In the Colourful World of Tomo Koizumi

Tomotaka Koizumi, the man behind the Japanese label Tomo Koizumi, burst onto the fashion scene like a comet. Five years ago, as a relatively unknown designer both domestically and internationally, he showcased his dramatic, voluminous dresses adorned with abundant frills at the Marc Jacobs flagship store during the Fall/Winter 2019 New York Fashion Week. The show was directed and styled by iconic Katie Grand, the mastermind behind LOVE magazine, with the help of other industry legends - Guido Palau for hair, Pat McGrath for makeup and Anita Bitton for casting (so, icons Bella Hadid, Emily Ratajkowski, Gwendoline Christie and Joan Smalls, all walked on his debut catwalk). That season, Koizumi’s whimsical and colourful creations, which onecould recognise from the very first sight, dominated the buzz at New York Fashion Week, further elevating his global recognition when worn by celebrity musicians like Lady Gaga, Björk, and Sam Smith.

In Tomotaka Koizumi’s hands, the cheapest and most vividly colourful 100% polyester fabrics are instantly transformed into state-of-the-art dresses that invite you into a world of fantasy. These tulle creations are not only visually stunning but also awaken the innocent belief in fantasy that lies deep within the hearts of those who see them. With an almost alchemical skill and creativity, he amazes us and immerses us in a dreamlike world. Following the New York show, Tomotaka Koizumi received numerous requests from buyers at major global retailers. However, he chose not to follow the conventional path of producing and selling dresses. Instead, opportunities to wear his creations are limited to fashion pieces born from collaborations with brands, personalities and cultural organisations. You will rarely see his dresses on the shop floors, but his works are permanently housed in prestigious institutions such as the Metropolitan Museum of Art, the National Gallery of Victoria in Australia, and the Kyoto Costume Institute, where lucky visitors might catch a glimpse of them on display.

A finalist for the 2020 LVMH Prize, Koizumi also created a custom dress worn by singer-songwriter MISIA during her performance of the Japanese national anthem at the Tokyo 2020 Olympics Opening Ceremony. In 2023, he successfully held his first solo exhibition in Japan. This year, he took on costume design, production, and visual direction for a collaboration with "K-BALLET TOKYO”, wrote a book and presented an exhibition at the Pola Museum of Art in Hakone. In the five years since his sensational debut, Koizumi has continued to blur the lines between fashion and art, carving out a singular, unparalleled path in the industry. 

HD Fashion caught up with Tomotaka Koizumi in Tokyo and spoke with him about his journey over the past five years, his passion for tulle, his creative process and his vision for the future.

You never attended fashion school and taught yourself how to make clothes. What initially drew you to the world of fashion?
It all started when I was 14 years old and saw John Galliano’s haute couture designs for Dior in a magazine. I still vividly remember the shock I felt when I saw the photos of those dresses. Until then, I wasn’t particularly interested in fashion, but Galliano’s creations carried an overwhelming beauty that transcended the boundaries of fashion and art, piercing deeply into my heart. I also discovered designers like Alexander McQueen, who created things that weren’t just elegant or edgy but were completely unlike anything I had ever seen. That admiration sparked my desire to pursue a career in the world of fashion. That same year, inspired by Galliano’s work, I asked my parents for a sewing machine for Christmas. From then on, I started dismantling old clothes and teaching myself how to make garments, immersing myself in the craft.

Why did you launch your own brand?
I majored in art at Chiba University and was gaining experience as a stylist assistant at the time, aiming to become either an editor or a stylist. One day, a friend of mine wore a dress I had made to a club, and their photo was taken and featured in a magazine. Seeing this, the owner of an edgy shop in Tokyo reached out, expressing interest in carrying my work. That was the first time I created dresses for sale. Interestingly, I later learned that one of those dresses was purchased by Yoon Ahn, the designer of AMBUSH®, whom I didn’t know at the time. Soon after, stylists visiting the shop started reaching out to me with requests for costumes, and that’s how the brand Tomo Koizumi was born in 2011. It was right after the global financial crisis, a time when every career path felt risky. I figured that if I was going to take risks anyway, I might as well do what I truly wanted. That’s when I decided to become a costume designer.

Tulle is your signature material. How did you first discover it, and what makes it so special to you?
As a student and during the early stages of my career as a costume designer, I drew inspiration from the 1950s-60s designs by Cristóbal Balenciaga and Christian Dior. My creations back then were colourful, body-conscious dresses, quite different from what I make now. I first started working with tulle around 2015. I found deadstock tulle sold at a very low price in Tokyo’s Nippori textile district. Since it was inexpensive, I thought it would be perfect for experimenting and practising without much financial risk. What attracted me the most, though, was the wide range of colours. That said, my early works with tulle were more subdued in tone—beige, white, and pink— and had much smaller volumes compared to my current designs. When Lady Gaga visited Japan in 2016, she wore one of my dresses from this period. Around that time, a friend who visited my home and saw my prototypes encouraged me by saying: “This is wonderful, so you should make bigger ones”. Taking that advice, I started experimenting with neon colours, and gradients, playing with colour combinations. This shift led to more costume design work across Asia and motivated me to create personal projects, making pieces that I could lend out as samples.

Could you tell us more about your collaboration with Lady Gaga?
When Lady Gaga was planning her visit to Japan, she was looking for designers with unique creations, and through a friend in the music industry, one of my dresses was sent to her. She requested a list of outfits available for loan, so I sent over a list, and she chose this particular dress. I found out she wore it when she posted it on Instagram.

It's fascinating how you transform inexpensive 100% polyester fabric into luxurious and striking dresses.
I recently realised that this might be a distinctly Japanese approach to creation. When you look at the works of legendary Japanese designers who are renowned worldwide, you’ll notice they often use readily available, ordinary fabrics and add twists through combinations and processing methods to create balanced, high-end results. In Japan, unlike elsewhere, there isn’t a strong tradition of luxury fabrics apart from kimono textiles. This might be why there’s a history of innovating with accessible, everyday materials. Importing luxurious fabrics to make high-end dresses is the conventional way of doing things. Instead, creating something fresh and striking through ingenuity without pushing the boundaries of material sourcing feels like a shared trait among Japanese designers. 

Tell us about your creative process: where do you start?
I think it starts with “scale”. Colour is also a crucial factor. My style isn’t about seeking out a specific source of inspiration to create something. Instead, I’m constantly researching — browsing books at secondhand shops, reading novels, exploring designers’ archive books, or visiting markets and museums while travelling. Over time, these various points connect, and a piece takes shape.

Sometimes the inspiration comes from experiences I had as a teenager. Recently, I’ve been drawn to traditional dolls used in Japanese festivals and rituals, and I’ve been researching everything about them. What is most important is that the final concept connects to my personal experiences or stems from an interest that arises naturally from within.

You have been more and more active in the art field for the past two years. Could you tell us more about your projects and your perspective on art?
Over the past few years, I’ve been contemplating how I can expand upon the experiences I’ve accumulated. I’m not interested in growing my brand into a large-scale business, so I’ve been exploring what development could look like outside of that framework. One answer, I believe, is to cross the boundaries between art and fashion and take on new challenges. My first attempt was the solo exhibition I held in Japan last year. Looking back, I realise I was still confined by the idea of “what art should be”. While I wanted to transcend boundaries, I ended up being constrained by them. However, I see recognising that limitation as a meaningful outcome of the challenge. There’s great value in receiving feedback from others and generating new ideas through these experiences.

In your opinion, what are the differences and similarities between art and fashion?
This is a question without a definitive answer, which is why there are endless debates about it — and why I think about it too. Is something art simply because it’s a painting? Is it fashion design just because it’s wearable? With my work, is it a dress presented as art, or art presented as a dress? Ultimately, I believe the boundary between design and art lies in the “essence of the object”. As for my creations, it depends on how the viewer interprets them. I leave it to the audience to decide.

You started your career as a costume designer, but if asked about your current title, how would you describe it?
My answer changes every time I’m asked that question. Until last year, I used to say I was a dress designer or an artist. Recently, I’ve been introducing myself more as a visual artist. But honestly, I’m not too particular about labels. I believe there’s a lot of potential for creating new value in those grey, undefined areas where boundaries are blurred. So I think I’ll continue to work within those in-between spaces.

What is your biggest goal? Could you tell us about your long-term vision for the future?

My ultimate goal is the process of continually challenging myself. I aspire to be a creator with unshakable principles and a solid core, much like the designers I admire — Azzedine Alaïa and Roberto Capucci — who relentlessly pursued beauty with the dedication of researchers. In December, I began showcasing paintings, sculptures, and installations, including ten never-before-seen works, in an exhibition themed around colour at the Pola Museum of Art in Hakone. I also released my first book, which I spent about a year writing myself. In the past, taking on new challenges has always brought fresh opportunities my way. I hope to continue riding that wave in the coming years.

Courtesy: Tomo Koizumi

Text: Elie Inoue