How would you describe what you do?
I am a documentarian of street fashion. I'm also a photographer and publisher.
Why do you do it?
In 1985, when I was 30 years old, I decided that documenting street fashion and creating media would be my life's work. It felt like a very clear calling, and that's why I've been able to continue doing it ever since.
Who or what inspires you?
Ferdinand de Saussure, Georges Bataille, contemporary physics, contemporary art.
What creative work got you excited when you were a teenager, and how does it align with what you're into now?
Surrealism, Marcel Duchamp, Yves Klein and Man Ray. Andy Warhol felt so far ahead of his time that I couldn't really understand him.
How would you describe your experience of working with Palace Skateboards?
When I went to London, I expected to shoot digitally, but they asked if I could shoot on film instead. For Fruits, I had used a rather unusual medium-format camera, the Fujifilm GA645Wi, so I said I would be happy to shoot on film if they could provide that camera. Amazingly, they rented one for me the very next day. Because I was using ISO 100 slide film, it wasn't suitable for low light or evening conditions, so I shot with both film and digital. We photographed exactly where Lev wanted us to, but the shoot continued after sunset. Under those conditions, the digital images would technically have been much better. In the end, though, they chose to use only the film photographs. That creative decision reflects something I couldn't have achieved on my own – whether it's the British creative spirit or simply Lev's instinct. Combined with Vivienne Westwood's involvement, the styling was exceptional. The models and locations were also perfect. I think it became a wonderful piece of work, and people often compliment me on it.
What were your thoughts on Palace prior to working with them?
I had been aware of Palace because I often saw people carrying Palace shopping bags in Harajuku. However, their store was a little outside the area where I usually spend my time, so I had never visited it. In 2022, I was invited to London by The Face magazine to photograph Beabadoobee. While walking through Soho, I saw the Palace store and the long queue outside. I immediately felt the brand's energy and strong sense of style, and I remember thinking that it would be great to work with Palace one day. Two years later, I received an email from Palace offering me a collaboration. I was genuinely surprised.
What are you currently working on?
I'm 70 years old now, so my main focus is how to preserve what I've created over the years. For the past few years, one of my biggest projects has been making the complete digital archives of Street, Fruits and Tune available through libraries around the world. It looks like that will finally become a reality by the end of this year. My next challenge is finding ways to transform my archive into artworks and books that can endure for the future. I'd like to explore whether Fruits could become a fashion brand, and whether it's possible to create a new generation of Fruits magazine. There's also a possibility of developing a Fruits fragrance.
Favourite restaurant?
These days, I usually travel abroad alone, so I don't often go to restaurants. Instead, I love buying charcuterie, cheese, salad, fruit and wine from supermarkets or speciality shops and enjoying them in my hotel room. Earlier this year, while walking through Soho in London, I discovered a long queue outside Thai restaurant Kiln. I invited a friend and we had an unforgettable meal. In 2023 in Paris, I found an incredible charcuterie shop in the Marais called À La Ville de Rodez. I later heard it may have closed, and if that's true, I'd be very sad. Japan has many outstanding restaurants, but these days I don't eat out very often because it's difficult to maintain a balanced diet that way. As an experience, Sukiyabashi Jiro is absolutely worth visiting. I have only been once, but I still vividly remember how extraordinary it was. I was amazed that something as simple as fish on top of rice could taste that incredible. I've been to many famous sushi restaurants, but Jiro stands in a class of its own. Kyoto's long-established kaiseki restaurants are works of art in themselves. And this year, I happened to discover an eel restaurant in Gion, Kyoto, called Yondaime Kikukawa, and it was truly remarkable.
Anything you'd recommend?
Juma Densetsu (The Legend of Juma) by Waka Mizuki. If Anyone Builds It, Everyone Dies by Eliezer Yudkowsky and Nate Soares. The Melancholy of Haruhi Suzumiya – just don't give up after the first episode. Aki Yashiro, Bach's Mass in B Minor, Terry Riley, Illit, and Billie Eilish.
Some of the exhibitions that have impressed me most in recent years were the Man Ray retrospective, the Paul Klee exhibition, and New York's MoMA. I also loved the Hajime Sorayama exhibition at Nanzuka in Shanghai. My greatest museum experience ever was the Uffizi Gallery in Florence, although that was back in the 1980s and the atmosphere was probably very different then.
One experience I'm especially proud of is seeing Jeff Koons' installation in ‘NY Art Now' at the Saatchi Gallery in 1987 – it has stayed with me ever since. I admire Kohei Nawa, and I'm also following Wade Guyton with great interest. I love Harajuku. It has changed a lot since the 1990s, but I still think it's the most stylish neighbourhood in the world. Molecular biology fascinates me. When I listen to Bach's Masses, I feel the presence of god. Quantum mechanics also allows me to imagine something like a divine principle. But I have a feeling that if we keep exploring the inside of cells, we may one day discover signs of god there. That said, the Japanese way of thinking about gods is quite unique.
Tens of thousands of real human Wallpaper* print edition readers are out there: what is your message to them?
I think it's important to fill your mind with good visual culture. I believe that's one way to make the world a better place.
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