Akitsu Chemi Akutami is an innovative and bold designer, known for his ability to blend Japanese traditions with a modern and inclusive vision of fashion. His creations, characterized by a strong cultural identity and a particular focus on diversity, challenge industry conventions and raise important questions about beauty and authenticity. Through his works, Akitsu invites the audience to reflect on themes such as identity, art, and culture, creating a unique dialogue between the past and the present.
How do you define yourself artistically?
My artistic activities can be categorized into three main areas:
- Artwork: I draw pictures and create three-dimensional objects.
- Support through Art: This involves sending financial support to parents of children with disabilities through collaborative art exhibitions. This initiative has been ongoing for nine years, during which I have contributed 12 million yen. Another aspect of this is Prison Art, which involves creating collaborative artworks with current prisoners, with proceeds donated to Noto, an area affected by the earthquake in January this year.
- Fashion Designer: As a fashion designer, I have participated in Fashion Week since 2019. Starting in 2021, I began auditioning models in Japan, which serves as another way to support individuals!
Can you tell us about the theme of your latest collection? How did you interpret the concepts of “Ninja” and “Oiran” in a modern way?
The three words are “ninja,” “oiran,” and “cyberpunk.” While there is no specific inspiration drawn directly from ninjas, some viewers may perceive a ninja-like essence when they see the models wearing masks. Regarding the oiran (courtesan), I incorporated a lot of “skin exposure,” which was a new challenge for me, as I usually do not create garments that reveal the body’s lines. It was unfortunate that the pants I designed, inspired by cyberpunk, were incorrectly labeled as “cowboy chaps” in another media outlet.
The “Hannya” masks play an important role in your creations. What message do you wish to convey through them?
I learned that people overseas often mistake Hannya for an “ogre,” and I found that episode so intriguing that I was determined to incorporate it into the show!
You have chosen not to sell your works but to create them on demand. What is the philosophy behind this choice?
This story is not amusing… Our brand originally started by remaking antique kimonos and obis, making mass production impossible; thus, we never considered selling them. We decided to take orders because we believed that creating items on demand would allow us to offer one-of-a-kind pieces. Some of the obis are made from materials that are 100 years old, with the goal of reviving them.
Milan has played a fundamental role in your training as a designer. How has this city influenced your style and career?
I have held four shows in Milan, with my debut in Monaco in June 2019 and my second fashion show in Milan three months later, in September 2019. The first show was exciting, but it was the second show where I truly began to build my style. The energy of Milan’s Fashion Week feels distinctly different from that of Paris and NYC. Rather than being merely an influence, I find the excitement of the city during Fashion Week to be invigorating, and perhaps that is what has kept me motivated. Regardless, I am grateful to Milan.
Diversity is a central theme in your work. How have you implemented this principle in your selection of models for your latest show?
Not only this time, but my runway has always featured a variety of individuals: wheelchair models, plus-size models, child models, models in their 50s, and blind models. Some people may be surprised by this diversity and may criticize me, but I will continue to demonstrate that anyone can pursue their dreams and achieve them!
You stated that your model audition had over 300 candidates. What criteria did you use for selection, and how did you aim to represent beauty in all its forms?
I know this echoes my previous answer, but the application guidelines state that “height, age, and experience are irrelevant.” You may not know this, but in Japan, those living with cancer often feel the furthest from happiness. I want to conduct auditions that allow anyone to take a chance, and even if they don’t participate, I hope they learn about my auditions and that it brings them joy.
In a fashion industry that tends towards uniformity, how do you maintain your distinctive vision and commitment to inclusivity?
I hold an opposing vision to the prevailing trend, as there are many who appreciate the “beauty of preserving the old” unique to Japanese culture. I envision “breaking down what already exists” and “destroying what has been completed,” concepts often seen in street culture, and I want to apply these ideas to kimono culture.
What are your future projects for the “AKITSU Chemi Akutami” brand? Do you have new collaborations or collections planned?
I have been creating items that no one could ever imagine, such as two-piece dresses and vests, but next season I plan to design something more “conventional.” The “skin exposure” from my last collection was something I initially disliked, but upon creating it, I found it to be quite beautiful! Kimono dresses have long been part of Japanese fashion, yet they often carry a negative connotation. That’s why I intentionally choose to create pieces like that.
How do you think your work can influence the perception of beauty and diversity in the fashion world?
I do not yet consider myself someone who can influence the fashion industry, but I aspire to impact Japan and Japanese culture. To start, many Japanese people perceive overseas as “distant,” and they view adjustment to foreign cultures as akin to “grasping a cloud.” I will continue to demonstrate that “the world isn’t that far away” through my many challenges. I want to convey the “aesthetics of destruction” in kimono culture, which often seeks to preserve the old. If I have a question for the world or the industry, it concerns the legitimacy of “official” events like Fashion Week.