All Pleats Dress
THETHE’s first fashion show was my graduation collection.
Titled “symmetry A symmetry,” the collection of 40 looks gradually depicted a process of disintegration, where garments return to the “sea” of fabric, embodying the concept of Expressing the Formless directly through the collection.
The final look, which closed the show, was a centerpiece. It was based on a sleeveless dress, with pleated panels layered on top, all crafted from a single bolt of fabric. The panels at the décolletage were accordion-pleated and wired, allowing the wearer to freely adjust their spread.
The fabric used was bio-taffeta, a blend of natural and synthetic fibers. While pleats are harder to hold in fabrics with more natural fibers, I chose this material for two reasons: expression and story.
Taffeta has a paper-like texture and is a type of Japanese felted fabric that responds beautifully to manipulation. As a Japanese designer, I wanted to use taffeta for the show’s final piece.
The “story” lies in the tension between fashion and sustainability. The industry faces constant scrutiny for environmental impact, with tons of clothing discarded each year, even as mass production continues daily. I feel a sense of guilt in creating new garments, yet I continue to make clothing because there is still something I want to express through it.
All living beings exist by taking something from the world—an undeniable law of life. I do not intend to offer answers or solutions, but rather, through the use of blended fabric and pleating, I convey the idea of coexistence—a reflection of my own sense of guilt and THETHE’s philosophy of Expressing the Formless in the context of contemporary society.
This garment is heavy—about the weight of a child.
Because the world exists, in part, thanks to the presence of children.
Why Cry me? SHIRT
A shirt coat made from taffeta fabric.
On the back, the phrase “WHy Cry me?” is inscribed.
At the time, I was returning to Japan from Serbia and waiting for a connecting flight at Dubai Airport, when the invasion of the Gaza Strip began.
Everywhere, the visuals were of flames flickering against gray backdrops. A mass was held inside the airport, with everyone pressing their heads to the floor in prayer.
It struck me how, just across the sea, conflict unfolds as if it were ordinary, and unjust violence is enforced under the guise of righteousness. I was born in the year of 9/11 and raised by a single mother.
“WHy Cry me?” reflects the writing of a child still learning English.
The waist and cuffs are strongly elasticated, creating gathered details that symbolize a child clutching their clothing alone amid the smoke of conflict.
GUN FLOWER PANTS
Pants designed with a waistband that extends up to the underbust.
The waist is intentionally irregular rather than perfectly circular, evoking the image of a gun barrel bursting apart. I was born in the year of 9/11.
Wing Pocket Dress
In pattern-making, darts are an element one cannot avoid.
They are a technique used to create three-dimensionality in clothing, but are usually hidden through design adjustments or by distributing excess volume into other parts of the garment. In other words, darts play an essential role in the construction process, but are rarely meant to be seen.
This dress, however, deliberately places the darts on the outside and even adds unnecessary volume to them. As a result, draped folds cascade from the shoulders to the waist, giving rise to a subtle elegance within what might otherwise appear to be a simple formal dress.
It is a piece I created while exploring new approaches to pattern-making during my journey of experimentation.
Back Collar T
A simple long-sleeve T-shirt with a shirt collar inserted into the back neckline as a unique detail.
The front is embroidered with the brand logo.
While often referred to as a wing collar, this design emphasizes the shape to resemble small wings even more closely.
Unlike other pieces that are often interpreted as being deeply conceptual or narrative-driven, this item was intentionally designed with a more straightforward approach—focusing on apparel-like details and the charm of design itself, rather than embedding layers of meaning.