 2021 From an ancient Roman anti-wrinkle cream recipe to the 12th-century "Trotula," a set of medieval manuscripts with formulas for skin care, hair dye and perfume, the desire to make ourselves more presentable -- and even attractive -- stretches back through history. And rather than embracing the subjectivity of beauty, societies have instead categorized and quantified these elusive qualities into prescriptive beauty "standards." These standards respond to the shifting political and social landscapes -- and they continue to change with the times, according to beauty and wellness writer Kari Molvar. "So much about how beauty is being defined right now has a political undertone to it," she said in a phone interview, noting how both the Black Lives Matter and Stop Asian Hate movements have inspired responses from the beauty industry.
In her forthcoming book, "The New Beauty," Molvar charts the evolution of beauty standards -- and the forces that influenced them -- from antiquity to present day. It is a timely reminder that the eye of the beholder has been shaped by everything from industrialization to gender politics.
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Entrevistamos a Tomihiro Kono, el artista del cabello que está reinventando el mundo de las pelucas y te cautivará con sus proyectos
Tomihiro is a hair artist from Japan whose
work ranges from hair styling to head prop
design to wig making. He began his career
as a hair dresser almost 20 years ago. After
having trained in hair cutting techniques in
Japan for about 10 years, he moved to London
in 2007. There he started working as a
session hair stylist, and began making head
props, seeking his own distinctive style and
blurring the boundary between hair styling
and head wear design. His aim: to widen the
potential of one single hair stylist’s work.
Since 2013, Tomihiro has been based in
New York. Tomi collaborated with Junya
Watanabe and Comme des Garçons between
Fall 2014 - Fall 2017, and then in April
of 2017, he published his first book about
his work and creative process, Head Prop
- Studies 2013-2016. Though many artists
are reluctant to let their audience peek behind
the curtains, Tomihiro documents and
shares his own work because he is more
interested in generating an interest in the
traditions of Japanese craft in general, even
at the expense of keeping his methods proprietary.
Tomihiro started making wigs in 2016, and
he has produced quite a lot of pieces since
then. When making wigs, he often draws
inspiration from nature, film, art and culture,
as well as fashion history. Aside from his
hair-related jobs, he has established a creative
platform under the name konomad,
where he and his partner Sayaka Maruyama
work as independent publishers, designing
and publishing their own art books. As
a duo, they also do exhibitions and pop-up
events in various cities around the world.
Tomihiro has rarely ever shown his studio
from the inside and has a strict policy about
not showing his face during interviews. You moved from Tokyo to London in 2007 and after 5 years you moved to New York - what made you move and how is working in Europe or the US different from working in Japan? Why those moves and those particular cities? Tomihiro Before I moved to London I had been working as a hair dresser for nearly 10 years. I decided to move because I wanted to start working as a session hair stylist. When I compare working in London, NY, and Tokyo, I would say London is the best place to develop a portfolio. NY is the best for working as a professional, making money. Working in Tokyo is best for making a comfortable balance between life and work. Each city has different energy. To begin with, I picked London because I love their fashion and culture. I didn’t pick NY myself but it was kind of a visa situation. I thought rather than extending [my] visa in London, exploring a new city might be more interesting. I sometimes visited Paris for Paris collections, I love Paris too. You studied the traditional art of Geisha hairstyling from a Japanese master - can you tell us a little bit about the importance of craft and mentorship in your life? Tomihiro Yes, I learned traditional Geisha hair styling techniques from a Japanese master before I moved to London in 2007. I thought it was important to know about our own historical techniques as a hairstylist. Even if I couldn’t use it for current fashion trends, the technique can still be used at some point in my career. So it’s always good to have knowledge, especially of our own culture. From salon-based hairstyling you changed your career quite a bit and moved into session work, contributing to publications, and you began to experiment with the creation of head props. Finally, you made quite a name for yourself with your wigs. Can you tell us a little bit about those milestones and what drove you to shape your creativity like that? Tomihiro I would say my creative journey has been very fruitful, in terms of what I have gained in those shifts (or progress?) in my career. At the core, there is my passion of exploring new techniques and skills related to hair designs. Those moves to different cities have made me explore new genres. So when I moved to London, I felt a creative vibe in the fashion industry, so I started making head props. Then when I moved to NY, I felt people would be more interested in wigs than head props. Where does your drive to keep pushing the boundaries of hair come from? Tomihiro Simply my passion for creativity.
Can you tell us about your longstanding collaborative partnership with designer Junya Watanabe? How it came to be and how you worked so well together that you’ve collaborated on nine separate runway collections? Tomihiro Working with Junya Watanabe was the most tough, experimental and challenging, as he never showed me any clothes of the coming collection, even a theme/concept. All I [could] do is guess and create new hair designs that he hadn’t seen before. I never worked this way with any other designers. In my opinion, I think we worked well together was because I started making proposals of hair designs a couple of month ahead of time, so Junya’s team could get inspired and develop their ideas more. I think it's always better to take time and explore to improve the quality of the designs. You work for and with titles including W Magazine, Numéro, and Harper’s Bazaar, as well as designers such as Jil Sander and Derek Lam.
Can you tell us a little bit about the process behind those collaborations? Tomihiro Now I am work with upcoming young designers Collina Strada and Yueqi Qi (both coincidentally selected by #Guccifest). I respect their work and originality and they respect my work, which works so well. I appreciate when people appreciate my work. Can you tell us a little bit about your latest book? PERSONAS 111 - The Art of Wig Making 2017-2020 Tomihiro Hairstyles are closely related to our identity; they create both our inner and outer self. This can reflect our personality or, in some way, can hide our true self. We can suddenly make ourselves look like a different person by wearing a wig. A wig is a kind of mask, designed on the one hand to make a definite impression upon others, and on the other to conceal the true nature of the individual. Changing how we look is an act of self-reflection, self-assertion, and self-defense. We live in the spirals of the world by defining ourselves, and being defined by others.I like the diverse possibilities of instant transformations with wigs. What do you like and hate the most about your profession? Tomihiro What I like: when I feel the excitement of creating something original. What I hate: hair as a material. It makes my studio messy.
What does a day in Tomihiro Kono’s life look like? Tomihiro Wake up early. Do some home aquarium. Have more than a cup of coffee. Work in the studio. Riding bicycle when I feel like. Dinner mostly at home.
What do you think is the perfect split to success or a successful business? (How much creativity, how much project-management, how much public relations, etc. ) Tomihiro The fine balance between these two elements: 60% idea and creativity, ability to realize the idea. 40% management and promotion, ability to convey your work to the public.
What do Passion and Success mean for you? Tomihiro Passion is my life itself. Success is a step in a life.
「PERSONAS 111」の視点やアウトプットの時代性から、まるで新人アーティストが現れたと捉える反響も多いそうだが、実際の河野氏はヘア一筋に20年以上のキャリアと卓越した技術を誇る熟練の職人である。 キャリア初期の2000年代前半は原宿で美容師として働く傍ら、フォトグラファーアシスタントとしても従事しサロンワーク以外の表現を模索。伝統的な日本髪(結髪)を学ぶなど貪欲に研鑽を積んだ。現在もクリエイティブパートナーであるビジュアルアーティストの丸山サヤカ氏とタッグを組み始めたのもこの頃である。 2007年渡英後はセッションスタイリストとして活動開始。自己表現を追求する過程でヘッドプロップやウィッグ制作も独学で探求し、やがて無二の肩書き「ヘッドプロップアーティスト」を確立するようになる。
独学の賜物であるオリジナリティに富んだウィッグやヘッドピースの背景にあるのは、莫大なトライアンドエラーの数々。2014年から計9シーズン関わったジュンヤワタナベコムデギャルソンのランウェイで発表したヘッドピースも例外ではない。同ブランドのためのヘッドピースを中心に制作過程をまとめたのが、自身のクリエイティブプラットフォームkonomad（コノマド）から2017年に出版された最初の作品集「HEAD PROP – Studies 2013-2016」だ。最終形態に向かうまで生まれたドローイングや大小プロトタイプを余すことなく披露した200ページ超からは、おびただしい奮闘の軌跡が伝ってくる。
当時はプロダクトとしての造形的完成度を追求した時期だったため、20世紀の各種デザイン運動やインダストリアルデザインに影響を受けた作品が多い。ビニールやポリウレタン等、毛髪以外の素材も多用している。しかし「HEAD PROP」出版を節目に、河野氏は再び毛髪を用いたウィッグメイキングに集中して取り組むようになる。 そのプレゼンテーションとして2018年から2019年にかけてパリ・東京・NYの大小様々な会場で、計5回にわたり開催した展示は、空間に宙吊りとなったウィッグに観賞者が触れるインタラクティブなパフォーマンス性を含む、前代未聞の光景を繰り広げた。
これらのウィッグからさらに、日常的に髪型のエッセンスを取り入れる提案として2019年に発表されたのが「Tomi Kono Fancy Wig」シリーズだ。エクステンションにヘアゴムやピンが付属している形状、ヘッドバンド形式など、着用者自身のアイデンテティを残しながらカジュアルにウィッグを身につけることができる。
常にウィッグ制作のスキルを疑い、学び続けた結果生まれた揺るぎないオリジナリティ。しかしこれらはファンデーションの縫製から髪の縫い込み、カット、カラー、パーマネントといった技術的な側面のことだけを指すのではない。konomad共同代表を務める丸山氏とともに探るビジュアルプレゼンテーションの方向性、具現化のプロセスもあって初めて、河野氏の作品性は成立する。丸山氏自身の作品にも河野氏のウィッグは度々登場するが、それぞれの世界観が互いの輪郭を作りあっていると言っても過言でない。
河野氏が作るウィッグは、基本的に着用者のペルソナが決まっていない。年齢、国籍、性別、趣味嗜好が限定されていない「開かれた」ウィッグであり、誰しも自由に変身する機会を得られることを意味する。
「外見を変えることは自己反映、自己主張、自己防衛の行為だ。」（『PERSONAS 111』より）
身体の外側と内側の双方に影響する、トランスフォーメーションツールとしてのウィッグの可能性を、1人のモデル、1人の写真家、111体のウィッグによって表現した「PERSONAS 111」。前作「HEAD PROP」が「デザインのためのデザイン」とも捉えられる性質を持っていたのに対し、本シリーズはヒューマニティに訴えかける強いメッセージを持つ点だ。
「アートやデザインの文脈上で紹介された『HEAD PROP』に対して、『PERSONAS 111』は普遍的でタイムレスな、誰でも自分に置き換えて想像できるテーマを持っています。表紙が後ろ向きになっている匿名的な見せ方、様々な国のミックスであるアンドロジナスな風貌の写真家でありモデルのキャメロン・リーファンを起用したこともそのための演出の一例です。」
本書は大きく二つの章に分かれて構成されている。ID用の記録写真のように前方を向いたキャメロンの111の写真を1ページ毎に配置。ポートレートのみでは全貌が把握しづらいウィッグは、写真下に補足的に他角度からウィッグのみの写真を掲載している。
前半が基本形インデックスだとすると、後半で「Gender-Blending Transformations」と題し展開されるのはさらに縦横無尽なキャメロンの姿だ。カテゴライズが意味を成さない鮮やかな洪水の世界に飲まれたような紙面構成が美しい。
様々な人物に扮装しアイデンテティを問うアーティストは過去にもいたが、河野氏の場合はそれを衣装や化粧に頼らずストイックにウィッグのみで実現している点が特異であり、さらに「ペルソナ＝社会的な仮面」を利用して新たなアイデンテティを獲得しながら、もとから備わる本質を引き出している。
「[私]ではない何者にでもなれる可能性」と同時に逆説的に浮かび上がる「確かな[私]」。ファンタジックなトランスフォーメーションの末にたどり着く、カテゴライゼーションを問い直す新時代を象徴するメッセージだ。
「PERSONAS 111」がアイデンテティの多様性の賛歌であるとすれば、7ヶ月後に発表された「LAYERED PERSONAS」は、より個人の断片的な解体と再構築にフォーカスした哲学性の高いシリーズとなっている。 今秋、河野氏は「Maison Margiela（メゾン・マルジェラ）」2020-21秋冬アーティザナル・コレクションのテーマの一つ「GENDERLESS」を再解釈したウィッグシリーズ9点を発表した。このプロジェクトを発展させ制作された計43点のウィッグは、前シリーズに対しウィッグの色調をさらに限定し、レースの仮面やモデルの地毛のプラチナムブロンドも視覚言語の要素として捉え、数パターンのビジュアルに収めている。
「今、私たちはこれまで以上に多面性を受けいれはじめていると感じます。あらゆる個人は不確かな存在であり、常に変化し続けています。そのため、私たちが自分自身を表現するために選ぶ方法も、絶えず流動していくのです。」（「LAYERED PERSONAS」より）
もとある身体や地毛をあらわにするウィッグの着用方法は「PERSONAS 111」でも伏線のように提案されていた。しかし今回はより顕著に、地毛をあらわにせざるを得ない断片的なヘッドピースに近い作品が多くを占める。もはや「ウィッグ」の定義も曖昧になるような造形の数々。着用方法を編集的に展開する行為そのものが、個人＝「私」という存在自体が、複雑で同時性をはらんだレイヤーの重なりであることを体現しているようだ。
多くの哲学者も考察してきた「私」と「他者」の問題にまつわる修辞的な含蓄とともに、明快な視覚言語として提示される河野氏のウィッグ。身につけた途端、そこにはジェンダー、時代、スタイルなど異なる端緒が共存するハイブリッドな景色が立ち上がる。目に見えない内側もまた、この景色の変化につられ自由な変身の可能性を持つ。
「PERSONAS 111」が発行されたのは2020年3月半ば。当時河野氏が拠点としていたニューヨークで、日本人美容師ホソノマサミが主宰するニュートラルジェンダーサロンVACANCY PROJECTと組んで刊行記念イベントを予定していた。しかしイベント初日のわずか数日前に突如北米に広がり始めたコロナパンデミック。社会的制限が実施される前の瀬戸際ではあったものの、痛恨の念に駆られながらもイベントの自主的な延期（のちに中止）を決定した。
次第に深刻になっていくNYのパンデミックと山積みとなった大量の本。一見絶望的とも言える状況は、当初の計画とは異なるかたちで111体のウィッグを紹介するチャンスにつながった。インスタグラムユーザーが誰でも画面上でウィッグを「試着」できるARフィルターシリーズも発表したのだ。
平面的でマンガのような表現の「ARウィッグ」はすでにいくつかあったそうだが、実物をゼロから作り、それに付随するビジュアルや書籍がある河野氏のフィルターシリーズには圧倒的な必然性がある。最初のARフィルターはリリース後わずか1週間で100万回体験され、大反響を得た。
「世界中の人々がStay homeを強いられて、オンラインで洋服を買っても着ていく場所がない、髪の毛も切りに行けない。皆アイデンテティを表現する機会に飢えて、かつインスタグラムを眺める時間が増えた状況で、ARウィッグをかぶったストーリーや投稿に僕をタグ付けして、それを僕がリポストする。そのインタラクションを見てまた投稿してはタグする人がどんどん増えて…家の中で楽しめるツールを提供している確かな実感があり、フィルターを制作してよかったと感じました。」
3月に「PERSONAS 111」イベント延期を決定した際、今後過去に行った展示のように人が容易に他人や物に接触できる、リアルな体験が要となる展示形態が「ファンタジーとなってしまう日が来る」と直感したと言う河野氏。12月に東京・渋谷の「PLACE by method」で開催された展示「Layered Personas」は、そんなアイロニーをにわかに示す内容となった。
「前回展示した時から＜インタラクティブ＞の意味が全く変わってしまいました。もはや展示されたウィッグを来場者が被っていたほんの1年前がファンタジーなのか、（直接ウィッグを被ることが）できない今、ファンタジーに生きてるのか？パンデミックが日常の世界で、感染防止のために人との間に距離や保護膜がある状態が＜普通＞になってしまった今提示できる、新しい展示のかたち、デジタル上で完結しないインタラクティブな関係性を提示したいと思いました。」
ウィッグが宙に吊るされた光景は、2019年春に同スペースで開催された展示とさほど変わらない。決定的に違うのは、来場者とウィッグの間にビニール膜で空間が「レイヤード」されているため、被ることはおろか、近づいて触ることも不可能な点だ。唯一被ることができる大型ウィッグは、圧縮袋で保護されたように吊るされ、社会情勢をシニカルに体現しているように思える。 河野氏のこれまでの展示を体験している人なら一層、近づけないもどかしさに駆られたはずだが、遠目に見ても各作品の圧倒的な存在感は顕在だ。むしろ近づけないことで、作品がより崇高なオブジェとして感じられ、ウィッグとの新たな関係性を体感することになった。
会期中催されたコスチュームデザイナーTomo Koizumi（トモ コイズミ）との特別コラボレーション
会期中、ビニール膜には丸山サヤカのドローイングを基軸に、来場者が自由にドローイングに参加し、丸山氏と来場者間のインタラクションが視覚化される試みも行われた。ウィッグと来場者の間にどんどん「壁」が出来上がった先の光景を目撃するのは、会期後半に訪れた来場者の特権となった。
ちなみに今夏ニューヨークから日本へ拠点を移した河野氏にとって、帰国当初様々な場所で見かけたプラスチックの仕切り、その間で取られるコミュニケーションのあり方（感染防止を目的にしているにも関わらず、それがあることに安心し、かえって矛盾した行動をとってしまう人々の光景など）が新鮮に映ったと言う。過剰な自粛はせずとも各々の対策や工夫を重ね、日常を続けようと抗う現在の東京・日本の姿も展示から受けて取れた。
ウィッグを直に体験できた2019年までの展示形態と、デジタル上で試着できたARフィルター。この流れから一周まわり「アナログ版ARフィルター」という興味深い着地点として発表されているのがFun Fan（ファン・ファン）だ。新しいフェイスシールドとしてデザインされたプロダクトには、ウィッグの画像が団扇状のアクリル板に印刷され、二者間で遊べる仕様になっている。
「相手と離れて、ファンを持った腕を伸ばしウィッグをかぶせるようにして遊ぶので、ソーシャルディスタンスを取らざるを得ない仕様になってます。お互いをプロテクトしながら楽しめるインタラクション。いくつか重ねてみたり、方向を変えてみてつけたり、アナログで物理的な楽しみ方ができます。」
顔の大半を覆った相手と距離をおいて接することが日常となった今、パブリックではマスクも皮膚の拡張と化したと言って過言でなく、個人のアイデンテティを認識する方法も変化している。
「顔ではないところでどうアイデンテティを見出すかが、より大きなテーマになってきたと感じています。だから髪型をいかに差別化して、オリジナリティを高められるかが大事。」
外見の問題に限らず、2020年は様々な出来事を通して「個人であるとは何か」と言う問い、他者との新たなコミュニケーションに光が当たった。無論、個人＜ペルソナ＞は孤独に輪郭を成立しうるものでなく、他者との関係性＜インタラクション＞が不可欠であり、変化に対していっそう柔軟性を持つ姿勢が、新時代にふさわしい進化につながっていくだろう。河野氏がPERSONASシリーズを通して物理的・視覚的・概念的に提示するのはこういった想いであり、他者に提示する/自ずと認識する身体、その内側にある心の軽やかな自由を肯定している。
Text: Ayae Takise
Much like the end of the Fall/Winter 2020 season, the start of Spring/Summer 2021 NYFW was met with messages of uncertainty. As we continue to grapple with the effects of the pandemic, many designers decided not to show, while others used it as an opportunity to explore new formats. Those who showed did so with strict protocol and new strategies that ensured the safety of models and makeup artists alike. Despite the obstacles on hand, the Spring/Summer 2021 runway brought moments of realistic minimalism and optimistic playfulness. It’s all about the eyes this season, and designers like Chromat and Collina Strada used this moment as an opportunity to explore individuality, presenting a gender-fluid line up of models wearing ombre eyeshadow, floating liner, and negative space cat eyes. As we adjust to our new mask-wearing reality, lead makeup artists turned to products that promise long-lasting, smudge-proof results. Erin Parsons speckled faux freckles across models faces with long-wearing liquid lipstick at Jason Wu, while Fatima Thomas blended MAC’s Pro Chromaline and Acrylic Paint for smooth, opaque, long-wearing results at Chromat. Escapism took many forms this season. At Collina Strada, Tomihiro Kono created custom pastel, tie-dyed wigs by layering chunky pieces with finger waves. Then, for the Christian Cowan and Lil Nas X collaboration, hairstylist Evanie Frausto created an array of punkish wigs with gravity-defying mohawks and braided hair sculptures. Keep reading for a closer look at the makeup and hair trends spotted on the Spring/Summer 2021 runway.
Tomihiro Kono [河野 富 広], hair artist giapponese, head prop designer e produttore di parrucche, presenta il suo ultimo libro “PERSONAS 111 – The Art of Wig Making”, un viaggio di 180 pagine attraverso sperimentazioni, trasformazioni e possibilità sui capelli, pubblicato da casa sua Konomad Editions ha co-fondato con il fotografo Sayaka Maruyama. In questa occasione, i visitatori avranno l’opportunità di trovare il precedente libro di Tomi “Head Prop: Studies 2013-2016”, le sue fantasiose parrucche, le maschere personalizzate create in collaborazione con la designer di Collina Strada Hillary Taymour durante il blocco del Coronavirus a New York, e T -camicie. Tre poster gratuiti in edizioni limitate saranno disponibili per il pubblico. Domani 24 settembre alle 19.30 seguirà il live talk con Tomihiro Kono e Sayaka Maruyama in conversazione con Anna Battista, proiezione ad Artifact c / o Spazio Maiocchi e in contemporanea su IGTV a @sprintmilano. La mostra resterà aperta fino all’8 ottobre (dalle 11:00 alle 18:00) solo su appuntamento.
Exhibition info:
Name: PERSONAS 111 by tomihiro kono
Location: spazio maiocchi
Dates: 24.09.20 – 08.10.20
milan’s spazio maiocchi presents PERSONAS 111 – the art of wig making, a book by japanese hair artist, head prop designer and wig maker tomihiro kono. along its 180 pages, the book explores the artist’s journey through hair experimentations, transformations and possibilities. photographed by sayaka maruyama, the images flow between western and eastern perspectives, dreamy imaginaries and contemporary approaches where just one model and many, many wigs showcase the transformative nature of this object.
in a way, hairstyles define us. they are deeply related to our identity. having the ability of transforming who we are, they can reflect our personality or even hide it. they are like masks, we can make ourselves look like a completely different individual when we change it or more easily, when we wear a wig. changing how we look is an act of self-reflection, self-assertion, and self-defense. we live our contemporary world defining ourselves, and being defined by the others.
at spazio maiocchi, visitors will have the chance to try on kono’s wigs, the customer face masks made in collaboration with collina strada and to browse his latest book as well as the previous one, HEAD PROP studies 2013-2016.
‘in latin times a persona was a mask; today our digital masks have turned into persons that amplify our individual digital essence, letting our fake and intangible identities take over. tomihiro kono’s wigs are a reaction to our digital society and a way to reclaim our physicality: with his creations the artist and designer invites us indeed to go over a physical, rather than digital, transformation. a wig by tomihiro kono is therefore a “mask-thrix” – a mask for the hair (“thrix” meaning “hair” in greek), a symbol of an existential drama and the possibility of taking up not just one role, but multiple ones. by wearing a wig by tomihiro kono you can be anything and anyone but yourself. the promise is alluring. enter the mask-thrix.’ – anna battista
Exhibition info:
Name: PERSONAS 111 by tomihiro kono
Location: spazio maiocchi
Dates: 24.09.20 – 08.10.20
Collina Strada: Neon Florals
In Collina Strada's virtual world of inclusiveness and joy, models have cartoon flowers painted around their eyes (courtesy of makeup artist Allie Smith and the bright hues of Glossier's Colorslide pencils). Heads are also topped with fluorescent hairpieces from wig maker Tomihiro Kono. Spring vibes have never been so fun.
Creature Wigs at Collina Strada
The best type of wigs are the ones that decorate your face, too. Hair and head prop artist Tomihiro Kono hand made various neon hair pieces inspired by sci-fi creatures and real-life creatures. Some models, who got the flower treatment from makeup artist Allie Smith, wore them as finishing touches; for other models, whose complexions were left liner-free, they served as full-on face outfits.
Fantasy hair took many forms this season. To help bring Jackson Wiederhoeft’s cast of “whackadoodle-doo characters” to life, “hair bender” Sean Bennett crafted a myriad of ceiling-bound wigs including a cloudlike platinum blonde afro for model Jazzelle Zanaughtti and a neon purple hair bow-topped bouffant for dancer and artist Leslie Andrea Williams. At Collina Strada, custom Technicolor, tie-dyed hair pieces dreamed up by Tomihiro Kono were layered on as chunky extensions and billowing finger waves. Then, for the Christian Cowan and Lil Nas X collaboration, hairstylist Evanie Frausto created an array of punkish wigs with gravity-defying mohawks and braided hair sculptures.
Identity is no longer a static, fixed entity but constantly in motion, continually evolving and morphing from one state to another in response to an ever-altering and always-connected world. There is new confidence to embrace playful self-expression. The transformative power of colour to shape our self-perception is brought to the fore by Japanese wigmaker and artist Tomihiro Kono, as he explores the multiplicity of identity through wigs.
In a move away from the soft, pretty pastel colours of previous years, fresh pastels are now gently greyed to create complex, off-colour hues. With their traditional, innocent, spring-like qualities, pink, mauve, baby-blue and mint-green are given a fresh new twist to convey a liberal ‘anything goes’ approach. These nuanced pastel tints, punctuated by stronger navy blue and sherbet orange, represent the uniqueness of the wearer, defying any reference to race, gender, or sexuality. While the origins of identity run much deeper than personal style, as Kono says, ‘It is fun to create multiple characters that exist in ourselves – it is almost like choosing your outfit of the day from your wardrobe.’
Art direction: Konomad
Wig & hair styling: Tomihiro Kono
Photographer: Sayaka Maruyama
Make-up: Nana Hiramatsu
Model: Cameron Lee Phan
Story re-edited by @franklintill for Viewpoint magazine
by Nick Narigon
Thinking far outside the box has never been a challenge for Hillary Taymour. So during this unprecedented New York Fashion Week, it was no surprise that the Collina Strada designer served up one of the most galvanizing presentations of all.
For the sustainability-minded label’s spring 2021 digital show, Taymour collaborated with artist Sean-Kierre Lyons and multi-media artist Alicia Mersy to dream up a utopian virtual world filled with psychedelic landscapes (waterfalls! cornfields! floating gardens!) and models clad in an array of reworked classics featuring new dizzying prints and deadstock fabrics. Just as bold and retina-burning as the clothes were this season's beauty statements, which ran the gamut from custom Technicolor, tie-dyed wigs to gazes encased in cartoonish flower doodles.
"Each of the pieces in the collection had a strong message, so we wanted to match this with the models that were selected to heighten them," explains hairstylist Chika, who joined forces with wigmaker and Junya Watanabe collaborator Tomihiro Kono to bring many of the directional acid-hued hair looks—including chunky extensions and billowing finger waves—to life. Her secret weapon tool for many of the looks? "Lots and lots of double sided tape," she says with a laugh. No one underlined the need for extra reinforcement better than model Sara Hiromi, who was jumping rope (on a pogo stick, no less) with a rainbow mohawk and a cascade of matching braids.
Enhancing the visual story, makeup artist Allie Smith drew large flowers around select model eyes using Glossier Colorslide gel pencils in bright berry, lemon, and tangerine shades. While rainbow hair is not for the faint of heart (but, at the very least, should be taken for a test-drive with the special Collina Strada filter being offered on Instagram), flower fever continues to take hold above the neck in delightfully wearable fashion.
The Portuguese man o’ war is the sphinx of the sea. Oft mistaken for a jellyfish, the conspicuous, yet mysterious, creature is in fact a colony of cloned zooids clustered together. The poisonous tentacles grow long enough to droop to the ground from the kasagi of a Meiji Jingu torii. Its bulbous sac bobs in the Pacific, pulsating in luminescent shades of blue, mauve and purple.
One eye-catching creation found in Tomihiro Kono’s recent book of fancy wigs, titled Personas 111: The Art of Wig Making, is inspired by the Portuguese man o’ war. This electric pink and purple halo of a bouffant makes Kono’s model, Cameron Lee Phan, look like Peggy Sue got married to hair metal guitarist CC DeVille.
The other 110 fancy wigs created over the course of three years range in style from The Sex Pistols meet birds-of-paradise to a tousled turquoise blue bob inspired by The Little Mermaid (the 1975 Japanese anime version).
A cropped violet do has thin braids akin to those adorning Italian Renaissance maidens. “A little sporty style I would say,” says Kono. “This one I didn’t have an inspiration, but I created it out of my imagination.”
Inspiration and imagination are the simpler aspects afforded Kono during the creative process as he spends weeks meticulously hand-stitching each wig. He starts with a lace fabric draped over a mannequin head, and then dyes the human hair, knotting each strand of hair to the lace foundation. The result is artwork that is just as arresting and enigmatic as the Portuguese man o’ war.
“My passion is to transform people into various characters – a dramatic change in life,” says Kono. “Transformation for me means having several personas – social masks.”
The Wigs of Perception
According to the book’s concept, persona is the facade we display to the world and is but a small component of our complex manifest. A wig allows its bearer to impose a striking impression upon others, while also concealing the self. As philosopher David Hume says, “We are never intimately conscious of anything but a particular perception.”
Each wig in Personas 111 is photographed by Kono’s partner, Sayaka Maruyama. Kono chose Phan to model for each photo because of his androgynous looks, and Greek statuesque appearance.
Wig making, and Kono’s fascination with wigs, begins in ancient Greece, where hair marked social status, and actors wore elaborate masks and wigs on stage. Wigs came to prominence beginning with the 17th century French court with Marie Antoinette, who Kono cites as an influence, debuting her towering pouf hairstyle in 1774.
In Japan, geisha owned no less than three wigs to wear for special occasions. The first wig Kono bought was a professional geisha wig he found at an antique market. “I was impressed with its quality and so I wanted to learn how it’s made,” he says.
From the Mountains of Ehime to the Runways of Paris
Kono grew up between the mountains and the coast of western Shikoku in the rural town of Shitaba. He built his toys using wood and natural materials he scavenged in the forest. 1980s Japan was also the golden age for manga and anime.
As a young teenager on every visit to the hairdresser Kono selected a new hairstyle based on a favorite character such as Ryota Miyagi from the manga Slam Dunk, whose hair was cropped on the sides to the extreme.
“The hairdresser actually did an amazing job, but my mom was so furious,” says Kono.
He moved to Tokyo in his early 20s and apprenticed under influential hairdresser and mentor Takahiro Uemura, founder of the salon Dada Cubic in Harajuku. Uemura published several books of his hairstyles, impressing upon Kono the importance of sharing his vision – as well as the importance of education.
There, surrounded by the “positive and crazy vibe” of early 21st-century Harajuku, Kono studied classic geisha hairstyles, mastering the various combs and materials used to create the elegant coiffure.
“I wanted to learn the roots of Japanese traditions before going abroad,” says Kono. “I feel Japanese culture almost unconsciously fully formed my distinctive styles.”
Taking the World by Storm
Enamored with British music and youth culture, Kono relocated to London in 2007. He set up his head props in Spitalfields Market every Thursday where his work was discovered by the magazine Dazed and Confused. He began receiving commissions to work as a hair stylist for prominent fashion magazines.
Following a move to New York in 2013, Kono met designer Junya Watanabe, and the duo collaborated on nine runway shows for Junya Watanabe Comme des Garçons. Gigi Hadid wore one of his wigs on the cover of W magazine.
Bored with the limitations of hairstyling for fashion shows and editorials, in 2017 he founded the independent publishing company konomad editions with Maruyama and took up wig making full-time. Kono taught himself by reading traditional wig making books and watching YouTube tutorials. “I had many trials and errors,” he says.
He published his first book, Head Prop, in 2017 and began hosting exhibitions of his works in galleries in New York, Tokyo and Paris. Wigs as art is not new. Andy Warhol framed one of his silver wigs and gifted it to Jean-Paul Basquiat – a piece that eventually sold at Christie’s for $10,600.
The extent to which Kono exhibits his work, however, is groundbreaking. His exhibitions are interactive installations where wigs dangle from the ceiling and visitors can try them on – becoming whoever they want to be.
“I consider wig making as arts and crafts,” says Kono. “The process is for me very artistic but unfortunately it hasn’t been considered as such.”
What’s Next for Tomihiro Kono?
Covid-19 derailed the exhibitions Kono had planned in the wake of his latest book release, but he is now inviting guests to his New York studio for private sessions. He also released a collaboration with Collina Strada’s New York-based designer Hillary Taymour to create a mask–wig combo called the Quarantine Collection.
He hopes to exhibit in Japan again soon, publish more books and eventually launch a wig making academy. He says that in the digital age, people find security by creating multiple personas through social media, and wigs can become essential to “people’s continuous desire to transform” – allowing us to expose the mosaic of characters lurking beneath.
Tomihiro Kono’s book, Personas 111: The Art of Wig Making, is available at konomad.com. Follow Kono on Instagram at @tomikono_wig
Make-up: Chiho Omae, Nana Hiramatsu
Model: Cameron Lee Phan @ New Pandemics
by Nick Narigon
Photo: Courtesy of Tomikono 「僕のウィッグは、とめどない変身を促すものであり、それを可能にするためにつくられたもの。なりたい自分の姿によってウィッグを選び、新しい人生を楽しんでほしい」
NYのファッション業界において、ヘアスタイリスト兼ウィッグアーティストとして活動する河野富広はそう語る。ライラックのルーズなヘア、コバルトブルーのマレットヘア、高く盛り上げたロココ風ヘア、無声映画の時代を思わせる光沢のあるフィンガーウェーブなど、河野の創る作品は、様式にとらわれない型破りな魅力に満ちている。
イギリスのメイクアップアーティスト、イサマヤ・フレンチや、黒柳徹子など、彼のウィッグにはカルト的ファンが多い。インスピレーションと遊び心にあふれ、値段も手頃なエクステンションを用いた実験的スタイルを多数投稿している彼のInstagramアカウントでも、多数のフォロワーを惹きつけている。チャーミングなバズカット用ヘアトッパー、カラフルなモヒカンスタイルのエクステンション、マーク・ロスコの絵画を思わせる色彩のラットテール・エクステンションなど、眺めているだけインスピレーションが湧いてくる。
Photo: Courtesy Tomikono ヘアスタイリストとして20年の経験を持つ河野のキャリアは、東京ではじまった。芸者たちの伝統的な日本髪を手がける名人のもと研鑽を積み、2013年に渡米してからは、ジュンヤ ワタナベ（JUNYA WATANABE）のヘアスタイリストとして、2014年から2016年にかけて9回のランウェイショーに参加した。コム デ ギャルソン（COMME DES GARCONS）の2015年春夏メンズコレクションのショーで話題になった力士風のヘアピースも、彼によるものだ。
そして2017年、河野は拠点をロンドンに移す。『Dazed』や『i-D』といった雑誌のセッションスタイリストを務め、金属や羽など、身近にある素材を使ったビスポーク・ヘッドピースで、高い評価を得た。しかし、当時トレンドであったミニマルなスタイルに閉塞感を感じはじめ、ウィッグの世界へ活動の場を広げることになる。河野にとってウィッグは、大胆なアイデアを自由に表現できる場だ。内面のアイデンティティをいかようにも投影することができるウィッグの無限の可能性に魅せられた彼の作風は、次第により実験的なスタイルへと進化していった。
あらゆるものからインスピレーションを得るという河野の作品には、特定の文化や時代に縛られない自由さと斬新さがある。演劇の小道具から医療用、さらには芸術作品として、河野は自らの創造性をウィッグの世界で開花させた。ドラァグ文化が広く市民権を獲得しただけでなく、カーディ・Bやカイリー・ジェンナーなどのセレブの影響もあり、Wig ChapelやParizhairなど、ウィッグのクリエイティビティを発信するInstagramのアカウントはここ最近急増している。
そして今年、河野はその先駆的な存在として2017年から現在までに発表した作品をまとめた『Personas 111: The Art of Wig Making 2017 to 2020（原題）』を出版。本書に込めた思いについて、話を聞いた。
視覚的なインスピレーション源。
Photo: Courtesy Tomikono ──2017年にウィッグの制作をスタートしましたが、そのきっかけは？
僕がまずセッションスタイリストとしてキャリアをスタートさせたのは、モデルの個性を変えるようなヘアスタイルに興味があったからです。新しい技術やスキルの習得に貪欲なので、その流れでウィッグにも挑戦しました。スタジオで単独作業をするのが好きなので、将来的にリモートワークができればいいと思っていたんです。もちろん、新型コロナウイルスによるパンデミックを予想していたわけではありませんが。
──ロックダウン中はどんなものを作りましたか？
人々が自宅でヴァーチャルウィッグをかぶって変身できるように、ARフィルターをつくりました。それから東京のヴィンテージショップ、オトエ（OTOE）からの注文で手の込んだウィッグをつくったり、ひらめいたアイデアをInstagramに投稿していました。
──ロックダウンで創作活動に影響は出ましたか？
将来のプランについて考える時間ができました。まだ内緒ですが。
──あなたのウィッグは、特にInstagramで見る限り、装着するためというより芸術作品として成立しているように思います。デザインする時に気を付けていることはありますか？
主に、そのヘアデザインが表現する個性について考えます。カット、形、カラーやスタイリングを駆使して、カジュアルなスタイルをつくったり、極端なほどに大胆なデザインに挑戦したりします。
──作品はバラエティーに富んでいますが、何からインスピレーションを得ていますか？
2000年代初めに原宿で美容師として働いていたとき、東京のストリートカルチャーの洗礼を受けました。若い子たちは本当に個性的なんです。それから、イギリスやアメリカのミュージシャンやロックスターにも多大な影響を受けました。けれど、僕が一番好きな着想源はなにかというと、ヘアスタイルの歴史上、おそらくもっともクレイジーなロココ時代です。髪に巨大な船のオブジェを乗せてしまったり、とにかく奇想天外な派手なスタイルの宝庫なんです。
アイデンティティとの相互関係。
Photo: Courtesy Tomikono ──ウィッグをつけることで、どうして個性を劇的に変えることができるのでしょう？
ヘアスタイルは、僕たちのアイデンティティと密に関係しています。自分の内面と外面を同時に表現するものだと思うんです。ある人の性格を反映することもできるし、逆に真実を隠すこともできます。ウィッグはファンタジーを具現化するための道具とも言えます。
──今年3月に『Personas 111』の第3版が出版されました。その背景にはどんなアイデアがありましたか？
本のアイデアはわりとシンプルで、3年間つくってきたハンドメイドの作品を一挙に見せたいというのが動機でした。それから、一冊を通して同じカメラマンとモデルを起用することで、ウィッグひとつで人がどれほど簡単に変身できるかという可能性を証明したかった。その方が、それぞれの変身が読者に伝わりやすいかなと思いました。
──作品集として残したかったのはなぜですか？
（出版社の）コノマドは、僕と僕のパートナー、丸山サヤカが設立したクリエイティブ・プラットフォームです。僕らは作品を表現し、記録し、共有する媒体として本を愛してます。自分たちの本を自らデザインするのは、作品の純粋な創造性を保つことができるからです。 日常の延長線上にあるファッションを目指して。
Photo: Courtesy Tomikono ──ウィッグのARフィルターが話題に上りましたが、他にウィッグとテクノロジーを融合させる方法は？
ARフィルターのアイデアは、自粛生活中に思いつきました。みんなずっと自宅にいるのだから、何か楽しみをシェアしたかったんです。
ロボットはどれも同じ顔をしているかもしれませんが、いつかウィッグを被るようになるかもしれません。ロボットも、人に区別して覚えてもらうためには、ファッションにアイデンティティが必要だと思うんです。人がペットに服を着せるみたいに。個性がはっきりしているロボットの方が、僕たちも親近感を持てるでしょう。
――将来的に、メイクや服のようにウィッグを使うようになると思いますか？
ウィッグは元々、主に劇場用や医療用として使われていました。自前の髪がある状態で日常的にウィッグを用いるのは“やりすぎ”だと思われていたのです。ファッションとしてウィッグをつけることはあっても、クオリティのせいもあり、“カツラ”感が強い。過去に僕は、ウィッグを帽子のようにカジュアルにかぶろうと提案したこともありましたが、その問題は、良いウィッグは気軽に買えない値段だということ。僕の作品も例外ではなくて、オーダーメイドの場合は最低3，000ポンド（約40万円）はします。
そういったことを受けて、もっと安価に楽しめる部分用ウィッグのヘアーアクセサリーをつくりはじめました。髪全体はカバーしないけれど、髪にクリップで装着できます。このようなちょっとした付け足しが、これからのファッションにも加わるだろうと考えています。
Fashion’s favourite designer of wigs and otherworldly hairstyles Tomihiro Kono created an exclusive editorial for INDIE, touching on the transformative power of trying on different personas. At times, Tomihiro Kono’s work looks like sculptures that just so happen to be placed on a head—punk-evoking yet pastel-coloured sculptures, to be precise. Having first ventured into hairdressing in his home country of Japan over two decades ago, Kono moved to London and the spheres of fashion in 2007, and eventually settled in New York and turned to hair-sculpting slash wig-making nine years later. His daring creations quickly garnered praise from the industry, making him a regular contributor to publications such as T: The New York Times Style Magazine and M Le magazine du Monde, and a close collaborator on the runway shows of Junya Watanabe.
Fittingly, Kono’s creations are as versatile as his creative endeavours. Just take a look at his recently published book PERSONAS 111: The Art of Wig Making 2017–2020, which highlights precisely this plethora of hairdos, compiling 111 wigs he handcrafted over the past three years. Comparing wearing a wig to how we, consciously or not, put on different versions of ourselves depending on the social setting we’re in, Kono strives to emphasise the potential of physical transformations and of communicating personas, not through a phone screen but through one’s actual appearance.
After all, there’s a particular power that comes with putting on a wig or changing your hair and suddenly being able to construct an entirely new character—that is, in reality or on the runways, not in digital realms. PERSONAS 111 serves as Kono’s second book to explore the art and potential of his sculptural dos. Head Prop: Studies 2013–2016, which was published in 2017, equally showcased his conceptual approach to hairdressing and wig- making—as do the images he has conceptualised for this issue.
Hair TOMIHIRO KONO
Make-up NANA HIRAMATSU
Art Direction KONOMAD
Models CAMERON AOYAMA, LUISA SOLLEY, ISABELLA LALONDE, MAILK BRAND and NATHAN SWEET
Like all of us, Japanese hair artist, head prop designer and wig maker Tomihiro Kono (河野富広) also had to readapt. In March his new book Personas 111 - The Art of Wig Making 2017-2020 came out on Konomad Editions, but, unfortunately, the performances and interactive exhibitions scheduled to launch it had to be cancelled due to the Coronavirus emergency.
Yet you can't stop a creative mind and Tomihiro Kono decided to react by getting busy in his New York studio: the hair artist usually conceives his wigs as masks for the head, but with Coronavirus the attention has globally reshifted onto face masks, so he collaborated with Collina Strada's New York-based designer Hillary Taymour, embellishing her whimsical masks for her "Quarantine Collection" with long braids in bright colours, beads and sensual kisscurls.
While working on the face masks, Kono realised that with lockdown many people started missing the possibility of having access to basic services, like going to the hairdresser or the barber and getting a new haircut or changing hair colour.
Tomihiro Kono therefore came up with a a couple of different solutions: the first one is virtual and consists in an augmented reality filter designed by artist Sayaka Maruyama.
>>>>> AR filter on IG
The filter allows you to apply to your selfies some of the most original creations by Tomihiro Kono, from his head pieces for Junya Watanabe's A/W 2016-17 collection to some of his most colourful designs included in his book Personas 111 - The Art of Wig Making 2017-2020.
The second solution isn't digital, but real: apart from his usual wigs, Kono created smaller and functional hair pieces.
Dubbed "Fancy Wigs", these fun wig elements - all available online from Tomihiro Kono's shop - are conceived as joyful building bricks, elements that allow you to create a new radical style even with the shortest of hair - or with no hair at all - in just a few seconds.
There are impossibly long and thin or jumbo caterpillar-like braids, romantic kisscurls, super wavy finger waves, punky spikes and magnificent mohawks in the most extraordinary colours - from dark black to cherry red, from flamingo pink and Creamy Mami lilac to emerald green and ocean blue.
The main idea behind the fancy wigs is to be able to change your style instantly, even when you're home and can't go to a hairdresser and even if you have the shortest hair or even a buzzcut, but to do so choosing a quality product.
All Tomihiro Kono's pieces are indeed made by hand, and for what regards the wigs he starts from the foundation, knotting hair strands into it and colouring, cutting and styling the wigs into the various shapes in a process that can be compared to Haute Couture.
There is also another point behind the fancy wigs: Kono conceives them as democratic gender neutral accessories. They are handmade but still affordable and they can be used by each and everyone, without distinction as to age, gender or race. The fancy wigs are an invitation to use your head as if it were a blank canvas and play at being a painter by creating your own masterpiece and a unique new style following Oscar Wilde's famous advice - "Be yourself everyone else is already taken."
Let's start from your augmented reality filter - how did you get the idea for it and how did you develop it? Tomihiro Kono: Well, I had to postpone my interactive wig installations that were going to take place in March at the Vacancy project and the Japan Society in New York, but I had all my 111 wigs styled for the exhibitions. People kept asking me when the events were going to take place, but I had no idea - and I still haven't as we will have to wait till the end of the Coronavirus pandemic. So we decided to make a wig filter: all the wig photos used for this filter were shot by Sayaka Maruyama, and this was the first time she ever stepped into AR to make a filter. It took her 3 or 4 days, but she managed to and it has become pretty popular on Instagram!
You're in New York, how are things over there and in which ways has the Coronavirus emergency impacted on your creativity and your work? Tomihiro Kono: The lockdown in New York coincided with the release of my new book, Personas 111, so there was no launch and no way to share with people the intensive work I did over three years. As you may imagine, I was disappointed, but then I realised there were other ways to reach out to people. Some of them started ordering the book and, since there were more people staying at home, I realised I could reach out to them via Instagram and share ideas, styles and, more recently, my filter. I ended up connecting with people from all over the world and it was amazing. I feel very energized and happy that people get inspired from my work. I get a lot of direct messages from all sorts of people with lovely words and I really appreciate it. It's an absolute pleasure to be able to share my creativity with other people as I think we need to share inspirations to go through these times.
Your fancy wigs and fancy braids are very versatile - can you give us some style tips on how to use them? Tomihiro Kono: Fancy wigs are basically partial wigs, casual hair accessories that are fun to wear for all sorts of people with no distinction of age or gender. These elements are designed for people who may not want to opt for a whole wig. The braids have got elastics, while other styles have pins, so you can easily attach them to your hair or position them on your head. There are also fancy bonnets, that is a combo of cap and mohawk style. Many of us don't want to risk going crazy with their own hair, but with the fancy wigs they can take all the risks they want and can instantly change style and take up an entire new persona. When they are tired, they can remove them or restyle them in other ways... the fun never ends with the fancy wigs.
>SHOP
Makeup : @nanahiram
Model @camcaat
In March when the Coronavirus emergency started in Europe, face masks turned into a necessary accessory. As they became rare to find and as surgical masks were mainly destined to healthcare personnel, many of us opted for reusable and washable fabric face masks. 
Handmade at home during quarantine to pass the time or bought from designers who reconverted their productions to face masks during the emergency, these masks have become our daily companions. Most masks currently on the market are designed for everyday practical and functional purposes, but, if you're looking for arty and extravagant unique masks, that you can maybe wear for that online Zoom party or in future at a rave or a music festival (when mass gatherings will be allowed again...hopefully soon), don't look further than Collina Strada's face masks.
A 2019 CFDA/Vogue Fashion Fund finalist with a DIY fun aesthetic and a passion for sustainability and preserving the planet, Collina Strada's New York-based designer Hillary Taymour decided during the Coronavirus lockdown to push her creativity and face the emergency with colour rather than getting depressed about an uncertain future.
So, after joining the Masks4Medicine campaign (started by New York City doctors and seeking to help healthcare professionals on the frontlines of the COVID-19 pandemic stay healthy by collecting and distributing medical masks and other supplies) and posting a tutorial on the Collina Strada site on how to make face masks, Taymour focused onto the "Quarantine Collection".
The latter includes over 40 garments, comprising hoodies, sweatpants and T-shirts in bright and bold clashes of colours, with scribble prints or tie-dyed effects, plus accessories such as Taymour's trademark crystal covered water bottle and a selection of face masks.
All the pieces were made from the scraps of the Autumn/Winter 2020 collection "Garden Ho" at Taymour's studio by the designer and by artist Charlie Engman, who helped her sewing and embroidering the garments. There is an added value in the pieces: fashion-wise, the masks were made in collaboration with a well-known creative mind, Tomihiro Kono (河野富広).
The Japanese hair artist, head prop designer and wig maker customised Collina Strada's masks with leftover hair from his studio. Some of the masks in colourful fabrics and with thick fabric straps that can be used to make fun decorative bows, are embellished with long braids in pastel colours, others are embroidered with beads and sensual kisscurls.
Embellished and intricately decorated, these masks aren't medical devices, but they can be considered as urban wearable sculptures. They display a strong bond with the rave aesthetic and they could be the perfect accessory to add a twist to a look or enrich an outfit, or could be used to conceal your identity while revealing your creative self or as a prop for that perfect Instagram selfie.
Last but not least, while you can't buy this collection, you can bid for each and every piece it features (until Memorial Day 2020 -May 25th). All proceeds from the sales will go to 22 charitable organizations and initiatives tackling the health emergency, environmental problems like pollution and material waste and charities taking care of children in need, such as Action Against Hunger, COVID-19 Caring for Homeless Youth, Farmworkers' COVID-19 Pandemic Relief Fund, Navajo and Hopi Families COVID-19 Relief Fund, Charity Water, the Surfrider Foundation, Seeding Sovereignty's Indigenous Impact- Rapid Response Initiative, African Wildlife Foundation, Dead White Man's Clothes and Save the Children.
The creativity driving this collaborative collection, accompanied by images shot during lockdown respecting safety social distancing regulations, is therefore a way to face the challenges posed by Coronavirus and find the strength and energy to react to the emergency in a positive and optimistic way.
Can you tell us more about the collaboration with Collina Strada's Hillary Taymour for the "Quarantine Collection"? Tomihiro Kono: I created 7 pieces for Collina Strada. We worked in a very fluid way: they made masks using cute fabrics, leftovers from a previous collection, and I added hair pieces inspired by the prints and patterns on the fabric. Hillary gave me carte blanche to do whatever I wanted, so I had total freedom, but she wanted arty masks. So I customised the masks with hair or with embroideries made with hair. Then I sent the pieces back to her. I liked a lot what they did with the "Quarantine Collection" shoot as the images spread optimism and positivity. The masks are on auction till Monday 25th May, and 100% of the profit from the sales will go to various charities. This was the first time I took part in a charity event and I think it was great. I'm enjoying following the process of the various pieces as well, and some masks have gone up in prices reaching over $600. Check Collina Strada's site to bid.
Will you be doing more face masks after the ones for Collina Strada? Tomihiro Kono: Yes, I might do some. Now we need face coverings all the time when we go out and it's becoming the new normal in New York City, but in the rest of the world as well. A lot of people want to be safe, but they are also looking for unique and fashionable designs, so at the moment I'm thinking about how we can protect ourselves from this pandemic, while trying to inject some positivity into our daily life.
While in lockdown in New York, which has been the thing that has kept you creative and has kept you going? Tomihiro Kono: I have been really inspired by this global situation that has seen the entire world coming to a standstill with people staying at home, making their art, cooking, gardening and making masks. We could say that this pandemic has pushed many people to be more creative, showing the resilience of creativity in very turbulent times.
On l’entend souvent: la coiffure a cette capacité à changer un visage, et à en transformer ses contours et expressions. Après avoir des premiers pas en tant que coiffeur dans son pays natal, au Japon, pendant dix ans, Tomihiro Kono prend le large et pose ses valises à Londres en 2007, où il commence à œuvrer en tant que coiffeur et commence à fabriquer des accessoires de tête. Son désir ? Laisser libre court à son imagination pour dépasser les limites de la création. C’est dans cette logique qu’il commence à créer des perruques, ce qui deviendra son fer de lance. Basé à New York depuis 2013, il met son art au profit de la mode et collabore avec Junya Watanabe lors du défilé Comme des Garcons automne-hiver 2014-2015.
L'art de la perruque Après un premier ouvrage Head Prop - Studies 2013-2016, Tomihiro Kono dévoile aujourd'hui son deuxième livre en édition limitée, PERSONAS 111 - The Art of Wig Making 2017-2020, qui explore l'art de la perruque et sa capacité à métamorphoser ou encore cacher son identité -ou tout simplement devenir la personne que l'on souhaite. Comme son nom l'indique, 111 perruques hautes en couleurs, comme autant de personnages différents, défilent au fil des pages de ce livre, résultat de quatre années de dur labeur. Cet ouvrage ultra inspirant est à retrouver dès maintenant aux Éditions Konomad. À lire aussi sur Vogue.fr : Quelles sont les tendances coiffures homme du printemps-été 2020 ? 9 tendances cheveux homme repérées sur les podiums de la Fashion Week automne-hiver 2019-2020 Quelles sont les tendances coiffures homme à suivre ?
Text by Alexandre Marain
Like the clothes we choose and the faces we don't, our hair (or lack thereof) is a key part of the story we wordlessly tell when we walk into a room. Through cut, style and color, our hair communicates a message about our values and our circumstances, our heritage and our mood -- whether we intend it to or not. For those who are content to tell the same story for an extended period of time, a single hairstyle will suffice. But for those looking to assume a dramatic new identity for a single night, or test the waters before diving in head first with a transformative cut, there are wigs.
"There are some limits in changing (one's) own hair because (we) have certain social roles, and it's hard to go too crazy and adventurous sometimes," said Japanese hairstylist and wig maker Tomihiro Kono in an email. "A wig can be an option for changing instantly, with no risk." Kono has been working with hair for 20 years, styling looks for Vogue, Dazed and W, among other magazines. But he only started creating wigs in 2017, as a way to expand his professional toolbox. Whereas his usual styling work required the cooperation of a model or client, wig-making has allowed him to let his imagination run wild. No color is ever too bold, no cut too impractical. "Wig-making is like making an artwork as a hair stylist. I can make my imaginary characters," he explained.
Kono has assembled a cast of these characters in his latest book, "Personas 111." In it, we see 111 wigs -- designed over the course of three years -- in different states, first, as works of art, seemingly floating in mid-air (an effect that mirrors the interactive exhibitions Kono stages in Paris and Tokyo), then from behind, on a model's head. But it's only when we see them straight on, modeled by androgynous photographer Cameron Lee Phan, that their transformative power becomes clear. Photo from the book "Personas 111" by Tomihiro Kono, with makeup by Chiho Omae.
While Phan's stoic expression remains virtually unchanged, a brown bowlcut projects a different image than that of a blonde roller set, or a crown of rainbow corkscrews.
Beaded, braided pink hair, swept forward into an extended fringe, conjures a '90s raver; lacquered black finger waves, a silent film star. Pink-and-purple ombré blown into a wispy halo and a shaggy mullet suggest different riffs on the rockstar, past and future -- fitting, considering that Kono cites David Bowie, Blondie and the '60s mod rock group Small Faces as influences, along with Japanese anime from the '80s and '90s, and the natural world.
In his essay for the book, Kono points back to the fact that wigs have long been a part of the performing arts, and implores readers to embrace them in their own personal storytelling. "Wigs help us (experience) an instant transformation and discover multiple characters existing within ourselves," he writes. "My wigs are artifacts to encourage and foster continuous transformation. So, ask who you want to be, choose your wig, and step into your new life." "Personas 111" by Tomihiro Kono, published by Konomad, is out now. Text by Allyssia Alleyne, CNN
Tomihiro Kono, the Japanese wig designer and hair stylist, has virtually created a brand new category in the hair world. Kono crafts lifelike wigs and headpieces in dramatic colors and shapes for everyone from Proenza Schouler and COMME des GARÇONS‘ runway shows to editorials for W Magazine in which Gigi Hadid wears his extreme pieces. But that’s not all – the stylist, who is more akin to an artist than your typical hair stylist, has racked up a very long list of editorial work for Vogue Italia, Vogue Japan, Vogue China, Vogue Germany, Vogue Korea , T Magazine Interview and V Magazine, as well as Mert & Marcus, Patrick Demarchelier, Ben Hasset, Derek Lam, Jil Sander, Roberto Cavalli and many more.
Up next? His second book, out now, dubbed Personas 111 – The Art of Wig Making. “With my second book, I can show you simply how wigs have the power of transformations,” he tells HYPEBAE. “With one model, one photographer, and 111 wigs.” In 2017, Kono released his first book, Head Prop, which functioned as a documentation of his design work from 2013 through 2016.
According to Kono, his new book has long been a project he had in mind. “The reason why I originally started working as a hairstylist, is that I wanted to transform people,” he says. “So transformation is my basic desire. My message in my book is how wigs can broaden the possibility of making different characters.” The 111 wigs featured in the book are the result of four years of work.
For Kono, the art of transformation with wigs all starts with people and their individual style. In addition to his books, Kono has hosted exhibitions all around the world in which people can try on some of his most dramatic wigs. From multi-colored mullets to colorfully streaked ‘dos from infamous Japanese comedians. “Inspiration comes from a lot of different things,” he says of his work. “But it’s mostly people, animation, film, musicians, nature, and history. My biggest inspiration would be people.”
Kono began his career by learning how to style Geisha hair in his native Japan. He’s been working with hair for over two decades, but it was in 2017 that Kono delved even deeper into wig design and began making all his creations from scratch. All of his wigs, incredibly, are made completely by hand from scratch. Knotting, coloring, weaving, and individually stranding every single hair on every single wig has become a daily process and way of life of Kono. “I start out by using the head mannequin, making a lace foundation with swiss lace and knotting hair into the lace foundation using a ventilating needle until the entire head is fully knotted,” explains Kono. “It depends how dense the hair is and how complicated the design is, but each wig usually takes between ten days to two weeks.”
But he may be most well-known for his work with Junya Watanabe (part of the COMME des GARÇONS family). Kono created the headpieces for nine different Junya Watanabe collections. “The whole process of collaboration was very challenging and thrilling – because he never showed me what the coming collection looked like,” he says. “I had to guess and come up with my design idea until he said yes, without being given any information – even colors, or a theme. I always had to have many ideas so I used to do a lot of research and inputting and outputting.” The wig designer recalls that Junya Watanabe’s Spring 2015 show, where models marched down the runway wearing colorfully graphic outfits with matching PVC halos, as one of his all-time favorite collaborations.
However, Kono is also an avid fan of working with individuals. His recent favorite includes Tetsuo Kuroyanagi. “She was my dream celebrity to work with,” he says. “She gave me a total freedom of design. I selected two designs from my drawings, and I made two pink-orange shaded wigs. One is like princess curly hair, and the other one is finger wave headband. I’m so happy with both of them.”
Both options were not for the faint of heart – but that’s what Kono’s aesthetic is all about. Going to one of his exhibitions, or flipping through his book, you might see anything from a big fluffy wig that looks exactly like Grace Coddington’s mane, to a slightly curly baby blue ombre wig that is half anime, half Marie Antoinette. Kono lives in a world where color is bold and the idea of conventional hair is nonexistent. In fact, his most extreme project didn’t even involve human hair. “The most challenging and experimental wig I’ve ever made would be the one using poodle hair that my friend’s dog groomer gave to me.”
Kono’s viewpoint is centered in pushing the idea of wigs to the masses, always thinking of them from the transformational aspect. “I think more and more people are starting to enjoy wearing wigs as a part of their fashion, and in the future, it’ll be a hair accessory like a hat,” he says. “Not only for people in their old age but also for young people who enjoy new fashion.”
Text by Tora Northman/Hypebae
Tomihiro Kono’s latest book Personas 111 is built on a deceptively simple concept: one model, one photographer, 111 wigs. The result – a kaleidoscopic series of beautifully executed hairstyles – certainly showcases Kono’s enviable skill set as a hairstylist. Each wig is knotted and coloured by hand before being teased into an array of recognisable styles. The final looks, temptingly arranged by colourway, are a shopper’s paradise offering the tantalising promise of instant reinvention. Why not match your hairstyle to your outfit, or mood? This playful idea has great appeal for Kono, who likens his wigs to masks, and describes the process of creating them as ‘character-making’.
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Personas 111 details Kono’s ongoing fascination with hair as an outward expression of inner identity, as he considers the way that hair can function as armour to protect us from the world as much as delineate our place within it. “It’s like wearing different masks,” he explains, “it can reflect your personality or hide your true self in some way”.Personas 111 details Kono’s ongoing fascination with hair as an outward expression of inner identity, as he considers the way that hair can function as armour to protect us from the world as much as delineate our place within it. “It’s like wearing different masks,” he explains, “it can reflect your personality or hide your true self in some way”.
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“My wigs are artifacts to encourage and foster continuous transformation. So, ask who you want to be, choose your wig, and step into your new life”
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Hair: Tomihiro Kono @ Julian Watson Agency Photography: Sayaka Maruyama Makeup: Chiho Omae, Nana Hiramatsu Model: Cameron Lee Phan @ New Pandemics
发型师、时尚造型师、艺术家...河野富広是一个具有多种身份与称谓的人。当问到最希望自己怎样被人认识时，他答道：“A Hair Specialist”（一名头发专家）。
河野富広的职业生涯开始于日本原宿的一家美发沙龙，由1997年至今，他对头发的研究从未止步，而是不断在时尚、设计、艺术等各个领域突破原有界限，发现新的可能。在2020年3月，河野出版了他继《HEAD PROP - 研究2013-2016》之后的新书《PERSONAS 111 - 假发制作艺术2017-2020》。
「在心理学上，"Persona"（人格面具）是人向世界展示的社交面孔或个性。在不同的社会情况下，一个人通常具有多种人格面具。」 当代社会中，人们为了应对各种不同的场合、见不同的人、抱有不同的目的而改变自己。但改变并非永远被动，也不需要太多理由，改变也可以是充满趣味、具有冒险精神、振奋人心的美丽行为。 一名模特、一名摄影师、一百一十一顶假发。在《PERSONAS 111》中，头发与人格的关系被放大到每一个可被观察的细节。通过佩戴不同的假发即可体验到立刻的改变，并发现存在于我们自身但未被发现的多种角色。“你是谁”由你来决定！
“FRONTIER前沿视觉”有幸邀请到河野富広进行这次的专访，专访中他谈到童年时的爱好、对自己影响最大的人以及未来可能的创作项目等。
（采访内容皆为英文翻译）
FRONTIER前沿视觉 对话 河野富広
FRONTIER前沿视觉 简称“前沿”
河野富広 简称“河野”
"询问自己想成为谁，选择你的假发，然后踏上你的新生活。"
——河野富広
“Ask who you want to be, choose your wig, and step into your new life.” ——Tomihiro Kono
前沿：作为小河野富広？您是一个怎样的孩子？
河野：我小时候很爱玩自创的寻宝游戏。我让母亲为我画一个地图，然后我召集朋友们一起去寻宝。我觉得用自己质朴的方式玩游戏非常富有创意。
前沿：您更希望他人怎样称呼你？
河野：一名头发专家。
前沿：您的专属风格是什么？
河野：通常我戴着帽子。
前沿：谁是您人生中最重要的人？
河野：我的妻子兼创意伙伴 Sayaka Maruyama 她是一名艺术家/摄影师，同时也是独立出版社Konomad Editions的联合创始人。
前沿：是什么契机让您去往伦敦？最难忘的时刻是什么？
河野：我一直很喜欢伦敦的青年文化，并从中得到启发。我喜欢他们的音乐和富有创造力的人们。有天周四我在老斯皮塔佛德市场和古董商们一起开设摊位时，jónsi （冰岛后摇滚乐队Sigur Rós的主唱）和Alex来到我的摊位，询问是否可以使用我的发型道具在他们的专辑首发。以及Dazed & Confused杂志前来做采访。那对我来说是非常激动人心的经历。
前沿：什么让您成为一个发型师/发型艺术家？
河野：最开始我想成为狗狗的美容师，但我妈妈告诉我，发型师会是更好的选择，因为她说“如果你可以剪人类的头发，你也可以剪狗的呀！”我觉得这是一个正确的选择。
前沿：您喜欢自己安排所有的事务（艺术创作/时尚与其它商务合作）还是更喜欢只专注其中之一？
河野：我更喜欢专注于一件事，然后再去关注另一件事。但我的可穿戴艺术品（比如假发、头饰）它们也可以被用在时尚和音乐产业。同时我也自己出版刊物以及做一些广告工作。所以我会说我都能处理。
前沿：您如何看待时尚与艺术之间的关系？
河野：我认为艺术与时尚在2000年代初期有更紧密的联系，至于现在。。。我不太确定。
前沿：当您创作时，是选择跟随潮流，还是遵循自己的直觉？
河野：我从不随波逐流。如果我是，我就不会在做假发或头部道具了。
前沿：在几十年的职业生涯中，您是否有目睹发型师或化妆师等职业的巨变？
河野：是的。好的地方是，现在几乎任何人都可以成为发型师或化妆师。他们不需要像以前那样需要特殊技能或专长；而不好的地方是，全世界有太多随意的发型师或化妆师，而真正出色的发型师和化妆师并不总是备受关注。
前沿：在您出版的第一本书《HEAD PROP - Studies 2013-2016》中有许多有趣的研究主题，例如「消失-隐藏身份」：“如果你想在社交群体中脱颖而出而又不想与人说话或者被他人注意，这会是最佳的头部道具选择。这个作品可以隐藏你的脸，没人能认出你。同时一个小窥视孔将确保你的视线”。这个作品透露出不安感和黑色幽默，请问是什么启发了您？
河野：人们需要一定的社交距离，需要隐私，需要空荡的房间来发挥创造力，需要灵感来创作新的东西。信息太多，有时候我们需要摆脱垃圾信息和他人的看法。我们只想专注于我们想做的事情。
前沿：是什么驱使您持续创作并不断挑战自己？
河野：因为我仍然在寻找合适的位置。我觉得我应该在一个更被他人“需要”的位置。我个人对头部设计的所有过程都感到满足，包括发型设计、头部道具和假发制作，这很棒。但从现在开始，我想找到可以为更多人而做的事情。
前沿：在制作《PERSONAS 111》的过程中，最大的挑战是什么？
河野：视觉化一个人通过佩戴不同假发而带来的改变，去证明假发的可能性。当然，手工制作这些假发也是非常耗时的！
前沿：从你的上一本书《HEAD PROP》到《PERSONAS 111》，您的关注点从“系统式设计研究”到“假发制作艺术”，这是一个与公众联系更加紧密的创作，而不仅仅针对时尚圈，您如何看待这种变化？
河野：正是如此。我们每个人都渴望改变，这是一个永恒的概念。我不仅仅在讨论我们的外表，而且还在讨论外观在多大程度上影响我们的感受、情绪和性格。我对这种心理上的变化也非常感兴趣。
前沿：什么时候会停下？
河野：当我对我的工作感到无聊/受够了的时候。。。可能很快？
前沿：名誉（Fame）对您意味着什么？
河野：信用。
前沿 ：您是否会回头看自己的作品并想“我本可以做的更好”？
河野：我几乎不会，我总是尽力做到最好，所以。。。
前沿 ：可以谈谈你在日本/纽约的展览吗？
河野：我还没有在纽约做过互动假发展览，但是我在巴黎，东京有过展览。人们对戴假发感到非常兴奋。我感觉两次展览大家都非常乐在其中。
前沿：到目前为止您对纽约感觉如何？如果可以选择一个展览作品的地方，会选在哪里？
河野：我喜欢纽约的多元文化。这也是购买发饰材料的最佳地点。在纽约的一大好处是，我有自己的时间专注于自己的创作。展览的话，我想在古根海姆博物馆，以可互动装置的形式展览我的假发。因为我认为与建筑设计师的概念完美契合。
前沿：可以讲讲您最近的项目吗？
河野：我刚刚出版了我的新书 《PERSONAS 111 - 假发制作艺术 2017-2020》http://konomad.com/page/book/edition_003.html
在2017年我创办了自己的出版公司
http://konomad.com/page/book/edition_003.html
我还开始了我的Fancy Wag，更加合理和随意的假发：我的红色标签。
http://www.konomad.com/page/shop/shop.html
同时我与Sayaka Maruyama正在制作即将在今年春季出版的新书，叫《Memorandom vol.1》
http://www.sayakamaruyama.com
前沿：如果明天是世界尽头，您最想做的是什么？
河野：在当下冠状病毒大范围流行的情况下，这真是一个严肃的问题。但也许我想吃美味的寿司和鳗鱼！！！
前沿：列出三个最近喜欢的音乐和电影？
河野：音乐：Gezan、Ayano Kaneko；电影：宫崎骏《风之谷》
前沿 ：在《PERSONAS 111》之后，您的下一个阶段会是什么？
河野：目前是如何抵御冠状病毒并生存，所以可能是类似防护口罩/面具？我一直很喜欢Masks做为一种美的元素，现在它变得越来越切合实际和被需要。
前沿 ：您对新兴的年轻设计师/艺术家有什么建议吗？
河野：只要继续做你自己的工作，做一些持久的东西，而不要把时间浪费在对你并不重要的事情上。
Hair | Wig: Tomihiro Kono @ Julian Watson Agency
Photography: Sayaka Maruyama
Make-up: Chiho Omae, Nana Hiramatsu
Model: Cameron Lee Phan @ New Pandemics
Publisher | Book available : konomad editions http://www.konomad.com
河野富広(Tomihiro Kono)
b.1980
河野富広，真正的创意人，他的职业生涯开始于传统日本发型师训练。他对头发的热情促使他开始探索更具创意的头发/头部道具设计以及假发制作艺术。
2013年，河野移居纽约，并加入Julian Watson Agency。之后河野开始与Vogue Italia，Vogue Japan，Vogue China，Vogue Germany，Vogue Korea，T Magazine，Interview，W Magazine，V Magazine和Self Service等各大杂志合作拍摄。并与Mert＆Marcus，Peter Lindbergh，Patrick Demarchelier，Ben Hasset，Annemarieke van Drimmelen，Kacper Kasprzyk，Dario Catellani，Sean and Seng，Julia Hetta，Jeff Bark和Mark Peckmezian等摄影师合作，也与渡边淳弥 Junya Watanabe Commes des Garçons，Aganovich，Derek Lam，Proenza Schouler，Jil Sander，FramePhoung My和Roberto Cavalli等领先设计师品牌合作。
他的第一本书《HEAD PROP》于2017年4月由他的独立出版社Konomad出版，并在纽约、东京和巴黎举办展览。在书本取得成功后，河野将工作重心转向如何从零制作假发艺术的学习中。如打结、染色、编织并分别缕发。河野现在制作定制假发，同时展览它们。假发成为了他的定期工作。
2020年3月，河野出版了第二本书《PERSONAS 111》。作为富有创造力和前沿的发型设计、假发制作和头部道具造型师，河野继续突破界限。
The shapeshifting power of the wig is paid tribute to in a new book from renowned hair stylist and wigmaker Tomihiro Kono. Titled Persona 111, and using just one photographer and model, the 180-page anthology celebrates each of the New York-based artist creations: from sharp green mohawks to rose gold mullets, and whimsical, Marie Antoinette-inspired numbers in between. Each is made from human hair and takes anywhere from three to eight weeks to create.
“They instantly transform you into different characters,” he says.
Starting his career as a classically trained hairdresser in Tokyo in 1997, Kono relocated to London where he worked as a hair stylist for the likes of 10 Magazine, i‑D and Dazed & Confused. He rose to prominence following a move to New York in 2013, and is perhaps best known for his work with designer Junya Watanabe, with whom he collaborated on nine runway shows for Junya Watanabe Comme des Garçons between 2014 – 2016. He started wig making in 2017 because he “got bored of doing simple hair styling for fashion editorials and shows”.
“Making wigs from scratch is almost like making art,” says Kono, who draws inspiration from the decadent iconography of 18th century Paris, the New Romantic movement and ’90s Japanese street culture. “It requires all the skills I have acquired in my 20-year career.” llows three years on from his debut book Head Prop and features 180 pages of vivid, technicolour hair mastery.
Beautiful, bizarre and meticulously constructed, the wigs in PERSONAS 111 are a feast for the imagination There’s something magical about wigs. Their ability to transform, heighten or conceal your identity lends them an exhilarating sense of possibility. Wigs are powerful, they allow one to shapeshift into different characters or simply to express your true self.
This is something that’s explored in a new photobook from renowned Japanese hairstylist and wigmaker Tomihiro Kono. Titled PERSONAS 111 - The Art of Wig Making, the limited edition book follows three years on from his debut book Head Prop and features 180 pages of vivid, technicolour hair mastery.
Beginning his two-decade-long career by learning the art of Geisha hairstyling from a Japanese master, Kono has become a well-established name in the fashion industry, collaborating with designers such as Junya Watanabe and Comme des Garcons. PERSONAS 111 is the result of Kono feeling like it was time to move onto the next chapter of his career after the 2017 release of Head Prop. Evolving into wig making, the stylist spent four years intensively creating the works of art that now make up this new photobook. “Wig making requires all the skills I have acquired in my 20-year career as a hairstylist – from knotting hair onto a lace foundation in various directions and replicating in this way the natural growth of a person’s hair, to haircutting, styling, coloring, designing and sculpting,” Kono tells us. “It is a satisfying and almost mathematical process, very similar to that of a craftsman or an artist.”
For Kono, it is the blank canvas aspect of wigs that he is most drawn to and the endless possibilities they offer. “I can change the style almost forever by cutting, adding, colouring hair,” he says. “The wig itself transforms, which is cool.” Describing hair as a “creative curse,” the stylist sees wigs as the future of hair. “Wigs can be a new hair accessory for people to change and style depends on their mood,” he says. And if you are wondering where Kono finds the inspiration for his wild creativity check out Matthew Barney’s multi-media art and film project Cremaster Cycle. “Everything, including costume, direction and the hair and make-up is beyond my imagination and it’s so inspiring and new every time I watch it. It was shocking almost”
Tomihiro Kono estilista japonês, criador de acessórios para a cabeça e fabricante de perucas, define seu estilo como gótico e romântico com o qual cruza seus próprios limites.
Ele encontra inspiração na natureza e tudo o que o rodeia, então ele procura surpreender e inovar suas propostas.
Depois de praticar técnicas de corte de cabelo por 10 anos no Japão, ele se mudou para Londres.
Nesta nova etapa de sua vida, Tomihiro Kono começou a trabalhar como estilista de sessões e fez seus primeiros acessórios para a cabeça, sempre procurando um estilo que o distinguisse.
Desde 2013 que ele mora em Nova York, ele é conhecido por seu excelente trabalho com designers como Jil Sander e Junya Watanabe.
Em abril de 2017, ele publicou seu primeiro livro Head Prop Studies 2013-2016.
Tomihiro Kono mais tarde mudou sua carreira fazendo perucas.
Em seu novo livro Pessoas 111, o artista examina as propriedades do cabelo para moldar a identidade.
Ela exibiu suas perucas em exposições interativas.
Tomihiro continua a ultrapassar os limites como estilista de cabelo e estilista de vanguarda. ¿Sabías que?
No Japão, ele visitou Kanasugi, um salão de beleza tradicional, onde aprendeu as técnicas de gueixa, com as quais aperfeiçoou os penteados. Minhas perucas são artefatos para incentivar e incentivar a transformação contínua. Então, pergunte quem você quer ser, escolha sua peruca e entre na sua nova vida.
Tomihiro Kono estilista japonês, criador de acessórios para a cabeça e fabricante de perucas, define seu estilo como gótico e romântico com o qual cruza seus próprios limites.
Ele encontra inspiração na natureza e tudo o que o rodeia, então ele procura surpreender e inovar suas propostas.
Depois de praticar técnicas de corte de cabelo por 10 anos no Japão, ele se mudou para Londres.
Nesta nova etapa de sua vida, Tomihiro Kono começou a trabalhar como estilista de sessões e fez seus primeiros acessórios para a cabeça, sempre procurando um estilo que o distinguisse.
Desde 2013 que ele mora em Nova York, ele é conhecido por seu excelente trabalho com designers como Jil Sander e Junya Watanabe.
Em abril de 2017, ele publicou seu primeiro livro Head Prop Studies 2013-2016.
Tomihiro Kono mais tarde mudou sua carreira fazendo perucas.
Em seu novo livro Pessoas 111, o artista examina as propriedades do cabelo para moldar a identidade.
Ela exibiu suas perucas em exposições interativas.
Tomihiro continua a ultrapassar os limites como estilista de cabelo e estilista de vanguarda. ¿Sabías que?
No Japão, ele visitou Kanasugi, um salão de beleza tradicional, onde aprendeu as técnicas de gueixa, com as quais aperfeiçoou os penteados. Minhas perucas são artefatos para incentivar e incentivar a transformação contínua. Então, pergunte quem você quer ser, escolha sua peruca e entre na sua nova vida.
The Japanese stylist speaks to CR about hair, identity, and his new book Wig maker and hairstylist Tomihiro Kono has been exploring the relationship between identity, transformation, and hair for 20 years. The Japanese talent began his career as a classically trained hairstylist in Harajuku, Japan, and has brought an innovative eye to the art form. Kono’s offbeat aesthetic has attracted collaborators in the fashion world such as Junya Watanabe and Come des Garçons. In the past few years, Kono has honed in on the craft of wigs, shearing and sculpting the portfolio of pieces now featured in his newly released second book, Personas 111 - The Art of Wig Making.
The photobook features page after page of his hand-knotted, rainbow creations. Each cut and color carries its own personality, and it is this impression that Kono surveys in Personas 111. According to the artist, the transformative power of wigs can be the link between who you are and who you want to be. Wearing a wig can be "an extra thing to fill a gap between your true self and ideal self," Kono tells CR.
As a means of expression, the wigs offer an outlet for individuals to explore how multifaceted their own identity is. The possibilities are endless, unbound by gender or age. “I think it’s an everlasting concern for us to explore our identity,” Kono says. “I think wigs can help as uplifting, positive tools as a part of fashion. It’s stimulating and energizing to break our routines sometimes.”
Kono’s wigs also lend themselves to the singular aspects of the individual, too. On the technical level, he sizes each custom piece to the client’s head. Aesthetically, it is ultimately up to the wearer to determine how the wig looks on themselves. For example, Kono sites a fluffy blonde wig with multicolor beaded braids that he made for Lim Hyun-jae, a member of Korean band Hyukoh. “He’s a boy in his 20s and wears my wig like a hat, showing his nape hair underneath, for their world tour,” the stylist shares. “I’d rather learn from my creative wig wearers. If they wear my wig in a unique way that I wasn’t expecting, that’s a surprise for me.”
The 111 wigs featured in Kono's book, all featured on the same model, show the simultaneously obvious and nuanced nature of the hairpieces. Each page pictures an immediate transformation, but also a new perception of the person wearing the wigs. From blunt, silver bowl cuts to candy-colored, Rococo tresses (a period that Kono finds especially inspiring), Personas 111 presents a catalogue of characters expressed through hair.
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Japanese wigmaker Tomihiro Kono combs through ideas on identity In his new book Personas 111, wigmaker Tomihiro Kono examines the identity-shaping properties of hair
multiple images of a man wearing various coloured wigs
These days, identity is as much a verb as it is a noun. It’s something that is constantly in motion, ever changing and routinely able to morph from one thing to another. Japanese wigmaker and artist, Tomihiro Kono has released a new book that examines this mutability of identity through wigs.
Personas 111 displays an array of Kono’s masterful creations, from wavy platinum locks to cobalt blue mullets. The wigs, modelled by photographer Cameron Lee Phan, demonstrate the particular power hair has in shaping our perception of an individual’s character. ‘Wearing a wig also enables us an instant transformation,’ Kono writes. ‘It is fun to create multiple characters that exist in ourselves – it is almost like choosing your outfit of the day from your wardrobe.’ a man with purple wig man wearing orange curly haired wig Top, Cameron Lee Phan, photgraphed by Sayaka Maruyama. As feautered in Personas 111, published by konomad. Bottom, Image from the chapter ’Gender-blending Transformations’ in Personas 111
Kono worked as a stylist before moving into a wig making, a practice he found ripe with creative potential. Honing the skills he developed working with hair for 20 years, he learned the ins and outs of wig making – from the various techniques for knotting hair into lace foundations, to the methods for dying, sculpting and styling the strands.
He has displayed the wigs in interactive exhibitions, where visitors could try on an array of styles and, in the process, an array of personalities. Now, with Personas 111, Kono has brought the put the art of identity shifting into our hands.
Of course markers of identity run much deeper than personal style, but while we navigate the boundaries of ‘who we are’ it’s good to see how, in some ways, those distinctions can so easily change. So who will you be today? § man in wig with long pink straight hair man with long yellow hair over his face man with curled blond hair man with orange combed over hair man in wig with short light purple hair
These days, identity is as much a verb as it is a noun. It’s something that is constantly in motion, ever changing and routinely able to morph from one thing to another. Japanese wigmaker and artist, Tomihiro Kono has released a new book that examines this mutability of identity through wigs.
Personas 111 displays an array of Kono’s masterful creations, from wavy platinum locks to cobalt blue mullets. The wigs, modelled by photographer Cameron Lee Phan, demonstrate the particular power hair has in shaping our perception of an individual’s character. ‘Wearing a wig also enables us an instant transformation,’ Kono writes. ‘It is fun to create multiple characters that exist in ourselves – it is almost like choosing your outfit of the day from your wardrobe.’
Kono worked as a stylist before moving into a wig making, a practice he found ripe with creative potential. Honing the skills he developed working with hair for 20 years, he learned the ins and outs of wig making – from the various techniques for knotting hair into lace foundations, to the methods for dying, sculpting and styling the strands.
He has displayed the wigs in interactive exhibitions, where visitors could try on an array of styles and, in the process, an array of personalities. Now, with Personas 111, Kono has brought the put the art of identity shifting into our hands.
Of course markers of identity run much deeper than personal style, but while we navigate the boundaries of ‘who we are’ it’s good to see how, in some ways, those distinctions can so easily change. So who will you be today? §
“Tomihiro Kono’s wigs are for everybody…” writes Anna Battista in her introduction to the multi-talented hair artist’s second book, Personas 111. That in mind, tour its 176 pages and you will also find a wig for just about anyone or any attitude. Just in time for the long stretch of social distancing, Kono catalogs his endlessly inspired wigs for every pastel shade of your self-isolation blues. Photographed by Sayaka Maruyama, The Art of Wig Making 2017-2020 showcases multitudes of his handmade wigs that marry transformative styling and craftsmanship––something the Japanese-born wig maker mastered over the course of his colorful 20-year career. His choice to use a single model, Cameron Lee Phan, underlines the magical attributes of each wig as they transform Cameron’s character and showcase the élan with which Tomihiro Kono invents or interprets a range of styles. “I selected Cameron as a model because I was inspired by their androgynous look that is Asian mixed,” says the hairstylist, continuing, “They also remind me of a Greek statue in a way.”
Before Kono can imbue a wig with personality-shifting powers he begins first by draping lace fabric on a head mannequin. “Making the foundation is very intricate work, and it needs technique to make it fit the person’s head shape.” It’s not until after this that he can employ his expertise as a hairstylist and head prop artist having been tapped by Junya Watanabe Comme des Garcons and across fashion working for major clients. “The process that is artistry and aesthetic would be the design of the face line––that makes an impression of the character. Also hair-coloring and styling,” he says. Though mining from fashion’s history, Kono often mentions Marie Antoinette as a baseline for inspiration. Still, his wigs come across motley in their assortment and are painstakingly one-of-a-kind. Kono explains the process can take “2 to 3 weeks to make per wig in average, but it all depends on density and details.” The lengthy undertaking makes the comprehensive collection even more impressive.
Like everyone, Tomihiro Kono’s plans have also been impacted by the COVID-19 outbreak, which has disrupted the launch of Personas 111. “I was supposed to be doing an interactive wigs exhibition which was scheduled for March. It was where viewers could actually experience the instant transformation with my wigs, but now we’ve decided to postpone, which is a shame.” Luckily, the physical book itself is still available to enrich your downtime. For more information visit www.konomad.com.
“Hairstyles and identities are closely related. We choose a hairstyle to express ourselves: our appearance is important to define who we are, attract, disguise, entertain or play a social role. A wig is designed to make a definite impression upon others, but also to conceal the true nature of an individual.
Wearing a wig also enables us an instant transformation: it is fun to create multiple characters that exist in ourselves – it is almost like choosing your outfit of the day from your wardrobe. You can choose whichever color, style or texture you want, to match your mood of the day. Choosing a wig can be an act of self-assertion, self-defense and self-realization. We are highly sensitive that our character can easily be changed in response to our hairstyle either consciously or unconsciously. Tomihiro Kono believes wigs have the positive power to influence an individual’s personality, and help us find our ideal self.”
Using human hair as a material for sculpture, wigmaker Tomihiro Kono has culminated his meticulous artworks into a beautiful book photographed and designed by Sayaka Maruyama, titled “Personas 111.” Model Cameron Lee Phan’s androgynous visage acts as a perfect tabula rasa, encapsulating the ways in which our hair can dictate identity. Cindy Shermanesque moments pepper the second half of the book, where wigs and makeup form into personalities that remind us of Liquid Sky, David Bowie, Marie Antoinette and any other pastel style icon you could imagine. Although we usually don’t judge a book by it’s cover, we think it’s safe to say with this one you can.
To celebrate the release of the book Personas 111 - The Art of Wig Making 2017-2020 by Japanese hair artist, head prop designer and wig maker Tomihiro Kono (河野富広) out today on Konomad Editions, I'm publishing here an extended version of the essay I wrote for the volume. Get ready to enter the Mask-thrix!
"The use of the word person in every European language to signify a human individual is unintentionally appropriate; persona really means a player's mask, and it is quite certain that no one shows himself as he is, but that each wears a mask and plays a role. In general, the whole of social life is a continual comedy, which the worthy find insipid, whilst the stupid delight in it greatly." - Arthur Schopenhauer, Essays of Schopenhauer
The first thing that may come to your mind while observing Tomihiro Kono's wigs is punk. It is indeed easy to identify in the spiky hairstyles, bright colours and in that latent sense of rebellion, all the tropes of this subculture. Yet, to understand Tomihiro Kono's work, you have to go back to the early performances of Greek and Latin plays.
During these representations actors would wear masks that helped them getting into their roles. Masks helped the audience identifying the various characters even from a great distance and hearing the actors better as the masks were designed to amplify their voices and they were also conceived as instruments to achieve an internal metamorphosis.
The aim and purpose of masks often changed with the playwrights: Aeschylus was the first author to introduce the use of masks in his tragedies; Euripides gave masks a better characterisation, so that they could represent different human emotions.
Masks became vehicles for a social and political satire in Aristophanes' comedies and Menander used them to represent well-established characters borrowed from everyday life. Inspired by him, Latin author Plautus employed masks to represent comedic stereotypes, while in Terentius' plays masks showed figures in constant evolution.
From tools that could help actors getting into their roles, masks turned into instruments for an internal metamorphosis. The possibility of going through a personal mutation is also another theme of classical stories, such as Ovid's Metamorphoses and Apuleius' The Golden Ass.
Behind Tomihiro Kono's work there is a modern reinterpretation of two parallel phenomena that come from the classics – masks and the power of transformations.
When you put on one of his hand-crafted wigs you take on a different "persona" - a term that in its Latin etymology referred to a theatrical mask - and become an entirely new character.
A shy person may transform into a rebellious punk; a tough individual may adopt the style and manners of a romantic lady in a powdered wig from the 1700s. A man may turn into a woman; a woman into a man. Or they may choose to become genderless beings, individuals who may be anything, even a powerful monster à la Medusa.
Tomihiro Kono's wigs are for everybody and this is the main reason why his creations find a parallelism also with the Venetian 1700s costume of the bauta, that comprised a black cape, a tricorne hat and a white mask called "larva" (meaning "ghost" in Latin). People dressed in the bauta were allowed to walk around the Venetian calli any day of the year, and the outfit was not just a costume, but a transformative tool. All sorts of people could wear it with no distinctions of social classes or sex, and the disguise guaranteed maximum freedom and anonymity, just like Tomihiro Kono's wigs.
German political philosopher Hannah Arendt stated that "the masks or roles which the world assigns us, and which we must accept and even acquire if we wish to take part in the world's play at all, are exchangeable". The same can be said about Tomihiro Kono's wigs included in the volume "Personas 111", a title that features a symbolic number, related to spiritual awakening and enlightenment, inspiration, intuition, optimism and self-expression. The 111 wigs in these pages are not static, but they are in continuous mutation: they take a new life when somebody wears them; they move and shake, tremble and seduce, inspire and invite. They are dramatic ways to change the way we look on the outside to change the way we feel inside.
Pink spikes and blonde braids; romantic curls, sharp green mohawks and pale blue waves; strawberry red asymmetrical bobs, rose gold soft mullets or simple straight hairstyles in a superb cobalt shade: choose and transform yourself with an uneven short shag, a page-boy hairstyle or a Chelsea haircut - you can be a naïve princess or a terrible tomboy, a punk rebel or a conformist, an artist or a mermaid.
There's the ghost of indomitable La Casati, a Belle Èpoque icon, in one fierce red wig and the revolutionary spirit of Angela Davis in a poetical afro. Another design seems to have the fluffy consistency of the sweetest candy cotton and it is a joy to the eyes and the touch. There is a long wavy wig for all those among us who want to feel like Botticelli's Venus, newly-born from a shell, a style that contrasts with the perfect smoothness of a zazzera reminiscent of the coiffure in Jacometto Veneziano's exquisite "Portrait of a Young Man". And then there are ethereal or bold styles that could fit angels or demons or that you may see donned by saints or sported by sinners.
These wigs, inspired by a combination of disciplines going from art and architecture to music, fashion and even mathematics, are indeed about finding a physical and metaphysical space, they represent an internal fight with our own selves and an opportunity to search for a new essence, grow and change, going through a process of catharsis similar to the one the audience went through while watching a performance in ancient Greece.
Last but not least, Tomihiro Kono's wigs are also a reaction to our digital society and a way to reclaim our physicality. In Latin times a persona was a mask; today our digital masks have turned into persons that amplify our individual digital essence via new means of communications and social media, letting our fake and intangible identities take over. Tomihiro Kono does not invite us to transform ourselves digitally, but physically, recurring not to plastic surgery but to a wig.
This is why a wig by Tomihiro Kono is a "mask-thrix" – a mask for the hair ("thrix" meaning "hair" in Greek), a symbol of an existential drama and the possibility of taking up not just one role, but multiple ones via radical transformations. By wearing a wig by Tomihiro Kono you can be anything and anyone but yourself. The promise is alluring. Enter the Mask-thrix.
It’s been three wild n’ weird years since hair/wig extraordinaire Tomihiro Kono released his first book, Head Prop, in 2017—and three years since we last chatted with him at the office Newsstand. On March 15, Kono is releasing PERSONAS 111 - The Art of Wig Making 2017-2020, the creative’s second archival book.
Featuring 180 pages of his work, each page is printed in full color, vividly rendering the Kono’s utter mastery of his craft.
Hair + Wigs by Tomihiro Kono @ Julian Watson Agency
Photography by Sayaka Maruyama
Makeup by Chiho Omae, Nana Hiramatsu
Model: Cameron Lee Phan @ New Pandemics
Published by konomad editions
Renowned wigmaker and head prop artist Tomihiro Kono has launched his second book Personas 111: The Art of Wig Making. In psychology, “Persona” is the social face or the personality that an individual presents to the world. Most people have several personas to cope with various societal situations. Persona is not the totality of one’s being, but rather a small component of a much versatile personality.
Using human hair as a material for sculpture, wigmaker Tomihiro Kono has culminated his meticulous artworks into a beautiful book photographed and designed by Sayaka Maruyama, titled “Personas 111.” Model Cameron Lee Phan’s androgynous visage acts as a perfect tabula rasa, encapsulating the ways in which our hair can dictate identity. Cindy Shermanesque moments pepper the second half of the book, where wigs and makeup form into personalities that remind us of Liquid Sky, David Bowie, Marie Antoinette and any other pastel style icon you could imagine. Although we usually don’t judge a book by it’s cover, we think it’s safe to say with this one you can.
Words by Anna Battista
The first thing that may come to your mind while observing Tomihiro Kono’s wigs is punk. It is indeed easy to identify in the spiky hairstyles, bright colors and in that latent sense of rebellion, all the tropes of this subculture. Yet, to understand Tomihiro Kono’s work, you have to go back to the early performances of Greek and Latin plays.
During these representations actors would wear masks that helped them get into their roles; the masks were also conceived as instruments to achieve an internal metamorphosis.
Behind Tomihiro Kono’s work, there is a modern reinterpretation of two parallel phenomena that come from the classics—masks and the power of transformations. When you put on one of his hand-crafted wigs you take on a different persona—a term that in its Latin etymology referred to a theatrical mask—and become an entirely new character.
A shy person may transform into a rebellious punk; a tough individual may adopt the style and manners of a romantic lady in a powdered wig from the 1700s. A man may turn into a woman; a woman into a man. Or they may choose to become genderless beings, individuals who may be anything, even a powerful monster à la Medusa.
Tomihiro Kono’s wigs are for everybody and this is the main reason why his creations find a parallelism also with the Venetian 1700s costume of the bauta. All sorts of people could wear it with no distinctions of social classes or sex, and the disguise guaranteed maximum freedom and anonymity, just like Tomihiro Kono’s wigs.
German political philosopher Hannah Arendt stated that “the masks or roles which the world assigns us, and which we must accept and even acquire if we wish to take part in the world’s play at all, are exchangeable.” The same can be said about Tomihiro Kono’s wigs included in the volume Personas 111, a title that features a symbolic number, related to spiritual awakening and enlightenment, inspiration, intuition, optimism and self-expression. The 111 wigs in these pages are not static, but they are in continuous mutation: they take a new life when somebody wears them; they move and shake, tremble and seduce, inspire and invite. They are dramatic ways to change the way we look on the outside to change the way we feel inside.
Pink spikes and blonde braids; romantic curls, sharp green mohawks and pale blue waves; strawberry red asymmetrical bobs, rose gold soft mullets or simple straight hairstyles in a superb cobalt shade: choose and transform yourself with an uneven short shag, a page-boy hairstyle or a Chelsea haircut—you can be a naïve princess or a terrible tomboy, a punk rebel or a conformist, an artist or a mermaid.
There’s the ghost of indomitable La Casati, a Belle Èpoque icon, in one fierce red wig and the revolutionary spirit of Angela Davis in a poetical afro. Another design seems to have the fluffy consistency of the sweetest candy cotton and it is a joy to the eyes and the touch. There is a long wavy wig for all those among us who want to feel like Botticelli’s Venus, newly-born from a shell, a style that contrasts with the perfect smoothness of a zazzera reminiscent of the coiffure in Jacometto Veneziano’s exquisite Portrait of a Young Man. And then there are ethereal or bold styles that could fit angels or demons or that you may see donned by saints or sported by sinners.
These wigs, inspired by a combination of disciplines going from art and architecture to music, fashion and even mathematics, are indeed about finding a physical and metaphysical space, they represent an internal fight with our own selves and an opportunity to search for a new essence, grow and change, going through a process of catharsis.
Last but not least, Tomihiro Kono’s wigs are also a reaction to our digital society and a way to reclaim our physicality. In Latin times a persona was a mask; today our digital masks have turned into persons that amplify our individual digital essence via new means of communications and social media, letting our fake and intangible identities take over.
Tomihiro Kono does not invite us to transform ourselves digitally, but physically, recurring not to plastic surgery but to a wig.
This is why a wig by Tomihiro Kono is a “mask-thrix”—a mask for the hair (thrix meaning hair in Greek), a symbol of an existential drama and the possibility of taking up not just one role, but multiple ones via radical transformations.
By wearing a wig by Tomihiro Kono you can be anything and anyone but yourself. The promise is alluring. Enter the mask-thrix.
Renowned wigmaker and head prop artist Tomihiro Kono has launched his second book Personas 111: The Art of Wig Making. In psychology, “Persona” is the social face or the personality that an individual presents to the world. Most people have several personas to cope with various societal situations. Persona is not the totality of one’s being, but rather a small component of a much versatile personality.
The self-titled "specialist of total hair design," Tomihiro Kono was always excited by heading to the hairdressers as a child, sitting in the chair with a magaine cut-out of the mane he wanted to embody. Triggered by his childhood affliction, the Japanese specialist ventured into hairdressing in his native country, but strived to create wider expressions through hair, moving to London to pursue hair styling, and has since progressed to the more fearless sculptures he constructs with his artisanal wigs in New York.
His alliance to the artistry of hair stems from a longing to push the boundaries and the versatility of its conceptualisation. Influenced by avant-garde nuances, Tomihiro has turned his masterful hands to publishing, educating on the narrative of his uncompromising sculptures.
LOVE talks to wigmaker Tomihiro Kono about paving a neoteric narrative for the future of wigs, the unassailed iconography of Marie Antoinette and working with Junya Watanabe.
LOVE: How did you transition from a being a hairdresser to becoming a wigmaker and head prop designer? Tomihiro Kono: My career started off as a hairdresser in Japan for 10 years, and then I expanded my hairstyling skill as a session hair stylist and head prop designer when I moved to London. Since 2016, I have been focusing on wig making in New York. These transitions were kind of a natural development for me to be a specialist of total hair design. It sounds like I’ve changed my occupation many times because I have multiple roles, but actually it all stems from me being a hair stylist. So I would say I’ve been trying to push a boundary, extend the possibility of a single hair stylist's work. I like acquiring new techniques for wider expressions.
LOVE: Were you interested in hair growing up as a child?
TK: I grew up in the countryside and there weren’t many entertainments in town; going to hair salons to get a new haircut was such an exciting thing. I used to take a magazine cut-out of a fashion icon with me to get the same haircut.
LOVE: Why did you decide to move to London from Japan? Was it a difficult transition?
TK: I decided to move to London in 2007. There had been a big influence from British culture inc: music, fashion, youth culture and that was so attractive. I didn’t speak English at all, so in the beginning this was difficult, but people were very nice and I felt a creative connection beyond a language barrier with them.
LOVE: What negative connotations are you hoping to dismantle with your work?
TK: People don’t understand when one person has versatile skills... the negative connotation for me would be the fact that people tend to categorise each other in one occupation. I think it’s due to a lack of imagination and proper research. That’s a reason why I make books, to educate people on the variation and the range in the depth of my work. I understand that it’s hard for people to imagine the process, by only seeing the result, so I’d like to share the process/thoughts/vision more with people from now on.
LOVE: If you could design a wig for anyone, dead or alive, who would it be and why?
TK: Björk! She’s been one of the best inspirations at all times.
LOVE: What's one of the greatest wigs you've ever seen that has inspired you?
TK: Monsieur Antoine’s amazing wigs, like these.
LOVE: Tell us about your upcoming books, Personas and Floral Beings. What made you want to articulate your practice into a book and venture into publishing?
TK: I think it’s very important to record personal practice in a tangible form, which for me was a book, as I’ve always loved the materiality of books even we are in the digital age. I think people should appreciate the work more. Images are becoming more consumable in a short term so I wanted to retain my creation reflecting my own voice. With books I can share not only my practice and images I make, but also my vision, thoughts and the process of creation. So the book itself reflects myself. I established konomad editions in 2017 as an independent publisher with my partner Sayaka Maruyama, as we find future possibilities in publications. Currently we are working on two books, titled Personas and Floral Beings. These two books will be out in same period of time. Personasis a portrait series of different wigs- a conceptual book related to hair styles and identity and reflecting current topics in the world. Floral Beings is a series of photography that reflects our beauty aesthetic, an appreciation for the beauty of human beings. Both books are related in terms of an art of wig making. But we present them in different expressions.
LOVE: How long does the average wig take to make?
TK: 1 week for a normal human-size wig, I would say. Making foundation from scratch, knotting hair, coloring, cut and styling included.I’m getting faster as I train myself.
LOVE: What cultural references do you cite your inspiration from?
TK: Worldwide cultures, music, films, art, Japanese pop stars.
LOVE: Which head prop and wig are you most proud of?
TK: Junya SS15 and AW15. I like the SS15 Futuristic Doll series, because that was the first ever head prop that was flat. Complete 2D.
In contrast, the AW15 was 3D heads that were based on the idea of drawings of 3D hair cut diagram. And I was very impressed how my head props matched perfectly to the clothes, asI hadn’t been provided with any information about the clothes they were making…. That was how we worked.
LOVE: How long did it take you to create the Marie Antoinette-esque wig?
TK: 1 month, the wire structures inside were quite time-consuming.
LOVE: If you were to design one of her wigs, what would it be like?
TK: I would love to make a massive fantastic wig with flowers, bird nest ton top of the headand real tiny birds come and go humming. The color is black, and gothic. She’s the all-time core inspiration source for me, there’s nothing more honourable than that. I would have come up with special design just for her.I’ve always loved European sense of beauty.
LOVE: What do you think the future holds for wigs?
TK: Maybe there comes a period when robots start wearing custom wigs?
LOVE: How has your Japanese heritage influenced your work?
TK: Maybe not directly influencing my work itself but the Japanese craftsman’s mentality is definitely in the basis of myself, in terms of repeating trainings.
LOVE: What was your experience like collaborating with Junya Watanabe? How did it come about?
TK: Our collaboration started in the winter of 2014 Junya asked me if I was up for doing his show, and I was very happy & proud to be asked for it. I don’t think it’s ordinary way of working with designers, but I come up with random ideas/designs that I’m currently into, and propose them to Junya until he says yes, so the collaboration with him was intense but a very interesting creative journey.
LOVE: You've lived in Japan, London and in NY. What's your favourite thing about each place? How has travel influenced your work?
TK: Japan = home and food, London = meeting creative people and New York = a more personal time for myself. So ideally, I’d like to find a place where it combines everything… My travel influence is to get the best balance between input and output by traveling around as I get inspirations in every city I visit.
LOVE: If you were to capture your personality in a wig, what would it look like?
TK: Avant-garde floral wave like this contemporary version of the finger wave. This kind of romantic floral, avant-garde sense is very me.
LOVE: What are some of the most unique materials you've used to create your wigs?
TK: Dog’s hair that I’ve collected from Dog groomer's. It was kind of an experiment.
LOVE: What was the first wig you ever owned?
TK: A professional Geisha wig in a proper box I bought at antique market in Japan.
クリエイティブの祭典「ルームス」 SDGs、フェミニズム、漢方を学べるトークショーも
WWD JAPAN.com
■ルームス 39 日程：9月4～6日 時間：10:00～19:00（最終日は18時まで） 場所：五反田TOCビル 13階 住所：東京都品川区西五反田7-22-17 入場料：前売券1500円／当日券2000円
■トークショー「すぐできるSDGs」 日時：9月4日 12:30～13:30 登壇者：関龍彦「フラウ」編集長、坂口真生「ルームス」エシカルエリア・ディレクター
■トークショー「デザイナーが見るNYとTOKYOその違い」 日時：9月4日 12:30～13:30 登壇者：TOMI KONO・デザイナー、村松うらら・ファシリテーター
■トークショー「日常の中にある、わたしたちのフェミニズム」 日時：9月4日 14:30～15:30 登壇者：酒井亜希子・編集プロダクション スタッフ・オン取締役副社長 、本田綾里フェミニスト・活動家、國吉祐子「アッシュ・ペー・フランス ビジュー」ディレクター ■トークショー「教養としてのアート 投資としてのアート」 日時：9月6日 10:30～11:30 登壇者：徳光健治／タグボート代表取締役
■トークショー「AIを駆使した型紙作成で生地の廃棄ゼロを目指す」 日時：9月6日 11:30～12:30 登壇者：川崎和也「シンフラックス」ファッションデザイナー兼プロジェクトリード、坂口真生「ルームス」エシカルエリア・ディレクター
■トークショー「サステナブルライフ～森の生活から学んだ5つのこと」 日時：9月6日 13:30～14:30 登壇者：四角大輔／執筆家
■トークショー「curation as a form of art キュレーションから生まれるアート」 日時：9月6日 12:30～13:30 登壇者：ハンナ・フシハラ＝キュレーター、ドッグドレーナー
■トークショー「絶対的条件の空き家のアート思考での活かし方」 日時：9月6日 16:30～17:30 登壇者：渡邊享子／合同会社巻組代表
Collaborations with Comme des Garçons and Proenza Schouler have left us in awe
Emma Stolarski: How has the response been to your first artist’s book, memorandom 0?
Sayaka Maruyama: I did a book launch and art exhibition of memorandom 0 in Tokyo in April. It was a limited edition of 100 copies, and I sold most of them. So the response has been positive and people seem to be interested in my work. I got especially good feedback from women. I’m working on memorandom 1. I’d like more people to see my work.
ES: You and your creative partner, Tomihiro Kono, created konomad, a multidisciplinary platform and independent publisher. How did this artistic endeavor come about?
SM: Yes. Tomi and I have been working together for 15 years, starting with “Neon O’clock Works,” which is really confined to making conceptual art. konomad is a multidisciplinary platform for much more versatile activities, including fashion, design, pop-up events, exhibitions, and publications. We have created experimental artwork, including short films and photography series. I do the photography, film editing, drawing, book design, and graphic design. Tomi is a hair stylist and head prop and wig maker. We share a desire to create visual images, and both believe in the power of visual communications as a means of enhancing community relations and cross-genre collaborations.
SM: I played with different mediums for the exhibition, which was itself called “memorandom.” It consisted of drawing, photography, fabric-art, paperwork, collages, and objects. For me, thoughts just naturally lend themselves to different forms of expressions. Sometimes I think of new ideas and just draw. When I get strong inspirations from people, I take portrait photography. When I find pieces of wood, or stones in the street, I might be inspired to use them in some different way. Fabric was a new thing for me. I recently started using a sewing machine to make frames for photographs.
ES: You wrote that memorandom 0 is in part intended to clear up room for new ideas and connections. Now that you have put certain ideas out into the world, can you feel space opening up?
SM: Yes, I definitely do feel space opening up. The process of making a book helps me tidy up my brain by recording a particular chapter in my creative journey. I can then move on more confidently to the next chapter but at the same time easily refer back to where I was.
SM: Leaving some space is important for memorandom. It means a pause for me. The contents of ‘memorandom’ do not fit in a specific form so I thought the randomized contents might confuse the reader in some way. That’s why I made some empty pages as chapters. Also the idea of ‘memorandom’ originally comes from memo – so I think it’s natural to have some empty spaces.
Even in the exhibition, playing with 3D space was a new challenge for me, I’m glad I did the exhibition to see my random oeuvre come alive.
ES: Communication and expression are a central focus in your work. What is your relationship to language, and how does it affect your inner dialogue and expression of it?
SM: I relate more to and am more comfortable with visual language than verbal language. I’m not as good at talking so it’s natural for me to communicate how I perceive this world through photography, drawing, short film, and artist’s books.
SM: When I refer to receiving messages in daily life, there are two types of moments I have in mind. One is the light-bulb instant in which I have an idea or the vague contour of an image occurs to my mind. That moment can fade into vagueness in few seconds, and if I don’t somehow jot it down it can easily disappear. It might mean nothing, but it might also blossom into something important. Moments of this kind become elements of my personal record, which are explicitly included in the book. Then there are more abstract, subconscious messages that are harder to articulate verbally. To memorialize these I like drawing. It’s more casual than, say, painting, and I think a more direct reflection of my subconscious mind.
ES: How does your expansive art practice overlap with your photography career?
SM: My personal practice certainly brings positive energy to my photography work. I consciously avoid settling on one specific medium because sticking to a single form can artificially narrow or restrict ideas. More random forms of expressions also just refresh and stimulate my mind.
ES: Who inspires you?
SM: Sigmar Polke, Suellen Rocca, Nikholis Planck, Stan Brakhage, among many others.
ES: Lastly, what were you like as a child?
SM: My family moved to Amstelveen, near Amsterdam, in the Netherlands when I was 13. I loved art class and had a great art teacher. I was a shy girl who loved drawings. Actually, I haven’t changed much, lol.
Sayaka Maruyama’s memorandom 0 was published by konomad press in April 2019. A few copies of the first print edition are available at Printed Matter.
About the author: Emma Stolarski is an interdisciplinary artist and writer based in New York. She is the editorial assistant at Two Coats of Paint and works in various studios throughout the city.
Collaborations with Comme des Garçons and Proenza Schouler have left us in awe
Stepping into Tomi Kono's Tokyo exhibition earlier this spring was akin to entering another world. Inside a sunlit room constructed almost entirely out of windows (at the gallery space called Place by Method in Shibuya), his creations hung from clear strings attached to the ceiling. A platinum blond-and-black wig Gigi Hadid wore; Grace Coddington-inspired, fiery red, fluffy curls; quirky braids with beads; and colorful mohawks (the latter two posed as tributes to Japanese icons in entertainment from the '80s) were all there. And perhaps the most innovative part of the show was the fact that anyone who walked in could try on every single one of the styles and snap a selfie to reveal a total transformation. As a Japanese wig designer and hairstylist, Tomi Kono has virtually created a brand-new category in the editorial world. Kono crafts lifelike wigs and headpieces in dramatic colors and shapes for runways for brands like Proenza Schouler and Comme des Garcons. Some of his pieces are so unique, such as the aforementioned Gigi Hadid piece, that people reach out and contact Kono to buy them, when, in fact, they aren't even for sale. And the Tokyo exhibition, dubbed Personas, was one of several that he has presented around the world. He's also had shows in Paris and New York and also published a book on his process of making headpieces, going into deep detail on the many interesting head props he has crafted for the Japanese designer Junya Watanabe, who is a part of the Comme des Garcons family. That's not all: He's worked with Vogue Italia, Vogue Japan, Vogue China, Vogue Germany, Vogue Korea, T Magazine, Interview, W Magazine, V Magazine, Mert and Marcus, Patrick Demarchelier, Ben Hasset, Derek Lam, Jil Sander, Roberto Cavalli, and many more.
"I have always been obsessed with transformations," explains Kono. "I like to change the models' character completely into a different person. I like the fantasy and creativity in the process. That's why I started making head props as an extended element on heads, and then I started making wigs." Interestingly, though wigs seem to be the artist's latest focus, it wasn't until after 2017, after his book was published, that he was inspired to start making them from scratch. He knots, colors, weaves, and individually strands each one. "Wigs have the power to change a person's persona, instantly," he adds.
Some of his most well-known work, however, was for Watanabe. Known for avant-garde geometrical shapes that project out of jackets and dresses, as well as a penchant for the color black and punk style, Watanabe often includes headpieces in his shows. "I don't see what he has been making, even the colors of the clothes. I'm not given any information," says Kono of the process. "For all nine collections I did with him, I worked with him was like that. It was a complete guess, and I had to come up with many ideas and proposals." One of his favorite collaborations with the designer was the Spring 2015 show, where models marched down the runway wearing colorfully graphic outfits with matching PVC halos by Kono.
As for his creative process when it comes to his wigs, which range from almost every color, style and texture imaginable, he says it's something he works on nearly every single day. "Making wigs from scratch is time-consuming, so it's becoming my daily routine," he explains. "Whenever I have some spare time, I knot hair into laces. Styling is the very last thing to do, as it doesn't last long." At his Personas exhibition, the master stylist had a small team with him who helped visitors try on each wig (a harder process than one might think, given the weight and volume of some of them), as well as brush and style them.
One of the other unconventional projects Kono has taken on recently is making wigs for a portrait series for the photographer Jeff Bark, who had an exhibition called "Paradise Garage" last month at Palazzo Delle Esposizioni in Rome. The project explores surreal, baroque scenes in Bark's own garage, and the wigs that Kono created are fitting. Kono falls into a unique role as he pushes the boundaries of the role of a hairstylist and wig maker, constantly working on atypical projects. For example, he also collaborated with a Tokyo antique shop Tatami Antiques to stage an exhibition of antique-inspired wigs. "I want to do collaborations with people with other industries such as architecture or product design," he explains. He also just launched T-shirts at Vacancy Projects Salon and has an upcoming (September 4 to 6) group exhibition with other emerging designers and artists, titled "I just αm," at Rooms Tokyo, presented by H.P. France. More info> NEWS section
Perhaps one of the most unique things about his work is that he's bringing wigs to spaces where one usually wouldn't see them: antique shops, art galleries, and portrait photography. His pieces are undoubtedly works of art, and rather than just use them in an editorial photoshoot and then store them in his personal archive, he's able to bring them to the masses so people can experience them. Kono's exhibitions come with a not-so-precious approach which is also unusual for almost any other form of art: "To actually feel and see how realistic the wigs are, I think people need to touch and wear it," he says. "Wigs can easily be damaged, because it's made of very fragile lace net, but I accepted this concept with courage and confidence."
Tomi, what is your first memory of glamour? “I bleached my hair with Coca Cola.” Takako Noel captures the unbridled joy of Tomi Kono’s wigs let loose in Tokyo.
Wig wizard Tomi Kono has been letting the public loose on his hairy creations. “I think it’s more exciting for people to actually wear the wigs, and get involved. I see them getting very excited and obsessed with their instant hairstyle change.” The second of his touring interactive exhibitions was held in Tokyo and photographer Sayaka Maruyama captured the visitors wigging out. Photography SAYAKA MARUYAMA Hair TOMI KONO Interview JOHN WILLIAM View Images image description image description Beauty Papers: What was the last beautiful thing you saw? Tomi Kono: Cherry blossom in Japan early April. It was beautiful and special indeed. BP: What was the idea or the inspiration behind these images? TK: To see the transformations of Tokyo kids wearing my hand-made wigs. They are wearing their own clothes and make up so it’s more documentary. It was an experiment to see how wigs can change your personality… without cutting or colouring your own hair. When I make a book or put together an exhibition, it comes from inside. What do I really want to do? For my last exhibition, where we created these images, my hair inspiration was musicians and pop stars from the 1980s. Back then they had such iconic hair styles and so I reinterpreted them with modern wigs and colours.
There was a sort of unintentional correspondence between Aganovich's Haute Couture S/S 19 collection, showcased in Paris during the local high fashion week, and the headpieces created by Japanese hair artist, head prop designer and wig maker Tomihiro Kono (河野富広) to complement the designs.
Both garments and wigs seemed to hide indeed a sort of duplicity: the clothes looked at times unfinished or mixing two patterns and prints together in the same designs.
In the same way the half wig/half mask headpieces were in some cases integrated into the designs or used in a decadently decorative way, almost as ties and bows.
Tomihiro Kono actually devised the idea of wig-cum-mask a few months before this show, while experimenting on his avant-garde wigs, and the headpieces ended up accessorising the garments in a striking way.
The main narrative behind the show - the second since the French Chambre Syndicale de la Haute Couture invited Nana Aganovich and Brooke Taylor to become pat of the high fashion schedule - told the story of a woman on a journey.
The latter could have been interpreted in many different ways: it could have been a journey through space, so from one place to another, or through the runway space - a carpenter's workshop - with models walking along the machines.
But it was also a journey through time, since the designs included historical references and Victorian moods (see the black gowns that wouldn't look out of place in a Gothic fantasy series à la "Penny Dreadful") and details such as the shoulder construction or the feather elements on jackets and skirts, combined with more modern, almost punk, touches.
The journey through time theme was also evoked by the treatments imposed on the fabrics that at times seemed to have been bleached or reduced to pale ghosts of their previous selves.
Last but not least, this was a personal journey through a multiple personality in constant evolution: we all change, the designers seemed to say, and that's why the models often donned clothes with unfinished hems that unravelled behind them, or represented a wide range of characters, from younger punks and rebels, to romantic yet strong girls (check out the white dresses with feathery hems matched with boxing style boots kept together by safety pins...), women ready to fight and more mature ladies, elegant and maybe finally happily content in their hearts.
The design duo employs for these designs the same patterns of their ready-to-wear collections, but the materials are different and more luxurious when it comes to Haute Couture: gold paint decorated for example a white shirtdress and refined textiles by Venetian Rubelli (for that Sofia Coppola's "Marie Antoinette" touch) were used for a sleeveless gown (Aganovich already used Rubelli's fabrics in their previous Haute Couture collection).
Tomihiro Kono's veiled masks hid, revealed and constricted the models' heads adding a mysterious edge to the collection.
The main theme of the collection was a woman's journey: did this inspiration reflect also in your headpieces?
Tomihiro Kono: Not really. I proposed my idea of using partial hair attached on masks 6 months ago to a designer. The theme of my pieces was Anglomania - so I combined punk, the looks of British fanatics and maniacs, mohawks, suede cuts, hairstyles inspired by the curly wigs of High Court Judges and 18th century styles. The idea was mixing royalty with eccentricity. That's why I also bleached hair partially to get some worn-out effect that matched the textures of clothes and I dyed the wigs unevenly mixing different colours.
Compared to the previous Aganovich Haute Couture collection in this one your wigs seem to have expanded into the clothes: in some looks they were used as ties or they seemed to be integrated into the clothes. Do you feel this is a new development and direction for your wigs? Do you see them becoming part of the actual outfit, rather than just something used to accessorise it?
Tomihiro Kono: Soon after I started wig-making I realised that wigs can be attached anywhere - so they don't need to just stay on the head, but they can be reinterpreted as expansions. In this case it was a positive collaboration between clothes and hairstyles. For a unique show like this one a wig can become an integral part of the clothes to create a strong character that may reflect the designer's vision. It may become also something interesting to see for the audience, something that adds a little bit of fantasy. Besides, historically speaking, hair was used as a part of costumes, so it can also be employed in a ritual way like an amulet, an accessory. Last but not least, think about the hair used as part of a warrior's clothes.
Which was the most difficult piece you made for this collection in terms of technique or materials?
Tomihiro Kono: These two pieces. Colouring the hair was a very difficult process as I used bleaches. I didn't want to damage the piece but I needed the effect.
Will you be working on any new exhibitions/installations soon?
Tomihiro Kono: In early April I’m producing an installation exhibition in Tokyo in collaboration with Tatami Antiques. The concept being the exhibition is Japan, Spring and Hanami (cherry-blossom viewing). I will be exhibiting some wigs and head props especially made for this exhibition. Stay tuned!
Image credits for this post:
Wigs by Tomihiro Kono; all images in this post courtesy and copyright Konomad / Photography: Wanderlust by Isa Bono unless otherwise credited.
One of the most frequent challenges fashion designers end up facing in their careers is trying to find the perfect balance in their collections between commercial pieces and more creative and conceptual (and therefore more expensive...) designs. It is therefore not uncommon for many designers to give up their more avant-garde ideas in favour of less original, but definitely more saleable creations.
Nana Aganovich and Brooke Taylor may instead just have found a way to avoid finding difficult balances between commercial and original forces and compromising their creativity: this July they were indeed invited by the French Chambre Syndicale de la Haute Couture to show on the high fashion schedule.
The design duo limited the number of designs on the runway (a space outside their 11th Arrondissement atelier) to 12 looks, and borrowed many inspirations from their ready-to-wear pieces, recreating some of them with couture fabrics and luxury textiles.
Many designs bore therefore the duo's trademark passion for pieces inspired by history in which they injected Victorian moods à la Dickens or Gothic details of the kind that Miss Peregrine in Ransom Riggs' books about the extraordinary Peculiar Children would favour.
Black prevailed at the very beginning of the show with ample sculptural skirts and pants matched with ruffled white organza shirts, black brocade skinny suits paired with shirts decorated with multiple layers of organza around the neck, a black leather jacket that looked as if it were made of plastic, and black deconstructed mourning dresses.
A Marie Antoinette palette was introduced thanks to brocades by Venetian Rubelli (it is worth remembering that costume designer Milena Canonero turned to Rubelli for the gowns in Sofia Coppola's Marie Antoinette), employed for frock coats characterised by pleated motifs on the front and matched with light powdery pink or cream skirts.
Even though these designs clearly showed a historical derivation, none of them looked like costumes: the emphasis was indeed on creating a refined artisanal offer for Aganovich's private clients interested in acquiring bespoke pieces.
That is also the main reason why the designers turned to milliner Stephen Jones who created two headpieces for this runway, and to Japanese hair artist, head prop designer and wig maker Tomihiro Kono (河野富広) who worked on the colourful wigs that gave a contemporary punk twist to the designs.
Fresh from an exhibition of wigs at The Community in Paris, Kono opted for rebellious looks that broke with the romantic brocades in pale blue and peach, and called to mind the flamboyant hairstyles in Miloš Forman's Amadeus.
You can bet this experience will be chronicled and recounted in detail by the hairstylist and wig maker in a new book, maybe a follow-up to "Head Prop: Studies 2013 - 2016" (Konomad Editions), but, for the time being, you can learn more about it from this brief interview with Kono.
What does Haute Couture represent for you?
Tomihiro Kono: For me, Haute Couture represents a dream, even though I don’t find so much difference between Haute Couture and Ready-to-Wear actually, because the designers I have worked with are quite specific in their styles, so every look is bespoke anyway. This Aganovich show only featured 12 looks, and that made it very special since you didn't get that classic army-style runway in which every model looked the same, but each model became a character with her own fantastic aesthetic. I have always loved one-off, bespoke pieces as opposed to mass production.
Is this the first time you took part in a Haute Couture show?
Tomihiro Kono: Yes, it was and for me it was as if one of my dreams had become true.
How did the collaboration with Aganovich happen?
Tomihiro Kono: I met Nana Aganovich and Brooke Taylor two years ago when they were doing Ready-to-Wear and they asked me to collaborate with them on their A/W 2016 runway. They really loved the bandage hairstyles I did and, in between a glass of wine or two, we shared our creative visions. I started making wigs from scratch two years ago using a time-consuming handmade process that consists in making a foundation, knotting hair strands into it and colouring, cutting and styling the wigs into any shape. It takes a lot of patience to go through this process, but it's really worth doing it since it can be considered as real couture. I have presented some of my most recent designs during my compact exhibition "Wigs (Perruques)" at The Community in Paris. Brooke and Nana absolutely loved my wigs and my idea of "hair-couture", so this collaboration started from there.
Did the designers give you a theme or a story you could develop while working on your wigs?
Tomihiro Kono: They didn't give me any specific theme, but we share some common aesthetics, so it was a natural process in which we tried to match clothes, wigs and models as we did the fittings.
There was a historical component in the clothes with some designs evoking a sort of Marie Antoinette style - did those design inspire the pastel shades of some of your wigs?
Tomihiro Kono: The Aganovich duo has a specific taste in their clothes that evokes historical elements. I personally like that, but I wanted to break up with classical elements and I opted to use pastel coloured wigs to make the garments look fresh and young. I also wanted to avoid coming up with a very traditional image, so I aimed at making more contemporary pieces with new, energetic vibes.
You spent quite a few weeks in Europe and now you're back in New York: did you find any inspirations while being in Europe for your wigs/hair styles?
Tomihiro Kono: Europe is more or less my home, everytime I visit I get inspired by the European aesthetics. What inspires me the most is that people in Paris really appericiate what I do, they do have a lot of respect for the artisanal spirit and I like this attitude. During my exhibition at The Community in Paris people were willing to try my wigs on and stopped to ask me how I made them and so on and that felt really encouraging. Maybe I should move back to Europe at some point!
Image credits for this post:
Wigs by Tomihiro Kono; Images in this post courtesy and copyright Konomad
Bio: A true creative, Tomihiro Kono started his career as a classically trained Japanese hair stylist. His passion for hair soon lead him to begin exploring more creative hair and head designs, leading to Tomi’s very own head prop designs. In 2007 Tomi moved to London and branched into session styling, quickly shooting for Dazed & Confused, i-D, and 10 Magazine. He continued to exhibit his head props and began using these in his editorials, making bespoke pieces. Tomi is now based in New York and is represented by Julian Watson agency. His impressive portfolio consists of numerous shoots for worldwide Vogues, L’Uomo Vogue, Luncheon, Document journal, Interview, W Magazine and V Magazine. About this project: In the gallery space of the Community, 65 Rue du Château d’Eau Paris, Tomihiro Kono’s wigs will be hung from the ceilling as if they are floating in the air. Each wig is beautiful as an object. Tomihiro hand-stitches each of these wigs, strand by strand into a lace net, for over 50 hours a piece. "Making wigs from scratch, is a time-consuming work but I feel like I am making my own art piece. It can be quite meditating for me.” Instead of using a sewing machine, he drapes the lace on the head block. He uses knotting hook and fine nylon thread to sew the lace together. The hairs are individually knotted to the lace foundation in various directions that follows natural hair growth. He respects traditional wig making. As a partecipative art exhibition, people were invited to come in for trying on some wigs, while Tomihiro was working on making wigs in the gallery space. The documentation of people visiting and trying on wigs will later be included in the second book about wigs by Tomihiro Kono published by konomad editions.
Tomihiro Kono took over Paris gallery ‘The Community’ to showcase an edit of his fashion hairpieces – and invited visitors to get involved
The Rue du Château d’Eau in the 10th arrondissement is a so-called mecca of hair salons in Paris. Home to a huge number of hair suppliers, wig makers, and beauty stores, the area is also where The Community chose to set up shop. Taking over an old barber shop – the traces of which can be seen in the marks on the wall where mirrors and display cases have been removed – The Community was founded by an art collective of the same name, and has played host to a series of exhibitions, events, and fashion parties.
Last weekend saw the space taken over by renowned wigmaker Tomihiro Kono, who created an installation showcasing his handcrafted hair pieces. Kono was taught the art of Geisha hairstyling by a Japanese master and has collaborated with the likes of Junya Watanabe and Comme des Garçons throughout his two-decade-long career, making each wig from scratch – he painstakingly hand-stitches each and every strand of hair onto fine lace net.
Amongst the wigs on show were towering, Victorian pieces and Rococo-era bouffants inspired by Marie Antoinette’s signature look, all the way through to punky, spiked, and brightly-coloured styles. “I dye each by hand to make special one-off colours, and I wouldn’t say I have a favourite,” explains Kono. “The long red hair, which people call the Grace Coddington, the peachy orange mohican, or the short bright green bob are some that I really like though.”
Featuring wigs hung from the ceiling as if they were floating, people were also encouraged to try pieces on and pose for the in-house photographer, with the resulting images due to be released in a new book later this year. “Kids were especially excited to try on the wigs, although they were shy in the beginning,” says Kono. “I loved how it brought everyone together and the exhibition turned into an amusement park for people.”
As well as inviting Parisian locals to be a part of his photo series, Kono is also currently working on a personal project with Scottish photographer Albert Watson. Together, the two have been making theatrical characters inspired by A Midsummer Night’s Dream and clowns, and shooting them in a series of atmospheric settings. “When using extravagant, classic wigs, it’s easy to transform the models into fantasy characters,” says Kono. “We’ve been doing this series for a year now, and it’s a pleasure to work with such a legendary photographer as Albert. I like the dark and romantic mood of the images. They’ll be exhibited later this year in galleries in Canada and possibly Europe, too.”
Tomihiro Kono took over Paris gallery ‘The Community’ to showcase an edit of his fashion hairpieces – and invited visitors to get involved A true creative, Tomi Kono started his career as a classically trained Japanese hair stylist. His passion for hair soon lead him to begin exploring more creative hair and head designs, leading to Tomi’s very own head prop designs. In 2007 Tomi moved to London and branched into session styling, quickly shooting for Dazed & Confused, i-D, and 10 Magazine. He continued to exhibit his head props and began using these in his editorials, making bespoke pieces. Tomi is now based in New York and is represented by Julian Watson agency. His impressive portfolio consists of numerous shoots for worldwide Vogues, Luomo Vogue, Luncheon, document journal, Interview, W Magazine and V Magazine. We recently caught up with Tomi to discuss everything from the opening of his first ever wig exhibition in Paris, to his latest project with legendary photographer Albert Watson.
Q. What made you decide to start your career in hairdressing?
A. I was going to be a trimmer for dogs because I loved animals. When I proposed that to my parents, they suggested that I become a hair stylist for people instead. Their advice was basically that dogs never say thank you but people do. Once you can cut hair well for people, you can also do animal hair! So I followed their advice :)
Q. What made you decide to leave salon work in Japan and move to London?
A. I had worked in a hair salon in Japan for 10 years before I moved to London in 2007. I had a lot of cultural influences from London in terms of fashion and music so I had always wanted to visit. In the beginning, I was only going to stay in London for a year but I ended up staying there until 2012. I met many creative friends, it was really exciting to work there and at the same time it was very comfortable for me.
Q. It was in London that you started your session stylist career, it wasn’t long before you were shooting for the likes of Dazed & confused, i-D and 10 magazine. Tell us about that, was it difficult coming from Japan to London?
A. At the beginning of my career, I had a stall showcasing my head props in Spitalfields Market on Thursdays next to an antique dealers. I was lucky enough that Dazed and Confuzed came over to interview me about my head props. This is how I started my career as a sesson hair stylist in 2008, just a year after I had moved to London. It was difficult for me to start my career in London because I didn’t speak any english at all. My english was totally poor. It was quite stressful for me, when you have a lot you want to talk about but you just can’t do it.
Q. What advice would you give to young hairdressers who are thinking of leaving their home country to pursue their dreams?
A. It’s always challenging to move from your own country to other countries where they have a different language and culture. However, what I like about leaving my home country is that being in a totally different culture inspires me a lot in different ways. I think it’s a positive thing. You’ll have wider perspectives by living abroad, in terms of expressions, although it might take a while before you get used to the new environments. However, it is also important to have your own time, maybe a quiet period in your life. When you create some work, or you want to improve your skills, you need more time for yourself, without people distracting you so much. I apprecite both quiet & busy periods in my life. For me, coming to Europe is very exciting always.
Q. When and why did you decide to focus on making head pieces?
A. It was a big moment for head pieces and masks when I moved to London around 2007. Many stylists asked me to make something special for magazines. It was very organic the way I started. I‘ve been looking for my originality as a hair styling signature.
Q. In 2013 you moved to New York, why did you decided to move again?
A. Actually my agent asked me to move to New York, so it wasn’t my choice at first. I decided to move to New York without knowing much about the city and it was a big challenge for me.
Q. Your book “Head Props” is a real documentation of your work and creative process from 2013 - 2016. What made you decide to publish a book and share your ideas?
A. It’s a real documentation of my work indeed. It’s purely the record of my creations. Incomplete / unseen works are sometimes very interesting and most of the work / ideas are never seen by the public. People only have a chance to see the images from the show but not the process, behind the stages. By making this book, I wanted to share my ideas and the process, which will also be something interesting for me to look back in the future.
Q. Where can we buy your book? is it available in the UK?
A. I guess you can buy my book at Donlon books otherwise you can order at konomad, they will ship worldwide. - http://www.konomad.com/page/shop/book_HEADPROP.html
Q. Do you have a particular shoot/editorial or moment that you can say was one you will never forget?
A. Working with Albert Watson for a personal project in NY. We’ve been shooting a series of theatrical images with many different models. It was my dream to work with him.
Q. you have kindly given us a preview of your latest work with albert watson (see left). Being such an important project for you, can you tell us more about it?
A. I met with Albert at an editorial shoot for Vogue Japan. After that, he asked me to collaborate with him for his personal project. We’ve been making theatrical characters inspired by A Midsummer Night's Dream and clowns. By using extravagant / classic wigs, models can transform into the characters in fantasy. I like the dark and romantic mood. It’s always my pleasure to work with such a legendary photographer like Albert. It was pleasure to complete the series with him. We might still keep on shooting. He’s really passionate about our collaborations. He will be exhibiting these images in the galleries in Canada, and possibly in Europe. - www.albertwatson.net/
Q. What really inspires you?
A. Nature, art, the world, artists ateliers
Q. We are excited about your new focus, wig making. Tell us about the movement from head pieces to wigs? What is it that you enjoy about wig making?
A. I’ve always wanted to try making wigs since I started my career. Historical wigs are very inspiring and I wanted to know their structures and how they're made. Wigs have been around for hundreds of years and we still make wigs by hand, with almost the same techniques. It’s a kind of romanticism for me... To literally create wigs that I’ve always dreamt of making, being inspired by worldwide fashion and hair history. I appreciate the artisan mind, people who take so much time making one elaborate piece of wig. Wig making requires technique and patience. It’s a meditation for me, making wigs while listening to music.
My curiosity of hair design or head prop design never stop, however, now that I’m based in NY, that I feel like people want to see more believable hair-do, which wig can be more accepted in a way.
Q. Do you have a favourite wig and why?
A. I would say coloured short cut wigs. It’s fun to play with different haircut styles because I love hair cutting also. With wigs, I can try any radical, playful styles, there’s no limit in expressions.
Q. Your wig installation is soon to open in Paris. Tell us why you decided to showcase your wigs and what we can expect at the exhibition?
A. It’s actually my first exhibition in Paris, which is very exciting. I’ve been following the activities of 'the Community', an experimental art, fashion, design, publishing and culture space taking the form of a multidisciplinary platform based in Paris. I got inspired by their gallery spaces, so I contacted them a year ago and we’ve been discussing working together. Now my dream has come true. Finally I can do my exhibition with them.
Chateau D’eau where the community is based is the area where many beauty shops and hair salons are located. I heard that the building of 'the Community' used to be a hair salon in the past, so I thought it would be the perfect place to exhibit my handmade wigs.
My handmade wigs will be be hung from the ceiling to look as if they are floating in the air. I wanted to make them look more like art pieces, objects floating in the air. Also because I knot each strand of hair into the foundation lace, I want people to be able to see inside the wig as well as the outside. I'm fascinated by the beauty of wigs from the inside.
Q. It’s very exciting to hear that limited copies of the book and posters of “Head Props” will be available to buy at the installation in Paris. If we wanted arrange a book signing how would we do that ?
A. To be secure, please come to the opening on the 22nd, 19h00- 21h00. I’m going to be in the gallery most of the time, so Saturday - Sunday noon - 17.00 might be good. (I might pop out sometime)
Q. And finally what is your favourite tool?
A. My favourite tool is my hand ; )
Beginning his career as a classically trained hairstylist in Harajuku, Japan, Tomi Kono has become a true source of artistry and innovation in the high fashion hairstyling community.
After establishing a distinguished international career as a session hairstylist, Kono expanded his artistry to include head-prop design, an addition that has truly demonstrated the caliber of mastery this artist is operating at.
office had the pleasure of catching up with Kono the weekend of his first ever exhibition, entitled “Wigs (Perruques)," located at the Community in Paris. In many ways, his exhibition can be seen as the culmination of the very quality for which ‘the wig’ is universally revered: Within snapshots of visitors trying on his wigs, we see the innate ability of these hand-crafted masterpieces to transform an individual into anyone they want to be, if only for a moment.
Kono curated an experience that is simultaneously both individual and ubiquitous, micro and macro. So naturally, considering our penchant for paradox, we had some questions for the dude.
What is the significance of the location of your first exhibition? I know that while you were making wigs at the Community for this exhibition, you welcomed people to come in and try them on. What was your reasoning behind this?
The Community used to be a barber shop, and its location is the Mecca of hair and beauty salons. This place has a story profoundly connected to hair, so it means a lot for me to do an exhibition of wigs here; It has long been a dream of mine to use this location for my exhibition, to be on this exact street, rue du château d’eau. Most hairdressers come to buy supplies in this area during fashion week. It’s a little bit doggy and rough here, but it has such a rich culture.
I wanted people to come in and try on wigs because I wanted the exhibition to be more interactive. I also wanted to document the experiences of people trying on the wigs, which may be included in my second book about wigs in collaboration with Konomad edition. Although they were initially very shy, kids were especially excited to try on my pieces. I like how this exhibition turned out to be kind of like an amusement park for people.
I’m happy that there was a greater degree of diversity than I was expecting to see in the crowd. I think that wigs have a universality that transcends age.
Each wig you prepared for this exhibition is an art piece, and you are the artist. Are there any other artistic projects that you have been involved with or are currently working on?
I started my career as a hairdresser working at a hair salon in Harajuku. But I always wanted to express myself as an artist, so I started moving images, and making characters and photographs as a unit artist.
One of my favorite pieces is called “Neon O’Clock," and it’s in collaboration with my long-term partner and wife Sayaka Maruyama. Our basis has always been one sourced from an artistic background, so it feels organic for me to showcase my work at a gallery.
Hairstylist and wig maker Tomihiro Kono creates saturated, one-of-a-kind wigs elevated by pristinely crafted jewelry.
Halfway through hairstylist Tomihiro Kono’s new book, Head Prop: Studies 2013–2016, there’s a four-by-four grid of images, all variations on a theme. Each frame contains the same serene-looking mannequin topped with gold metallic paper, but from there, the fun begins. There’s a conical form resembling a pep-rally megaphone; overlapping panels like an armadillo’s back; and an assemblage calling to mind a three-dimensional Nude Descending a Staircase. You can imagine Tilda Swinton wearing one, or the Egyptian queen Nefertiti, from the 14th century BCE.
As someone who has dreamed up wildly inventive headpieces for Junya Watanabe’s runways, along with more street-friendly looks for Jil Sander and Derek Lam campaigns, Kono might well have put out a compilation of greatest hits. But he’s far more interested in the process. “There’s a word—typology—which I get inspiration from,” the New York–based stylist explains in an email, defining it as a “systematic classification or study of different types.” He looks to Bernd and Hilla Becher, whose serial photographs document water towers, steel mills, and other fixtures of the German industrial landscape; Karl Blossfeldt, who trained his camera on subtleties of the botanical world, is another reference point. How does that play out in Kono’s curious imagination? In permutations of pliable cork loops encircling the head from above, behind, on either side. In punk pixies made from snippets of hair extensions pasted every which way. In men’s half-wigs that twist samurai hairstyles with 1950s rock ’n’ roll.
Raised in southern Japan, Kono traces the seeds of his genre-blurring career to an early job alongside a master of classical Japanese hairdressing, where the young apprentice learned the fundamentals of geisha hair, an exercise in precision involving specialized combs (called tsuge-gushi) and unlikely materials (wax glue, paper ribbons). But his mentor also instilled a sense of self-determination. “He told me how he used to work as a salon assistant, doing shampoo for customers. He observed how their hair was made by undoing their hair,” recalls Kono, who picked up the autodidact thread. A move to London in 2007 jump-started his explorations into head props; relocating to New York in 2013 coincided with a shift in methodology—more structured and mathematical—as seen in the book’s experiments in wire mesh, felt, rope, and plastic bottles.
They’re flights of fancy, all, but one of Kono’s most eye-catching designs hits the stratosphere: a set of Space Age helmets for Junya Watanabe’s Spring 2015 collection. “Originally, an idea occurred to me that I wanted to create hair that looks like it’s floating in the air,” he says of the cartoonish cut-paper bobs suspended between clear vinyl. For now, though, Kono is happy rooting back into nature. “I’ve always loved hair more than anything,” he says of his current fascination with wig-making, hand-knotting strands onto lace. “Hair is a material that’s alive. It can be energetic, mysterious, creepy, and happy. That’s what I’m excited about.”
Head Prop: Studies 2013–2016 is distributed by Idea Books; Canal Street Market’s Office Magazine newsstand hosts a launch event on Friday, April 7, from 6:00 p.m.–8:00 p.m.
When it comes with items with which to adorn the uppermost part of the body – Tomihiro Kono, the Japanese-born, New York-based hair stylist-cum-headpiece artist is the master. He’s the man behind Junya Watanabe’s incredible headpieces, as well as collaborations with just about everyone worth knowing in the fields of art, fashion, music and performance. Not mentioning his creations frequently appearing in many an issue of our very own fashion bible. His work draws influence from the early 20th century Dada movement, as well as assemblage expressionism (think: Robert Rauschenberg), creating headpieces that are entirely unique. And now, Kono is releasing a brand new book all about his incredible career, from his time as a classically trained hair-dresser in a tiny village in Japan, through to archived collections of his world renowned head prop designs. There’s even some unseen works. Juicy! The new book, ‘Head Prop’, is apparently the first on the subject (who knew?), and will be published on April 1st with a launch to follow at the Office Magazine newsstand in New York on the 7th. For the real jet-setters amongst you, Kono also has his own exhibition opening at the Place by Method gallery in Tokyo, from the 2nd to the 26th August. ‘Head Prop’ will be available for purchase between 7th and 14th April at Canal Street Market, NY and online at konomad.com Distributor: Idea Books, ideabooks.nl
“Head props are pieces of transformative and wearable art. I don’t see them as headpieces used to decorate hair but as a way of creating one-off characters.” – Tomihiro Kono
Beginning his career as a classically trained hairstylist, Tomihiro Kono’s work no longer begins and ends in the salons of Tokyo. Instead, the Japanese creative’s designs are used by designers and stylists worldwide to transform both editorials and catwalk shows. Kono frequently contributes to titles including W Magazine, Numéro and Harper’s Bazaar, as well as working with designers such as Jil Sander and Derek Lam. His longstanding collaborative partnership with designer Junya Watanabe (Kono has created pieces for the shows since 2014) has made him a recognisable force within the fashion world.
Kono moved to London in 2007, where he swapped salon-based hairstyling for session work. This is when he began to experiment with the creation of head props, “I developed so many creative, inspiring and supportive friendships there, which helped me to develop my creative mind” he explains. “The energy, youth culture, music and fashion is so original and cool. Every collaboration I did in London was so vibrant.” After 5 years in London, Kono moved to New York, where he is based today. Here, his approach to designing head props has become increasingly mathematical and methodological. Stylistically, his pieces have become very graphic and distinctive, with Kono incorporating a diverse array of materials into his projects, including vinyl, rope, iron sand, rubber tubing and visual motion effects.
Kono’s first book, Head Prop: Studies 2013–2016, showcases the sheer range of his creative capabilities. Released this month, the book demonstrates how he transforms his ideas into malleable 3D objects. It also represents another notable career shift for Kono as he sets up the Brooklyn based independent publisher Konomad, whilst simultaneously branching out into wig making. INFRINGE spoke to him about the concept behind his new book.
What inspired your move from hairdressing towards head prop artistry?
I actually still consider hair styling as the main part of my job despite having made many head props. Ideally, I’d like to create a balance between them as one stimulates the other. When I moved to London in 2007 it felt really natural to start creating head props – I felt creative and saw this as a way to build my career in my own, original way. I’ve always thought that originality is extremely important when working freelance, as you want people to recognise that you can make something special and unique. Eventually people started to ask me to make exclusive pieces for shoots and to be part of exciting collaborations with artists and performers.
Does your background in hairdressing influence your approach to creating head props?
Yes, definitely. The techniques used are almost inseparable. They are always related to each other. For example, I’ve made a series of 3D hairstyles inspired by the haircut diagrams I used during my hairdressing training in Tokyo. It’s essential to know how each hairstyle is structurally made so you can control the hair shape and line.
Which materials do you most enjoy working with?
Having experimented with lots of different materials I find hair the most interesting one to work with. Hair is a responsive material, easily affected by weather, humidity and change of environment, which makes it both profound and challenging. When I am on set, I try to constantly adjust the hair as the photographer shoots as even minor changes in hairstyling can transform a photograph. In my personal opinion, there’s also something relaxing about touching hair.
Your new book Head Prop: Studies 2013–2016is comprised of diagrams, sketches and photos. Why did you decide to present the book in this way?
I wanted my book to inspire as many people as possible, which is why I adopted both a graphic and educational approach inspired by Typology. I like that the book doesn’t look like a hairstylist’s work at first glance as I think this allows for the content to reach a wider audience. There was something very satisfactory about organising the images into a grid-like system as it gave the book an unemotional quality where the results are objectively recorded, like a catalogue.
What made you decide to compile this book, a retrospective from 2013-2016, now?
I started the book in April last year as a personal documentation of all my experiments and the trials and errors of my creations. I had spent so much time and effort on the pieces that I wanted to keep a record for myself and the rest of the world. There is always some work that remains unseen as it has no place to go, so I wanted to make a place for them to be shown so I wouldn’t forget what I’d made. Books are my favourite medium to record and archive, I’ve always believed in analogue mediums rather than digital. I hope that upcoming creators or next generations will have a chance to dig out my book someday, just like I have done with old haircutting and styling process books.
What is your most unlikely source of inspiration?
Daily life is my inspiration. It’s all around us if you want to see it.
Special Thanks Tomihiro Kono Website tomihirokono.com
By la rédaction, translated by Holly Lambert and Isabelle Johnson
From visionary make-up to incredible hair and skin-saving secrets, honor beauty in all its forms in these seven books you need to add to your library.
Head Prop: Studies 2013-2016 by Tomihiro Kono After having illustrated his one-of-a-kind aesthetic, punctuated with Japanese influences and surrealist graphics at the Junya Watanabe shows, Tomihiro Kono shows the creative process behind some of his most beautiful hair effects in a new book. Head Prop: Studies 2013-2016 explores three main points: the shape, materials (like string, rubber and glass) and the surprising end hair result, which is often a 3D structure. A book of research and ideas from 2013 to 2016 illustrated in just one book, it shows the hair’s limitless potential.
Tomihiro Kono has self-published a new book extensively outlining his creative processes
Tomihiro Kono is the hairstylist and author behind a self-published new book titled Head Prop: Studies 2013-2016. Throughout Kono’s career, his work has developed from solely follicular-based pursuits and into the realm of sculptural headwear. “What is most exciting for me is to create amazing visual photography,” he explains. “I find a lot of possibility in headwear design to broaden creative photography. I’ve always been inspired by historical design from all over the world: from masks, to religious dress and ceremonial dress – Geisha, for example. Using these references tells a story in the photography.” Kono goes on to cite the visionary Serge Lutens as another great influence on his work: “I respect him as a perfectionist. I especially like what he was producing between 1970-1980, when he was creatively directing the experimental commercial work for Shiseido. I hope to be like him and make creative work, constantly.”
It’s unsurprising, with this kind of work ethic behind him, that Kono has gone on to collaborate with some of the most revered names in fashion: from Jil Sander to Junya Watanabe. 2017 – ten years after he embarked on his career – felt like the right moment to release a publication outlining his creative processes. “I simply wanted to record a personal documentation of all the trials and errors of my creations,” he says. “These days many people use Instagram to record their work – I think it’s good if you want to use as a diary. But the work is going to disappear in the constant updates of all kinds of random information. Making and publishing a book by myself is like having a personal space to put together my archives. I am totally in charge.”
Head Prop is so extensive in chronicling Kono’s designs and inspirations – including unseen works made between 2013 and 2016 – that it feels a little like falling down a secret rabbit hole directly into Kono’s brain. “By revealing how I’ve developed my creations, I think it’s interesting for people to see how I work differently from other hairstylists and to see not only the final output but also the process of how I get to that point. Nowadays, what seems to be important is how you get a good result quickly rather than how hard you’ve worked and telling the story behind that. I find the working process hidden behind this just as interesting as the final result.” Kono releases the book on Friday in New York – the city he now calls home – and also intends to launch it Paris, London and Tokyo later this year. He also notes “I have started working on making wigs from scratch and that will be my next personal project.” Well, we can’t wait to see.
Tomihiro Kono started as a hairstylist in a small village in Japan, but now he is designing hairpieces in a city where most people can only dream about, New York. He worked together with several designers to create the most extravagant hairpieces for their shows and now he launched his book called Head Prop where he explains his design process. We had the opportunity to talk with this master of hair about his work.
Can you tell us a little bit about yourself? Who is Tomihiro?
I grew up in the country of Ehime, in the south of Japan. My village was surrounded by nature, just by the sea and behind my house was orange farm mountain. Since it was such a tiny village, there weren’t many kids. I had many girlfriends around me that I used to play with. I would catch insects or make a secret base. I also liked to make original toys and tools which I would call “my new inventions” – so I think I have been a creator since then. I used to play in nature a lot and that was my main playground.
Where does your love for hair come from? How did you career in hair begin?
As I told you it was such a countryside where I used to live, I didn’t have many places to go out. So it was a joy for me to go to a hair salon to get my hair done nicely. It was like when you start being interested in fashion as a teenager. I wanted to be like the hairdresser guy who used to cut my hair. I thought it would be cool to be like him.
You were born in Japan and then moved in 2007 to London – at the moment you are living in New York. It seems like you have seen it all. Which city feels like home for you?
Yes, I have seen a lot by now. I wasn’t expecting myself living and working in different cities. So far London is my home because I have many friends there, but I would love to live in Paris too. I like traveling and moving to different places. It inspires me a lot.
Did for instance your style changed while you were living in London or New York?
It really affects my style. I would say I am very adjustable to the places. I feel people are different, how they work in the fashion industry is different so I try to think how I should deal with my situation next and I enjoy changing my style by adjusting to the places. I think that’s how I make my originality in the end.
You created hair pieces for the collections of designer Junya Watanabe; can you tell us more about your collaboration?
Our collaboration started off with my proposals. I was given total freedom of expression to create my own designs. It was a good training for me to search for ideas to create new forms and find out a clear concept in design. I learned so much during this process, it’s been a great opportunity for me to focus on my head props and bring all my ideas and concepts to light.
Can you tell us something about the new projects you are working on?
For me it’s important to always move forward, searching for new ideas, inspirations and collaborations, I never want to feel static or 'typecast' as having one style. I am always seeking to learn new things and keeping my work and myself in progress. I’ve started making wigs from scratch at the end of last year. For me it is one of meditations knotting hair into lace cap one by one. It is special for me to have my personal time concentrating on that. I’ve prepared all the equipments for it and am excited to make more one-off wigs. I’ve found more possibilities in wig designs right now. I am planning a special project with my partner Sayaka Maruyama which will showcase my handmade wigs.
What about Konomad?
We’ve made books of each project we have done together since 2007. Now we’ve officially started Konomad editions, which is an independent publisher. For now we are focused on our own personal work and publish it as a book. Head Prop is going to be the Konomad edition No.001.
In an exclusive first look at his upcoming book, the master of hair and head props reveals how he carved out his own unique path in fashion.
“It requires hard work to create something original,” says Japanese hairstylist and head prop artist Tomihiro Kono. And he should know, having carved out a career within the fashion industry quite unlike any other. Curiosity lies at the heart of everything Kono does: as a young boy growing up in a small mountain village in southern Ehime, he spent his days exploring and cultivating an enduring love of natural forms. As a teenager, he discovered punk music and fashion, burying himself in British magazines and, after finishing school he moved to Tokyo, securing a job in a traditional Japanese hair salon.
“To create the traditional Geisha style we had to follow rigid step-by-step instructions using special wooden tools,” Kono tells us. At first, he felt unconfident in his ability to master such intricate skills, he explains, but this all changed when he met his hairdressing teacher. “He was a master of classical Japanese hairdressing, but I found out that he had developed his own techniques and style just by observing and studying hair. I was very impressed. After that, I realised I could teach myself anything, and even create my own equipment for hairstyling.”
Kono soon began designing his own unique styles, expanding into sculptural head props in 2007, the same year he moved to London. There he gained acclaim as a session stylist for publications like Dazed and i-D, using his brooding bespoke headpieces, crafted from found objects such as metal and feathers, to further enliven shoots. Since then, Kono has established himself as the doyen of his trade, constantly pushing at the boundaries of hair and head styling.
“It’s quite hard to make something you’ve never seen as a hairstyling work, so I challenged myself to change how I create” – Tomihiro Kono
He has collaborated with some of fashion’s most prominent designers such as Jil Sander, Proenza Schouler and, most famously, Junya Watanabe (think: the lacquered, sumo-inspired hairpieces punctuating the menswear SS15 runway show or the brilliantly angular, 3D foam sculptures for AW15). Kono’s work for Watanabe highlights a purposeful shift in the artist’s previously romanticised aesthetic, which occurred after his relocation to New York in 2013. “It’s quite hard to make something you’ve never seen as a hairstyling work, so I challenged myself to change how I create; to apply a mathematical method whereby the designs became more functional and size-adjustable, which is practical for fashion shows,” he explains.
Refining this new, more logical approach required three years of extensive research and experimentation, all of which forms the focus of Kono’s brand new book, Head Prop: Studies 2013-2016, a fascinating glimpse into the inner-workings of his extraordinary imagination and technically skilled practice. The publication is divided into three sections, each fabulously illustrated with infographics, diagrams, sketches and photo grids. The first focuses on forms, shedding light on the ways in which Kono uses 2D shapes, from curved lines to typography, to conjure elegant, wearable 3D artworks. The second explores materials, showcasing creations made from rope, beer bottles, rubber tubes, you name it – there are even beards sculpted from iron sand. The third and final chapter focuses on experiments in hair, depicting some of the most beautiful, bizarre and meticulously constructed hairstyles you’re ever likely to see. Here, ahead of the book’s launch, we catch up with Kono to learn more about his multifarious practice and his advice for young creatives looking to forge their own unique paths.
Photography Susie Lau
What are the key ingredients of a great head prop?
Tomihiro Kono: Inspiration, ideas and research. The beauty of form. Unconventional material choices and combinations. Intelligence and elegance, and more importantly, making sure it’s not too heavy to be nice to your model! Then, of course, there’s originality. I like to create pieces that are unrealistic and extraordinary, but the head prop can also look like a hairstyle, which I find interesting and clever.
What should a head prop make the wearer feel?
Tomihiro Kono: A head prop is a piece of wearable art. So the wearer can be transformed into new character when they wear it.
You look at a lot of very varied references in your work. Who or what would you say has most inspired your practice?
Tomihiro Kono: I’m inspired by random things, but when I began to create more mathematical designs I would say I was inspired by Bauhaus, Dada, Fluxus art and American conceptual art. I was looking for more graphic elements. Ideas can be found anywhere, though – an interesting idea once occurred to me in an art materials shop.
“A head prop is a piece of wearable art...the wearer can be transformed into new character when they wear it” – Tomihiro Kono
How did you first come to collaborate with Junya Watanabe and what was the collaborative process like?
Tomihiro Kono: He first asked me to collaborate on a show when I was in Japan at the beginning of 2014. I sent him my initial proposal around one and a half to two months prior to the show. Junya never tells me what kind of clothes he’s working on for the coming collection, so I keep sending him ideas, without having any concept of the looks, until he picks what he thinks is the right one. I think he works this way because looking at clothes in the beginning might narrow my ideas, in a way. It’s fun seeing how the clothes and head props match each other perfectly in the final show!
What is your favourite material to work in and why?
Tomihiro Kono: Hair is the best material to play with because it’s difficult to control and I’m still learning a lot.
What prompted you to first branch out into making head props?
Tomihiro Kono: I think it was natural for me to start making head props when I began working as a session hair stylist in London. Fashion was in a very creative mood and people were shooting really interesting images, which I was really excited about. When hair stylists are working on editorials or shows – basically anything that will be photographed – our aim is to make a photograph look better, look phenomenal. I think hair and head prop design plays a very important role in fashion photography.
Why did you decide to compile this book?
Tomihiro Kono: Firstly, because I wanted to record a personal documentation of all my experiments – of the trials and errors of my creative process, because I’ve spent so much effort and time on it. Nowadays, what seems to be important is how you get a good result or archive quickly rather than how hard you’ve worked on it and the telling of the story behind it. Secondly, when you have so many ideas, you don’t have many opportunities to show them so the book seemed like a good way of doing that.
“Nowadays, what seems to be important is how you get a good result or archive quickly rather than how hard you’ve worked on it and the telling of the story behind it” – Tomihiro Kono
What do you hope readers will take away from it?
Tomihiro Kono: This book can be viewed as tool for sparking ideas and inspiration, not just for people working in fashion industry but for all creatives. It’s more about design and handicraft. I think the way I work is different from other hairstylists, so I hope it will prove inspiring for readers, not just now but in the future. It would be great if one day people came across secondhand copies of my book and realised that it’s still inspiring. I believe good designs are timeless.
What would your advice be for young artists looking to follow in your footsteps?
Tomihiro Kono: I’d like young artists to be real creatives and look for their originality slowly. I think it’s getting harder these days because it’s becoming more about how you show than what you make. I think you need both the sense and the techniques to be a real creative. If you want to be a hairstylist and make head props too, like me, firstly you need to learn about basic hairstyling, then tap your imagination and make some props to realise your ideas. This is how I started my career and I hope it’ll help others to find and own their creativity and pursue their dreams in fashion.
Head Prop by Tomihiro Kono is available from April 1, 2017, distributed by Idea Books, with a launch Friday April 7th from 6pm to 8pm, at OFFICE MAGAZINE newsstand at Canal Street Market, Canal Street Market 265, New York.
Tomihiro Kono might be a headpiece designer, but he’s not definitively in the business of accessorising. Rather, Junya Watanabe’s nine-time runway collaborator is intent on using his sculptural coiffures to build fully-formed characters — characters that are “thorough”.
Many of Kono’s head props are conceived at the juncture of fantasy (leisurely) and mathematics (laborious), revealing both blue-sky and meticulous processes. A cross-section of his CV reveals disparate possibilities: pierced leather in archetypal bondage style; Elizabethan era frivolity; the droll surrealism of René Magritte; and the follicular decisions of English new-wave band, A Flock of Seagulls.
Kono doesn’t dance near any preoccupation with the sparse and minimal. The Japanese artist offers a counterpoint that isn’t underpinned by the culture of aspiration — the stuff of beauty vloggers and Instagram tutorials. He’s interested in the spectacle — which on the runway is most often relegated to the body and the garments — and a sweeping cohesion that corporate marketers might tout as the 360-degree brand experience. Jargon notwithstanding, Kono says, “Hair design takes such an important role in making complete characters and to give a certain impression to the viewers. Building a thorough character is something I’m so into, especially when I work with brands with strong concepts and aesthetics.”
Welcome to the stage, Junya Watanabe: a man deeply entrusted to the realm of theatrics. When Kono engineered head props for Watanabe’s Fall/Winter 2015 presentation, their debut collaboration, I’m certain spectators hypothesised about Watanabe’s foray into headwear — so fluid was the affair. Kono’s work up top serves conceptually rather than clinging passively on, making him relatively peerless in his practice.
“I was free to propose whatever I liked and [Watanabe] either chose the best of my proposals or we discussed and evolved [the ideas] as we went,” he says of their work together. To round out Watanabe’s offerings — a feast of excruciatingly laboured pleats and folds, and serrated reptilian silhouettes — Kono seemed to reference semi-stretched accordions and the preposterous guard hats of Buckingham Palace. At times the headpieces resembled shark fins: charred, fanned out in perfect ovals that jutted very far into the wearer’s peripheries. Elsewhere, it was a spherical structure: very large and manifold, best visualised as an oversized origami rose fringing the circumference of the wearer’s face and almost, but not quite, obscuring her view. For his final trick, Kono diluted the conceptual quality, dressing heads in permutations of a short inky asymmetrical wig.
Onlookers might wonder — distressed or incredulous — about the materials involved in Kono’s head props, extending warm regards and well wishes to the necks of his models. Surely the more elaborate ones are not easy to hold up?! To sidestep injury and other site-specific concerns, he confirms extensive planning phases: “I had to consider long, strong, bendable materials to create the beautiful layers of arcs. They also needed to be light to stay on the head and thin so that they could be bound at both ends with metal screws.” For the frenetic toggling between looks — on-off-in-out-over-under-through —add “easily attachable and detachable” to the checklist of non-negotiables. The numbers involved in such precise preparations, however, are the sort of punctilious calculations that are irksome for a person with limited fluency in geometry— “I am not so good at math,” he admits.
The craft of head prop design is very different to the craft of, say, orange farming (you guessed it! Or you didn’t?!) — a fate that was very nearly sealed for Kono. But instead of inheriting his father’s business, he picked salon hairdressing “because I thought it was a cool job” he explains simply. He moved increasingly into synthetics, quickly accumulating a plump resumé of work that was bound up in a self-published book earlier this year: Head Prop 2013-2016.
It could have easily been just a glossy coffee table book — there are enough alluring images. Rather, it’s a (still beautiful, still glossy) record-keeping object, documenting the swings and roundabouts of Kono’s highly procedural career. It’s a blueprint-cum-journal featuring nearly every creation he has fashioned during that period. It’s like climbing into his middle mind: trace the tracks of clear bubble helmets enclosing cartoon-like 2D wigs (paper, plastic), black swathes punctured with gaping holes, falling about heads and bodies (ethylene and vinyl acetate), and buoyant structures in coalescent primary colours (papier-mâché). It’s big futurism with one eye on the past.
The swirling of old and new feels very true to the land Kono hails from. The merciless innovation of Harajuku, for example, versus the tiny village of Ehime in Japan’s south, where Kono grew up. “[There are] mythical legends that I got so much influence from as a kid. We have rituals to pray for the Sun Goddess (Amaterasu Oomikami), wishing for big catches for fishermen and good harvest for farmers,” he explains. “It’s a big event, a unique tradition of my tiny hometown. I had to dance all day long to pray when I was six.”
Exhausting but impressive, diligent but childlike: the same as his fantastical head props.
Images: Courtesy Tomi Kono
Junya Watanbe, Rei Kawakubo’s protégé, first summoned Tomihiro Kono to collaborate on his Autumn/Winter 2014 runway collection. Years later, Kono, a master of experimental coiffure-making, has evolved from stylist to artist-at-large, creating an oeuvre of multidimensional head forms that display logic order in the most beautiful fashion. On the release of his self-published research monograph, “Head Prop: Studies 2013 - 2016,” Kono reveals his fascinating appetite for mathematical discovery, a practice he realized at the start of this period in order to craft beauty from form.
Michael Beshara—What emotion best describes your work?
Tomihiro Kono—Surprise: I hope my work is surprising for people; ideally, I want to be surprised by what I have made, too.
Michael—How have you embraced hair specifically as an artistic practice?
Tomihiro—I have worked as a hairstylist for over 20 years. Hair is such a mysterious material to work with. The fact that it is living—meaning it is part of nature—is something I cannot control enough. Different types of hair and textures keep me sharp! Its condition is easily affected by the weather. I have also started making wigs, which keeps me busy—to make them from scratch is my next challenge. I need to acquire new techniques such as sewing and knitting. I've always consider myself a hairstylist rather than a head prop artist.
Michael—How has ascribing to mathematical orders given dimension to your artistry?
Tomihiro—Most of the designs I make are based on the mathematical process that is revealed inside the book. [The idea] was a transformative one, because it changed how I selected materials and developed structure. The final product, as a result, can be closely related to that of graphic design. Thinking back to my time as a hairdresser, we used mathematical sequences such as 3D haircut diagrams to understand how to divide and pull out panels in the creation of particular styles. The head props that I have created [since 2013] are based on planning. As mentioned in “Head Prop,” there are mainly two types of creative processes: planned and artistic. Hair design is counted as the latter. To meet accidental design is the exciting part of it. I first start with research, which leads to the initial design and selection of materials; then a redesign for resize and quality improvement before completion. This way is practical. When you work as a team, you have to make head props size-adjustable.
Michael—Tell me about your experience collaborating with Junya Watanabe?
Tomihiro—I had dreamed of working with Comme des Garçons for a long time: It was in the beginning of 2014 when [Watanabe] asked me to collaborate for his then-upcoming Autumn/Winter 2014 collection. I felt so honored.
Michael—What is required of you to create your “characters”?
Tomihiro—Making a character for me means making a concept, which I find the most exciting in the whole process. I do a lot of research for inspirations, mostly found pictures. Nowadays you can search for any sort of images online. Amazing! I also visit libraries; I tend to read books from genres that normally disinterest me. For example, I was not so into Pop art, Minimal art, or graphic design-related books before 2014, but since then I have started to adopt their essences into my work. American art was quite new to me after moving to [New York] from London and Paris.
Beshara—London was where you first began making head props?
Tomihiro—London was influential in so many ways. I loved the antiques that I rarely encountered in Japan. I used to make head props inspired by found materials in those days. I once made feather pieces with real feathers of birds I picked up from park grounds.
Michael—Your work is almost gothic; religious in its control, conceptual, yet you create with a childlike freedom, making pieces with a lot of wit and humor at the same time. How do you achieve that?
Tomihiro—The most essential thing is to be curious. It’s good to be easily influenced if you can reflect the influence in your style, in your work. I like to have both childlike freedom of imagination and professionalism at the same time.
Michael—To what extent do you self-edit? Is it important in your creative process and how this book reveals your way of artistry?
Tomihiro—For this book, I wanted to unveil my working process and works that have not yet been seen—the things that are not usually exposed to the public and my creative process of making them. My partner, Sayaka, and I are self-publishing it [under the nomenclature] Konomad Editions. We discussed making this book look educative, design-related. The format is so important to visualize our ideas and she did most of its design. It was important for me to take the responsibility of my work and be in the position to oversee and direct how the archive was compiled. It was a new challenge as we had so much to edit—pictures, texts, archives—it took us one full year to complete, but we feel [now] that we have done a good job. I’ve always liked books. I like going to secondhand bookshops in whatever cities I visit. You can feel the textures and taste in books, which I love.
Michael—“Head Prop” is easy to read, highly informative, pictorially driven, and methodical in its flow. In what ways is it a reflection of your own work?
Tomihiro—You might ask why I exposed so much in the book: I thought it would be interesting for people not only in the fashion industry to see how a single hairstylist could venture into creation as an individual. At first glance, it does not really seem like a hairstylist’s work, which is actually what I do as a job. The book fully reflects my history, archive, and trial and errors. It is my personal research that I’m sharing with the world.
Michael—How do you maintain the integrity of your work, which you refer to as “anonymous design” in the book?
Tomihiro—I came across this idea through the amazing graphic and product designer Sori Yanagi in Japan. When I discovered his work, I realized that I wanted to share his thought: It is what I wanted to achieve with my head design practice. But I cannot describe my design as “anonymous design” until people say that it is. For work to be considered “anonymous design” people need to render it timeless, high quality, and beautiful. That can take over a generation.
Hair Stylist and Head Prop Designer
Tomihiro Kono, a hair stylist and head props creator, currently based in New York City, is best know for his outstanding work with designers such as Jil Sander and Junya Watanabe. His launch of his own book 'Head Prop' is a 'documentation of distinctive head prop work produced' by himself. Not only does Tomihiro produce 'visually striking head designs' but 'designs that focus on functionality in the beauty of form'. Kono has grown to become the master of a genre he created from himself.
words by Tilda Eliasson
I understand that your career started in Japan, where you worked as a hair stylist. But how did the idea of creating wigs and head props appear in the first place? What was the starting point for you?
I started my career as a hairdresser in Osaka, where I studied basic hair skills. Four years later I had gotten seriously obsessed with geometric haircut techniques and decided to master the method. I ended up working in a few different hair salons in Tokyo and acquired the best haircut skills. In 2017, when I branched into session styling, I moved to London. I started head props originally to satisfy my own creativity but I’ve always been obsessed with new hair and head creations. The act of hair styling and designing head props are, according to me, closely related to each other. They go hand in hand. Therefore, as a hairstylist it’s also my responsibility to keep working with hair designs in order to grow as a creative.
Was this all a part of your childhood dream or was it something you grew into as you got older?
When I was a young boy I wanted to become a veterinarian, which is quite different from what I do now. So I would definitely say that, as I got older, it was something I grew into loving. Even during the beginning of my career as a hairdresser I wasn’t dreaming about working abroad as a session stylist. I have just always been focused on doing the best I can and working hard. This is where it has taken me.
From a creative point of view, what was it like to grow up in Japan? Did the Japanese culture become a strong source of inspiration to you or was it just an influential cultural background?
Personally, I always got more inspired by the Western cultures. But when I moved to London I started to find more understanding of my own background. I think that the Japanese culture used to be something I would just take for granted.
After moving to London, I created a Geisha inspired portrait series. This is a classic example of our distinctive heritage, which I’m proud of.
Many successful people have said that having access to a big city is always an important part of your career. After living in both London and New York, two of the largest fashion capitals in the world, what do you think is the most significant difference between the designs you've produced in each city? In what way did the city affect your work?
I believe that my first choice of city was the right one. London has a great hair culture, especially the avant-garde style with its young creative- and punk influential spirit. It’s a city where people really appreciate originality. For me, working in London was a mix of crazy dark, romantic goth and experimental design, which was very satisfying from a creative aspect. But I do think that New York is the best place to establish oneself. I always try to adapt my work to the city I’m in and its current fashion trends. Therefore, since I moved to Manhattan, my work has been quite clean and modern.
The line between most creative subjects and art is often very blurred. Do you consider yourself to be an artist? If so, did you always feel like one or was there a significant moment in your life when you realised that you wanted to become one?
If there is one hairstylist that could be called an artist, I might be that person. But that is not how I see myself. However if I could choose, I would much rather be the only one than the best one.
By being involved in the fashion industry, you are constantly surrounded by the idea of beauty and how it should be presented, but in what and where do you personally find beauty in the world?
Personally I find beauty in the world of nature, music and old Japanese films - which I like the aesthetics in.
Working with craftsmanship and creating each design by hand must be very creativity challenging from time to time. What is currently your biggest source of inspiration? When you lose track, where do you go to find it?
At the moment, my source of inspiration comes from wigmakers around the world. That is the subject I will build my new project around. Luckily, I never feel like I “lose track” so I always just keep moving.
What motivates you to grow and do better?
I motivate myself to be original at all times.
A lot of people tend to seek comfort in hiding behind their hair, do you ever feel like your bold and fearless style comes as a shock to people? Would you say that this is a part of the purpose for you?
My designs tell a story of what I do in life, if that tends to shock people, I take it positively. I know what I have done in the past three to four years is completely different to what most other hairstylists in this industry do. I personally like both natural hair styling and over-the-top head prop design at the same time, because I feel confident in both shadowing trends and being original at the same time. Whilst working in the fashion industry, you’ll always have the choice to create a trend as well as following a trend. So if head props become something that inspires upcoming artists and they want to follow that, or even keep building on this path I have created for them, that is something that would be very interesting to me.
Have you seen any good examples of how people have adapted your creative work into their everyday lives?
Except for my friends, wearing my creations on an occasional night out, I never think of my head props as being used in people’s everyday lives. I see them as head art.
What is your best piece of advice for the people who want to follow your footsteps?
Be creative and work on building your originality. If you want to be a hairstylist and make head props as well, you need to learn about the basics of hairstyling, then play with your imagination from there on. This is how I started my career and I hope that my story can be helpful for young artists who want to pursue their dreams in Fashion.
You have worked with some of the biggest names in the current fashion industry and has had your work published in the most influential magazines and online platforms in the world. Now, just a couple of weeks ago you had your very first book launch as well. Where do you see yourself going from now on?
I never really expected my first book to get so much attention! It was a big surprise for me to see that people are curious about what this book was all about. I created the concept one year ago and I haven’t changed anything since. Towards the end of the process, after having had several meetings with some very talented good publishers, I decided to publish the book myself, because I wanted to keep the creation as pure and personal as I possible could. I consider the release of this book too both mean the end of one chapter and the beginning of a new one. What’s next for me? Well, as you go, your career establishes your style and, for now, I have a lot of wig making to do. Hair will keep me busy for a while.
When you see a fashion show your mind naturally focuses on the clothes and accessories on the runway. Makeup and hairstyles are other important aspects, but, quite often, they become secondary elements and in reviews they get neglected in favour of a description of the space where a show is taking place or a mention of the best-dressed celebrity sitting in the front row. Yet this rarely happens when the hairstyle in a show is created by Japanese-born, but New York-based Tomihiro Kono (河野富広).
A visionary master in the art of hairstyling, who developed an intriguing mix of traditional techniques combined with the most modern moods captured in the vibrant cities where he has lived, Tomihiro Kono has worked for different designers, including Jil Sander and Junya Watanabe.
Hairstyles designed by Tomihiro Kono go from geometrical foam sculptures to vinyl circles dynamically surrounding the heads of the models like futuristic halos. The models wearing them could be considered as punk Alice-like characters lost in space rather than in the proverbial Wonderland.
A few months ago Konomad Editions published the volume Head Prop: Studies 2013-2016 (distributed internationally by Idea Books), that could be described as a compendium of Tomihiro Kono's creations and an introduction to his modus operandi.
Photographs, sketches and photo grids in the volume show his passion for forms (such as circular shapes and lines), materials (ropes, wire mesh, felt, plastic bottles and rubber tubes...) and avant-garde experiments with hair.
Tokyo August 2017 © konomad
The background reasearch included in the book proves that Tomihiro Kono's practice is suspended between mathematics, geometry and architecture, and sprinkled with childish glee.
The author of Alice in Wonderland, Lewis Carroll, was a writer with a powerful imagination, but also a mathematician and logician; Tomihiro Kono, the father of modern Alice characters in a punk wonderland, is an artist and a hairstylist playing with mathematical and logical principles. You can bet we will soon find him collaborating with a major artist or architect.
Head Prop features a very intriguing documentation about your work: why did you decide to publish it only now and how long did it take you to compile all the material you had?
Tomihiro Kono: The reason why I decided to publish the materials in a book format is that, as first thing, I wanted to document what I had worked on and had kept as a record for myself. Secondly, I thought that revealing my secrets - that is the stages of my creative process - would have been inspiring for all sorts of people and not just for those ones working in the fashion industry. I also wanted to expand my personal boundaries: taking the book on the road through exhibitions means getting the chance to meet new people, and even find more creative possibilities and collaborations with individuals working in other industries. My partner Sayaka and I worked on this book design for a year, we did a lot of editing, adding texts as well, and I genuinely hope that Head Prop will be inspiring for readers even in ten or twenty years' time.
Some creative people do not like revealing their modus operandi or background researches, but you willingly take readers behind the scenes of your work, what prompted you to do it?
Tomihiro Kono: I used to hide my process and background researches because I thought that in that way I was protecting my originality. However, now I'm positive about sharing my background researches with my readers. I think that, to keep searching for a new style, I must release what I have done. This is my past archive anyway and I don't think I should hang on what I have done in the past too much! Besides, if I hadn't published these projects I would only remember them roughly and that would be a shame considering the time and effort that went into those creations. Last but not least, the book format allows me to share my creativity and protect my copyright, so releasing this volume at this stage of my career makes perfect sense to me.
In the book you show us many inspirations behind your projects – where do you usually go to get inspired - museums, libraries or the Internet? Or do you have a favourite artist/art movement or architect you often go back to for ideas?
Tomihiro Kono: My inspirations can be found in many differemt places, I go to museums and libraries, but not so often. I guess nowadays I use the Internet more and look at photography of artists' studios. I also get inspired by documentary films. Surrealism, Dada, Bauhaus and Fluxus - very energetic movements - are my favourite ones. The academic approach of Bauhaus was one of the inspirations when making my book.
The late Vidal Sassoon once told me in an interview that the Five-Point Geometric Cut was based on different ideas and concepts, including the Bauhaus and architecture. Your work clearly displays links with disciplines such as art and architecture, but also mathematics and geometry, can you tell us more about them in connection with your work?
Tomihiro Kono: I developed my career as a hairdresser and a hairstylist, so I didn't specialize in architecture or graphic design, but I learnt all the haircut techniques at the Vidal Sassoon salon. The way they worked on hair was mathematical and logical, so each hairstyle is perfectly calculated to be made. I learnt there that there is a hair diagram to design hairstyles and an accurate work was needed to create a complete hairstyle, for example you must take into consideration which angle you are pulling the hair strands out to create the form that you want. There are haircuts called "geometric cuts", so they consider hair as regulated by geometrical and graphic principles. I therefore think that these mathematical connections in my work come from my haircut training.
Which is your favourite section from the book and why?
Tomihiro Kono: The diagram of systematic process and artistic process at the beginning of the book. This was the first time I analyzed how I proceed with my work and found out that I have two different processes. The diagram tells the readers that my process of hair design is somehow connected with other disciplines - such as architecture, design and products.
What's the most unusual material you have used so far for your hair pieces?
Tomihiro Kono: I would say iron sand, I used it to design a moving beard. It was kind of exciting to experiment with it. I often try to express the concept of hair using other materials.
What do you like or dislike about contemporary fashion?
Tomihiro Kono: I like the fact that huge social media platforms such as Instagram allow us to show our work whenever we want, so there are more chances for young designers which is a positive side as we become our own producers in this way. At the same time, I dislike the fact that so many things look alike nowadays, they are on a same average level and it's harder to find more originality or high quality.
You did two exhibitions in Tokyo in August: what did they feature, images from your book or also your materials and sketches?
Tomihiro Kono: In "The Study of New Head Design" at Gallery Place by Method in Shibuya, I exhibited posters of different head prop design variations and some paper prototypes; in the other for the bookshop POST, I showcased real head props as an installation - they were not on mannequins but arranged in modern displays. It was good for me to have two places at once as one complemented the other and visitors got a complete vision of my work by checking out both spaces.
How did the exhibitions go?
Tomihiro Kono: They were very successful. A lot of people came over and we sold many books, more than expected. I met new people from different industries - graphic design, art direction, architecture, interior design and product designs. I was at the galleries as many days as possible to explain my work and the book and visitors were willing to stop, listen and understand what I was trying to achieve. It made me realise how much publishing the book has meant to me.
What are your plans for the future, any chance to see an exhibition of your works in Europe as well?
Tomihiro Kono: I'd like to do an exhibition in Paris or in London, but I have no plans yet. In the meantime, I'm working on an event entitled "Light Is Calling" that will open at HACO (31 Grand St, Brooklyn) at the end of October in New York. This exhibit will be a collaborative effort between me and my partner, photographer and filmmaker Sayaka Maruyama, reunited under the moniker Neon O'Clock Works. It will focus on photography, short films, drawings, installations and books. Visitors will be able to see during this event some of our early box collages that we created in 2006, tackling themes such as achieving beauty through pain - think about the history of corsets. The boxes are connected with electric cables and light-up in the evening to create a sacred and solemn atmosphere. The energy locked in these boxes has been sleeping for around 10 years in our closet, so it is time to awake it again and pass it on to a new generation! You can all come and share the energy with us on the opening party night, on 31st October (6.00pm - 8.00pm).
Head Prop marks the first volume dedicated to the work of Tomihiro Kono, the visionary Hair and Head Prop Artist who designed the sculptural headpieces for Junya Watanabe. The 232-page volume includes photographs, sketches and texts documenting and unveiling the creative process behind Tomihiro Kono’s work through famous creations and previously unseen prototypes produced over the period between 2013 and 2016. Japanese-born, New York-based Tomihiro Kono is one of the most visionary hair stylists of his generation and over the last ten years has made his name known in the industry thanks to major editorial collaborations with prestigious publications, including Vogue Italia. Distributed by IDEABOOKS, Head Prop by Tomihiro Kono will be presented today April 7th at Canal Street Market, Soho, New York. Timed with the book launch, limited edition posters featuring blown-up renditions of some of the artist’s most representative creations will also be available for sale. Next August 2017 Tomihiro Kono will be celebrated in his native Japan with his own exhibition at the Place by Method gallery in Tokyo. Check out our gallery for some images from Tomihiro Kono’s Head Prop exclusively for Vogue Italia.
Hair and head prop artist Tomihiro Kono is launching his archival book and limited edition poster at the office newsstand on Friday, April 7th. Head Prop is a documentation of his design work from 2013-2016, and the book clearly shows Tomihiro's innovative, uncompromising work. Having developed a highly successful international career as a session hair stylist, here Tomi ventures into new territory. He's not only attempting to produce visually striking head designs, but work that focuses on functionality without sacrificing overall beauty.
Tomihiro Kono started his career as a classically trained Japanese hair stylist. His passion soon lead him to begin exploring more creative hair and head designs. Since 2013, when Tomi moved to New York, he has regularly shot for the likes of various editions of Vogue, Interview, W, and V.
We also did a little Q&A with Tomi. Scroll down to learn more about him.
There are many different types of head art that you do. Could you tell me about these?
For me, it’s interesting to make different types rather than making a similar kind of design over and over again. I try not to categorize what I make. I just randomly get inspired from different things, and my interests changes from time to time. I learned traditional Japanese Geisha hair dressing before moving to London. I enjoy a variety of styles related to hair.
How do you merge being a hairstylist with being a head prop artist? What skills transfer over?
In the beginning of my career, I started making head props to broaden hair & head expressions as a hair stylist. To fully satisfy my creativity and a passion to pursue my originality was a starting point. Being a hairstylist and a head prop artist means that I have more options of head designs. When people need my creativity for a collaboration, I believe we can bring out something conceptual and strong in us together. Since I like photography more than anything, I always think about creating a strong visual image that inspires people.
Run through your creative process with us. What are the steps in coming up with one of your head props?
There are 2 ways: a systematic process for mathematical designs & a more artistic process. For the mathematical designs, it goes like this: 1) Idea research 2) concept 3) planning 4) material selection 5) making prototypes 6) material selection 7) resize 8) redesign 9) overall improvement (design development) 10) model size fitting 11) completed. The artistic process involves more intuitive and freehand styles.
How did moving from London to New York impact your creative process?
Moving from one city to a new city inspires me a lot. I felt the creative vibe in London most, so I created so many head props. Since moving to New York, I am more into hair and wig making for a variety of nationalities. I have a lot to learn from New York.
When do you know that a head design is “done”? I imagine that it can be hard sometimes to stop adding layers and layers.
I try to look at the head design objectively while making it, trying to avoid the head prop becoming too personal and too much in terms of design. I think carefully about the balance and materials I use and what kind of impression the design will give to the viewer when it’s a collaboration and there is a concept.
Has your Japanese culture influenced your hairstyling and/or head prop art in any way?
Yes. I’ve made a Geisha inspired hair portrait series, which was featured in Eyemazing Magazine in 2010 and Japanese Mage (Samurai hair-style) inspired wigs for a men’s fashion show. I studied classic Japanese hair dressing, and that’s definitely one of my signatures.
What do you hope people take from your head art?
Hopefully what I create is something inspiring for people.
I know your head props have found their place in high fashion/runway already, but looking at them, I personally think that they could find a place on drag queens, performance art, etc. How do you think the emerging head prop movement, which you pioneered, could potentially make its way into the mainstream?
I think it depends on the changing trends. For me, it seemed like head prop movements were in the mainstream when I was in London back in 2008-2011. I felt people were really passionate about head props, and lot of stylists were looking for creative masks and head pieces. Recently the trend worldwide is more natural, so hairstyling is relatively natural-looking. What people want tend to change from time to time, so there’s always a chance for the emerging head prop designers to be under the spotlight.
「拡張する髪」 髪とアタシ
Hair & Head prop artist 河野富広。 美容師からキャリアをスタートさせ、セッションスタイリスト、ヘアアンドヘッドプロップアーティストになった彼の目に、「髪」はどう映っているのだろうか。 河野富広のX軸は髪の探求に伸びていき、 Y軸はキャリアの進化として伸びていく。 この時間、この瞬間にも、彼は髪のイメージを拡張し、ひとつの運動体となっているのだ。 作品たちは、幾何学、非重力、連鎖、非対称。 まるで日本庭園を見ているような、 JAZZを聴いているような、 ひとつひとつに意味を孕みながらも、 明確なメッセージは隠された代物。 髪の既成概念を、蓄積されたロジックで越境してくる。 髪が、拡張されているのだ。 髪を「立体物」として捉え、髪を「髪」と捉えない。 そこにヘッドプロップというブルーオーシャンが 見えた気がした。
美容文藝誌 髪とアタシ 編集長 ミネシンゴ
Shaping New Head Design
The 1st Head prop book by Artist Tomihiro Kono
of his design archives including unseen works
Head Prop by Tomihiro Kono is a documentation of distinctive head prop work produced by Hair and Head Prop Artist from 2013-2016. This book gives a clear indication of the insight and path Tomihiro has followed in his innovative journey for new head designs through his uncompromising approach to his work. Having developed a highly successful international career as a session hair stylist Tomihiro Kono ventures into new territory, not only attempting to produce visually striking head designs, but designs that focus on functionality in the beauty of form. Book will be available at konomad editions. On April 7 from 6 to 8pm, will be held the book launch opening at Canal Street Market, NY.
ヘアスタイリストとして世界で活躍する河野富広氏の作品集「HEAD PROP studies 2013-2016」の刊行に合わせた展覧会『THE STUDY OF NEW HEAD DESIGN』が８月27日(日)まで、渋谷区恵比寿南のアートブックショップPOSTと渋谷区東のギャラリー(PLACE) by methodで開催されています。
ヘア表現の延長線上に《ヘッドプロップ(ヘッドピース)》という新しいジャンルを確立し、頭のデザイン表現の可能性を試すべく独自の道を切り開いてきた河野氏は1980年の愛媛県生まれ。美容師として約10年間、日本でヘアカットの技術を磨く傍ら、結髪(けっぱつ)の手ほどきも受け、2007年に渡英。セッションヘアスタイリストとして、海外のファッション誌やアート誌での仕事をしながら、ヘッドプロップアーティストとしても注目を浴び、さまざまなアーティストとコラボレーションを行ってきました。
10年には、ロンドンファッションウイークで、自身プロデュースによる初めてのhead prop collectionのパフォーマンスショーを披露し、「Dazed ＆ Confused」や「Another」など多くのメディアが注目。11年には、〝NEWS WEEK JAPAN 世界が尊敬する日本人25人〟の１人に選ばれました。
13年からは米ニューヨークに拠点を移し、14〜16年までの間、JUNYA WATANABE Comme des garçonによるショーのヘッドデザインなどを手掛けました。
河野氏によると、当初は、羽毛や釘、レースやレザー、クリスタルなど頭に合いそうな素材からインスピレーションを受けてヘッドプロップを制作。しかし、「これではどこかで見たことのあるものしか生まれない」と、それまでの素材ありきの手法を捨て、まずは新しい形そのものを探る手法に変えることで自身のスタイルを一新しようと試みました。そうすることで、頭の形にとらわれない斬新な形のデザインを作ることが可能になりました。 会場では、主にファッションショーのランウェイというステージに現れた実物のヘッドプロップをインスタレーションとして展示。ビニールやスポンジなど、さまざまな素材で作られたヘッドプロップは、一見 頭の装着物に見えないものもあり、見るものに新しいデザインとは何かを問いかけているようです。
もちろん、河野氏が力を注いで制作した作品集「HEAD PROP studies 2013-2016」を見れば、彼の作り出す世界の全体像を知ることができます。
頭という制約の中でも自由な発想でヘッドプロップのプロタイプを制作。その後、軽さなどの機能性を重視した素材選びや衣装とのペアリングなど考えながら作品を作り上げていくという河野氏。会場へ足を運び、世界が認める斬新な〝Kono World〟を体感して下さい。
THE STUDY OF NEW HEAD DESIGN
会場：POST(渋谷区恵比寿南２－10－３)
会期：2017年8月27日(日)まで
営業時間：12:00～20:00
Ten Meets: Tomihiro Kono, Hair & Headpiece Artist
Where did you grow up? Do you have memories of fashion from your childhood?
I grew up in a small village by the sea and the mountain in Uwajima in Ehime, south of Japan. I was a country boy playing around in beautiful nature! When I was a junior high school student, I started to arrange my hair in styles inspired by rock musicians, so that’s when I started to have fashion in my life.
You started off in hair, but have since moved towards creating headpieces, which you are now most known for. What prompted the change?
I love both hair styling and creating head props, it just depends on the job. For the moment I mainly create head props for shows, I started making them when I moved to London in 2007. At that time fashion needing something strong and unique and different and think it’s good for me to continue with hair and head props, helps to keep up my creativity.
On Fashioning Architectural Beauty for Junya Watanabe
“Watanabe’s fascination with advanced math and geometry is no new thing,” wrote Sarah Mower following Junya Watanabe’s A/W16 collection this season. “A glance at his history proves just how frequently he’s devoted himself to cutting, crimping, and stamping out fabric.” And she’s right; the exacting elegance of Watanabe’s pattern cutting and his profoundly technical understanding of construction is what makes the Japanese designer just so magnetic – more so, his ability to transform mathematics into something visually graceful (remember the undulating honeycomb of A/W15 or the fetishistic Orphism the season previous). This time, he went for neoprene and polyurethane origami layered over closely-fitting trousers and bodies in a collection that was simultaneously elegant and avant-garde, with fabrics cut so precise that they looked as though he’d traced them around a Helix maths set – and the headpieces and makeup crafted by Tomihiro Kono and Hiromi Ueda respectively only served to mirror his preoccupation with structure.
“I’ve been making graphical headpieces for Watanabe over the past three seasons,” Kono said, “and so, in that way, the ones I made for A/W16 were connected to previous collections – but every time, I try to design by different principles like flatness, kinetics, or origami. Watanabe is so strong at using geometrical patterns on clothes and I interpreted that in the headpieces by seeing them as objects, sculptures; they were non-human.” Then, there were the rubber swimming caps which encased some model’s scalps: “Because rubber is industrial, alien-like: it was stretchy enough to cover ears to hide and disguise humanity.” The result of each approach, of the orbic and angular alike, was a precise accentuation of the model's facial features, somewhat severely enhanced by Ueda’s hand.
“I’ve been dreaming of working with Watanabe since I started doing makeup,” explained Ueda, who enacted Watanabe’s “creative idea of construction makeup.” Inspired by the architectural cosmetics of the forties, she erased brows and replaced them with single arched lines in a move that was simultaneously evocative of Marlene Dietrich and drag, while a sculptural use of highlighters was a throwback to the dramatic lighting of Richard Avedon’s monochrome photography. “The clothing this season was quite couture in its construction, so I think [Watanabe] wanted to have that idea of luxury in the makeup as well: that Rita Hayward, Joan Crawford look.” Paired with the “hyper construction dress” of the pieces themselves, Watanabe’s runway was a graceful unison of the super-modern and iconic vintage: a throwback to golden age glamour rendered in black geometry.
See Striking Photos of Junya Watanabe’s Sculptural Fall Collection
Though Junya Watanabe is no stranger to larger-than-life designs — see this spring’s graphic cubist collection, or last year’s “patchwork madness” show — his fall collection saw a shift toward architectural, origamilike constructions. At times, the headpieces for the show, created by frequent Comme des Garçons collaborator Tomi Kono, were helmetlike; other times, they were crafted like fragile bird feathers. The garments, on the other hand, resembled paper dolls, featuring honeycomb cutouts and spiky hexagonal shapes.
Photography: Erik Madigan Heck
Head Prop: Tomihiro Kono
Pressure Space: Junya Watanabe’s astro-girls
All clothes and accessories by Junya Watanabe SS15
Photography Nicolas Coulomb, styling Agata Belcen,
Hair & Head Prop Tomi Kono, Make-up Isamaya Ffrench
Finding the off-kilter in uniformity, make-up artist Isamaya Ffrench was the mastermind behind the smudged lips and sealed-off mouths at Junya Watanabe’s space-age SS15 show. Collaborating with hair stylist Tomihiro Kono, the duo’s mechanical brides wore vac-packed PVC with dangerous pop-art precision. Taking their show concept one step further for this Dazed shoot, the malfunctioning mannequins have gone into overdrive – a chance, for Kono, to develop the 2D symbolism of his hair-helmets. Part Oskar Schlemmer, part pure imagination, the arresting design was the result of a trial-and-error process. “Junya doesn’t tell me about the concept or clothes, so it’s not so easy to reach the final design,” he says. “He sends us clues,” adds Ffrench. “Like solving riddles.” What was the inspiration behind the beauty looks for Junya Watanabe SS15? Isamaya Ffrench: I was inspired by the precision of industrially produced objects and their synthetic material make-up. The idea that something can appear to be mass-produced, but contain technical glitches that can subtly affect the overall appearance of the object, thus giving it a kind of personality. How does the collaborative process work with Watanabe ? Are make-up and hair the very final things to be considered, or do they co-evolve with the collection?
What is collaborating with Junya Watanabe like? It’s always very challenging working with Junya – and I mean that in a positive way, because it makes me expand in so many different directions. I always have to come up with a design that suits the clothes, but the amazing thing – and I think the most important part about the way that we work together – is that Junya never shows me the collection. It’s more about a feeling between us, an energy, working in silence. It’s always very special.
What inspired the headpieces? Were there any particular references? Under the theme of 'Semiotics and Structurism,' I came up with six or seven design propositions for Junya, and made paper prototypes of them. When he chose the one he liked, I then had to think of what material to use. The design that he chose was very big, so I had to think of a light material for stability and, of course, the model. That’s when I came up with the idea of sponge…but it was my first time using sponge as a head-piece material. The design itself was originally inspired by a 3D haircut diagram, the technical drawings that stylists use for cutting hair, that I learned how to draw when I was working in a hair salon.
How did you construct them? I started to calculate the circumference using the diameter…it was like studying maths back at school. I made a column for the base of the head-pieces and then added some hair-wings in a radial pattern.
meet junya watanabe’s go-to hair guru, tomihiro kono
After setting up shop first in Tokyo, then London, and now New York, it might seem like hair stylist and headpiece designer Tomihiro Kono has seen it all. But after nearly 20 years creating some of the most one-of-a-kind looks in fashion, Tomi is just as curious and adventurous as he was when he spent his childhood afternoons searching for buried treasure hidden in the Japanese mountains. Tomi transitions effortlessly from fashioning romantic Victorian headpieces straight outta Miss Havisham's closet to creating the Party Monster-meets-Metropolis retro-futuristic caps that stole the show at Junya Watanabe fall/winter 15. We catch up with the designer about working with Junya, ditching orange groves for hair salons, and why his parents wouldn't let him play Nintendo.
Tell us about yourself. Where did you grow up and what were you interested in as a teenager?
I grew up in a small village in southern Ehime, Japan surrounded by mountains and the sea, so most of my time was spent outside with nature, family and friends. My parents encouraged me to spend time outside and refused to buy me a Nintendo game machine, which was popular with my peers. Instead, they bought me a baseball glove. I was first inspired by the film The Goonies; I pretended be an explorer and looked for treasures in the isolated islands surrounding my home town, built base camps and made treasure maps. So many adventures and so much fun! Then I became a teenager and loved rock and punk music and, of course, fashion. I would sit and read UK culture and fashion magazines for hours.
How did you get started working in hair?
Quite funnily, really, as I was supposed to be going to the agricultural university to follow in my parents' footsteps. They were orange farmers, but I didn't qualify and decided to go in a different direction: HAIR. At first I was more into working with animals - I love animals - but my mother advised that I should work with people and cut their hair because I would be thanked by them.
You worked in Tokyo for ten years before moving to London in 2007. Has either city influenced the direction of your work, and if so, how?
When living in Tokyo, I was fascinated by European cultures, design, fashion, everything. Whilst working in the hair salon, I was into making cool images and studied photography by assisting photographers. I wasn't able to sleep much when I was in Tokyo because I was so busy working in a salon during the day, training at night, and then hunting hair-cut models in Harajuku on my day off. My aim was to concentrate and master all the basic haircut techniques before I left Tokyo. Before I left Japan for London, I visited Kanasugi, a traditional Japanese beauty salon, to learn some Geisha hair techniques - called Takashimada - to help perfect hair technique from my culture. When I got to London, I found there was so much inspiration around. So many people were creative and original and had their own lifestyle and fashion. So unique.
When and how did you make the transition from hair styling to creating hair and headpieces?
In London, there was so much creativity and it felt avant-garde: mixing old with new, creating intelligent, edgy styles together. I felt I needed my own originality as a hair stylist, my own voice, my own direction, so I started making head props. I always loved visiting antique markets in London, they can be so inspirational. I wanted to learn more and understand how things were made by hand - all the details of embroidery in Victorian period clothes and laces - to help with my head pieces and props.
You've worked with Junya Watanabe on several collections, including menswear. What's your collaborative process like?
It's always very challenging to make something new between us, and I mean this in a good way. Mr. Junya Watanabe doesn't show me the collections or what his vision is for the coming collection. So every time, I have to come up with ideas to show Mr. Junya Watanabe when we meet. It's a very organic process, working in silence with Mr. Junya Watanabe. It's more of a feeling, an understanding between us. When finalizing the looks, we discuss several times in meetings before we head to Paris for the show. I always can't wait to see how my head props and his clothes come together.
What's the story behind your pieces for Mr. Watanabe's fall/winter 15?
Under the theme 'Semiotics and Structuralism,' I came up with six or seven designs and proposed them to Mr. Junya Watanabe, and he chose one design he liked. As I had made all prototypes in paper for Junya to see, I then had to think about what material to now use! The design Mr. Junya Watanabe chose was very big, so I had to think light material for stability and, of course, for the model. Then I came up with the idea of SPONGE! This was my first time using sponge as a head piece material. The design is originally inspired by 3D hair-cut diagrams - technical drawings that hair stylists use for cutting hair. I learned how to draw the diagrams when I was working in hair salons.
You've mentioned in the past that you enjoy working with vintage materials. What are some of the most interesting materials you've found or sourced?
Whilst in London, I was very into vintage and natural material. Then I moved to NYC and started playing with materials that are more chemical and industrial. I like to adapt to my surroundings, so my style depends on where I'm living and what I see in my daily life.
Technology Attack. Junya Watanabe AW15
Junya Watanabe is considered as one of the most modernistic designer of our times. This season, he prepared another break-out which seems to be out of this world – thanks to high technology and Tomihiro Kono’s help, the AW15 season for the designer means the importance of maths. Isamaya Ffrench doodled mathematical equations onto the arms, legs and necks of the models while Tomihiro Kono created angular foam sculptures to sit on the top of their heads. The two Japanese geniuses worked together to create fashion in new dimension. The capes made out of hexagonal, laser & hand – cut textiles were fixed and improved for more than three months – it took a lot of time calculating its durability. If talking of the alien head-pieces, Kono approves – that was a hard thing to do. “I started to calculate the circumference using the diameter…it was like studying maths back at school. I made a column for the base of the head-pieces and then added some hair-wings in a radial pattern.” Definitely, science and fashion get closer and closer together each season…
Tomihiro Kono on Mathematical Headpieces at Junya Watanabe
With undulating fabrics and concertina-like creations, Junya Watanabe's A/W15 collection was a self-proclaimed effort at "exploring dimensionality through clothing." Isamaya Ffrench scrawled mathematical equations onto the arms, legs and necks of the models while Tomihiro Kono created angular foam sculptures to sit atop their heads – it all appeared a wonderfully buoyant inquiry into the technical possibilities within fashion. We spoke to Tomihiro about his inspirations, how he managed to turn his ideas into reality for the show, and what the collaborative process is like with Watanabe.
What is collaborating with Junya Watanabe like? It’s always very challenging working with Junya – and I mean that in a positive way, because it makes me expand in so many different directions. I always have to come up with a design that suits the clothes, but the amazing thing – and I think the most important part about the way that we work together – is that Junya never shows me the collection. It’s more about a feeling between us, an energy, working in silence. It’s always very special.
What inspired the headpieces? Were there any particular references? Under the theme of 'Semiotics and Structurism,' I came up with six or seven design propositions for Junya, and made paper prototypes of them. When he chose the one he liked, I then had to think of what material to use. The design that he chose was very big, so I had to think of a light material for stability and, of course, the model. That’s when I came up with the idea of sponge…but it was my first time using sponge as a head-piece material. The design itself was originally inspired by a 3D haircut diagram, the technical drawings that stylists use for cutting hair, that I learned how to draw when I was working in a hair salon.
How did you construct them? I started to calculate the circumference using the diameter…it was like studying maths back at school. I made a column for the base of the head-pieces and then added some hair-wings in a radial pattern.
Pushing the physical dimensions of clothes with 3D incarnations of Victor Vasarely paintings, algebraic scrawls and bulbous headpieces
Junya Watanabe SS15
Photography: Virginia Arcaro
From McQueen's fetishistic face masks to mouths sealed with sellotape at Junya Watanabe, we chart the city's top five most iconic beauty looks
We didn't think much could top New York's multiple brow piercings and mini bun mohawks, but Paris Fashion Week threw up some of this season's most boundary-pushing beauty looks. We take a look at the artists who constructed masks, sealed mouths and painted bodies in Paris's five most directional SS15 transformations.
Junya Watanabe SS15
Photography: Susie Bubble
Hats Off to Junya Watanabe
Junya Watanabe SS15
Photography: Virginia Arcaro
Junya Watanabe SS15
Initial reaction:
This is the show we've been waiting for. In what seems to be this season's month-long obsession with minimalism and a lack of the conceptual, Junya Watanabe's latest collection brought with it a welcomed sense of complexity, and conquered new ground. We've come to expect nothing less from the elusive Japanese mastermind, but even for his standards, it felt revolutionary.
The look:
A Watanabe show is always difficult to dissect, but that has become part of the charm of experiencing his work. This season his models emerged wearing space age fishbowl headpieces created by Tomi Kono, complete with PVC silhouettes of hair – those in red reminiscent of the signature ‘do of Japanese artist Yayoi Kusama, renowned for her obsessive repeated forms and radical art 'happenings' in New York during the 60s. As for the clothes themselves, prints that made their way across garments in cut out coloured plastic felt like the hypnotic futurist paintings of Giacomo Balla, come to life.
Pressure drop:
Lips were painted blood red, with mouths then covered with sheer tape – the show’s make up was the work of Dazed contributor Isamaya Ffrench, known for her hyperreal creations. It wasn't only the mouth that was restrained – several headpieces covered an eye entirely, the sense of the off key enhanced by the way bright shadow was daubed across only one eyelid. Set against the disjointed soundtrack, these elements of the show gave the feeling of a building pressure. Through a collection that presented an almost retro vision of the future, it felt as if it was ideas of the ‘modern’ woman Watanabe was pushing to breaking point.
Junya Watanabe
When Junya Watanabe has anything to say about his collections, it is often gnomic to the point of obfuscatory, but today's declaration, "Japanese tradition," was as succinctly accurate as you could wish. After what feels like years absorbed by the nuances of European workwear, Watanabe came home this season with a brilliant collection built on boro, the traditional Japanese patchwork that began centuries ago as peasant clothing. It was still the humble working man that the designer was celebrating, but boro has such a dense, furiously worked quality that each garment seemed to be telling a big story, rather like Raf Simons' mobile mood boards the other night.
Patchwork has served Watanabe well in the past. Last season's jeans were instant fashion classics. But boro has a particular beauty that elevated this collection. As a whole suit—in the traditional indigo, but also in grayish and cream tones—it was the apotheosis of the hobo chic the designer has made a signature of.
But boro wasn't the only Japanese tradition he was honoring. Ancient motifs like camellias and waves were integrated into patches of pinstripes, check, and denim, or woven into spectacular T-shirts. A soundtrack of that salt-of-the-earth traditional entertainment, sumo wrestling, accompanied the show. The models sported lacquered hairpieces by Tomihiro Kono, based on sumo styles. After a few minutes of wrestlers slapping and grunting, jazz kicked in, a reminder of Japan's extraordinary ability to absorb cultural imports and make them its own. Then there was a burst of the stringed koto, the country's national instrument. Accessories were workers' flip-flops and a simple square of printed indigo fabric knotted into a sack, carried in the hand or slung across the chest. Its rejection of excess means that Watanabe may have unwittingly come up with Spring's It-est man bag.
EYEMAZING BOOK
Sayaka Maruyama contributed to as one of the artists.
What is the influence of nature on fashion?
That is the intringuing perspective adopted by Gemma Williams, curator and designer of the Second Nature exhibition in the Pitzhanger Manor in Ealing.
Flowers, birds, insects, trees, skulls and much more have invaded architect Sir John Soane’s country retreat. Dresses are made with feathers and necklaces with dandelions, while black butterflies almost climb a wall and worms are worn as broches.
The show explores the elaborated relationship between nature and fashion, trying to understand its impact on inspiration, patterns, material and shapes.
Presenting a sparkling review of this underlying link, the exhibition features the work of more than 40 international artists and designers, such as Cong Tri, Giles Deason, Lara Jensen and Roksanda Ilincic.
Two gigantic greenhouses welcome some impressive pieces of clothing in the middle room making you feel like you are entering a white garden of fashion. Inspired by the collective passion of Sir John Soane, the small room is designed as a cabinet of curiosities, gathering all the surprising pieces of this show.
Second Nature has adopted a captivating angle to talk fashion. A must-see.
５月８日（水）〜5月20日（月）までラフォーレ原宿1Fコンテナスペース(1F階段近く)にて、期間限定イベントとしてNEON O’CLOCK WORKS がプロデュースする不思議書斎空間『NEON O’CLOCK LIBRARY』がオープン。
会場には、NEON O’CLOCK WORKSの新作 作品集・オブジェをはじめ、ボックスコラージュ、アーティストの一点ものZINEやレア本などを陳列しつつ、『ART BIRD BOOKS』の店主、加藤正樹とonly free paper元代表、石崎孝多などブック界のスペシャリストたちのセレクトによる本やポスター、タブロイド紙などが販売される。
NEON O’CLOCK WORKSは、河野富広と丸山サヤカによるクリエイティブ・ユニット。ヴィジュアルメイキングを中心とした作品は、写真、映像、インスタレーション、本 (作品集)などと幅広い。2007年よりロンドンを拠点とし、これまでの作品は、インターナショナル・アートマガジンの表紙を飾るなどし徐々に注目を集め、アートとファッションの境界に立ちながら表現の可能性を広げる。展示は東京・ロンドン・ドバイで行われ、今後もインターナショナルに発表の場を広げていく。
最近では、JAPAN AVANT GARDE シリーズが、ロンドンのクリスティーズのコンテンポラリーアートフェアで展示販売された。海外のミュージシャンやパフォーマーとのコラボレーションも頻繁におこなう。個人的にも河野はHAIR & HEAD PROP ARTIST ‘TOMIHIRO KONO’として、丸山は写真家、フィルムメーカーとして活動する。
http://www.neonoclockworks.net
http://www.tomihirokono.com
加藤正樹 / art bird books 店主
現在、中目黒のカフェ＆バーMalmo内で、コラボで写真集なども行う。中目黒駅前の店舗は山手通拡張立退きのため店舗はクローズ、現在は代官山蔦屋書店アートフロアのブック・コンシェルジュとしても活動している。
石崎孝多 / Kota Ishizaki
1983年生まれ。フリーペーパー専門店「Only Free Paper」元代表。Amazonにない本を紹介する「nomazon」を始め、「五感書店」「朝まで本屋さん!」など本の企画、その他、執筆、選書、店舗のディレクションなどを行っている。
『NEON O’CLOCK LIBRARY』
会場：ラフォーレ原宿1階
期間：５月８日（水）〜5月20日（月）
New Beauty film 'Mnemosyne'
My two Japanese friends in London hair & head prop artist Tomihiro Kono and filmmaker and photographer Sayaka Maruyama, have just completed their latest film, MNEMOSYNE.
Tomi wrote me an email and had this to say about the film, "I'm so happy to update you that I'm going to launch this new beauty film 'Mnemosyne' which we have been working on for the last 6 months. Showing respect to the beauty of nature, I used flowers as a main motif for this new head prop series. This film is a piece of fantasy and romanticism reflected in the light and shadows. The films we make are a way of expressing our vision which we hope to share with people. Compared to the dark films we made last year, this year we are more into romanticism, escapism, and some kind of mystical feeling (although our eternal theme is the sense of beauty)."
Tomi will have a head prop exhibition at Sister Tokyo in Tokyo on DEC 5-11TH 2011.
This is the second collaborative film with Wendy Bevan and Masumi Tipsy Saito. Wendy Bevan expresses a woman’s outer beauty and emotions while Masumi Tipsy Saito performs as an inner soul. The director Sayaka Maruyama thinks this is a very feminine piece as it conveys complex emotions and the fragility / the firmness of woman which are hidden inside beauty. The color of vivid red and blue connote the invisible emotional flows inside woman… the passion, anger, calmness and nothing. This inspiring location where the sea is nearly eroding the land, and there are strange shaped trees are nearly drown is where Wendy Bevan grew up. Tomi will have a head prop exhibition at Sister Tokyo in Tokyo on DEC 5-11TH 2011.
THE JAPANESE EDGE
「世界が尊敬する日本人25人」
HEAD PROP COLLECTIONS BY TOMIHIRO KONO 2010 17 SEPTEMBER 2010 DURING LONDON FASHION WEEK DIRECTION / PRESENTATION BY NEON O'CLOCK WORKS
DIRECTION / PRESENTATION BY NEON O'CLOCK WORKS
Many thanks to all who helped us out!
Deja Vu – Performance directed by Neon O’clock Works from sayaka maruyama on Vimeo.
QUOTATION>
NEON O'CLOCK WORKS
Collaborative video art 'Mnemosyne'
I really dislike Tumblr. To me, it’s a giant, pulsating mood board devoid of context; the who, what, why and where. What are the stories behind all of those pictures? Without that it’s just a bunch of meaningless scans (more or less) tumbled through eternity.
So…let me talk through my foot when I say that the last thing I want to do is write a bunch of hoo-haw words here when really all I want you to do is look at the damn amazing pictures.
But context? Here is some &%$#! context: Tomihiro Kono is a Dadasim-inspired hair stylist and hat/mask artist. Now, I’m going to shush so you can whet your imagination with these pictures.
私は「Tumblr」を好まない。何故かというと、「イメージ・ボード」を作るような道具だけで止まって、アップする画像の「誰が、何処で、何を、どうして」という背景のコンテクストはほぼ無いからね。
最初に矛盾なことを言ってしまって、先に「すみません」とあやまります。だって、この画像は美しすぎて、沢山の文書でごちゃごちゃにさせるより、まずは画像だけに集中してほしいの。でも、はい、わかった・・コンテクストがないとわからないよね。じゃ、これならどう？Tomihiro Konoという方はダダイズムにインスパイヤーされたヘアスタイリスト及びヘッドピース・マスクの制作者。彼のすばらしい作品をご覧下さい：
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Tomi’s website is just bursting at the seams with examples of his work. Really, it just doesn’t end. There.is.so.much. And it’s all quite amazing, visually..I got somewhat exhausted just going through it all and trying to choose my favorites. I know it’s quite rude to equate an artist with a machine, but his output is outta control. And he has only been making hats and masks since 2009?? How is that possible?!? He is a machine, I am sure of it.
TomiさんのHPには、本当に沢山の作品がずらーーーーーーり。いや、ほーんとうに。多いってば。全て素晴らしすぎて、チョイスするのに頭がフラフラした。「アーティスト=機械」と言っちゃ、ちょっと「変だよ」ってわかっているのですが、Tomiさんのアウトプットというか、出力というか、効率が高すぎるぞ。だって、２００９年にこういうアートピース制作に専念し始めて、わずかの間なのに、こんなに沢山の作品を打ち出してなんて。機械でないと、何なんだろう？！笑
IN UTERO ＠ CANDY
HEAD PROP INSTALLATION BY TOMIHIRO KONO
今回は渋谷気鋭のSHOP CANDYと、世界的ヘアー＆プロップアーティストTomihiro Konoがコラボレーションでインスタレーションを開催。CANDY独自の感覚によるコーディネートと、Tomihiro Konoのヘアープロップは一つの新しいクリエーションとして化学反応を起こしている。ファッション→カルチャー、カルチャー→アートこの二つのベクトルが重なり合ったインスタレーションを体感していただきたい。
■今回、Tomihiro Konoさんのインスタレーションを開催された経緯は？
ロンドンで活動している知り合いのパフォーマンスアーティスト/THEO ADAMSさんのパフォーマンス講演でヘアアートを見たのがきっかけです。以前から、インターネットなどで拝見させていただいて、面白くて素晴らしいクリエイションだなと思い、どうにかこれを業界だけでなく、一般のお客様に伝え何かを感じとっていただきたいと思いました。ロンドンベースで活動している方と共通の知り合いが多く、そういった中で自然な流れで紹介していただき、日本とロンドンという遠く離れた土地ですが連絡を取り合い今回の展示まで至ったわけです。お互い今回が初対面なのですが、うちに秘めた感覚は一緒で何か通じるものがあると思いました。CANDYとしても、ヘアプロップドアーティストというTomihiro Konoさんの様な新しいジャンルの創造性は、CANDYにも通じると考えています。この展示を通し、一人でも多くの方に新しいもの、アート、クリエイションを何らかの形で感じとっていただきたいと考えています。
■2011年CANDYとしての展望は？
CANDYはUndergroundなイメージが強く、それは、一般の方から離れたものだと周りから思われがちだが、それは周りが思っているだけで、CANDYはUndergroundを意識して提案している訳ではないです。今は取り扱っている服や自分たちが行っているクリエイションを通して、よりCANDYが多くの人々とのコミュニケーションツールになったらと考えています。新たに移転したこの通りはフォーエバー21などができファッションストリートとなりうる、この通りの一つにＦＡＫＥという新しいスポットとしてFAST FASHIONとはまた違った視点、提案力で積極的にお客様との人間関係、コミュニケーションを、服やエキシビジョンを通しておこなっていき、盛り上げていきたいとおもっている。
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IN UTERO ＠CANDY
Adress : 東京都渋谷区宇田川町 18-4 FAKE 1F
Tel : 03-5456-9891
Web : http://www.candy-nippon.com/
OPEN : 12:00 / CLOSE : 22:00
Tomihiro Kono Interview
今回は彼のヘアアンドヘッドプロップアーティストになった背景から今現在彼自身がなにを行っているのかインタビューと作品を交えお伝えしていく。彼は今回CANDYでの「IN UTERO」というインスタレーションの為に一時ロンドンから帰国している。そんな彼に彼のクリエイションのオリジナリティーの背景、源に対して純粋な疑問と主にお話をお聞きした。
■ヘアアンドヘッドプロップアーティストとして
ある日、知人の美容院がある大阪へと向かうことを決意した河野富広。そこで美容の姿勢、美容師の厳しさなどを日々痛感する中、様々な大人と出会い、彼らに連れて行ってもらったバーやクラブ、音楽ライブ、そしてそれと連動するライフスタイルへのこだわり、ファッションやアートに触れたことで今の自分があると河野さんは語る。
その後、日本のファッション紙、ヘア雑誌や業界紙に目を通すようになり、ファッション、ビューティーの中心は東京だと直感的に感じ、ヘアカットの技術向上、追求のため東京へと活動場所を移す。
ヘアアンドヘッドプロップアーティストとして活動しようと思い立ったきっかけは自分のヘアスタイリストとしてのオリジナリティーを追求したいという純粋な思いから始まった。目にした瞬間にこれはあの人の作品だとすぐにわかるような作家性のあるヘアスタイリストに昔から憧れていたという。そしてヘアスタイリストとしての「オリジナリティー」が何かを探し求めるうちに、そのスタイルは髪の毛を超え、多様な素材を用いるようになり、その後それが自分にしかできないスタイルへと変貌を遂げる。
ヘアスタイリストの役割として、頭全体をトータルでダイレクションすることでより強い作品がつくれるということがロンドンではとても重宝された。ヘアスタイリストとして活動する際はサロンワークの延長として、当然ながらクライアントあっての仕事であるためスタイリストや写真家と話し合いながらベストなものを提供する。そして、ヘアアンドヘッドプロップというジャンルをつくることで自分からコンセプトを提案、発信を試みる。この未開拓のポジションを見つけたことでデザインすることの自由さ、楽しさを本当の意味で知ることになる。
ヘアプロップアーティストとは今まで世界に存在しなかった新しいジャンルである。自身の世界観を発表する場がないのなら自分で作ろうと、「NEON O’CLOCK]という活動を始めた。ヘアメイクに関しては第三者に仕事の依頼をされることが必要である。クライアントありきの世界で受動的な姿勢を保ち続けるのではなく、ヘアアンドプロップという自らが主体となれるジャンルを新たに作ることは、「社会」という漠然としたものに対してのアプローチの手段となった。それに加えて、髪の毛だけだは表現できないフォルムや繊細な動き。ヘア単体では表現できないものを補うという目的もそこにはあったそうだ。河野さんがデザインすることに楽しさを見いだし、不可能なものを可能にできると感じた瞬間であった。
■発表するということ
ヘアスタイリングにプロップを加えることで自らが主体になる。そしてその都度コンセプトにあわせて作品を「発表」をする。この行為自体に大きな意味があると河野さんは語る。
「発表する場所を作るということはすごく重要なこと。デザイナー、ヘアスタイリスト、様々なクリエイターとして活動している人たちに、こういうジャンルもあるんだということを知ってほしい。１０代だった頃に、日本のカルチャー雑誌が自分に影響ときっかけを与えてくれたように」
仮面のようなヘッドピース、人毛かと錯覚するようなリアリティー溢れるウィッグ、羽で作った毛、冠、レースなど様々な素材を駆使して、ときには即興でヘアスタイリングを手がけるのがヘアプロップアーティストである。ハットデザイナーとは異なり、即興で撮影中その雰囲気に合わせて作り込んでいくのが主な手法だ。それゆえにあらかじめ作ったものを壊していく過程の中で生まれる儚いものであったり、シンプルがベストであればなにもしなかったり。写真の中に納められた「瞬間」をトータルで、そのバランスを大切にしながらスタイリングしている。
■ロンドンでの挑戦
「NEON O’CLOCK WORKS」 として日本で個展やアート本の出版などを続けて行くうちに海外を意識するようになったという。そして２００７年。念願だったロンドンへと活動拠点を移す。ロンドンで生まれた文化や音楽、クラシックで伝統を重んじるその反面、アバンギャルドで斬新なものが共存しているロンドンは新しいことにチャレンジするのに一番適した場所だと感じる。
ヘアスタイリストとして活動していくなかで、写真家やスタイリスト，メイクが一体となって全力で妥協のない取り組みをする。その姿勢から多くを学んだという。使いたいものがないときは自分たちでヘアドレスの制作をするスタイリストと触れ合うことで、これは自分がやるべきなのではないかと真剣に感じた。
ヘアアンドヘッドプロップアーティストとして活動することがヘアスタイリングの奥深さも追求することに繋がると感じた河野さんであるが、当然のことながらすぐに仕事があったわけではない。ヘアプロップという未開拓の分野の中でどのように実績を上げていったのか。
そんな彼がヘアプロップアーティストとして本格的に注目を浴びるようになったのがアンティークのディーラー向けのマーケットでの出来事である。ヘッドピースの展示をしたところ、その新しい試みに興味をもったファッション誌、DAZED AND CONFUSEDが特集を組んでくれる事になり、その活動インタビューを受けたそうだ。渡英してから２年後の２００９年のことである。
さらに驚く事に、そのマーケットには日本に住んでいたときから大ファンだったというアイスランドのシガーロスも偶然立ち寄り、 RICE BOY SLEEP という別バンドのためのアルバムのラウンチ用のインディアンをモチーフにしたヘッドピースの制作以来を受けたそうだ。
現在では雑誌VOGUE ITALIA,VOGUE RUSSIAN , DAZED AND CONFUSED, I-D、W,EXIT 等、その活躍はアート、ファッション，MUSIC,PERFORMANCE, 映画、演劇など多岐に渡る。
■コンセプトをもとに作品制作をする
現在、河野さんは「NEON O’CLOCK WORKS」という名義で渋谷にあるコアなファンを抱えるセレクトショップ「CANDY]にて、「IN UTERO」と名付けられたインスタレーションを開催している。 NEON O’CLOCKとは２００５年に artist の丸山サヤカさんと結成したユニットだ。コンセプチャルなものを発表する祭には常にはパートナーの丸山さんと話し合いを重ねながら制作を進めるそうだ。
「僕はストリートから生まれるものやその背景、それが生まれた時代性にとても興味があります。その裏側にある思想や時代の空気、それをファッションという媒体を通して伝えて行きたいんです。」
「CANDYに関しては非常に東京を意識したおもしろいお店だと思いました。何よりもカルチャーを大事にしていて、ショップという集合体をひとつの空間と考えカルチャーを発信していこうという姿勢が感じられる。コンセプトを大事にするという点においてロンドンと同じですね」
CANDYのスタッフ方と話すことで気づいた事があると彼は言う。それは渋谷センター街がその立地的要素もあり、膨大なエネルギーに満ちあふれているということだ。加えて、すべてが常々進化を遂げる街、かつ特定のジャンルではなく多種多様な人が行き交う街。今までに見たこともない新しい「何か」が生まれそうな予感を感じた。
CANDYでインスタレーションを決意した目的は奇抜な作品を見てもらい、それに対する反応を見たいという一種の実験的、かつ挑戦的な試みである。足を運んでくれた人がそこにあるカルチャーに対して何を感じるか。河野富広は何よりも作品が完成するまでのプロセスを大事にするアーティストだ。なぜそれを発表したのかという背景、時代、カルチャーを正しく、明確に伝えなければならないという使命感を常に持ち続けている。
■「IN UTERO」とは
「この IN UTERO シリーズはロンドンのSOHOにある machine A というブティックのためにインスタレーション形式で発表したものです。フェティシュで攻撃的パンクなものというテーマがもとからありましたがただアイテムをつくり展示という形をとるよりはなにかコンセプトを打ち出しポツプアートのような象徴的なものを表現したかった。」
アイテムは釘で顔全体覆われたマスクや鋲などでつくられたヘッドピースと攻撃的なアイテムなばかりだが、その反面にあるナイーブで繊細な内面を表現している。マスクの質感は皮膚がただれたようなリアルで生々しい。
「IN UTERO というのは女性の子宮の中に胎児がやどったときの状態をいいます、そこには血管がはりめぐらされ、その緒は胎児の首にまきつき、あらゆる生き物は生まれる前から拘をされていて、人間としてこの世に生まれてきてもその拘束からは逃れられない。」
死に到達することではじめて拘束から解放されるという皮肉を大きなショーケースの中で表現したコンセプチュアルな作品である。グロテスクで繊細な美、得体のしれない角のはえた半魚人，壊れたガラス、なにか不完全でグロテスク、繊細で壊れそうな儚い美がそこにはある。
■母国を知るという事
「日本にいたときはヨーロッパの空気が漂う「もの」に憧れていましたが、海外で活動をしていくことで日本人であるということ。日本人にできること。これらを意識するようになりました。」
イギリスにはとても長い服飾文化がある。それを踏まえた上で新しいものを作っていこうとする姿勢は、そんな空気、クリエイションに対する本物の姿勢に向けられた羨望からくるものだ。当然のことながら東京とロンドンには根本的に文化や美意識の違いがあるが、そんな河野さん自身も、母国である「日本」に対してどこまで深く理解をしているのかを疑問に思った事があるそうだ。
「日本にいた頃、日本髪を勉強するために日本髪の先生に頼み込んで手ほどきを受けました。日本の美を知り、そしてその後ヨーロッパの空気を感じた後で生まれたのがジャパンアバンギャルド という作品です。双方の文化に触れ、感じた状態で表現したらどうなるか。ヨーロッパの世界観を考慮しつつ日本を意識するということ。和洋折衷で起きた化学反応のような現象が当時自分たちには新鮮に思えた。僕たちがビクトリアン時代やマリーアントアネットの世界観にあこがれるように、海外の目線になると芸者のもつミステリアスな部分にロマンスを感じたり。作品を発表したときにアート紙のカバーになったことでその反響が不思議なほど伝わってきた。」
■今後の展望
河野さんはファッション誌だけではなく、ときにはミュージシャンやperformance artist，映画、演劇 、ショップウィンドーのために ヘアヘッドプロップをダイレクションし制作する。又。ヘアスタイルの提案はもちろんだが、そこからもう一歩踏み込んで「女性像」を掘り下げていく。 有名雑誌の廃刊等もあり、海外と比べるとクリエイターの発表の場が少ない日本ではあるが、河野さんのように自主的に、そして誰よりも積極的にクリエイティブな活動を行うアーティストの存在は非常に大きいといえるのではないか。
「日本から発信する日本的な作品や伝統的なものに興味があります。日本で生まれた舞踏や歌舞伎，音楽や文化，ストリートで生まれるファッションだったり、日本の風土があってこその文化にとても興味があります。それらに対して自分が影響を受け、今後なにをクリエイションしていくのかという自分の反応または変化に興味があります。特に自分たちの世代のクリエーターには自ら考え、自主的になにかを始めるという大きな動きを感じます。その人たちとなにか共同でできたおもしろいだろうなとおもいます。」
活動の拠点のメインはロンドン。だがこれからは日本も活動の場として意識していく予定だという。どのような反応が起きるのか。ただそれが楽しみで仕方ない。
Tomihiro Kono, Meet the Designers, KM3D1 and After Dark
This week sees a series of truly unique events. Tomihiro Kono makes his first London Fashion Week appearance, Dazed & Confused begins the first in its Meet the Designers series in New York, KM3D1, a pioneering 3D fashion film featuring Kate Moss...
September 6, 2010
Headwear Artist Tomihiro Kono's Deja Vu
Inspired by nature and his own intuitions, the Japanese designer delves into memories for his new collection.
With a new collection reflecting the elements that make up his personality, head-piece designer Tomihiro Kono suggests it is a result from the influences in his life from childhood. Kono constructed the pieces from memories, without thinking too much about particular shapes or materials. Inspired by materials from everywhere and anywhere, such as bird feathers in the park, vintage lace, or spikes, leather, and metal pieces - the collection was an amalgamation of his patterns of thought and a sense of 'deja vu'.
Dazed Digital: Where did the inspirations of 'deja vu' come from?
Tomihiro Kono: By viewing this collection, we are stepping in to the field of my unconsciousness where you find various different characters wearing unique head pieces. It says that these are characters I've never seen before - but it is something based on my background, where I grew up and what I was inspired by. So it's not something I've seen for the first time either. It's just like a deja-vu. This is the strangest world ever made up from my memory and imagination. What I do as a head prop artist is the embodiment of my personality and the nature of things. So basically the theme came up last. When I stepped back and saw what I had done, I found out that it is my identity to create things like this.
DD: Who are the characters in the film?
Tomihiro Kono: These are the characters I got inspired by nature, like creatures and organic things... like birds, spiders, mermaids, the moon, clouds and an octopus, gods (Kannon in Japanese)... Like when Man Ray took a group shot of people in avant garde costumes... it's the extreme, avant garde but something tribal. They are reflecting all my background. And they are actually my friends, and friends of friends or even some people we met by chance... very special people who have their distinctive characters. I carefully selected who should be in what costume as an encounter!
DD: Was it intentional to make it somewhat sinister and eerie?
Tomihiro Kono: So my work tends to go that way somehow... I'd say what we create as Neon O'clock Works (with my partner Sayaka Maruyama) always has a darker edge in the way of observing things... and where we find beauty... there's always some darkness mixed. I like something theatrical, tribal, Victorian and contemporary... and avant garde... and beauty and darkness mixed together. So it's rather automatically, naturally rather than intentionally.
DD: What kind of reaction do you expect from an audience?
Tomihiro Kono: Any reactions we would like to expect! I'd love people to enjoy and see something different and unique in our way. It's something totally quirky and distinctive... we created and produced everything from nothing. Head pieces, costumes, films and portraits, music... everything is made up by our hands. And I really want people to see how creative we can be.
DD: Who made the music for it? What kind of music is it?
Tomihiro Kono: A friend and a music composer Christos Fanaras (aka Jack Shirt) for the short film. Cross-genre, experimental music and a mix of Western and Japanese elements. Mainly inspired by Japanese 60-70s film music. He mixes various sound and noise from everywhere... like paper rustling to radiators, etc.. some characters are actually singing in the film.
The photo exhibition runs from 20 - 21 September 2010, at 78 Luke Street London EC2A (free entry) with a performance show on the 17th at Studio Private, 1 Kingsland Road London
Japanese designer and artist Tomihiro Kono launches his new collection at Soho's Machine-A
Japanese designer and head piece creator Tomihiro Kono has resided in London for three years, but he has thankfully not lost all creative ties to his native country. The artful fashion of Kono - together with his fashionable art - have made waves throughout the capital ever since Kono started exhibiting his work in a Spitalfield Market stall. This was partly because of his Japanese aesthetics and Dadaist influences. Now, Kono has upgraded his location, moved it to Soho and taken over Machine-A for an exhibition. Dazed Digital spoke to him....
Dazed Digital: Why did you choose to exhibit at Machine-A?
Tomihiro Kono: They actually found me. I knew the shop has upcoming young designers and I thought it was a good place to put my pieces. The shop's concept really suits my style. I'm not just interested in selling products but we'd like to keep doing installations and showing my pieces with concepts.
DD: What inspired your current collection?
Tomihiro Kono: These pieces are inspired from the words 'in utero'. They wanted me to do some bondage looks for the shop so the current collection is made for Machine-A. I've been researching the Machine-A style by looking at past installations and who they like to have in the boutique etc. For my headpieces I use various materials. Sometimes very romantic, tribal, punk, classical etc... I just thought something punk and hard this time, no colour, almost skin texture and spikes that look like new creatures. I want to express the process of human's birth and death in a window display.
DD: What initially attracted you to fashion?
Tomihiro Kono: What interests me about fashion is the 'mentality' of people who wear clothes... and how the clothes react to the body - physically and mentally. The act of restraining body begins when we are a foetus in our mother's body, just when we were given birth in the womb and even after we were born, we restrain our bodies by wearing clothes like tight skirts, heels and lingerie. I like the idea that humans will finally be released from all those restraints when they are dead. Nowadays it's not so common to restrain the body so much as it used to be 100 years ago, but the culture of wearing corsets, lingerie, belts and things like that. People have always been seeking beauty and been changing their style somehow to make themselves look beautiful. It might be a different approach, but I think going on a hard diet is also taken as a body restraint.
DD: And what influenced the window display?
Tomihiro Kono: For the window installation, I focused more on the mentality of humans rather than to take bondage pieces just as objects to wear for fashion. There are quite a few tiny details like the broken glass on the floor, red string spread in the window, a bloody heart, cracks on the wall and floor... each of which kind of implies my idea about the process of birth and death. So birth and death which coexist in this window can be observed by viewers in various ways... objects in reflections of broken mirrors, by the hidden relationship of two objects - body and heart / skull and cracks, etc. I think it's interesting for me to put some ideas in a not so obvious way and also for viewers to find those tiny reactions happening in the window displays which might not be seen in the first glance, but some people might stay there longer and will find something interesting to them...Also it is important for me that the whole images look beautiful and grotesque.
DD: Your collection is called 'in utero' which you say implies restrictions, but does it also create a sense of innocence or naivety that links to the foetus and child-like idea?
Tomihiro Kono: When it comes to bondage or fetish, people tend to think about more sexual pleasure, punk, its striking visuals and as a fashion style. But for my exhibition, I wanted to focus more on birth and death - in which I mean human's fragility and weakness, disappearance and endurance... that sort of something which is not visible. I take spikes as protection to hide one's weakness and to protect one's naivety. So it somehow connects to the idea of innocence or naivety as well.
DD: Why then did you feel the need to add such hard elements such as spikes? Were they intentionally to be gothic and almost punk creations?
Tomihiro Kono: My hair salon was in Harajuku in Tokyo. There are so many punk and gothic boys and girls on the street. They always dress perfectly, do proper hair and make up themselves. They are actually really good at making spiky hair themselves. I take so much inspiration from them. There is a gap between their fragile and naive mentality and the hardcore/gothic/punk fashion. I think they wear that kind of costume to protect their sensitive minds.
DD: What is it about fetish wear and leather and nails that appeals to you?
Tomihiro Kono: For this project, I used hard materials as something to protect oneself. Those, for me, are equivalent to animal's nails and tusks. It shows pain and aggressiveness.
DD: Are you based in London? Do you feel tied to the London fashion or do you feel roots to Japan?
Tomihiro Kono: I really love staying London.There are so many chance to meet creative people. I always think and express and compare cultures as a Japanese person.
DD: Are there any other Japanese artists or designers that you feel linked to?
Tomihiro Kono: Of course I really respect Rei Kawakubo. Her style and concept. Recently I really love contemporary jewellery designer Shinji Nakaba based in Japan. His work is beautiful and he uses recycle material to make pieces.
Machine-A, 60 Berwick St, London, W1F 8SU. 29 March - 17 April 2010. Closing party at 6-9pm on Friday 16th, see Tomihiro Kono for details.
Photography: Patrick Lindblom
Styling: Justine Josephs
Model: Suki at Union Models
Hair / Head pieces: Tomihiro Kono
Make: Nat Van Zee
“CRY OUT” はテオ・アダムス・カンパニー（The Theo Adams Company） が 提案する新しい劇場作品。強烈なバラード、古典的なスコア、奇妙なキャバレー、そして表現派のダンスの全てにおける概念を覆した21世紀における新しい叙事詩的なパフォーマンス。
情熱が沸点に達した時、R&B ディーバ達はあなたの魂を忘却から救う為に手を伸ばし、野性的で凶暴なオーケストラは、楽天的な陶酔感から激しい絶望の淵まで動向を変える演奏でそれぞれの動きを強調し、その下できらきらと微光を放つであろう。
“In the spotlight , your tears glow like glitter.
Be a superstar in the chorus.
Step forward and Cry Out.
(Applause).”
“スポットライトの下、あなたの涙はグリッターのごとく燃える様に輝く。コーラスの中 SUPERSTAR になりなさい。一歩前に踏み出して大声で泣くのです（喝采）”
テオ・アダムス（Theo Adams） は 独学で全てを形にしてきた20歳のディレクター、パフォーマー、そして革命家である。世界的に賞賛されている写真家 David Sims と 雑誌 Wとの壮大なコラボレーションを終えたばかりの彼。そんな彼が情熱的で才能溢れるダンサー、ミュージシャン、そしてアーティストを集めて構成したカンパニーが今回新しい作品を引っ提げ、LONDONからTOKYOに更なる高い志を求めやってくる。
完全なる自費で管理され、そして自己啓発により作品制作を続ける新しいジェネレーションの異なる学際のコラボレーションはエキサイティングで芸術的でそして他とは異なるパワーを提供し続ける。
The World Premier of “CRY OUT” will take place on the 30th November 2009 at the Za Koenji Theatre in Tokyo, Japan. “Theo Adams creates a sensory spectacle with his indefinably cathartic artwork.” –Dazed&Confused “Thrilling Crowds Across the World.” – The Metro “Theo Adams and his posse of dancers, musicians and muses has taken London’s avant-garde by storm” – W Magazine “London’s most intriguing performance artist” – i-D magazine Set design: David White Projections: Matthew Stone Lighting Design: Rob Pel-Walpole Costumes: Olivia Hegarty & Pipa Greenbank Headpieces: Tomihiro Kono.
“Cry Out” は2010年を通して世界中の都市で公開される。The Theo Adams Comany は各国の都市のミュージシャン、アーティストそしてパフォーマーと共同制作をし、交流をしながらよりいっそうユニークなショーを観客に提供していく。The Theo Adams Company は アーティスト Theo Adams本人がLondonをベースとしたダンサー、ミュージシャン、そしてパフォーマーを集めたカンパニー。
座・高円寺 (ZA-KOENJI) 〒166-0002杉並区高円寺北2-1-2 DATE : 11 月 30 日（月） 19:00 会場 19:30 開演 Tickets：Advance ¥ 2500 — Door ¥ 2800 お問い合わせ先：CANDY 新宿 2-8-17 SY ビル B1F TEL 03 – 5366- 2870
www.theoadams.net
上記映像は、09年4月号のW誌にも取り上げられた若干19歳のアーティスト、Theo Adamsを中心とした「The Theo Adams Company」による物語。そんな、エキサイティングな一夜限りのパフォーマンスが体感できるのは11月30日（月）だけ。観ないと損するはず。
Jónsi Birgisson & Alex Somers launch their joint art and music project with a cavalcade of cowboys and cakes chez Maison Bertaux.
Tomihiro Kono Heads for Wonders
Hairdresser and headpiece craftsman showcased his talent for mixing the old with the new at Spitalfields last week.
London is full of creative people – fashion designers, hat makers, music artists etc – that all work with new and polished materials, be it fabrics or melodies. But, like hair stylist Tomihiro Kono has discovered, it is when old materials mix with new that true magic happens.
Originally trained as a hair dresser at one of Tokyo’s premier saloons, Tomihoro left Japan two years ago to bring his creative empire to London. And it’s not actually far from an empire; except for the hair styling and making of headpieces, Tomihiro creates photographic art (exhibitions, books etc) with partner Sayaka Maruyama under their Neon O’clock Works moniker, and he also churns out hair styling concepts for fashion shoots and magazine editorials.
The other day Tomihiro took his hats, props and wigs down to East London’s Spitalfields market – not to sell them (although many people offered money) - but merely to show us what can be done with a bit of junk from the street, some wire and lots of imagination. Afterwards Dazed Digital sat him down for a tea break at the nearby Coffee Market House.
Dazed Digital: Where do you find material for the hairpieces?
Tomihiro Kono: Mostly from markets and on the streets. Or from friends – I have one who works in a pet shop and every other month he gives me parrot feathers that he has collected!
DD: How would you describe your style?
Tomihiro Kono: I love vintage fabrics, but I want my designs to be more contemporary. I mix old and new, that’s my style!
DD: How come you are exhibiting in a Spitalfields market stall?
Tomihiro Kono: Well, I’m not here to sell my stuff – more to show it so I can find fashion designers and other creative people to collaborate with. But antique dealers seem to like my stuff – many have asked to buy pieces. And earlier on Jónsi Birgersson, the singer in Sigur Rós, came by and wanted to use hats for a video!
DD: Which exhibited piece is your personal favourite?
Tomihiro Kono: The chandelier crystals, because it’s a quite simple idea, but I've never seen something similar to this before. It reflects light and looks great in pictures. It's all hand-stitched on one by one!
DD: What other hair stylists and hat designers do you admire?
Tomihiro Kono: I really like Juien Dys and Kamo Katsuya, who works a lot with Comme des Garcons, Junya Watanabe and Undercover. It’s all about creating concepts and doing hairpieces and styling together. One person doing both – that’s how I work as well. I create concepts and packages!
DD: What’s your preferred material to work with?
Tomihiro Kono: I really like wire because I can make and control the shape of the hat.
DD: Generally, what inspires you?
Tomihiro Kono: Antique objects and old portrait pictures I find in markets or on the street. Dadaism and Surrealism from the 1920’s and 30’s, which was an amazing era. After World War II there was a movement called Assemblage that I find very interesting. They made three-dimensional artistic compositions, put together from different objects.
DD: Did it help having been a hairdresser for 10 years?
Tomihiro Kono: Yes definitely, because learnt about head shapes and techniques to work with hair.
DD: You also worked with traditional Japanese Geisha styles in Japan!
Tomihiro Kono: Yes, that experience was actually impressive because my teacher used any commodities and materials around him to make his own hair-styling tools. I found the process very inventive and primitive and I thought I could do something similar, which was head wear making for me. So I'm quite different from milliners in terms of flexibility on the shoot - I can change and arrange styles either with my head wears or without, depending on what the team wants.
DD: You have also worked with performer Theo Adams – how was that?
Tomihiro Kono: It was great, he’s an incredible performance artist. I contacted him and he understood my ideas and concept, so now all dancers in his show wear my hats. His shows are very contemporary and it’s difficult to find dancers like him - most others are classical and not so avant garde.
DD: You have lived in London for two years – how does the UK compare with Tokyo?
Tomihiro Kono: I like London, it’s easier to create here. I was very stressed in Japan. But I also like Paris – it’s all about decadence and classical beauty there! London is more contemporary, which I like.
DD: What else are you working on?
Tomihiro Kono: I would love to find a designer to collaborate with for London Fashion Week, but until then I have two London exhibitions coming up – one off Oxford Street and one in a book shop on Charing Cross Road. And early next year I’m doing a short film for a show in Dubai!
EYEMAZING Cover + article
Neon O'clock Works
