Kamo's style of creation is always fresh and focused on short periods of time.
-When you're working on a creation, do you work on it for the entire time? Please tell us about your approach to your work.
I focus on it for short periods of time. I repeat the process several times until it's finished. Rather than working on the same thing for an extended period of time, ideas suddenly come to me while I'm doing something else. I try out the idea and, if it's good, use it as is. My approach to creation is to always start with a fresh mind, rather than continuing from yesterday. I believe that this always results in better products.
-The headpiece is intricately detailed, and I love how the threads are sticking out from the raw cut fabric. I feel not only beauty, but also the strength of the material. What were you feeling when you created Asoyo?
I wondered whether it was okay to express such beautiful fabric by cutting it. I wondered if it was okay to leave it raw cut and show the unraveled fibers. But I felt that the unraveled feel of the fibers, along with their natural texture, was very beautiful. And this is my expression of Asamyo, and it's also my individuality, so I think it's fine.
--A single fiber becomes cloth, which then becomes a work. It seems to express Asamyo's connection from the past to the future. I was impressed by how Kamo-san expressed this unintentionally. I'm looking forward to seeing how the pieces will be displayed at the event starting on April 1st.
I'm planning to set up a black base against a deep burgundy background, with white headpieces lined up on it. I considered dyeing them, but I thought that this display would make the white headpieces stand out, which would be beautiful, so I'm going to go all white.
--This time, you've used hemp cloth, a material that has been an integral part of Japanese life. Do the works themselves change when you use Japanese materials versus overseas materials?
Yes, they do. For example, I use gold leaf from Kanazawa for my hair and makeup. I've been ordering it from the same shop for years, and I love how thin and beautiful it is. It feels like it adheres perfectly to the skin and hair, making it very easy to use. But with European gold leaf, that doesn't happen, so the way you use it and the expression you create change. That said, no matter what the material, you still strive for high quality and convince your audience.
--I'd like to ask you about your creative process. I've heard that you don't read books or magazines, and that there aren't any photographers that particularly influence you. Tell me about the source of your creativity and what you're particular about.
It's true that I don't read books or magazines. As I said earlier, I'm often influenced by the people I'm currently working with, my interests, and the current trends. Sometimes, an email from someone I'm working with inspires me. I was asked to do hair and makeup for Haider Ackermann's 2015-16 Autumn/Winter Paris Fashion Week, but I couldn't get in touch with him at all (laughs). But when we first exchanged ideas, I took them to Paris with an idea I thought would be something like this. Haider himself told me, "I was thinking the same thing!" Of course, my experience up to now has been a great help to me, but I believe that my requests are based on an understanding of my own individuality, so I aim to convey what I believe is best in a straightforward manner.
His headpieces will surprise and excite viewers with their beauty, strength, pop, and delicacy. There, I'm sure, "Masataka's future potential" will be discovered.
Back to 1/2.
[Kamo Katsuya Profile]
He lived in France from 1990 to 1992. After returning to Japan, he worked in a wide range of fields, primarily in fashion magazines, advertising, and shows. In 1996, he was appointed hair artist for JUNYA WATANABE COMME des GARÇONS. He has been working on the UNDERCOVER Paris Collection since 1997, and is still involved in the collection. In 2003, he won the Mainichi Fashion Grand Prix. Since 2005, he has expanded his activities overseas, appearing in leading fashion magazines such as VOGUE PARIS, THE NEW YORK TIMES MAGAZINE, and DAZED & CONFUSED, as well as art magazines such as Wallpaper* Magazine. Since 2008, he has worked on FENDI's Milan collection, CHANEL's haute couture show, and campaign visuals for FENDI, CHANEL, KENZO, and others. He currently founded KAMO HEAD and is active internationally, represented by agents in Paris, New York, and Tokyo.
