The mind boggles when you try to imagine what the inside of Tsumori Chisato's mind might look like. Here's what I came up with: shooting stars streaming over a tangerine sunset that silhouettes some divine heroine on a unicorn. Tsumori's aesthetic is not only super unique but it has remained unchanged since its creation in 1990. Her following is loyal and ever-expanding, while her designs and hand-drawn prints continue to excite. This admiration coupled with my interest in her time spent working with Issey Miyake during the 70s meant that I had to interview Tsumori while she was in New York. James and I met her on the Bowery and she was just as quixotic as I had hoped.
Gillian Tozer: You began working with Issey Miyake shortly after you finished college. I imagine this experience was an eye-opener.
Tsumori Chisato: After I graduated, there was a national fashion design contest and among the jurors was Issey Miyake. He really liked my work and decided to take me on in his team. I started working for the label and then was put in charge of Issey Sports.
Can you describe Japanese fashion scene during the late 70s and early 80s?
It was very free. There were no money issues and no budget. It was open and accepting—you could do a lot of things.
What were some of the most valuable lessons you learned while designing with Miyake?
He taught me the dynamics of design and creativity and the importance of teamwork.
When you decided to create your label, how did you envision the brand growing? Did you have a five-year plan?
I was supported by Issey Miyake so even for my brand there was no limit. I didn’t have a real plan, I was just doing whatever I wanted to; I felt like what I was doing was right and that’s it. Nothing was planned, really!
What were some of the greatest mistakes you made as a young designer?
I used to make clothes that I liked. I soon learned that these pieces weren't necessarily selling. I had to find a balance between my creativity and the commercial side of things.
And yet you have remained true to your aesthetic all this time. How do you respond to the ever-changing market and trends?
I don’t really know what the trends are. I just go with the flow and do what I like. I keep the trends in mind because they are everywhere, on the streets and in museums, but I’m not working for them.
What are some of the changes you’ve made in your approach to your design process? Have you adapted with technology or do you prefer traditional methods of design?
I love things that are hand-printed. I prefer the work of human beings, not machines. I make all of the drawings by myself. I work all day, every day, drawing in my sketchbook—I can’t stop!
What is the future of fashion?
I always say originality is the key in design. It’s not about copying other designers. Going back to basics and keeping things original is what’s important.
You originally wanted to be a Manga illustrator. At what point did you decide to turn to fashion design?
It takes a long time to create Manga. It’s not just drawing—it’s writing a story, too! I’m not saying that being a fashion designer is easy, but Manga was too hard!
Tell me about your trip to Arizona, the inspiration for your Spring/Summer 2013 collection?
There were so many rocks! There aren’t any rocks in Paris or Tokyo. All of the colors in the collection are very specific to Ari
Gillian Tozer: You began working with Issey Miyake shortly after you finished college. I imagine this experience was an eye-opener.
Tsumori Chisato: After I graduated, there was a national fashion design contest and among the jurors was Issey Miyake. He really liked my work and decided to take me on in his team. I started working for the label and then was put in charge of Issey Sports.
Can you describe Japanese fashion scene during the late 70s and early 80s?
It was very free. There were no money issues and no budget. It was open and accepting—you could do a lot of things.
What were some of the most valuable lessons you learned while designing with Miyake?
He taught me the dynamics of design and creativity and the importance of teamwork.
When you decided to create your label, how did you envision the brand growing? Did you have a five-year plan?
I was supported by Issey Miyake so even for my brand there was no limit. I didn’t have a real plan, I was just doing whatever I wanted to; I felt like what I was doing was right and that’s it. Nothing was planned, really!
What were some of the greatest mistakes you made as a young designer?
I used to make clothes that I liked. I soon learned that these pieces weren't necessarily selling. I had to find a balance between my creativity and the commercial side of things.
And yet you have remained true to your aesthetic all this time. How do you respond to the ever-changing market and trends?
I don’t really know what the trends are. I just go with the flow and do what I like. I keep the trends in mind because they are everywhere, on the streets and in museums, but I’m not working for them.
What are some of the changes you’ve made in your approach to your design process? Have you adapted with technology or do you prefer traditional methods of design?
I love things that are hand-printed. I prefer the work of human beings, not machines. I make all of the drawings by myself. I work all day, every day, drawing in my sketchbook—I can’t stop!
What is the future of fashion?
I always say originality is the key in design. It’s not about copying other designers. Going back to basics and keeping things original is what’s important.
You originally wanted to be a Manga illustrator. At what point did you decide to turn to fashion design?
It takes a long time to create Manga. It’s not just drawing—it’s writing a story, too! I’m not saying that being a fashion designer is easy, but Manga was too hard!
Tell me about your trip to Arizona, the inspiration for your Spring/Summer 2013 collection?
There were so many rocks! There aren’t any rocks in Paris or Tokyo. All of the colors in the collection are very specific to Ari