Satoshi Kondo in conversation with Jérôme Sans
The brand has a long history of engaging with art, design, and architecture. How do you personally interpret and carry that forward?
Satoshi For my practice of design and making, curiosity is essential. Curiosity is what drives me throughout a creative process, as well as the preliminary research. As a designer, I am inspired by various creative fields, not limited to fashion. Having worked under Miyake, I also learned to be aware of topics and movements in society at large. I often begin my research by looking at subjects other than fashion, and it is in this research that I explore where my curiosity takes me—finding what intrigues and moves me. Then, in the creative process of a collection, I translate these findings into garments, both conceptually and aesthetically, so that the clothing conveys the same sense of intrigue and emotion. This approach is fundamental to the design and making of ISSEY MIYAKE women’s line; it is something that was passed on to me, and something I will pass on to the next generation.
How do you personally define the boundary—if any— between fashion design and art?
Satoshi I think, by definition, there is a boundary between the two, but as a designer I don’t feel the need to draw the line, nor do I find myself in a position to do so. In my practice, I am more interested in blurring the boundaries to explore the “in-between”, searching for a sense of beauty found in ambiguity—some- thing that I have not seen before. I design and make clothing not with the intention of making art, but as I explore what is between fashion design and art, the garments I create can sometimes evoke qualities similar to an art piece.
“I sometimes refer to my approach as “sculptural”. Sculpture is like architecture in the sense that it is concerned with material, structure, relationship, and proportions, but at a smaller scale. I use this to describe the way I work, as I usually begin by handling a piece of fabric and forming it around a dress form, looking at the relationship between a piece of cloth and the wearer’s body.”
Is there a particular artwork, movement, or artist that has had an influence on your design philosophy?
Satoshi I am interested in many artists across various creative disciplines, but I always find myself being inspired by— and returning to—the work of Yves Klein and Christo.
When you begin a new collection, do you first think visually, conceptually, or technically?
Satoshi I usually begin a collection with an idea—something conceptual, instinctive, and often spontaneous—that serves as the source for further exploration.
Issey Miyake’s work has long been described as architectural. How does architecture influence the way you build garments today?
Satoshi I sometimes refer to my approach as “sculptural”. Sculpture is like architecture in the sense that it is concerned with material, structure, relationship, and proportions, but at a smaller scale. I use this to describe the way I work, as I usually begin by handling a piece of fabric and forming it around a dress form, looking at the relationship between a piece of cloth and the wearer’s body. Because of this gestural, spontaneous way of working, the resulting garment form often possesses the qualities of a sculpture.
How do you think about the relationship between the body as a living structure and the clothing as another layer of architecture?
Satoshi To me, the relationship between the body and the clothing—or in ISSEY MIYAKE’s terms, the relationship between the body and a piece of cloth—is about placing the human body at the center and creating space around. The cloth formed around the body is not merely a sculptural surface; it lends itself to Ma (the unfilled, in-between space). In that sense, there is something architectural about this approach: it is about designing a space (or a second skin) where the human body dwells. This space is never fixed: it moves as the wearer moves. What I always find fascinating is the moment when that space moves—what seemed static suddenly becomes soft and fluid.
“Every collection is created under an overarching theme, and you can imagine that the clothing as a whole represents a spectrum of wearability, depending on how each garment series is conceived during the creative process. Some pieces are directly derived from the collection theme and have a more sculptural look, while others are developed with everyday living in mind.”
Issey Miyake famously collaborated with artists, architects, and designers. How do you interpret this interdisciplinary spirit in your own work?
Satoshi Collaborating with creative professionals in other disciplines allows us to venture into the “unknown realms” beyond our own practice and knowledge, where we can learn new things and discover new values. When working on a collaborative project, we are inspired by our collaborators’ perspectives and approaches to our shared objective. This exchange is crucial to our practice of design and making.
What does “design as a total practice”—a Miyake hallmark—mean to you today?
Satoshi Reflecting on what I learned from Miyake, I understand that design is a practice that aims to enrich everyday living through a sense of ease. A product is not just an object that embodies the maker’s intention; it serves a purpose for the user. For this reason, the practice of design should be less egocentric and more universal.
Do you see the brand evolving toward more collaborations with artists or architects in the future?
Satoshi It is difficult to say definitively. I don’t decide in advance to do “more of this” or “less of that”. The evolution of the brand will depend naturally on our explorations, which are always driven by curiosity.
The brand is known for material experimentation. How do you approach innovation—through artistic intuition or technological investigation?
Satoshi Perseverance—the commitment to explore, experiment, and develop—is crucial to discovering new possibilities. Innovation does not present itself out of nowhere; rather, it is the product of numerous rounds of trial and error. This process is organic: it can begin with either artistic intuition or technological investigation, but it is always guided by a radical, if not philosophical, concept. Being inquisitive is also the key. By engaging with everyone involved in the process— members of my design team, craftspeople, technicians, and manufacturers—we learn about the conventional procedures. By questioning these norms, we can identify aspects or elements, both artistic and technical, that hold potential for new development.
Read the full interview on Muse February Issue 67.
