This year, various trends lit up the fashion scene. Broadly speaking, they can be divided into two trends: the '90s-esque street sensibility reintroduced by Vetements' Demna Gvasalia, and the '70s retro style woven with folklore and hippie culture by Gucci's Alessandro Michele. The futuristic, near-future worldview that designers of the time admired is also part of this trend. Kota Okuda is a young "planet" whose orbit we'd like to introduce. He graduated from the prestigious Central Saint Martins Jewelry Department in London. While still a student, he won the Grand Prix in the Jewelry category at ITS, one of Europe's largest fashion competitions and a springboard for young designers from around the world. He's currently 25 years old. Young talent is sometimes described as a "diamond in the rough," but Kota Okuda already shines like a polished gem.
KOTA OKUDA designer Kota Okuda
We spoke to him during a visit from his base in New York about KOTA OKUDA's past and future, including his brand, his time as a student in London, and his approach to materials.
--First of all, please tell us why you chose Central Saint Martins.
After graduating from a local high school in Niigata, I wandered over to Tokyo. It was simply because I wanted to live in the city. Although I only spent a year in Tokyo, I was deeply influenced by many people there. People involved in art and fashion were truly inspiring. Choosing Cent-Mae was an extension of that; it was simply a desire to study in a creative field abroad. At the time, I didn't have a clear goal in mind, like, "I'm going to do it with jewelry!"
--So Cent-Mae helped you connect your vague "desire" to something concrete like jewelry?
I originally wanted to be a fashion designer. But on the first day, I felt like this wasn't it. I was pleasantly surprised, I guess. I didn't know how to cut or sew, so when I asked myself, "What should I do?", I realized that I really liked materials. Metal, glass, leather, ceramics, wood... My interest shifted to something more artisanal than clothing, something more physical.
--I think I was meant to be guided.
Once I decided to pursue jewelry, I was absorbed in it quickly. When I was working on my graduation project, the ITS competition was open, and Swarovski was backing it. The theme was "The Future," and I created a piece using Swarovski crystals.
And so, I ended up winning the grand prize.
I aimed for a worldview reminiscent of the film "2001: A Space Odyssey" by mixing the essence of both "the future" and "the past." Technically, I tried various methods to turn Swarovski's greatest appeal into an advantage, trying to tone down its "shine." I painted it, burned it, etc. But I didn't want to incorporate any violent elements. In the end, I settled on "covering" it with acrylic sheeting. It erased the outline of the Swarovski crystals and muted the light just enough, rather than completely, to create the shape I had envisioned.
KOTA OKUDA "PIONEER DAYS EARLY LIFE”
--The restrained, minimalist expression of "covering" also conveys a uniquely Japanese aesthetic.
Depending on the piece, the wearer's face is distorted by refraction. I believe it's important that the jewelry changes the wearer. I aimed to create jewelry that not only changes the impression the wearer makes, but also leads the wearer's own psychology to a positive one.
--In that sense, the jewelry from Ryohei Kawanishi's Spring/Summer 2016 collection, which I supported as a costume jeweler, transforms existing objects like cotton swabs, interdental brushes, and doorknobs into items with new value.
This season, Kawanishi was strongly influenced by Marcel Duchamp's Large Glass. Duchamp influenced the art world with his readymades. I had several meetings with designer Kawanishi, and we both agreed, "Let's go to a hardware store for now (laughs)." My aim was to look at the items on display from a different angle and give them new aesthetic value.
Ryohei Kawanishi's Spring/Summer 2016 jewelry, which I supported as a costume jeweler
--Please tell us about your approach to design.
Research begins. I create a mood board based on all the words, images, and information I've collected. Based on this research, I create sketches and simple 3D sculptures to solidify the general image. Some of the pieces are designed using CAD and then printed using a 3D printer. The metal is then shaped and processed by hand. The weight, size, and purpose of the metal are also important points, so I also aim for designs that are designed in a way that makes them wearable and attractive.
--What are the highlights of this "Far Horizon" pop-up at Isetan Shinjuku?
Based on my graduation project, I aimed for a more minimalist and wearable design. I hope you will enjoy simply seeing and feeling the themes and ideas behind the brand and products, as well as the production process.
"Far Horizon" features minimalist, wearable pieces
--Finally, please tell us your vision for the future, five, ten years from now. Robert Goossens is a jewelry designer. He established his own unique style while taking on the responsibilities of jewelry design for early fashion houses like Coco Chanel, Cristobal Balenciaga, Yves Saint Laurent, Madame Gres, and Christian Dior. All of his pieces are handmade, embodying his own unique style and philosophy—he has produced hundreds of impressive pieces. Like Goossens, I hope to continue to connect with many people and create unique pieces. Avant-garde yet functional, his pieces are both art and everyday accessories. This exquisite sense of balance is nothing short of innate. He is highly trusted by young apparel designers of his time, including LANDLORD, KOZABURO, YOHEI OHNO, and BALMUNG.
KOTA OKUDA's worldview expands the possibilities of art and jewelry.
We invite you to actually touch, wear, and experience the pieces with your own hands.
>
【Event Information】
Duration: Now through January 10, 2017
*Store closed on January 1st and 2nd, 2017
Isetan Shinjuku Main Building, 3rd floor = West Park/Promotion
KOTA OKUDA "Far Horizon"
>
A promotion titled "Far Horizon" is being held on the 3rd floor of the main building of Isetan Shinjuku until January 10, 2017.
KOTA OKUDA designer Kota Okuda
We spoke to him during a visit from his base in New York about KOTA OKUDA's past and future, including his brand, his time as a student in London, and his approach to materials.
--First of all, please tell us why you chose Central Saint Martins.
After graduating from a local high school in Niigata, I wandered over to Tokyo. It was simply because I wanted to live in the city. Although I only spent a year in Tokyo, I was deeply influenced by many people there. People involved in art and fashion were truly inspiring. Choosing Cent-Mae was an extension of that; it was simply a desire to study in a creative field abroad. At the time, I didn't have a clear goal in mind, like, "I'm going to do it with jewelry!"
--So Cent-Mae helped you connect your vague "desire" to something concrete like jewelry?
I originally wanted to be a fashion designer. But on the first day, I felt like this wasn't it. I was pleasantly surprised, I guess. I didn't know how to cut or sew, so when I asked myself, "What should I do?", I realized that I really liked materials. Metal, glass, leather, ceramics, wood... My interest shifted to something more artisanal than clothing, something more physical.
--I think I was meant to be guided.
Once I decided to pursue jewelry, I was absorbed in it quickly. When I was working on my graduation project, the ITS competition was open, and Swarovski was backing it. The theme was "The Future," and I created a piece using Swarovski crystals.
And so, I ended up winning the grand prize.
I aimed for a worldview reminiscent of the film "2001: A Space Odyssey" by mixing the essence of both "the future" and "the past." Technically, I tried various methods to turn Swarovski's greatest appeal into an advantage, trying to tone down its "shine." I painted it, burned it, etc. But I didn't want to incorporate any violent elements. In the end, I settled on "covering" it with acrylic sheeting. It erased the outline of the Swarovski crystals and muted the light just enough, rather than completely, to create the shape I had envisioned.
KOTA OKUDA "PIONEER DAYS EARLY LIFE”
--The restrained, minimalist expression of "covering" also conveys a uniquely Japanese aesthetic.
Depending on the piece, the wearer's face is distorted by refraction. I believe it's important that the jewelry changes the wearer. I aimed to create jewelry that not only changes the impression the wearer makes, but also leads the wearer's own psychology to a positive one.
--In that sense, the jewelry from Ryohei Kawanishi's Spring/Summer 2016 collection, which I supported as a costume jeweler, transforms existing objects like cotton swabs, interdental brushes, and doorknobs into items with new value.
This season, Kawanishi was strongly influenced by Marcel Duchamp's Large Glass. Duchamp influenced the art world with his readymades. I had several meetings with designer Kawanishi, and we both agreed, "Let's go to a hardware store for now (laughs)." My aim was to look at the items on display from a different angle and give them new aesthetic value.
Ryohei Kawanishi's Spring/Summer 2016 jewelry, which I supported as a costume jeweler
--Please tell us about your approach to design.
Research begins. I create a mood board based on all the words, images, and information I've collected. Based on this research, I create sketches and simple 3D sculptures to solidify the general image. Some of the pieces are designed using CAD and then printed using a 3D printer. The metal is then shaped and processed by hand. The weight, size, and purpose of the metal are also important points, so I also aim for designs that are designed in a way that makes them wearable and attractive.
--What are the highlights of this "Far Horizon" pop-up at Isetan Shinjuku?
Based on my graduation project, I aimed for a more minimalist and wearable design. I hope you will enjoy simply seeing and feeling the themes and ideas behind the brand and products, as well as the production process.
"Far Horizon" features minimalist, wearable pieces
--Finally, please tell us your vision for the future, five, ten years from now. Robert Goossens is a jewelry designer. He established his own unique style while taking on the responsibilities of jewelry design for early fashion houses like Coco Chanel, Cristobal Balenciaga, Yves Saint Laurent, Madame Gres, and Christian Dior. All of his pieces are handmade, embodying his own unique style and philosophy—he has produced hundreds of impressive pieces. Like Goossens, I hope to continue to connect with many people and create unique pieces. Avant-garde yet functional, his pieces are both art and everyday accessories. This exquisite sense of balance is nothing short of innate. He is highly trusted by young apparel designers of his time, including LANDLORD, KOZABURO, YOHEI OHNO, and BALMUNG.
KOTA OKUDA's worldview expands the possibilities of art and jewelry.
We invite you to actually touch, wear, and experience the pieces with your own hands.
>
【Event Information】
Duration: Now through January 10, 2017
*Store closed on January 1st and 2nd, 2017
Isetan Shinjuku Main Building, 3rd floor = West Park/Promotion
KOTA OKUDA "Far Horizon"
>
A promotion titled "Far Horizon" is being held on the 3rd floor of the main building of Isetan Shinjuku until January 10, 2017.
