Liberating Design: How Tamae Hirokawa Transcended Western Fashion to Design Everything

Nobuyuki Hayashi林信行
16 min readJan 14, 2025

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from the Exhibition Catalogue Essay of Tamae Hirokawa’s Solo Exhibition

This text is translated from the original Japanese catalogue essay I wrote for ‘Design of the Skin’, a solo exhibition by fashion designer Tamae Hirokawa. The original title for the text was “Design of the Skin: Tamae Hirokawa’s Expanding Vision”.

The poster of Tamae Hirokawa solo exhibition “Design of the Skin” held at Fujisawa-city Art Space between 5th October, 2024 and 22nd December, 2024.

Design of the Skin: Exploring Creativity Beyond Fixed Perceptions

If you are in a shipwreck and all the boats are gone, a piano top buoyant enough to keep you afloat that comes along makes a fortuitous life preserver. But this is not to say that the best way to design a life preserver is in the form of a piano top. I think that we are clinging to a great many piano tops in accepting yesterday’s fortuitous contrivings as constituting the only means for solving a given problem.
(Fuller, R. Buckminster. Operating Manual For Spaceship Earth, 1969)

Many of the things we accept as ‘self-evident’ in our daily lives are merely products of historical chance, representing just one of countless possibilities that could have existed.

The Western-style clothes we wear every day as a matter of course are simply one possibility among infinite clothing options, not the only answer. Before the Meiji era, Japanese people naturally wore what we now call ‘traditional Japanese clothing’ or wafuku (和服, pronounced “wah-foo-ku”). These were ‘garments’ that differed fundamentally from Western clothes in their construction, way of wearing, and underlying concepts.

The shift from traditional to Western clothing did not indicate any inferiority in Japanese dress. Indeed, during the Japonisme movement that swept through Western Europe in the late 19th century, the ‘kimono’ garnered significant attention, appearing in numerous Western paintings and influencing many fashion designers. Most notably, Paul Poiret drew inspiration from the kimono’s loose-fitting silhouette to liberate women from the restrictive corsets that had dominated Western fashion, revolutionising the way women dressed in the early 20th century.

Nevertheless, in the 21st century, Western clothing dominates global ‘fashion’. Most fashion designers worldwide work within this Western ‘format’, seeking to differentiate their work through decorative innovation.

The same holds true in Japan, where today most fashion designers work exclusively with Western clothing. However, a distinctive feature of Japanese fashion is the notable presence of designers who seek to fundamentally reexamine the very nature of ‘clothing’. Issey Miyake, under whom Tamae Hirokawa once worked, stands as a prime example. Hirokawa, whose talent Miyake recognised during her student years, has emerged as a noteworthy designer who similarly approaches clothing design from its very foundations.

Tamae Hirokawa. the founder of SOMA DESIGN, a Creative director, and the designer of SOMARTA and a few other fashion brands. .

Miyake embraced the perspective of ‘a piece of cloth’, a concept rooted in the Japanese kimono, and explored new possibilities for clothing while preserving this as his foundation. This approach remains a wellspring of innovation, inspiring unprecedented garments and other creations even after his passing.

Similarly, Hirokawa has acquired her own unique perspective, which has become the cornerstone of her work. This perspective is ‘Design of the Skin’, which also serves as the exhibition’s title. While the possibilities for clothing are indeed infinite, their essence as an artificial ‘outer skin’ that envelops the human body — a ‘second skin’ — remains unshakeable and universal, transcending regional, ethnic, and cultural differences. This is what caught her attention.

With this perspective, Hirokawa redefined her role as a ‘designer of the skin’. Through this lens, she took her first step towards becoming a designer of ‘universal clothing’ that transcends the ‘ethnic clothing’ based on different countries’ environments and climates. Moreover, this liberation from the confines of garment-making allowed her to set sail into the vast ocean of broader design possibilities.

Today, Hirokawa works as a creator not only of human clothing but also designing the skins of furniture, wheelchairs, automobiles, robots, and buildings, and even creating cultural bonds that connect people. To the uninitiated, these activities might appear unrelated. However, thanks to this redefinition of her role, all these activities align along the same trajectory of ‘Design of the Skin’ in Hirokawa’s mind. This unified perspective brings consistency to her diverse creative activities.

(Note: While this text, being from Hirokawa’s exhibition catalogue, focuses solely on her work, I am aware of several other talented designers who take similar innovative approaches.)

scene from “Deisng of the Skin” exhibition. The exhibition also displayed glasses, chairs, and a tent-like room designed by Tamae Hirokawa (photo: SINYA KEITA /ROLLUPstudio)

Beyond Boundaries: The Metamorphosis from Fashion Designer to Designer of the Skin

It appears that Hirokawa had contemplated venturing beyond the fashion industry since establishing her own studio. In a previous interview I did, she expressed: “The typical 20th-century fashion designer’s role was to create clothing, establish a brand, and develop it into a sustainable business. However, I see myself as a 21st-century designer. So what should this 21st-century designer be? I came to realise that my skills in creating clothing could potentially expand and apply to areas beyond fashion.”

With this vision, Hirokawa established a company that would undertake a broad range of design work, with the fashion brand being just one of its ventures. This led to the creation of ‘SOMA DESIGN’, and simultaneously, the fashion brand ‘SOMARTA’.

The brand name “SOMARTA” combines “Amrita,” the Sanskrit term for the nectar of immortality, with “Soma,” the brand’s symbol representing the moon deity. The web page of this fashion brand was carefuly separated from SOMA DESIGN’s, as Hirokawa also serves as the designer director of other brands including sowaha.

One might wonder how furniture, industrial products, and architectural design could be considered ‘skin design’. To explain this perspective, we must first explore the concept of the ‘second skin’.

Those familiar with the fashion industry would know that Hirokawa was not the first to use the term ‘second skin’. Whilst there may be earlier examples, the most famous usage comes from Marshall McLuhan, the pioneer of media theory, who in his 1964 work “Understanding Media: The Extensions of Man” described clothing as an extension of skin. He argued that it not only serves to regulate temperature but also acts as a means of defining one’s social self. Hirokawa herself acknowledges this influence and draws inspiration from it.

In a previous interview, she shared an episode from her student days about being strongly influenced by a section titled ‘Skin and Clothing’ that explained the concept of ‘second skin’ at an exhibition she visited. This was at the 1999 ‘Dreams of the Body: Fashion OR Invisible Corset’ exhibition at the Museum of Contemporary Art Tokyo, which featured works including printed tattoo bodysuits by Issey Miyake and pieces by Jean Paul Gaultier. She recalls thinking, “When designers become professional, they design skin. When I become a designer, I too must design skin.”

She remembered this thought when establishing her own practice.

While the concept of ‘second skin’ has long existed, no other creative professional has explored this perspective as thoroughly as Hirokawa or produced such an extensive body of work based on it.

Even more significant is how she expanded upon this concept by focusing on the word ‘second’ in the phrase. As featured in the exhibition, Hirokawa’s definition establishes that the ‘first skin’ is human beings’ natural skin, whilst the ‘second skin’ comprises clothing and other personal items worn directly on the body. Up to this point, these ideas had been widely discussed. However, Hirokawa expanded her imagination further, conceptualising a ‘third skin’ of furniture, vehicles, cars, and aeroplanes; a ‘fourth skin’ of architectural spaces and buildings; a ‘fifth skin’ of invisible environments and climate; and a ‘sixth skin’ encompassing virtual spaces, including the internet and outer space. This comprehensive framework allowed her to approach diverse design projects with a consistent philosophy, establishing her unique position in the field.

“Skin & Bone Chair”, 2008 — If you prepare a basic chair frame and then create a separate ‘skin’ to drape over it, you can change the chair’s look to match your mood each day. This concept was unveiled at Canon’s “NEO REAL” exhibition during Milan Design Week in 2008. At the time, I wasn’t yet familiar with Hirokawa, but since it was an exhibition organised by a friend, I happened to see the display. © SOMA DESIGN, Photo: Takeshi FUKUI (SOMA DESIGN)

Through Hirokawa’s thorough exploration and expansion of the concept of ‘skin design’, the historical concept of the ‘second skin’ has now been subsumed as merely one component of her broader vision.

The bodysuit completely covering the mannequin on the far right, GUARDIAN (2006), is one of the earliest pieces in her Skin Series. It has been finished without any seams, echoing the structure of human skin. The second mannequin is wearing TRIBAL-RABI Bijou (2014), featuring three-dimensional motifs exquisitely embroidered by haute couture artisans. The third piece, ATLAS (2018), is another Skin Series creation, inspired by the muscles Hirokawa deems beautiful. The fourth piece, Evolution Body, is not part of the Skin Series, so it will be discussed later. (Photo:SINYA KEITA — ROLLUPstudio)

Among Hirokawa’s diverse skin design works, the “SKIN Series” stands as both her inaugural creation and signature work. It perfectly embodies the concept of the ‘second skin’.

Like human skin itself, these seamless knitted garments have no joints or seams. Their knitted structure provides excellent elasticity, allowing them to envelop any body shape completely. Just as skin moves and stretches with the body, these garments expand and contract, enabling unrestricted movement. Beyond their exceptional comfort, they offer practical advantages: they don’t wrinkle, are highly portable, and lightweight. These features have made them commercially successful.

Most importantly, they possess a beauty that makes people want to wear them as a form of self-expression. Hirokawa’s complex patterns are expressed through variations in the knitting, beautifully highlighting the three-dimensional qualities of the wearer’s body.

The unique characteristics of the “SKIN Series” have not only captivated everyday consumers but have also particularly impressed performers who use their bodies as instruments of expression, especially dancers.

Notable figures such as Madonna and Lady Gaga have worn these pieces in their stage performances and music videos. Jo Kanamori, director and choreographer of the dance company Noism, and Mirai Moriyama, who performs as both actor and dancer, have repeatedly showcased performances featuring the “SKIN Series”.

Additionally, Ema Yuasa, who was a member of Nederlands Dans Theater 1 (NDT1) before becoming an independent dancer and choreographer, has created several works deeply inspired by the “SKIN Series”, stating that “these performances would not have been possible without the SKIN Series”.

Ema Yuasa, a former member of NDT1 and now a dancer and choreographer, often draws inspiration from Hirokawa’s Skin Series for her creations.

International recognition has also been significant. In 2017, The Museum of Modern Art (MoMA) in New York included the “SKIN Series” in their exhibition “Items: Is Fashion Modern?”, the museum’s first fashion exhibition in over 70 years. The series was presented as a new archetype for undergarments, and subsequently became part of MoMA’s permanent collection.

Behind each of Hirokawa’s creations lies extensive research and experimentation. The “Design of the Skin” exhibition showcases these developmental processes as “STUDY” pieces. In the “STUDY 01” section, while the immediate catalyst for the “SKIN Series” was the discovery of seamless knitting technology, visitors can explore fascinating earlier experiments from her student days, when she was captivated by mikan nets (the mesh bags used to package Japanese mandarin oranges) that had a structure similar to the “SKIN Series” knits, which she used to create clothing for Barbie dolls.

STUDY 01: early inspirations for the “Skin Series” (Photo: Takeshi Fukui — SOMA DESIGN)

The Fusion of Digital Technology and Artisanal Craftsmanship

The eleven mannequins arranged at the centre of the exhibition space showcase the rich variety of the Skin Series. (Photo: SINYA KEITA — ROLLUPstudio)

At the centre of the exhibition's first gallery, eleven mannequins wearing pieces from the “SKIN Series” create a striking display, their forms shimmering as they reflect the lighting, visible even from outside the venue. Visitors are often surprised by the remarkable variety of iterations within the “SKIN Series” collection displayed throughout the exhibition space.

This exemplifies Hirokawa’s exceptional talent: she possesses both the ability to thoroughly explore concepts to their essence and the creative power to expand upon these fundamental principles to produce diverse variations.

As previously mentioned, the beauty of the complex patterns expressed through varying knit densities is crucial to the “SKIN Series”. This is, in fact, a defining characteristic of the ‘second skin’.

Throughout history, humans have decorated their skin through various means — body paint, tattoos, and other forms of body modification — to transform themselves into something beyond their natural state, closer to their aspirational selves.

The “SKIN Series” translates this “dream of the body” into a replaceable tool — the ‘second skin’ or clothing — allowing wearers to experience different dreams repeatedly, in various forms.

First, Hirokawa develops patterns that align with her conceived narratives. These are then transformed into digital blueprints that consider the body’s various sections. Artisans then create computer programs for knitting, and the machines produce the knits based on these programs. While this might sound straightforward, it requires a sophisticated approach that simultaneously considers the garment’s structure, knitting patterns (textile), design elements, and pattern making. For pieces that incorporate artisanal embroidery, additional considerations are necessary — such as calculating the horizontal shrinkage rate caused by the embroidery and creating wider knit surfaces to accommodate this.

In every aspect, this approach differs fundamentally from traditional Western garment making.

The textile that forms the basis of the Skin Series is meticulously designed, with its patterns calculated to accommodate areas of the body that stretch and contract more or less. Once completed, it is placed into a highly secretive seamless moulding machine, emerging as a garment entirely free of seams. (Photo: SINYA KEITA — ROLLUPstudio)

From Cosmos to Living Creatures: The Imagined Skins Woven by Tamae Hirokawa’s “SKIN Series”

As mentioned earlier, delicate knitted patterns in the “SKIN Series” are sometimes enhanced with artisanal handwork techniques.

Among the pieces displayed that express ‘second skin’ solely through knitting are “Adamas” (2013), featuring geometric patterns as rigid as diamonds; “Horus” (2014), with geometric patterns abstracting a falcon spreading its wings; and “Atlas” (2018), displayed along the wall, which visualises usually unseen muscle patterns.

(Photo: SINYA KEITA — ROLLUPstudio)

In contrast, “Protean” (2007) and “Clematis-Metal” (2007), positioned at the front of the stage and sparkling as they catch the light, incorporate Swarovski crystals and metal chips individually attached by artisans. “Microcosmographia” (2010), designed with the concept that microcosms become macrocosmic universes, and “Crow-Bijou” (2011), featuring feather-inspired patterns, are adorned with hand-embroidered beads and sequins. “Frost-Mehendi” (2008), expressing traditional Indian henna tattoos, features hand-painting and silver foil, while “Tribal-SOMA” (2016), themed around an imaginary ethnic group, incorporates foil work by artisans to stylise tribal tattoo patterns.

While each pattern’s beauty is captivating, equally fascinating are the thematic concepts — from the connection between micro and macro universes to imaginary tribal tattoos.

Particularly intriguing are the series inspired by other living creatures: “Clematis-Metal”, which expresses hard, protective, iron-like skin reminiscent of scales and shells; “Crow-Bijou” with its feather-inspired imagery; and “Reptilia” (2017), which draws inspiration from insect and reptile skin. These pieces reflect Hirokawa’s constant fascination with and attention to the beauty of animal and plant skins in nature.

In the “STUDY 02” section of the exhibition, visitors can examine iridescent insect exoskeletons through a magnifying glass and prototype models expressing crustacean skin through delicate bead embroidery.

Beyond Skin: Exploring Deeper Structures

Hirokawa’s interest in human anatomy extends beyond just ‘skin’.

In “STUDY 03”, she explores her fascination with the functional beauty of muscles, as expressed in the Atlas series. “STUDY 04” explores her interest in the skeletal structure that determines human body composition, particularly focusing on the history of how humans have modified their bodies to achieve desired forms. This section also demonstrates how the same SKIN Series pieces take on completely different appearances when draped over different animal skeletal structures.

In 19th-century Europe, corsets were considered essential for achieving a beautiful silhouette, often tightly laced to the point of causing deformation of bones and internal organs. This demonstrates humanity’s tendency to alter its own physical form in the pursuit of transcending natural limits. Reflecting on how to reshape the body without imposing undue strain, Hirokawa devised a method of constructing an exoskeleton over the wearer’s body, onto which a “skin” could be applied. Displayed at the back of the showcase is a replica of a cat’s skeleton, dressed with an exoskeleton and skin, yet it appears to be an entirely different creature. (photo: Takeshi FUkui, SOMA DESIGN)

In 2008, Hirokawa designed a new ‘skeleton’ to make the human body appear more beautiful, themed around “the evolved body”. This wearable skeleton, called “Evolution-Body Transformer”, when worn under a SKIN Series dress, allows the stretchy knit material to conform perfectly to the skeleton, giving the wearer a new body shape.

This concept of an ‘exoskeleton’ is another key recurring element in Hirokawa’s work. Actually, in 2008, Hirokawa created another skeletal work.

Evolution-Body Transformer (Photo: SINYA KEITA — ROLLUPstudio)

The “Skin+Bone Chair” features a skeleton in the shape of flower petals. When dressed with its own SKIN Series covering specifically designed for this chair, the space between the skeleton and skin creates a soft spring-like cushioning effect in the chair’s form. The skeletal structure can be enjoyed as a steel chair when stripped of its skin, or it can be transformed with new skins to explore variations in colour and pattern. This ingenious design represents one of Hirokawa’s earliest and most notable examples of the ‘third skin’. That year, it was exhibited at Milan Design Week in Canon’s “NEOREAL” exhibition, directed by design director Toshiki Kiriyama (Representative of TRUNK Inc.).

While I had been familiar with her earlier works, it was at this exhibition that I first became conscious of SOMARTA and Tamae Hirokawa by name. Following this exhibition, I witnessed her emergence as a designer working beyond clothing, taking on various design projects including automobiles and robots.

The Zoff eyewear “Skin+Bone Glass”, displayed alongside the chair, is another such project, designed from the perspective of ‘skeleton’ and ‘skin’.

Skin + Bone Glass by ZOFF (Photo: Takeshi Fukui, SOMA DESIGN)

The Expanding Vision of “Design of the Skin”

The “Design of the Skin” exhibition spans two galleries. The first gallery primarily showcases the “SKIN Series”, including the previously mentioned pieces and displays demonstrating the production process.

The second gallery centres around “SOMA-HOUSE” (2024), a large-scale new work created specifically for this exhibition.

SOMA HOUSE (2024). (Photo:SINYA KEITA — ROLLUPstudio)

In planning this exhibition, Hirokawa had one particular aim: to let visitors experience wearing the “SKIN Series” themselves — to feel how the patterns change, experience its elasticity, and understand its tactile qualities. However, having visitors try on actual “SKIN Series” garments wasn’t feasible.

Instead, the exhibition includes a tactile zone where visitors can touch and feel the SKIN Series material. Furthermore, the massive “SOMA-HOUSE” was created as a space that visitors could enter and relax within.

This isn’t the first time the SKIN Series has been used in architectural structures. In 2023, she created “Mandala Tower” for the art festival “Koyasan Art Days 2023”, a three-dimensional interpretation of a mandala in the form of a Buddhist tower (STUDY 05). While it was a large structure, the tower was placed on a high pedestal with a central column, making it inaccessible to anyone except its creators.

Mandala Tower (Photo: SINYA KEITA — ROLLUPstudio)

How could visitors be allowed inside a SKIN Series structure? After much trial and error, a new solution emerged: a cardboard exoskeleton that was lightweight yet sturdy, easy to transport, and simple to assemble (STUDY 06). By including this installation, the exhibition became the first comprehensive showcase of Hirokawa’s design work spanning from the ‘second skin’ to the ‘fourth skin’ in her hometown of Fujisawa.

In 2021, Hirokawa created what could be called a ‘fifth skin’ work. For the art event “Tamae Hirokawa in BEPPU” in Beppu City, Oita Prefecture, she created a festival (ritual) to unite the local community and pray for protection from disease in this tourist destination that the pandemic had severely impacted. After researching the origins of traditional Japanese festivals, she designed everything — from the ritual ceremonies and the costumes of the marebito (visiting deities) who appeared in the festival, to the ‘fourth skin’ decorations that transformed the appearance of key buildings in the Kannawa hot spring area during the event period — creating what became a ‘fifth skin’ that united the local community.

When one of the four rituals she created, the “Jigoku Festival”, began and the marebito started moving through the streets beating drums, people began emerging from their homes, creating an unexpectedly large crowd at the final destination despite the pandemic. Natural interactions developed between the marebito and local children, and when the performance ended, spontaneous applause erupted from the spectators, creating a strong sense of unity among all present. While this exhibition unfortunately omits this display, there are still calls from the Kannawa hot spring area to revive the festival.

This “in BEPPU” project has been archived as a video work online, allowing viewers to still experience the excitement of Hirokawa’s created festival. (Tamae Hirokawa in BEPPU https://inbeppu.com/2021/)

This is the video I made; there’s better videos on the official site.

While it’s unclear whether she has specific plans, Hirokawa has also spoken about the ‘sixth skin’ that covers virtual space and outer space. When she eventually tackles this realm, she may well become a designer impossible for anyone to ignore.

Yet even before that, Hirokawa’s work has already reached a global audience through one particular piece displayed in the corridor connecting the two galleries: the official podium jacket worn by Japanese athletes at the Tokyo 2020 Olympic and Paralympic Games. This was created in collaboration with ASICS, where she conceived a skin-like knit design that both beautifully showcases the body while protecting it from heat and UV rays, while remaining breathable.

The Podium Jacket, designed by Tamae Hirokawa and manufactured by ASICS for the TOKYO 2020 Olympics, was distributed to Japanese Olympians for use when receiving their medals on the podium. Even now, some athletes remain fond of this jacket and choose to wear it during interviews. (photo: Takeshi Fukui, SOMA DESIGN)

This example demonstrates how the techniques cultivated through years of “SKIN Series” development have been recognised by national institutions and major corporations, and how they can be applied to highly functional garments.

As Hirokawa continues to gain attention and expand her creative scope, she is currently involved in several multi-year projects that many people will encounter in their daily lives. When you see news of her future achievements, I hope you’ll consider the concept of “Design of the Skin” that underlies her creative work.

Throughout the 20th century, ‘skin’ often functioned as a boundary for humanity, dividing people and causing unnecessary conflicts. As Hirokawa’s perspective of ‘skin’ that embraces communities and even the cosmos spreads, perhaps we can realise a more harmonious and peaceful world.

It was recently announced that she will also be involved in a project for this year’s Osaka Expo, alongside Professor Hiroshi Ishiguro, the world-renowned researcher in android technology.

Hirokawa seems to have designed a skin for android for “FUTURE OF LIFE” — an exhibition at Osaka Expo 2025.
Skin Dress Series (Metamorphosis dress) (photo: SINYA KEITA — ROLLUPstudio)
SOMARTA also has mens’ clothing (photo: SINYA KEITA — ROLLUPstudio)

Books

There is a striking consistency in Hirokawa’s work. Just as the exhibition is titled ‘Design of the Skin’, her first book, published concurrently with the exhibition, shares the same title. Even the visual design of the book’s cover bears a remarkable resemblance to the exhibition’s visual identity.

Afterword

I obtained permission from SOMA DESIGN and Fujisawa City Art Space to create the English version of this article. However, while preparing this piece, I was deeply saddened to learn of the passing of fashion journalist Yoko Kawashima. My connection with Hirokawa was first established 12 years ago through the “ifs Future Laboratory,” which Kawashima founded.

This was not a typical research institute shaped by the profit-driven logic of corporations, often disconnected from reality and the present. Instead, it was a place dedicated to envisioning a delightful and continuous future grounded in the realities of today. Under the directorship of Yoko Kawashima, the initial members of the institute included world-renowned architect Tsuyoshi Tane, Tamae Hirokawa and Takeshi Fukui of SOMA DESIGN, product designer Toshihiko Sakai, the then 20-something wunderkind Koutarou Watanabe of takram design engineering, Yasuyuki Karakawa, a researcher at Cornell University’s SGE Centre, and myself, a technology journalist and consultant with a sceptical view of technology.

Together, we collaborated on exciting projects with a broad spectrum of companies, including Mitsukoshi Isetan, LUMINE, BEAMS, and the venerable Japanese confectionery brand Toraya. The connections I made through this laboratory played a pivotal role in freeing me from being solely a technology-focused journalist.

I would like to express my deepest condolences on the passing of Yoko Kawashima. May she rest in peace.

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Nobuyuki Hayashi林信行
Nobuyuki Hayashi林信行

Written by Nobuyuki Hayashi林信行

aka Nobi //tech & design journalist/consultant. Covered tech industry since 1990. Now telling people technology alone cannot change our lives for better.

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