Translated by Bethszabee Garner

In a world where fashion chases the spectacular, sometimes overshadowing thought, Satoshi Kondo embodies another path. That of the body in motion, of fabric that breathes, and of clothing that tells a story rather than imposing itself. A former disciple of Issey Miyake, Kondo has been following in his mentor's footsteps for five years as artistic director, never forgetting that “form never prevails over movement.”

At the helm of the women's collections, season after season, he creates with a draconian calm, shaping a contemporary identity for the Japanese label based on beauty, the expression of naive joy and, above all, textile research. Following his Fall/Winter 2025-2026 runway show, we spoke with the designer about his unique organic vision of design, his dreams, and his desire to liberate the endless silhouette. Interview.

An exclusive interview with Satoshi Kondo, for Issey Miyake

Tom Kuntz: In September 2019, you succeeded Yoshiyuki Miyamae as creative director of Issey Miyake. How did you approach this transition at a time when the house was so deeply marked by the legacy of its founder?

Satoshi Kondo: I remember being very surprised. I never imagined that I would be the next to take on this responsibility. But once I was told that I would become the new creative director of the women's line, I started to think back on all those years spent with Mr. Miyake, the expertise he passed on to me, and the experience I had accumulated. That surprise quickly turned to gratitude. I saw this opportunity as a chance to evolve and grow.

Tom Kuntz: You have now been working within the brand as a conductor for more than five years. Your lines are recognized for their lightness, joy, and fun. What are your main drivers for conveying this identity?

S.K: For each collection, I develop a theme or a story that I want to tell. But beyond these stories, there are always two keywords that underpin my approach at Issey Miyake: beauty and joy. These two concepts guide all my thinking. They are rooted in a fundamental philosophy of the house that has been in place for over fifty years: the concept of “A piece of cloth.” Clothing is seen as a piece of fabric in constant dialogue with the human body, the way it envelops, follows movement, and creates a form of freedom. It is this organic interaction between fabric and body that inspires me.

Tom Kuntz: In your approach, would you say that you preserve Issey Miyake clothing as a cultural expression?

S.K: Yes, absolutely. For me, each garment carries a form, a context, an anchor. But at the same time, I would like them to stand the test of time, so that we can look at them in ten or fifteen years and still find them beautiful. So perhaps not universal in the strict sense, but timeless, yes.

Tom Kuntz: With such a strong aesthetic, how do you manage to renew this heritage without betraying it?

S.K: I don't see these two concepts as contradictory. Heritage and innovation can coexist perfectly, especially when the heart of the work lies in the creative process. My team and I devote a lot of time to research, development, and exploring techniques and materials. This process naturally pushes us towards new ideas, while keeping in mind what the house has built. The important thing is to remain in a dynamic of constant evolution, without losing the founding DNA.

Tom Kuntz: Your approach to clothing often begins with the movement of the body, even before taking the silhouette into account. Is it your initial training as a textile designer that pushes you to construct clothing from the inside out?

S.K: I'm very touched that you've picked up on that. Indeed, the movement of the body is central to my process. For me, it's all about the relationship between clothing and anatomy: how they interact and complement each other. But I don't necessarily structure my creation from the inside out or vice versa. It's an organic process. Sometimes I start with a fabric. Other times, from an external idea. It's never set in stone, and it's precisely this freedom that I seek.

Tom Kuntz: Technical research is a pillar of the house. From iconic pleats to 3D printing, to innovative textiles such as Washi for Spring-Summer 2025. What are your most exciting avenues of exploration today?

S.K: I've always been very attracted to natural fibers from plants that are harvested from nature and return to it naturally. It's a form of instinctive sustainability. I'm also fascinated by knitting technologies, especially seamless knitting. Thanks to machines, we can create a complete piece without assembly. This technology already exists, but what matters is how we use it, the idea behind it. My dream would be to one day combine these two paths: seamless technology and natural materials.

Tom Kuntz: You work with engineers, researchers, and artisans in the development of your fabrics. Is this exchange initiated by the studio, or is it, conversely, the material that then guides the form for you?

S.K: Both. We often make proposals to artisans and manufacturers, but this is based on long-term relationships. Development takes place in successive layers, in a continuous process. What you see in a collection is the result of a longer process, sometimes started several seasons earlier. Nothing comes out of nowhere. Each collection is like a meeting point, a visible stage in an organic and in-depth process.

Tom Kuntz: In your fashion shows, there is a particular focus on staging: the rhythm, the poetry, and even the transmission of gestures. We remember your eight dancers from the FW25 show, illustrating the transformation of clothing. How important is the fashion show experience in understanding your collections?

S.K: I'm not the most comfortable with words. The fashion show is my language. It is through it that I wish to express my ideas, convey an emotion, tell a story. Rather than talking about a garment, I prefer to show it in motion, in a poetic setting, so that the audience can fully experience what I wanted to create.

Tom Kuntz: Although the fashion house has a global presence, the creative heart of Issey Miyake remains in Tokyo. From there, how do you perceive the evolution of fashion on a global scale?

S.K: Issey Miyake is not a fashion house that follows trends. We create without looking at them, without trying to integrate them. That said, we observe what is around us: behaviors, social transformations, climate change. These elements influence our work, but indirectly. The idea is not to respond literally to a need, but to reflect on what it means to live in the world today and how to create pieces that enrich everyday life.

Tom Kuntz: If you had to explain the essence of the fashion house to someone unfamiliar with it, how would you do so?

S.K: It's a fashion house that designs clothes that only it can create because they are the result of a unique philosophy, process, and commitment.

Tom Kuntz: Is there a particular collection that you designed for Issey Miyake that will stay with you forever?

S.K: There are several, but three come to mind. My very first one for Spring/Summer 2020. It was my debut, I received a lot of positive feedback, and the scenography was very strong. Next, I would say the Spring/Summer 2023 collection, the first after the passing of Issey Miyake, which was particularly touching for all of us. And finally, the most recent one: Fall-Winter 2025-2026. This one reflects me even more as a designer; it fully expresses my identity while also embodying that of the house.

Tom Kuntz: How do you imagine the future of Issey Miyake? What artistic, technical, or social issues will guide your creations in the coming years?

S.K: The core of our method will remain the same: research, rigor, and close collaboration with artisans. But I would like to forge more links with other cultures, other disciplines, and other territories. By opening myself up to external collaborations, I hope to further promote the women's line around the world.

Tom Kuntz: Finally, what would you like people to remember about your time at Issey Miyake when we look back in ten or twenty years?

S.K: I know that by taking on this role, I will become recognized in a certain way. But I would like to be remembered not as a director per se, but as a craftsman. A creator who designs, manufactures, and is deeply involved. Someone for whom design is not just a direction, but a sincere and committed practice.

Exclusive interview with Satoshi Kondo, artistic director of Issey Miyake's women's line, from issue 12 of OniriQ Magazine.