You have described your previous collections not only as objects or garments, but rather as carriers of philosophy, perhaps best described as a medium of silent communication, touching upon topics such as En-yo, Mottainai, what was the ethos behind this collection, Land of Setting Sun?
Just as in earlier seasons, these looks are definitely created in close contact with spirituality. The title refers to an utopia of dragon and snakes, specifically Nāga, being the snake God of Hinduism. The serpentine functioned as my starting point, but there are also many references which nod to fertility and the Uroboros circle, which is an ancient symbol of a snake biting its own tail; embodying the eternal cycle. I enjoy exploring different cultures [Akasaka himself being between west and east, American and Asian], and then connecting them all together through my research. It feels as if I’m creating unique stories, it comes naturally.
Does your practice stop at merely fashion design? For not only have you been narrating numerous tales, but also designing, creating, shooting and even modeling your garments during the last decade, is there any way to define your transversal practice?
That's very true. I suppose it’s up for question, both for me and for other people. However I still feel like what I’m doing has fashion design at its core, but then again what’s fashion? It's individual.
