Noritaka Tatehana's works are permanently housed in numerous art museums, including London's Victoria & Albert Museum. Just as scenes from nature transcend time and space, Tatehana's works possess a dignified presence, seemingly endlessly pursuing essential beauty.

How did Tatehana develop his aesthetic sense? And what does the 30-year-old think about the "purpose of human life"?

--You studied Japanese art while attending Tokyo University of the Arts. Why did you choose Japanese art?

When I was in high school, I wanted to become a fashion designer and considered studying fashion in Europe. However, I realized that Western clothing was a European thing. For European students, studying fashion meant learning about their own culture. But for me, it meant learning about a foreign culture. I realized there was no way I could compete with them in that environment, so I thoroughly considered what I could do that only I could do. It was then that I realized that Japan also had a fashion style called kimono. So I chose to study traditional crafts like yuzen and Japanese art at Tokyo University of the Arts, where I could gain an in-depth understanding of Japanese clothing culture and traditional techniques. I heard you grew up in the pristine natural environment at the foot of Mt. Genji in Kamakura. How has your upbringing influenced your creative work? I think I was influenced by growing up in such a close-to-nature environment. I'm self-taught in fashion, and studied art at university, so I learned a lot from the animals and plants in nature. In the world of art, the question is whether you can capture the essence of beautiful forms found in nature. It's important to capture the essence of things, not superficial beauty. In other words, it tests your ability to judge things objectively. Living in nature cultivates the ability to find "essential beauty" in nature. Growing up surrounded by nature taught me to judge things intuitively.

-Western and Eastern art have very different perceptions of space and distance from nature. Do you feel there's a contradiction between the three-dimensionality of Western clothing patterns and the flatness of traditional Japanese clothing?

To put it simply, Western art is about grasping things spatially. On the other hand, Eastern art perceives things stylistically.

I think the difference largely stems from the environment. For example, in Europe, the air is dry and the light is beautiful. That's why when light hits an object, you can clearly see its silhouette. However, in Japan, the humidity is high and light is diffused, so silhouettes are softer. In the East, the contrast between light and shadow is not as strong, which ultimately leads to a perception of things in a flattering way, and I think it's not an exaggeration to say that this has created a stylized beauty.

-The shoes that became famous when Lady Gaga wore them are also three-dimensional products. You studied Japanese culture, including Yuzen dyeing, at Tokyo University of the Arts. What led you to make the leap to three-dimensional works?

It's true that I studied classical Japanese styles at Tokyo University of the Arts, but that was only a necessary element; I wasn't trying to express classical Japanese style in my creations.

Modern Japanese people wear Western clothing instead of traditional Japanese clothing, and I wanted to do something new, so if I were to describe my work, it had to be modern. When it was completed, it had to have a form that fit modern Japanese life.

--Are you saying that your work uses classical techniques while pursuing a form that fits modern aesthetics and lifestyles?

Ultimately, I believe my work is a collaboration between classical Japan and modern Japan. In other words, I keep classical Japan intact and fuse it with the culture that developed in Japan after the Meiji Restoration, when Western culture was introduced. In other words, it's a collaboration between the West and the East.

The reason I'm so highly regarded overseas is because Western and Eastern elements coexist in my work.

-The geta and shoes you prepared for today's shoot also express the contrast and fusion between the East and the West, right?

These geta (reminiscent of the high geta worn by courtesans) are composed entirely of quadratic curves. On the other hand, these heelless shoes (constructed so the heel doesn't touch the ground) have no quadratic curves, only cubic curves. The shoes, constructed with cubic curves, represent a different era than the geta I had in mind when creating them. While the geta pieces date back to the Edo period, when traditional Japanese culture was still alive and well, the heel pieces represent an era when Western culture was introduced and three-dimensional beauty was pursued. These two pieces embody the difference between capturing three-dimensional beauty like Greek sculpture and stylized Japanese two-dimensional beauty. Therefore, I need to create both to complete the piece.

-Are there any activities you want to do in the future?

When I was a university student, I had the desire to be the best. But now, I enjoy working as a team and value sharing with everyone. I may still be young, but I want to create a platform—a system for passing on technology, wisdom, and culture. I think it's extremely important to preserve case studies in easy-to-understand formats. The Shikinen Sengu (period reconstruction of the shrine) at Ise Grand Shrine is a system for passing on technology and culture, isn't it?

--Is it precisely because digital technology is developing and digitalization is advancing that we now feel the need for teams?

I could have chosen to become a charismatic designer who leads a brand. But I felt that would end after I died, so I decided to emphasize the teamwork behind my brand.

High-level technology and cool works are a given, and I intend to work at a high level. So, I don't care about those things anymore. I feel like what's more important is how I work and how I can pass on my legacy to future generations.

--Why did you feel so strongly about the importance of passing on my legacy to future generations?

The first person to wear my shoes was Lady Gaga, but the first person to buy them was a museum. So, quite early in my career, it was decided that my work would be collected by a museum and preserved for future generations. The responsibility of creating something made me think deeply about how I should act and what I should create. I broke away from the egoistic works I had made up until then, and became more and more convinced of the importance of sharing and passing on techniques and ideas.

Museums are places where human culture is preserved. Even in times of war or armed conflict, art galleries and museums are forbidden to be attacked (※1). Just as this is the rule, sharing what we have created is important for the common purpose of humanity. After all, the purpose of human life is to share.

※1 Convention for the Protection of Cultural Property in the Event of Armed Conflict

Return to Part 1, The beauty created by tech and artisans would not be possible without Japanese craftsmanship -- Artist Tatehana Noritaka 1/2.

[Tatehana Noritaka Profile]
Born in Tokyo in 1985 and raised in Kamakura. Self-taught, he began making clothes and shoes at the age of 15. In 2006, he entered Tokyo University of the Arts and majored in dyeing and weaving. Upon graduating in 2010, he founded his own maison, "NORITAKA TATEHANA," and presented his collection. For Iris van Pelchen's Autumn/Winter 2015 collection, he was in charge of shoes made using a 3D printer. His first solo exhibition, "Noritaka Tatehana Exhibition," was held at Shibuya Hikarie from December 2014 to January 2015. His work has been worn by Lady Gaga and Daphne Guinness, and he has attracted attention from both the fashion and art worlds.