joseph scissorhands: Ryunosuke Okazaki: JOMONJOMON

"My work is not conceived to function as something that can be worn in everyday life. Human beings are a physical form that symbolises nature, and by wearing my work, I aim to create an expression that makes you feel as if you are part of nature, as if you are returning to nature." - Ryunosuke Okazaki.

These futuristic dresses by fashion designer Ryunosuke Okazaki displayed at the Victoria and Albert Museum this last week as part of the capital-wide London Design Festival are amazing. They are remarkable feats of engineering, like architecture for the body. The dresses seem to resemble or take their inspiration from Japanese Samurai armour and insect forms with their sense of symmetry and lively, exaggerated, curlicued lines. "It's as if the human being has grown more joints" he says of the finished creations. They also cast the most beautiful shadows. Their display in London marks Okazaki's debut showing in Europe. Okazaki graduated with an MFA in design from Tokyo University of the Arts, winning the first prize at the Graduation Exhibition with his collection, JomonJomon. Okazaki is partly inspired by the sculptural forms of ritualistic Japanese pottery from the Jōmon period (c.14,500 to 300 BC), which are among the earliest known examples of clay work. Jōmon-era pottery, is decorated with intricate designs using rope, reflecting the era's practice of channeling wishes and prayers into these vessels. There is a lovely example of this pottery at the beginning of the display to show visitors how the ceramic vessel relates to Okazaki's dresses sharing a sense of context. The traumatic history of Okazaki's city of birth - Hiroshima, also looms large in his work. The designer transforms the profound impact of his hometown’s sombre history into sculpturally ethereal designs that now reflect themes of peace, prayer. I was very surprised to discover that Okazaki works spontaneously and instinctively not creating any drawn designs. He has no idea what the finished dress will look like, and likes to surprise himself when he sees the finished design on the body. The designs embody a reflection of Hiroshima’s strong wish for peace and prevention of such a tragic event in history from repeating itself. “My own wish and prayer for peace is a major driving force and theme of my craftsmanship. Fashion, art, there are many ways of expression”, he states. In his own unique way Ryunosuke Okazaki is attempting to transform Japan’s tragic history into concepts that embody the country's acceptance of its past and a willingness to move forward. My own wish and prayer for peace is a major driving force and theme of my craftsmanship. Prayers and wishes for peace are prayers for human life. Praying is an act like connecting with nature. People's lives today seem to be less connected to nature, but humans are inherently part of nature and part of the cycle. I believe that war is an act that is in direct opposition to nature, destroying nature and human life as well. I hope that through my work people can connect with nature and feel the message of peace."

Ocean - 2024

Okazaki grew up in Hiroshima, a city on the Seto Inland Sea. Here, views of the sacred Itsukushima Shintō Shrine, famous for its floating torii gate, are part of daily life. From his atelier in tokyo, he returns to the sea to reconnect with nature's majesty and draw inspiration from its serene yet powerful rhythms.

Yin and Yang - 2025

Light and shadow, stillness and motion - these opposing forces do not conflict but coexist in harmony. through their mutual pull and support, nature sustains balance and flows endlessly in a cycle of renewal. Okazaki materialised this idea in this wearable piece, shaped by inserting flexible rods into velour panels sewn together.

Flowers and Insects - 2024

Blooming flowers celebrate life, while insects play a vital role in their reproduction through pollination. Their union in this dress expresses the delicate balance that sustains our world. By concealing the face with a headpiece, individuality fades, directing attention to the intimate relationship between the dress and the body it surrounds.

Universe - 2024

For the Jōmon people, the cosmos was never distant. Stars, moon phases, and the sun's path impact seasonal cycles and daily life. When Okazaki saw this dress take shape through his hands, he intuitively felt that cosmic bond, expressing humanity's place within the vast universe.

Life and Death - 2025

Alongside Jōmon pottery, Shintō, the native religion of Japan, is a vital source of inspiration for Okazaki. This dress depicts life and death through red, the colour of blood symbolising life, and blue, evoking the cold depths. It reflects Shintō's view that life and death are not opposites but part of a continuous cycle where death marks a new beginning.

Sakura - 2025

In Japanese culture, cherry blossoms are celebrated for blooming all at once in spring and falling swiftly, symbolising life's fleeting beauty. Inspired by this, Okazaki created this dress in spring 2025 for the V&A's permanent collection, capturing this transient grace.

Root - 2024

Though unseen, roots form life's foundation, anchoring us to our origins and the Earth. In Shintō, kami, or deities dwell in nature. The garment, entitled 'Root', symbolises these invisible yet vital bonds that connect all living things.