Kyoto is not short of beautiful hotels, but Four Seasons Hotel Kyoto has one thing most of them do not: an 800-year-old pond garden at its centre. At the foot of Higashiyama Mountain in the ancient capital’s temple district, the hotel feels like an idyllic paradise arranged around Shakusui-en: a heritage garden believed to date back to the late Heian period. With 180 rooms, including 13 suites and 57 residential suites, two restaurants, two lounges, a spa and wellness centre and a leather-clad Hermès rickshaw in its lobby, this is a property that makes staying in feel as compelling as going out.

Wallpaper* checks in at Four Seasons Kyoto

What’s on your doorstep?

Higashiyama might be Kyoto at its most atmospheric: narrow alleyways, traditional machiya houses, temples, shrines, small artisanal shops. Kyoto Station is about ten minutes away, making arrivals easy, while the surrounding district places guests close to some of the city’s most rewarding cultural sites, such as the Kyoto National Museum or Kiomizu-dera temple. That said, the hotel has a habit of slowing plans down. Between its garden, tea house, terrace overlooking the koi pond, and weekly maiko (traditional apprentice geisha) live performances in its lobby, leaving requires a surprising amount of discipline.

Who is behind the design?

Kyoto’s Four Seasons Hotel is an exercise in understated luxury, steeped in tradition yet thoroughly modern. The architectural blueprint was developed by Japanese studio Kume Sekkei, while global interior design firm Hirsch Bedner Associates (HBA) led the interiors for the guest rooms, spa and public spaces.

The sense of arrival is particularly strong: the porte-cochère, designed by Jun Mitsui & Associates, takes its cue from traditional Japanese umbrellas, with washi paper and glass used to soften the threshold between city and hotel. Indoors, HBA overlooked nothing, with grandeur in spades: quadruple-height ceilings in the dining room; a leather-clad Hermès rickshaw in a hallway corner; and cushions woven by Hosoo, a Kyoto atelier that dates from 1688.

Among the hotel’s expansive art collection, highlights include Seven Stones by Tokyo-born sculptor Todo, made using rocks collected from the hotel’s pond garden, and Zen by Ofune Makoto, a large blue work inspired by the temple district, shifting seasons and Kyoto’s meditative calm.

The room to book

Rooms and suites are designed around the Japanese idea of kutsurogi, or relaxation, and the best of them look directly onto either the city or the garden. Even the more contemporary spaces feel rooted in Kyoto through their use of washi-paper lighting, soft screens, warm wood and calm, restrained palettes. The garden-facing rooms are the ones to book, if possible: waking up to Shakusui-en is an experience in itself. The residential suites are a particular hot commodity for longer stays or families, offering the scale and privacy of an apartment with the service of a hotel.

Staying for drinks and dinner?

Designed by Yamamoto Atelier, the teahouse in the garden, also known as Fuju Lounge, is used for meditative tea ceremonies by day, but come twilight, it turns into a swanky bar serving fine sakes – including one produced exclusively for Four Seasons – and premium Champagne. The perfect pre-prandial stopover before heading to Sushi Ginza Onodera Sushi, the 10-seater restaurant that serves Edo- (Tokyo-) style sushi from chef Takuya Kubo, or Kyoto Grill, the brasserie-style restaurant serving breakfast, afternoon tea and dinner, with charcoal-grilled meats, dry-aged cuts and seafood among its signatures

Where to switch off

The spa is one of the largest wellness areas in Kyoto, where facilities include a 20-metre indoor pool, Japanese ofuro baths, sauna, steam room, whirlpool, relaxation lounge and 24-hour fitness centre, alongside seven treatment rooms. Treatments draw on Kyoto traditions and seasonal ingredients. The Heian Tradition ceremony uses matcha, bamboo charcoal salt, camellia oil, rice milk, honey compresses, a sake bath and hot stones, while the Zen Ceremony focuses on full-body massage, ginger-infused hot towels and, in the longer version, another sake bath. There are also Sodashi treatments for jet lag and detox, alongside facials using Kotoshina, Biologique Recherche and Tatcha.

The verdict

Four Seasons Hotel Kyoto works because it understands that the garden is not a backdrop, but the point. The rooms are elegant, the food is strong, the spa is genuinely worth setting time aside for, and the location places guests inside one of Kyoto’s most atmospheric districts. But it is Shakusui-en that gives the hotel its character: koi in the pond, seasonal blossom, a glass bridge over ancient stonework, a tea house looking back towards the 12th century. Kyoto's beauty and history is unusually easy to take all at once.

Four Seasons Hotel Kyoto is located at 445-3 Myohoin Maekawacho, Higashiyama Ward, Kyoto, 605-0932, Japan

Light filters softly into the stone entrance of an old Kyoto townhouse where Michael Anastassiades stands in front of his new creation: five thin glass tubes rise from a narrow wood base, their illuminated filaments forming a circle – just like the sun above the horizon.

'Light is the base of everything,' says Anastassiades, the Cypriot-born, London-based designer. 'Everything starts from a glow. It’s the first thing I think about before I make or design. It's always the starting point.'

This philosophy shapes 'From Warm Yellow to Saturated Red', Anastassiades’ exhibition at Taka Ishii Gallery Kyoto, where his new works – lighting, sculptural objects, seating – are harmonised with the stillness of a 150-year-old machiya, or townhouse.

Sunset – the fleeting intensity of its scattered light, the precision of its deepening shades – is the creative inspiration behind his first solo exhibition in Kyoto. Anastassiades’ objects glow quietly in a play of light and shadows inside the traditional interior – among tatami-lined spaces, paper screens, textured soil walls, high timber rafters, an old storehouse and courtyard gardens framing patches of sky.

Elemental, light and pared-back in form, his works balance precision with poetry, through a mix of cultural influences – Japanese bamboo, Greek island stones, Icelandic fishing knots, Egyptian stools, Cypriot textiles.

A key protagonist in the exhibition is his series of ‘Sunset’ lamps. The first, with a fully lit ‘sun’, is positioned in the stone entrance – and as the exhibition deepens inside the machiya, the 'sun' in each work is positioned a little lower, mirroring its descent into the horizon.

Dynamic vertical lights are also crafted from Japanese bamboo, knotted with linen thread used by Icelandic fishermen; alongside two triangular wood stools with clean curves and pointed edges; and hand-patinated bronze objects, from thorns to stones, laid on handwoven textiles by Cypriot artist Joanna Louca.

The exhibition marks something of a new creative chapter for Anastassiades, opening shortly after he announced plans to close his eponymous lighting brand after nearly 20 years, to focus more deeply on creative projects.

Here, Anastassiades shares his thoughts on sunsets and stones, fishermen’s knots and filters, while taking Wallpaper* on a private tour of his new exhibition.

Michael Anastassiades in Kyoto: interview

W*: Tell me about the sun.

MA: This exhibition is about a very specific time of day, when the sun is setting. Interesting, intense moments. I’ve made a series of sunset light pieces. This one at the entrance is a whole circle of lights – and as you progress through the gallery spaces, the light goes down to the middle of the horizon, like the sun setting. The lights are super-thin – maybe 4mm with a very, very fine LED. These are one-off pieces. To me, these objects are sketches. Drawings. Improvisations.

W*: Standing inside the machiya entrance, I can see a row of stones in a tatami space. Tell me about these.

MA: I’ve always been fascinated with natural stones. These are 25 bronze casts from my collection of stones, which I’ve collected since I was a teenager. I have a huge collection of stones. These are from the Greek island of Kefalonia. I collected them when I was 20 or 21, from a cove in a special bay. I revisited that bay 30 years later – I asked a fisherman to take me to this cove. There were probably 30 different coves, but we got there – and found more stones.

W*: Why stones – and why casts?

MA: These are not the found objects: it’s the whole idea of creating something. I’m fascinated with the role of nature as a designer. They look almost perfectly spherical, like eggs. They were found that way. It’s the idea that nature is able to create this perfect shape.

W*: What about this ‘Bamboo’ light upstairs?

MA: I used Japanese bamboo and black linen thread with a knotting technique used by Icelandic fishermen, holding the metal brackets. The bulbs are the only technological bit. For my brand, I have a lamp called ‘Take’, made of bamboo. It’s interesting to see the evolution here: the other one is very much an industrial product – but this has a handmade feel. The cables on the floor are part of the piece.

W*: What inspires the verticality in your work?

MA: It is part of the language that I’ve used for a very long time. I have been completely fascinated with linear sources of light, ever since the first pieces I made commercially – the ‘Tube’ chandelier. That was very much based on the incandescent bulb. Of course, many people used this in the past, especially the famous Eileen Gray [for her] floor lamp – I was fascinated with these bulbs for a long time. And then, as soon as I started using them, they stopped making them. About 15 years down the line, I decided to make my own bulbs – so I had these made specifically.

W*: There’s such a softness in the light.

MA: The temperature, the colour – everything about it is so carefully chosen. It is not a random piece. It is very much a warm light. The glow is so fundamental, as part of the design of the fixture. It can completely transform how something is perceived.

W*: Why lights – what’s the seed of your desire to express light?

MA: I think we’re all drawn to light in some way or another. I’ve been attracted to light for a very long time. It’s part of the human instinct. From very early civilisations, people worshipped glowing things – the sun, the moon, meteorites, fire. Why did I decide to focus on light? Because I decided I needed to focus on something when I started my brand. I found myself making more and more lights and then eventually working with companies, especially Flos.

W*: In this space, the lights feel almost sacred.

MA: They are meditative objects for sure. If you put things in a certain brightness, you have to be really sensitive with how you want things to be seen. In this context, the house, it had to be this way, it could not be different. Even the choice of materials and selections – it’s all designed around these intimate spaces.

W*: Tell me about the stools.

MA: They’re made from Oregon pine – it’s the first time I’ve used this material. I made three stools before with the same scale, using basalt, so they had a very different energy. I thought wood would be more suitable for this house.

W*: Such clean curves and points. Why this shape?

MA: I’m very much inspired by Egyptian stools, where the corners are elevated, although they’re normally square. This is triangular because I wanted to make a dialogue with the two bronze ‘Thorn’ pieces, on the walls. The stools are quite welcoming, even though they have a presence that says don’t sit.

W*: And another ‘Sunset’ lamp in an alcove?

MA: Here, the sun is almost disappearing – the time between the bottom of the sun touching the horizon and the sun disappearing. All these sunsets are familiar in a sense. We have all watched so many sunsets. Somehow, you can relate to them.

W*: Tell me about the bamboo light screen in the kura storehouse.

MA: To me, it is about filter. The sensation of when something catches your eye without necessarily looking at it directly – from the tip of your eye, you catch a movement. This is what these screens are for me. They are filtering this idea, this play of light, this linear thing that we pass through. This light is part of a series of two screens, designed for this space. It just fitted.

W*: Do you see the sun as a metaphor?

MA: To me, it’s not really a metaphor: it is something that no matter how many times you see it or experience it, every time is unique. Plus it is responsible for how we experience life, the way we experience light.

W*: Was the exhibition inspired by a particular sunset moment?

MA: Not one particular sunset. You know, when you work so much, it is so rare when you can catch the light, catch the sunset. In recent years, I’ve been going to a small Greek island between Rhodes and Cyprus. Now I’m building a house to spend more time there. It’s a place where I can pause. Every evening, we go on hikes up on the rocks on the mountain, not very high – there is one spot which is an incredible place to watch the sunset.

W*: And how about your relationship with Japan?

MA: The first time I came here was 1991. I was a student at the Royal College [of Art]. I didn’t want to come as a tourist so I applied for an internship and came here in the summer, to Tokyo, to work for Toshiba. I spent three months here – it was fascinating, a very different Japan. I next came back 25 years later, with Flos.

W*: Has Japan left an imprint in you creatively?

MA: As a creative, as an artist, when you commit to something, it completely changes the result in your approach to your creative process. That level of commitment – I don’t think you can experience it in any other country.

W*: How do you feel about the light in Japan? Particularly Kyoto, where light is often filtered by paper and nature.

MA: I’m shocked at how soft the light is here at the moment. The humidity makes the light softer at this time of year. The light in the summer in Cyprus flattens everything out. In the Greek islands, it’s the same. In London too, the sun is very different. Coming here suddenly – the way you experience the sun, the light, is different.

W*: And how do you feel about your show opening now in Kyoto?

MA: This is the longest time I’ve spent in Japan. This is an important time for me. I wouldn’t have chosen a different moment. In this context especially, this is perfect.

'From Warm Yellow to Saturated Red' by Michael Anastassiades, at Taka Ishii Gallery Kyoto, until 4 July 2026

Capella Kyoto is many things: the long-awaited Japan debut of the Singapore luxury hospitality brand, Kengo Kuma’s reimagining of a former elementary school as a contemporary machiya, and now the home of SingleThread’s first international outpost. It’s a fitting homecoming for owners Kyle and Katina Connaughton, who spent years living and working in Japan before opening their acclaimed three-Michelin-starred restaurant in Healdsburg, California.

Wallpaper* dines at SoNoMa by SingleThread, Kyoto

The mood: foliage and flowers

Like the hotel itself, SoNoMa by SingleThread was designed by Hong Kong and Singapore-based Brewin Design Office. Here, the journey begins long before the first course arrives. Beyond a white noren curtain lies a residential-style lounge furnished with antiques and objects sourced from Kyoto’s auction houses and vintage shops, where a seasonal welcome drink and amuse-bouche ease diners into the evening before a sliding screen reveals the chef’s counter beyond.

The 12-seat dining room overlooks the hotel’s tsuboniwa courtyard garden through a floor-to-ceiling wall of glass. Cherry blossom, camellias, stone and still water form a living backdrop that shifts subtly as daylight fades, reinforcing the restaurant’s connection to seasonality. Custom tables and seating by Brewin Design Office are paired with table mats crafted by Tajiri-san of Lether Kyoto, while floral arrangements by Katina Connaughton and Capella’s flower team bring seasonal softness to the room. Timber, plaster and stone create a space that feels warm, tactile and distinctly Kyotoite.

Pay attention to the tabletop too. Handcrafted vessels by Hasu Yoshitaka, Nagatani, Kojima Kenji and Kojima Yosuke transform each course into a study of materiality, while cutlery by Yuichi Takemata, Kyo Amahare and Marunao sits alongside glassware from Sus Gallery, Kimura Glass and Austrian crystal specialist Zalto.

The food: ‘The story of the day’

Head chef Keita Tominaga grew up in Sonoma County, the region from which the restaurant takes its name. The title is also a play on the Japanese characters for imagination (so), possession (no) and space (ma). The resulting omakase reflects both worlds, weaving Kyoto’s seasonal produce together with ingredients from SingleThread Farm.

Spring announces itself through white asparagus with sweet shrimp and young burdock, before a sequence of beautifully judged small plates arrives: fava beans with Hokkaido sea urchin, spring sea bream sushi over matcha vinegar rice, and firefly squid sharpened with chrysanthemum chimichurri and aonori.

A standout dish of bamboo shoots, harvested each morning from a private grove outside Kyoto, captures the season’s fleeting nature, paired with tofu, lemon, and a finishing drizzle of SingleThread’s estate olive oil. Seafood is a particular strength. Kinmedai and sakura buri are dressed simply with shiranui ponzu and kohlrabi, while smoked silver cherry salmon balances delicate richness with plum and flower pepper. A silky clam chawanmushi, meanwhile, demonstrates the kitchen’s inventive twists.

The meal deepens with Nanatani duck, one of Kyoto’s most prized heritage breeds, slow-grilled over coals and served alongside spring cabbage, kumquat and seasonal Honda Miso. It is followed by one of the evening’s highlights: hairy crab rice enriched with herb butter and dashi. Desserts are equally assured, from satsuma mandarin scented with California bay leaf to Hokkaido milk and local honey.

The 440-bottle cellar leans heavily towards California but leaves room for discovery, including a thoughtful selection of Japanese wines, such as Pinot Noir from Hokkaido, and a sake programme that highlights Kyoto’s distinctive brewing culture.

SoNoMa by SingleThread is located at Capella Kyoto, 130 Komatsucho, Higashiyama Ward, Kyoto, 605-0811, Japan

Once a year, Kyoto hosts an independent, international photography festival that brings together artists' perspectives from around the world, installing them in a mixture of art spaces and historical private buildings around the city. Working with scenographers and curators, they adapt each space uniquely to showcase the work they are presenting. The festival connects the photography world in Japan, shifting perspectives while pushing sometimes radical themes. They also have a sister music festival, Kyotophonie.

Following their focus on humanity in 2025, the Kyotographie team have chosen 'The Edge' as the theme for their 2026 edition, bringing together a series of exhibitions that explore the fringes, the dark and the extremes of life on this planet.

Photographers on view this year include a posthumous exhibition of work by Fatama Hassona, The Eye of Gaza. They also have a focus on South Africa that brings together exhibitions and music from the country through the work of Lebohang Kganye, Pieter Hugo and a peripatetic library of South African photobooks, A4 Arts Foundation, music from the peerless Msaki and Tubatsi and an address by Dr Siyabulela Mandela.

Ernest Cole: House of Bondage at Kyoto City KYOCERA Museum of Art takes on his seminal book. Upon being published in 1967, during apartheid, Cole was exiled from the country, as the book explores the devastating portrait of life for Black people in South Africa during that time. Curated by Andrea Holzherr of Magnum, which represents the late photographer’s estate, the exhibition shows his work in Japan for the first time, telling the story not only of his work but also of his life. After moving to the United States in exile, Cole worked for a few years before dropping off the map and becoming homeless, dying in the 1990s. Failed by the systems that supported the publishing of his book, he was devastated at the lack of change it brought on and never lived to see Apartheid end, dying months beforehand. Decades later, he is celebrated as one of the greats in his field, and his moving photographs live on as a portrait of oppression.

Also on view is another artist showing work in Japan for the first time, Linder Sterling. 'Linder: Goddess of the Mind at the Museum of Kyoto Annex' is a survey of her 50-year career and the feminist practice that began by creating self-portraits and record covers while still at college (famously the Buzzcocks’ Orgasm Addict) – work that still has a contemporary charge, to this day. Her work with collage and pornography explores tropes of femininity and female and queer sexuality in a manner that feels radical.

'Despite cultural differences and histories, there’s thankfully always a mutually shared curiosity when I exhibit works away from home.' Linder explains. 'Photomontage can create an instant visual Esperanto regardless of where one is in the world. I always tell visitors that there are no right or wrong meanings in my work, what’s most important are the meanings that they themselves generate. This sometimes brings great delight on my part. Recently, sixteen-year-olds saw the women in the 1970s photomontages as cyborgs who were co-opting domestic utensils to enhance their superpowers, rather than being bowed down with domesticity. I was thrilled at such a reading!'

Another exhibition steeped in pop-culture lore is legendary rock photographer, art director and filmmaker Anton Corbijn’s Presence at the Shimadai Gallery. Corbijn worked for music magazines such as NME in their heyday, and the level of creative freedom and ability to connect with his subjects bonded him to many of the artists he shot. He ended up working as an art director for Depeche Mode and U2, before he made the film Control in 2007, which tells the story of his creative collaborators, Joy Division.

'I knew them as part of my history, in a way, but I don't want to become the guy who does these kinds of biopics,' he says. 'I want to develop myself as a movie maker, because I know very little about filmmaking, to be honest. So, it's a learning curve. So that's why, after Control, which is a story I knew a lot about, I choose a different film, The American, which was fictional.'

In the course of his tour of some of the most recognisable portraits – of iconic musicians, from David Bowie in a loincloth to Brian Eno shot from a distance walking in the countryside – he revealed his next film will be about the writer Patricia Highsmith. This set of portraits, instantly recognisable in their black and white graininess, are a passion project, a mixture of assignments and quests to find subjects as elusive as Bob Dylan and William Burroughs.

The darkness that bleeds into his work is not dissimilar to that in the work of photography master Daido Moriyama, in a stunning iteration of his seminal survey by the curator Thyago Nogueira. 'A Retrospective at Kyoto City KYOCERA Museum of Art' dives into his work chronologically, from his Provoke images to the are, bure, boke (grainy, blurry, out-of-focus) motif.

Throughout, the theme of 'The Edge' is also explored through nature, notably in the work of Juliet Agnel and Atsushi Fukushima. Agnel has created portraits of minerals, rocks and plants that bring out their otherworldly qualities, alongside Fukushima’s images of the extreme ups and downs of life as an arable farmer. We rely on photography to show us the edges of life and society that we can’t access ourselves, and in this conservative era, the definition of what is seen as radical exists on shifting sands. Today’s edge can be tomorrow’s mainstream.

Linder had some words of support for today’s radicals and edge-dwellers: 'Tread carefully but determinedly, there are those in the world would silence all forms of protest and dissent. Use humour, have a light touch, but be deadly serious about what you do. Turn up! Experience life without any filters, there’s a visceral beauty in and around you beyond that of the lens on your phone. Rather than checking in with your phone, check out the big wide world and have your say there. Leave a mark, a breadcrumb trail of sorts, so that others can find you in years to come.'

kyotographie.jp

‘Quiet and deep.’ This is how architect Kengo Kuma describes Miyagawa-cho, a Kyoto neighbourhood famed for its community ties, traditional wooden architecture and rich geisha culture. The same words reflect the essence of its newest arrival: Capella Kyoto.

The long-awaited Japan debut for the luxury Singapore brand, the new hotel recently opened in the heart of the district. Rebuilt on the site of a former elementary school, it’s one of a trio of new Kuma-designed structures – including a historic geisha theatre and community centre – together creating a connective hub between past and present, tradition and innovation.

Wallpaper* checks in at Capella Kyoto

What’s on your doorstep?

Capella Kyoto is very close to tourist-packed Gion, also famed for its time-etched streets and layered geiko (Kyoto geisha) culture. However, the hotel is in fact in nearby Miyagawa-cho, which is a little quieter and has a more local atmosphere. Capella Kyoto sits directly opposite a low-key side entrance to Kenninji, the city’s oldest Zen temple complex, a soul-soothing sanctuary of stone walkways and historic structures. Along the same street are generations-old family stores, from wooden bucket artisans to sandal makers.

Softly mirroring its surroundings, the hotel rises from the site of a former elementary school (whose vintage lighting and trodden floorboards are reborn in restaurant Yoi). Intimate and low-rise, the four-storey building has layers of roofs, dark wood frames, gently curved roof brackets and lattices of bamboo – a modern riff on the low curved inuyarai fencing that lines local houses, marking a boundary between home and street. The crafted beauty of noren curtains in dusty sakura pinks, by Kyoto-based textile artist Mae Engelgeer, marks the entrances (these will change with the seasons).

‘We applied the wisdom of the machiya to the hotel design,’ explains Kuma. ‘I wanted to evoke the image of smallness, local materials, tiered roofs, hidden inner gardens, layered internal spaces – just like a Japanese home.’

Who is behind the design?

Inspired by the intimacy of the traditional machiya townhouses on surrounding streets, the 89-room hotel is rooted in a pared-back serenity and crafted Kyoto touches, with architecture by Kengo Kuma & Associates and interiors by Brewin Design Office. Picture a deepening journey through sliding screens, an inner garden mirroring the micro-seasons, contemporary artworks and an elemental material palette (wood, stone, bamboo, paper) – harmonised with the effortless sense of modern luxury that goes hand in hand with the Capella brand.

‘This area is very connected to traditional house design,’ says Kuma, taking Wallpaper* on an exclusive tour of the hotel ahead of opening. ‘The uniqueness of a machiya lies in its layering, creating small spaces with multiple atmospheres. I wanted to show the quiet depth of this neighbourhood in the design of the hotel.’

When arriving, it’s all about transitioning: from street to home, outside world to inner sanctum. Rather than entering directly, sloped pathways of natural stone gently guide visitors inside. Along the way is a curved installation of earthy straw by artist Momoko Fuji, leading into the stillness of an intimate inner space. Here, floral arrangements in ceramic vases rest on sculptural wood tables, while timeless gold panels and calligraphic artworks hang in earthen-walled alcoves.

The journey continues along a light-flooded corridor, an internal tsuboniwa courtyard garden on the left – a serene composition of cherry blossoms, camellias, rocks, stones and cloud-reflecting pond; while on the right, paper screens filter the sound of flowing water from a basement fountain composed of large rocks from Gifu (‘to bring inside the sounds of nature,’ says Kuma). A sense of intimacy arises in the unwrapping of the hotel’s layers: ‘We used many sliding shoji screens to control privacy and soften natural light. These screens are the most important architectural vocabulary for a machiya.’

The light-shifting walkways lead into the Living Room – a screen-wrapped sanctuary. Here, staff in contemporary outfits fastened with Kyoto obi sashes sit at desks. Sunlight flickers on a paper screen behind a delicately gnarled bonsai. Historical books sit among flower arrangements and artworks, which range from the rhythmic paper folds of a hanging work crafted from geisha books to monochromatic Kyoto photography. It is here, every day before dinner, that a geiko or trainee maiko performs – a moment balancing intimacy with connection (guests are encouraged to chat at the end).

The room to book

Serene, spacious and soft in palette, the 89 rooms are elegant showcases of craftsmanship. Light filters through screens, alongside carpets marked with tatami mat lines, gently curved oak furniture, minimalist artworks by Kyoto creatives, including paper artist Kamisoe, textured tubular lighting and deep black bathtubs in granite bathrooms (or hinoki cypresswood tubs in suites). A highlight is curved sweeps of calligraphy on woven panels above the bed – a collaboration between avant-garde Okinawan calligraphy artist Daichiro Shinjo and Kyoto’s 17th-century kimono textile innovators Hosoo.

Views are firmly rooted in the surroundings – be it temples, old streets, or distant mountains. Six onsen suites are intimately fitted with private hot spring bathing and Zen gardens. ‘Our approach was to create spaces that felt grounded in the city’s architectural traditions while interpreting them in a contemporary way,’ Robert Cheng, founder of Brewin Design Office, tells Wallpaper*. ‘Rather than referencing history directly, we looked at underlying qualities such as proportion, materiality and atmosphere. We drew inspiration from the warm timber tones of a traditional Kyoto machiya to create spaces that feel more enveloping.’

Staying for drinks and dinner?

Behind a white noren curtain is scene-stealing SoNoMa restaurant by SingleThread. Created by Kyle and Katina Connaughton of wildly acclaimed SingleThread in California, the new outpost is the sensory culmination of decades spent exploring Japan’s culinary heritage, farming practices and earthy Iga ceramics. ‘It’s about the story of the day,’ says Kyle, highlighting its microseasonality. Inspired by an ochaya teahouse, the 12-seat counter restaurant – helmed by chef Keita Tominaga – serves up an omakase journey that is surprising and sensory, modern and creative, balancing Japan’s crafted flavours with a touch of California – from a forest-wrapped medley of early spring treats (fava beans, Hokkaido sea urchin, lily bulbs with sakura) to Kyoto duck sprinkled with fennel pollen from their Sonoma farm. ‘We use mainly Japanese ingredients but like to include an expression of California, even if it’s hidden,’ explains the chef.

Shaping the hotel’s daily rhythm is Lanterne – a light-flooded all-day restaurant with elegant sweeps of marble, herringbone floors and garden views. French cuisine with Japanese imprints is on the menu (a favourite is King Crab pain perdu with zesty kinkan kumquat and bisque); plus a fresh, buzzy breakfast (opt for an outdoor table when it’s warm). At the threshold is The Patisserie, serving SingleThread Entremets – otherworldly sweet treats displayed among foliage and flowers.

Yoi is a refreshingly laid-back spot for modern Japanese cuisine. Sit at the counter and enjoy a relaxed mix of treats – from sashimi platters served in a cloud of mist to chrysanthemum, spinach and young bamboo shoots in sesame dressing – alongside crafted cocktails such as Japanese Loafer (midori, bergamot, Kyoto craft gin and yuzu citrus).

Where to switch off

The basement is a temple to wellness. Start the day with gentle stretches and singing bowls by the fountain. The Ofuro Suites offer private onsen soaks overlooking a Zen-style garden. Auriga Spa has a menu inspired by the moon cycles, unfolding in four treatment rooms – where massages are perfectly executed in an aromatic cloud of curated oils and herbs – plus saunas and steam rooms in changing areas.

In addition, the hotel shines particularly brightly with its Capella Curates programmes. Inventive experiences tap into Kyoto’s layered culture – with a playful twist. I lost track of time with charismatic Seiji Naito, who helms Gion Naito, a century-old family-run wooden sandal company, a few minutes from the hotel, talking about the meaning of life, nature and the universe, while playing book games (yes, really) and trying on shoes. Other experiences include visiting a surf-loving lacquerware artisan and kintsugi workshops. The friendly staff are also accomplished at bespoke experiences.

The verdict

A smooth mesh of Kyoto culture and contemporary warmth, intimacy and connection, nature and city, tradition and innovation – all threaded together with a luxurious dose of Capella’s signature hospitality.

Capella Kyoto is located at 130 Komatsucho, Higashiyama Ward, Kyoto, 605-0811, Japan

Five spheres sit in a row in a glass cabinet. They are perfectly round – and covered entirely in hair neatly parted in a single tone, fading from deep black to light grey. Just behind, the sunlit silhouette of a window frame can be traced through sheets of white plastic, taped from floor to ceiling, a number five scrawled in black pen.

Welcome to the enigmatic world of Martin Margiela. The name has long been synonymous not only with radical fashion expressions, but also conceptual explorations of imperfection, the beauty of the unfinished, time, transformation, memory, reuse, and the human body. And connecting it all? An impulse to spark questions rather than provide answers.

The visionary Antwerp artist and former fashion innovator is likely to prompt countless questions with his first large-scale exhibition in Japan, which unfolds across the living rooms, bathrooms, kitchens, staircases and basement of Kudan House, a historic 1927 residence in Tokyo.

‘Martin Margiela at Kudan House’ is a contemporary puzzle of collage, paintings, drawings, sculpture, assemblage and videos. From fur-wrapped bus stops to absent artworks leaving lightly shadowed traces, the installations explore the surreal, the abstract and the everyday, in dialogue with the spaces and voids, materials and stories written into the architecture.

‘I like to instil questions for the viewer,’ Margiela tells Wallpaper*. ‘An example may be Vanitas II – five spheres in silicone with hair implants that show the passing of time by the changing of hair colour.’ Referring to how the exhibition might imprint viewers as a whole, he adds: 'I hope it leaves a sense of surprise. Perhaps also a moment of reflection. If visitors leave with questions, then the exhibition has fulfilled its role.’

Margiela has longstanding ties with Japan. The creation of his label Maison Martin Margiela in 1988 quickly shook up the international fashion landscape, with expressions of deconstruction, inversion and process-over-product subverting conventional notions of beauty and completion.

In 2000, he opened an avant-garde Maison Martin Margiela store in a historic residence in the Ebisu district of Tokyo, with clothing installed alongside artworks through its domestic spaces. Eight years later, Margiela stepped away from the fashion world to commit himself fully to his practice as a visual artist.

Fast-forward to 2026 and his creative vision is once again unfolding in a Tokyo residence. His new exhibition journeys across four levels of Kudan House, a Spanish-style mansion in the Kudanshita district, designed a century ago by a trio of architects – Tachu Naito, Shichiro Kigo and Kenji Imai – for a prominent industrialist family.

A sense of incompletion marks the atmosphere from the start. After swapping shoes for slippers in the stone entrance, it is quickly apparent that the historic interior features – from fireplaces and arched windows to staircases – have been wrapped in white plastic sheets, marked with coloured tape and exhibit numbers in black pen.

The first artworks on view are Grey Steps I & III: clean-lined painting-style images of grey staircases, made from pieces of carpet, on two large canvases – both leaning against the white plastic-wrapped base of a grand staircase with curved marble handrails.

The journey continues upstairs, where a white wooden plinth has a shadow-like grey shape on its surface – part of his Phantom series, hinting at a trace of something once present, now absent.

'Only traces of existing art works are shown,' says Margiela. 'Descriptions on their side explain the absent work. The audience is inclined to visualise following its own interpretation.'

A network of small rooms contain further surprises – from a shadowed oil pastel on velvet-laminated canvas, framed in a wooden box with polyurethane foam; and Dust Cover, with unseen objects wrapped in caramel-toned artificial leather skai; to his Vanitas II series of faceless silicone spheres, wrapped in glossy hair with a neat parting down the middle, the colours fading one by one.

Even the bathroom is part of the visual experience: in a white tiled space, Torso III (Black), a silicone sculpture, amorphous and abstract, sits on a plinth, between the toilet and bathtub.

Other works include Black Nails Model, a row of large fingernail-shaped objects, made from famed Nymphenburg porcelain and enamel, on white plastic-wrapped furniture; and Bus Stop – a bus stop wrapped entirely in artificial fur, complete with a bench and 'dirty plexiglass.' Meanwhile, the Shore Shoe series taps into ideas of transformation and time, with washed up plastic shoes displayed on kitchen surfaces.

The atmosphere tilts in the basement. A sudden burst of a woman laughing with a manic edge cuts into the silence – an auditory thread that flows through a series of installations, guiding visitors towards the video installation Light Test, where a head entirely covered in hair is revealed as its source.

Throughout the exhibition, the house – its spaces, light and shadows – plays a key role. Traces of its architectural form are tangible at unexpected moments through white plastic – sunlight catching the arc of a window frame, the angled edge of a stone fireplace – at times, bringing to mind paper shoji screens.

As Margiela tells Wallpaper*: 'Kudan House is not just a container, it is part of the experience. Each room offers a different atmosphere. The works adapt to these environments and sometimes respond to them. I like the idea that visitors move through a domestic space, discovering works in an intimate way, rather than confronting them all at once.'

It’s an exhibition that feels perfectly at home in Japan, as he adds: 'Japan has always embodied a strong sensitivity to materials, craftsmanship, and imperfection. I feel close to this appreciation of authenticity and detail. It is also a place where modernity and tradition coexist naturally, which I find very inspiring.'

Margiela himself continues to remain famously low-key and invisible – with his artworks, scattered through the domestic spaces of Kudan House, leaving traces of his creative presence. 'Anonymity is essential to me in order to protect my privacy, vital for my creative freedom,' he says. 'I still have the same interests and obsessions as I did during my time in fashion, but the human body is no longer my sole medium of expression.'

“Martin Margiela at Kudan House” runs in Tokyo until 29 April.

The exhibition “Martin Margiela” will also open at Taka Ishii Gallery Kyoto from April 17 to May 16.

For architect Tomoyuki Sakakida of New Material Research Laboratory, the idea of transcending time was elemental in shaping the design of the new Imperial Hotel, Kyoto.

‘Time. This word sums up everything. Over 1,000 years ago, people in Kyoto would watch the moon rise above the mountains from here. We want guests to see the same moon and mountains and feel a sense of continuity. The hotel is a vehicle for going beyond time.’

The 55-room hotel is a dialogue between old and new, reimagining a historic theatre where Kyoto’s geisha, or geiko, once performed, layered with the luxury Japanese hospitality that has defined the Imperial Hotel brand for more than a century.

Wallpaper* checks in at Imperial Hotel, Kyoto

What’s on your doorstep?

The hotel blends into the Gion Kobo Kaburenjo theatre complex – the heart of local geiko culture – and just beyond lies Gion itself: a time-etched townscape of narrow stone lanes, wooden machiya townhouses, tiled rooftops and Higashiyama mountains beyond.

Who is behind the design?

‘Old is new’ is the philosophy of New Material Research Laboratory, an architectural practice founded by Sakakida and artist Hiroshi Sugimoto in Tokyo in 2008 – an idea that deeply aligns with the spirit of Imperial Hotel, Kyoto.

Preservation and innovation are softly harmonised. The restored southwest facade of 90-year-old Yasaka Kaikan remains in place, beneath reconstructed copper-tiled roofing. Countless original elements are woven into the new hotel – from stone pillars and window frames to intricate terracotta reliefs and 16,387 exterior tiles (about a tenth of the total).

Time imprints material surfaces, old and new. At the ancient end of the spectrum, there is the 1,000-year-old zelkova wood signboard at the entrance and a catalogue of primitive Japanese stones and woods destined to age with natural beauty. Hints of Frank Lloyd Wright are also found in geometric motifs and Art Deco lines.

And on the modern side? Interiors are anchored by connective sweeps of a warm matte surface with a softly metallic edge, from elevators to walls. A signature material of the architects, it’s stainless steel with a corroded patina in a new shade called kobishoku – ‘antique colour beauty’ – inspired by a Ming Dynasty plating technique used to make the handles of screens.

Meanwhile, artwork Tobanjan by Sugimoto consists of a dynamic slash of ceramic made by swinging onto its surface the Gibeon meteorite, one of the world’s oldest known materials, dating back over 4 billion years.

Where is the heart of the hotel?

The Executive Lounge, where guests are greeted, resembles an elegant contemporary take on a traditional Japanese home. Beneath a tilted wooden ceiling, a long wall of glass frames horizontal lines of pebbles, jewel-green moss, Tamba rock slabs, cedar bark fencing, bound bamboo, a 16th-century stone wellhead and a small shrine (where staff pray daily) – while momiji maples of a neighbouring geisha residence peek over the back wall.

Inside, polygons – a recurring Art Deco motif – shape the crafted wood furniture and carpet designs, alongside decorative Lloyd Wright-inspired metal columns. The lounge is framed by two time-rooted creations by Sugimoto. Gold and green pine trees on fusuma-e screens on one side; and on the other, a Seascape – a signature monochrome abstraction of seas and skies, shot in 2025 to mark the hotel’s completed construction.

The room to book

Zelkova doors echoing shrine gates mark the thresholds of the Main Building’s modern rooms – enclaves of organic silk walls, cedarwood panels, geometric wood bathroom mirrors, framed textiles by Shinichiro Yoshida of Kyoto gallery Shinmyoan and carpets inspired by Shugakuin Imperial Villa. Views capture a puzzle of Gion rooftops and mountains (thanks to Kyoto officials permitting Yasaka Kaikan’s original 100ft height, in contrast with Gion’s 40ft restriction).

Heritage rooms span the south and west sides of the restored Yasaka Kaikan. Atmospheric spaces are shaped by moss green carpets, original framed windows and bespoke furniture – including lights with dynamic angular forms of patinated stainless steel and washi paper. The Imperial Suite also has a meditative rooftop gazebo – in one corner, a five elements artwork by Shiro Tsujimura sits on an antique smoke-blackened former ceiling panel from Kinkakuji Temple.

A different tempo unfolds in the North Wing, a low-level black timber extension, with eight tatami mat rooms (the first in the Imperial’s history). Immersed in the Gion townscape, shoes are slipped off in cherry wood entrances, leading into crafted tatami, chiselled naguri chestnut and lantern-like lighting alongside low-level beds. ‘The lighting is very important, particularly in the evening,’ explains Sakakida. ‘I wanted to create gentle, subtle, quiet lighting so the hotel and Gion share the same atmosphere.’

Staying for drinks and dinner?

Yasaka – with its mirrored banana leaf artwork from the original Yasaka Kaikan – serves all-day dining, plus deliciously layered Japanese breakfasts in collaboration with Gion restaurant Kawakami. A counter seat at elegant Ren is the place to enjoy a creative dialogue with the seasons, with French cuisine and Japanese precision expressed through quality ingredients, from Awaji seabream to grated caviar.

After dark, head to the Old Imperial Bar, anchored by an ancient jindai keiyaki wood counter, and sip a Mount Hiei, a sweet blend of matcha, yuzu and a hint of nostalgia – a Kyoto nod to the century-old Mount Fuji cocktail at Imperial Hotel, Tokyo.

Where to switch off

Recover from temple fatigue in the cave-like serenity of the basement, swimming laps in the clean-lined blue pool waters, flanked by the raw beauty of vast Kitagi stone boulders (originally used in the façade), alongside fitness facilities. A spa will soon open.

In addition, local experiences range from geiko teahouse visits to doll-painting workshops. As GM Reiko Sakata clearly understands, Gion is a driving force, particularly the estimated 80 okami san women running generations-old teahouses.

The verdict

This is the fourth property in Japan’s Imperial Hotel collection (after Tokyo, Kamikochi and Osaka) and its first opening in around 30 years. It joins the monumental Imperial Hotel, Tokyo, founded in 1890 as a state guesthouse during a seminal moment in Japan’s modernisation. It shaped the nation’s hotel industry and became a playground for experimental design, most famously with its 1923 incarnation by Frank Lloyd Wright.

In Kyoto, this history is written into the hotel’s DNA but expressed in a new way – through its material textures, conceptual artworks, Art Deco accents and deep ties with Gion.

Imperial Hotel Kyoto is located at 289 570 Gionmachi Minamigawa, Higashiyama Ward, Kyoto, 605-0074, Japan

Picture earthen walls in local soils, tree bark visible on wooden carpentry, intricately woven ceilings, aromatic tatami flooring, calligraphic abstractions on scrolls, and the sound of bamboo on ceramic as matcha is ceremoniously whisked by a kimono-clad tea master.

Timeless, traditional, contemporary – and deeply serene. All these words can be applied to Senkutsu, a new tea house sitting inside the scenic gardens of Aman Kyoto on the mountainous northwestern edges of the city.

Aman Kyoto unveils Tea House Senkutsu

A smooth balance of past and present, the tea house was brought to life by Norio Toyama, an architect from Kyoto-based Sen Art Studio, renowned for creating traditional sukiya-style tea room architecture for modern times.

Tapping into the craftsmanship eco-system that has long sustained Japan’s traditional architecture, Toyama worked with a constellation of around 30 artisans specialising in different fields – from tsuchikabe soil wall makers to bamboo experts, as well as Nakamura Sotoji Komuten, a deeply respected sukiya carpentry company.

As a result, Senkutsu ticks all the boxes of a textbook traditional tea house – the garden pathway, softly transitioning between outside world and inner sanctum; a pared-back elimination of excess and simplicity of form; a nature-based material palette (wood, soil, stone, paper, bamboo); and a deep-rooted harmony with the natural landscape that surrounds it.

Upon closer inspection, however, modern touches shift into focus – as reflected in one room in particular, which is dedicated to a more casual-style tea ceremony, with raised seats and tables (so no kneeling or shoe removal required), all expressed through quality traditional craftsmanship.

‘I designed the tea house as though it’s been here for a very long time,’ says Toyama, while taking Wallpaper* around the space. ‘The architectural method is very traditional, yet the aesthetics are a fusion. There are soil walls and a small mat room space, but there is also a more casual space with tables.’

Tea House Senkutsu is reached after walking down a wide moss-covered pathway that cuts through the lushly forested garden that sits at the heart of Aman Kyoto, which opened its doors in 2019 (and won a Wallpaper* Design Award in 2020).

Upon approaching the tea house, a tilted puzzle of tiled roofs can be seen among the trees, alongside a light bamboo fence and a boulder-strewn pathway leading to the entrance.

Guests can first step into the Ryu-rei area, where everything has been raised for comfort, creating a less formal tea ceremony experience. Chairs and tables sit alongside an elevated tokonoma – a soft-edged mirror-smooth laquer-based alcove where a calligraphic scroll reading setsu-getsu-ka (snow, moon, flower) sits alongside a small hanging vase with a camellia bud mirroring early winter.

A glance up reveals angled layers of intricately crafted bamboo and wood ceilings in three varying styles – from woven and layered to a stitched-style – each one gently demarcating a different spatial function directly beneath it: the host area, the guest area and the entrance area.

Solid timber structures, with bark surface knots intact, were crafted from Kitayama cedar while artisans created a traditional compacted earthen floor known as tataki, enabling guests to keep on their shoes while visiting.

Another key detail is the walls: traditional tsuchikabe walls are handcrafted from an unusually dark-toned blackish soil known as kurojuraku, sourced near Nijo Castle in Kyoto.

‘Black is a key theme,’ adds Toyama, whose company, Sen Art Studio, was established in 1953 by the third son of a famed 14th-century grand master in the Urasenke school of tea. ‘Aman’s signature colour is black, which is why I chose this soil.’

Just next door is a second tea room space: Koma. Steeped in more traditional aesthetics, guests slip off their shoes outside before stepping up on a boulder and entering via a small tea room doorway known as a nijiriguchi.

Inside, a stillness descends: sunlight is softened by a medley of washi paper windows with geometric bamboo frames cut into tsuchikabe walls crafted from soil sourced from the local Takagamine area near the hotel, resulting in a rough texture with a slightly reddish tinge.

Here, guests kneel on tatami flooring as a sliding arced door of washi paper slowly slides open as the tea master glides in, dressed in a kimono, and time slows as a traditional tea ceremony begins, with traditional seasonal wagashi and freshly whisked matcha presented with a gentle bow.

‘Traditional aesthetics and connection to nature are very important,’ says Toyama san. ‘Every material, detail and design has a meaning and a story. I hope it creates a sense of beauty and wonder.’

Akane Murakami, marketing and communications manager for Aman Kyoto, adds: ‘Aman always respects local culture. We wanted guests here to have a true and authentic experience of local culture. The feeling of tea – chanoyu – is like the art of everything that Japanese culture represents. So it has long been our dream to have a tea house here.’

Aman Kyoto is located at 1 Okitayama Washimine-cho, Kita Ward, Kyoto, 603-8458, Japan

As 2025 draws to a close, Wallpaper* begins to plan next year’s adventures. From landmark restorations and adaptive re-use projects to remote wilderness lodges and long-awaited brand debuts, these are the new hotel openings that have caught our eye: places designed to relax, retreat and explore, and destinations around which to plan your next travels. Spanning Europe, the Americas, Africa and Asia, the year ahead signals a particularly rich chapter for global hospitality, where thoughtful design, cultural context and a renewed emphasis on experience sit at the heart of the world’s most compelling new stays.

The hotel openings to know for 2026

Amanvari (Baja Peninsula, Mexico)

Next year, Aman will bring its laid-back lifestyle to the East Cape of Baja California, Mexico, with the opening of Amanvari: an 18-key retreat and collection of branded residences. Elastic Architects has designed thoughtfully considered villas that blur the boundary between indoors and out, showcasing Aman’s signature tranquil aesthetic through sandy-hued interiors, layers of natural stone and tropical woods, and bespoke Mexican ceramics and artworks. The Aman Spa will continue the brand’s focus on longevity, while multiple dining venues will celebrate Italian, Japanese and local cuisine.

aman.com

Black Sand Hotel (Ölfus, Iceland)

Sitting on a peninsula in the Ölfus region, Black Sand Hotel will be the first and only beachfront boutique hotel in Iceland, offering uninterrupted ocean views and interiors shaped by the country’s raw, elemental landscape. The 70 minimalist guest rooms and nine suites feature a restrained palette and layers of natural materials, with large windows framing sweeping views of the black volcanic beach, nearby mountains, and the North Atlantic, alongside the Ölfusá River. An expansive spa will share the same outlook across the black sands, while signature restaurant ÓMUR will celebrate seasonal Nordic cuisine.

blacksandhotel.is

Capella Kyoto (Japan)

Capella has tapped Kengo Kuma and Associates alongside Singapore-based Brewin Design Office to transform a former elementary school site into its next opening, Capella Kyoto. Located in Kyoto’s historic Miyagawa-chō district, the 89-room hotel draws its design cues from the city’s traditional wooden townhouses, known as machiya, unfolding as a series of inner courtyards and pared-back spaces that weave together classical Japanese elements such as shoji screens and tokonoma alcoves, anchored by a dramatic karahafu roof in the central courtyard. Three restaurants follow the rhythm of the seasons, while the spa is rooted in Japanese bathing rituals.

capellahotels.com

Chesa Marchetta (Sils Maria, Switzerland)

Chesa Marchetta will mark one of the first openings of 2026, and the second address from Swiss gallerists Iwan and Manuela Wirth, following the opening of Scotland’s much-loved Fife Arms. Formerly a celebrated restaurant in the heart of the Swiss cultural enclave of Sils Maria, the 13-key hotel has been reimagined by Argentinian, Paris-based architect Luis Laplace, while remaining firmly rooted in gastronomy through its seasonal restaurant. Next door, a three-bedroom house will be available for those seeking a more exclusive stay.

chesamarchetta.ch

Delano Miami Beach (USA)

An icon will be reborn next year with the reopening of the Delano Miami Beach. The South Beach landmark will emerge from an extensive renovation that restores its Art Deco glamour, preserving historic features while introducing a fresh, contemporary sensibility across the 171 rooms and suites. The hotel’s famed Delano Pool remains, joined by a new wellness studio and four new restaurants and bars, including a revival of Miami’s Rose Bar: the former epicentre of Hollywood royalty and the city’s high society.

delanohotels.com

Eha (Hiiumaa Island, Estonia)

Set within a UNESCO Biosphere Reserve on the remote Estonian island of Hiiumaa, Eha is a boutique wellness retreat nestled between verdant pine forests and the Baltic Sea. Eight suites and three forest cabins are designed to blend seamlessly into the surrounding landscape, featuring minimalist interiors in soothing neutral tones. The wellness programme follows the island’s unique five-season calendar, with activities, treatments and ancient Estonian healing rituals guided by sustainable practices and the energy of each season.

eharetreat.com

Hoshinoya Nara Prison (Japan)

A former prison is an unlikely setting for a hotel, yet Nara Prison is regarded as an architectural masterpiece in Nara Prefecture and is officially recognised as an Important Cultural Property of Japan. Next year will see it reborn as Hoshinoya Nara Prison, following a sensitive restoration that respectfully fuses its Meiji-era architecture with contemporary interiors. The hotel will also house a Japanese tea salon, restaurant and dining lounge, while the neighbouring Nara Prison Museum will preserve the site’s history, bridging past and present.

hoshinoresorts.com

Nihi Rote (Rote Island, Indonesia)

The founders of Nihi Sumba will deepen their commitment to sustainable, community-led development in Indonesia next year with the opening of Nihi Rote, the brand’s second hotel, located on Rote Island in Indonesia’s Nusa Tenggara Timur province. The retreat will feature 21 handcrafted villas that blend traditional Rotenese architecture with modern comforts, continuing Nihi’s Wild Wellness philosophy through outdoor adventure programmes, organic gardens and children’s initiatives that encourage learning through discovery. The hotel will open alongside the Namo Beach Club, as well as an academy dedicated to training the next generation of hospitality professionals.

nihi.com

Orient Express Venezia (Italy)

After breathing new life into the landmark Roman hotel La Minerva, Orient Express will open its second hotel in Venice within a 15th-century noble palace. Architect Aline Asmar d’Amman has overseen the eight-year restoration, reviving the mansion’s Neo-Gothic and Baroque grandeur while creating 47 guestrooms and suites luxuriously dressed in marble, Murano glass, rich velvets and Art Deco-inspired furnishings. The most spectacular suites elevate the experience further, featuring 19th-century frescoes of the goddess Minerva, gilded salons and sweeping canal views.

orient-express.com

Public West Hollywood (USA)

After launching his latest hotel brand, Public Hotels, in New York, legendary hotelier Ian Schrager will head to the West Coast to open his second address, Public West Hollywood. Set within a landmark building on the famed Sunset Strip, the 137-key hotel has been conceived by Schrager in collaboration with British architect John Pawson. Guest rooms make a deliberately understated statement, dressed in neutral tones, while furnishings in saturated hues inject a vivid counterpoint into the all-white lobby. Facilities will include three food, beverage and entertainment destinations, a pool, and a 16,000-square-foot open-air rooftop terrace with 360-degree views across Los Angeles.

publichotels.com

Singita Elela (Okavango Delta, Botswana)

Singita will embark on a new adventure next year with its first venture into the pristine wilderness of Botswana’s Okavango Delta. Named Elela, from the Setswana word meaning ‘to flow’, the new safari retreat will comprise eight circular camps that open in all directions, blurring the boundary between indoors and out to form a respectful extension of the natural surroundings. Inside, organic materials and handcrafted furnishings celebrate local craftsmanship. Each camp will be supported by its own dedicated team – a guide, tracker and host – leading guests through the Delta and its extraordinary wildlife, including more than 400 species of birds.

singita.com

Six Senses London (UK)

Six Senses will make its UK debut next year within the former Art Deco department store The Whiteley, in the heart of London’s Bayswater. Interiors will draw on the building’s heritage, blending classical detailing and new age elements with a contemporary sensibility, including a curated collection of modern British artworks. The expansive Six Senses Spa will be a highlight, while the opening will also mark the launch of the brand’s new private members’ club, Six Senses Place.

sixsenses.com

The Standard, Lisbon (Portgual)

The Standard has tapped architect Samuel Torres de Carvalho to oversee the design of its next European address, set atop the historic College of St Francis Xavier, formerly home to the Portuguese Royal Navy Hospital for more than 200 years. The 170 guestrooms and 24 long-stay apartments are finished in a palette of calming, earthy tones, while the lobby lounge, bar and all-day dining restaurant are imbued with The Standard’s signature boldness through sculptural forms and saturated hues. Upstairs, a rooftop bar shaded by striped parasols will offer sweeping views across the terracotta rooftops of the surrounding Alfama neighbourhood.

standardhotels.com

Vestige Namibia

Vestige will venture beyond Spain for the first time next year with the launch of Xaudum, one of four planned lodges in northern Namibia. Perched atop a prehistoric sand dune within the untouched wilderness of Khaudum National Park, Xaudum’s minimalist architecture is set to make a striking impression, with daily safari drives offering sightings of elephants, antelopes and African wild dogs. Three additional lodges will follow in 2027, each conceived with an equally bold – at times futuristic – design inspired by its natural surroundings.

vestigecollection.com

Waldorf Astoria Admiralty Arch (London, UK)

Waldorf Astoria will make a grand entrance onto London’s hotel scene next year with the highly anticipated opening of Waldorf Astoria London Admiralty Arch, housed within the historic landmark originally commissioned by King Edward VII in memory of Queen Victoria. Positioned at the end of The Mall, directly opposite Buckingham Palace, the storied property has been sensitively restored and will offer 100 guest rooms and suites, restaurants overseen by celebrated chefs Clare Smyth MBE and Daniel Boulud, a state-of-the-art spa, and a presidential suite with views across Buckingham Palace and Trafalgar Square.

hilton.com

At Wallpaper*, movement is second nature, and savouring it is an art. Whether on assignment or off-duty, our editorial team is perpetually combing the globe, visiting places that are mind-expanding and spirit-lifting. This year, we paused to gather the places that truly stayed with us. Consider this selection of travel highlights, handpicked by our staff, as a starting point for the year ahead, compiled to spark curiosity and fuel your future travel plans.

As such, follow the sun to Mexico, Greece, Spain and Italy, or embrace the stark beauty of Finland and Iceland. Looking for adventure? Uzbekistan, Egypt and Kenya deliver. For a spiritual reset, Japan and South Korea offer ritual and depth. From European mainstays such as Vienna and Lisbon to American icons including Miami and Joshua Tree, let’s get globetrotting.

Amanohashidate, Japan

‘Last April, adding a few days to a long-haul work trip felt like the responsible thing to do, particularly when long-haul now extends to a 16-hour dog-leg to Osaka via Doha, which is how I came to visit one of Japan’s most revered destinations, Amanohashidate, site of a 3.6km sidebar known as ‘the staircase to heaven’ that cuts across Miayazu Bay in Kyoto prefecture. Amanohashidate itself is a quiet village with a national landmark at its heart and a well-run ryokan (Monjusou) to relax in, but the surrounding area is blessed with no less significant points of interest. Ine is a ‘floating village’ of 230 fishing cottages, protected as a heritage site, that offers good walking with splendid sea views and great coffee in one of its repurposed properties. Sometimes all you need is sea air, the odd stroll and the chance to indulge in something as silly as matanozoki, or peering between your legs atop Kasamatsu Park, at which point the now-inverted sandbar appears as a bridge across the sky.’

– Bill Prince, editor-in-chief

Athens, Greece

‘This past autumn, I celebrated a milestone birthday in Athens. The city feels as though it was shaped by accumulation rather than careful urban planning, its layers of typeface, texture and attitude stacked across eras, politics and glitzy inconsistencies. Visually, Athens is unrelenting: everything speaks loudly and constantly, and nothing is treated as too precious. Even the Acropolis feels unresolved, its original fragments scattered between the exquisitely built Acropolis Museum and far beyond Greece’s borders. I enjoyed long lunches with generous pours of Assyrtiko from aluminium jugs, and late nights drifting into hot spots like SMUT, where Athens’ spontaneity really kicks in. I chose Athens as my favourite of the year because it thrives in chaos, offering moments of beauty and excitement, and rewarding those who stay longer, pay attention and arrive hungry.’

– Gabriel Annouka, senior designer

Brittany, France

‘On something of a nostalgia trip to the south coast of Brittany, France – the destination of my first-ever trip abroad – now with my own teenagers in tow, I was relieved to find it a still-lovely, laidback and low-key escape with none of the hussle or hassle a beach break during the summer holidays can entail. The sea was utterly clear – too freezing for me, even in July, for more than one cold plunge, but perfect for kayaking or admiring endlessly from coastal walking paths. Bike hire in this cycling-obsessed nation was ubiquitous and the paths plentiful and well sign-posted; they even continued across estuaries, courtesy of short ferry hops on which bikes were not just bienvenue but (bafflingly for a Brit used to transport-network shortfalls) positively encouraged. And a day’s hire extended through to the evening, allowing ample time for a thoroughly civilised French lunch break en route with (savoury) galettes and (sweet) crêpes galore. Pancakes for all courses is a concept close to my heart.’

– Bridget Downing, executive editor

Cairo, Egypt

‘In November, I visited Cairo and spent a few warm, autumnal days watching the light shift over the Art D’Égypte installations, set in the sand beneath the pyramids of Giza. I was particularly drawn to SolidNature and Studio PROBA’s organically shaped, naturally coloured stone sculptures. Seeing them positioned against the pyramids was both wondrous and surreal: two forms of stone, prehistoric in material yet composed millennia apart, held in quiet dialogue with one another. The experience was utterly mesmerising, leaving me feeling incredibly small in the face of such magnificence and scale. Other highlights across the city included losing track of time in the newly opened Grand Egyptian Museum (GEM) and wandering through the calming gardens of Adam Henein’s gallery house.’

– Olly Mason, head of interiors

Évora, Portugal

‘When my sister moved to Lisbon in 2024, I dreamily imagined endless weekends of wandering, but life got in the way and it never quite happened; until this summer, when we managed to bring both our families together for ten scorching days in Alentejo, a more off-the-beaten-path part of Portugal, around 90 minutes east of Lisbon. We stayed in gloriously serene countryside, awash with olive groves and vineyards, occasionally popping into the medieval, walled UNESCO city of Évora for ice cream (Pezagno, delicious!). On one visit, we explored the Capela dos Ossos (Chapel of Bones), a 16th-century chapel within the Church of St Francis, built by Franciscan monks as a memento mori to inspire reflection on the transience of life. Its walls and columns are clad with thousands of strikingly arranged human skulls and bones, previously buried in Évora’s medieval cemeteries. Above the door, an inscription reads: “We bones are here, waiting for yours.” At the entrance to this macabre chapel is a simple modern mural by Portuguese architect Álvaro Siza Vieira – a counterpoint to its meditation on mortality.’

– Anne Soward, production editor

Helsinki, Finland

‘While others escaped to hotter climes, last February, I decided to embrace the cold and wintry feel of Europe and headed further north, to Helsinki. It was one of the best travel decisions I ever made. The day was short, but the city was fun, and the cultural offerings were plentiful and welcoming. Helsinki was frozen – not that you would be bothered with the right clothes and shoes, especially in the city centre, where pavements are heated so that the snow doesn’t build up. A short ferry ride, breaking through the icy waters, took me to the magical Suomenlinna sea fortress - thank you, Laura Iloniemi, for the tip! I also explored the numerous art offerings the city has to offer, from the Amos Rex museum to the Temppeliaukio church of the rock. I stayed at a timber-framed hotel by the water, Solo Sokos Pier 4, paid a visit to the renovated Finlandia Hall, and enjoyed sticky Korvapuusti (Finnish cinnamon rolls) and warm and creamy salmon soup. As travel reviews often conclude, “would definitely recommend.”’

– Ellie Stathaki, architecture and environment director

Hydra, Greece

‘This year I’ve been lucky to visit great European capitals including Vienna, Paris and Athens, but somehow it’s my day on the small Greek island of Hydra that was most memorable. Big cities are filled with great things to do and see, but Hydra offers an escape from it all, with no cars, no museums, and practically no phone reception. And yet it still has everything you might possibly need on a nice autumn day: a lunch at a taverna followed by a dip in the sea, and a walk along the coastal path, suspended between the blue sky and the Mediterranean.’

– Léa Teuscher, sub-editor

Joshua Tree, USA

‘In May, I made the three-hour journey from Los Angeles into the Mojave Desert to Joshua Tree. It had long been on my list to visit, likely prompted by endless interviews with musicians who enthused about the desert’s mystical energy. There are no shortage of incredible architectural stays to book in the area, but after much deliberation, I settled on this geodesic dome, far enough away from civilisation to get the full experience (the drive back from dinner in the pitch black was a little hairy) but just twenty minutes from Joshua Tree National Park and the must-sees of the Yucca Valley and Twentynine Palms. I loved every single thing about this trip. From the weird roadside stops along the route – a desert crochet museum? A shrine to fifties hairdressing? A park filled with many, many statues of Christ? – to dinner at The Copper Room, drinks at Mas o Menos and obligatory live music at Pioneertown institution, Pappy & Harriet’s (the nearby Red Dog Saloon was a little quieter when Pappy’s is packed). I can’t wait to return.’

– Charlotte Gunn, director of digital content

Kyoto, Japan

‘I loved visiting Kyoto this year, and discovering its rich history, gorgeous food and beautiful surroundings. The highlight, though, was being able to get to know some of the locals, who were as generous with their time as they are cultured, intelligent, and extremely kind.’

– Hannah Silver, art, culture, watches and jewellery editor

Lake Como, Italy

‘Until last year, I had never been to Italy; now, I can say I’ve been three times. A run of good fortune took me to Milan for Salone de Mobile, and Venice for an immersive exhibition hosted by Golden Goose. In addition, to mark the beginning of the summer season, I was invited to Lake Como to stay at Il Sereno’s new listening suite, designed by Patricia Urquiola. The lake in the foothills of the Alps took my breath away. It was scenery I had not seen before, and I was captivated by its beauty. There was an effortless air of Old Hollywood glamour and relaxed sophistication coupled with the calming nature of the lake, which makes the location entirely unique. I cannot wait to go back.’

– Tianna Williams, staff writer

Menorca, Spain

‘The Menorca Experimental hotel had been on my bucket list for years, and I finally made it there for a short break in September. Designed by Dorothée Meilichzon, the interiors strike a balance between playful colour and subtle Art Deco references, incorporating local designers and materials. It felt considered yet relaxed. The weather was still warm enough for sea swims in some of the clearest water I’ve seen in Europe, and it was easy to find quieter spots that felt untouched. There’s a quiet, understated rhythm to the island that encourages you to slow down, making it a perfect mid-season reset.’

– Cindy Parthonnaud, acting photography editor

Mérida, Mexico

‘I spent 10 days in Mexico’s Yucatán Peninsula this summer and enjoyed soaking up Mérida’s rich history, intense summer heat and xtabentún, the local firewater. The city is about 30 miles inland, meaning those craving a swim-up bar or large beach resort won’t find it here. Instead, they’ll discover a mix of unhurried streets, bustling markets, pretty boutiques and innovative cuisine that spotlights traditional Yucatec cooking. My husband and I checked in at Hotel Cigno, an elegant boutique property located in Mérida’s historic heart, before hiring a local guide to take us to Uxmal, one of the Mayan world’s most important sites, and an azure blue cenote, a naturally occurring limestone sinkhole that peppers the area. There was still an opportunity to hit the beach, though: an hour-ride taxi will take you straight to the coast, where you can take in tranquil waters, white sand beaches, bright-pink salt lakes and – my favourite – droves of flamingos.’

– Anna Fixsen, U.S. editor

Miami, USA

‘I came to Miami for the Grand Prix – where Lego had built ten fully drivable cars – but stayed for the art deco architecture, palm-lined boulevards and viscerally cinematic sunsets. Miami’s expansion in the 1920s and 30s left it with a remarkable concentration of art deco buildings, which I completely fell in love with. A stroll down Ocean Drive – one of the finest showcases of the style – took me hours, slowed by pastel façades and kitsch vintage cars that demanded to be photographed. Little Havana, shaped by Cuban émigrés after the 1959 revolution, is home to cigar shops, graffiti tributes to Celia Cruz and Old’s Havana Cuban Bar & Cocina, which, with its yellow walls and mojito production line, is an institution. So, too, is Delilah – swathed in pink velvet and favoured by A-listers – though in an entirely different vein. Miami is a place I’d return to in a heartbeat.’

– Anna Solomon, digital writer

Nesjavellir, Iceland

‘My yearly travel mainly comprises the movement between Milan, Paris and New York for fashion week (and the freneticism and overstimulation these trips bring), so when I’m not working I seem to be attracted towards the vast and the desolate – Lanzarote has become my go-to escape, and this spring I loved losing myself in its strange, moonlike landscapes once again. Though it was another otherworldly (and volcanic) island that was my favourite trip of 2025: Iceland, which I visited with 66 North last month (the outerwear brand was founded on the island a century ago). I have been a couple of times before, though each time it is surprising in its vastness and scale: speeding across the snow-covered mountain ridge Thórsmörk – named after the Norse god Thor – on off-roading buggies was a truly cinematic experience (and the perfect release). We spent the second night at the Ion Adventure Hotel, a Brutalist box on stilts that looks out over the geothermal fields of Nesjavellir – in the silence, it was my best night’s sleep of the year.’

– Jack Moss, fashion and beauty features director

Seoul, South Korea

‘About two hours from Seoul, in the mountains of Wonju, Museum SAN (Space Art Nature) heralds an architectural feat by Tadao Ando: a 25-metre-wide subterranean dome beneath the museum’s flower garden, topped with an oculus rising more than seven metres high. Titled Ground, it was commissioned to accompany Antony Gormley’s exhibition Drawing on Space.’

– Jason Hughes, creative director

Tashkent, Uzbekistan

‘I spend much of my year bouncing around beautiful design-led hotels. But at least once a year, I make it my mission to step out of this bubble as a reminder of why I love to travel in the first place. And this year, my trip to Uzbekistan was a welcome reset. It’s not a destination known for luxury, but with tourism on the rise, you can feel the energy in Tashkent’s creative pockets and across Samarkand and Bukhara, which just hosted its inaugural biennale. From the staggering detail of the Islamic architecture to the small, genuinely local boutique hotels, there’s an incredible history and a rawness that was not just compelling, but a reminder that stepping away from the familiar is not just refreshing, but important to keep your curiosity alive.’

– Lauren Ho, travel director

Tokyo, Japan

‘Tokyo had been calling for some time, and this October I was finally able to answer. Japan’s capital is an urban sprawl of ritual, contrast, beauty and tradition, where even the smallest details feel deliberate and meaningful. It was my first visit, and I tried to stay fully present, absorbing as much of the city’s energy as possible; yet I still feel I barely scratched the surface. There are countless moments I hold onto, but one stands out: waking to a bright, clear morning and, from my hotel room on the 34th floor of Fairmont Tokyo, spotting Mount Fuji in the distance. It appeared as a majestic presence on the horizon, wishing the city a good day.’

– Sofia de la Cruz, travel editor

Vienna, Austria

‘Vienna is a really great city for a short getaway, especially for those interested in design. The city is filled with hidden gems, such as the interiors and ambience of Café Prückel, located just across the street from the Museum of Applied Arts (MAK). Be sure to check out the numerous storefronts designed by Hans Hollein throughout the city, including the iconic façade of the Retti candle shop. One of the highlights for me was the Roman Catholic church depicted above, built in the late 1970s by architect Viktor Hufnagl.’

– Sebastian Jordahn, head of video

Watamu, Kenya

‘Earlier this year, I travelled to Kenya and spent time in Watamu, a coastal town known for stunning white-sand beaches, coral reefs, mangroves and a large marine life. I was there for a private yoga retreat with a yoga company called Pana and stayed in a one-of-a-kind treehouse, Watamu Tree House, near Watamu Beach. Our treehouse retreat, built by the family who runs it, rises through the landscape, from the ground to the top floor, with shimmering coloured glass mosaics. Each day in Watamu began with yoga in the studio at the top of the building, which offered quiet and perspective. Practising yoga above the ground, with the sea nearby and trees in the distance, felt grounding. Fresh vegetarian meals formed the core of each day, as each meal came with coconut water and juices made fresh each morning.’

– Jamilah Rose-Roberts, social media editor

A timber façade with a pink noren curtain. Centuries-old eaves reflected cleanly in mirrors. Minimal aluminium lines in soft cherry blossom tones. And a wall of glass framing a timeless raked stone garden. HaaT, the Issey Miyake brand rooted in textile innovation, has opened its first flagship store in Kyoto, a minimalist renovation of the historic timber structure of a former sugar store dating back 150 years.

Designed by Tokujin Yoshioka, the store seamlessly blends the past with the future, echoing HaaT’s philosophy of creating a dialogue between traditional craftsmanship and contemporary experimentation.

A Kyoto-style latticed wood shopfront, with neat waves of curved rooftop tiles, is balanced with a signature pop of colour: a perfectly pink curtain at the entrance. Sliding the door open and crossing the stone threshold, the interior feels pure and light, with Yoshioka reinventing the building’s story-etched heritage into a minimalist expression of modern lines, tones and textures.

For Makiko Minagawa, the creative director of HaaT, who spent decades working alongside Issey Miyake, Kyoto is a key hub for the brand (as well as her hometown). HaaT works with numerous textile artisans in the region, as well as across Japan and India, to create inventive materials rooted in meticulous crafts heritage.

Speaking at HaaT / Kyoto ahead of its opening, Minagawa tells Wallpaper*: ‘We have been working with Kyoto’s artisans for many years, creating textiles. The number of artisans is decreasing yearly but we want to keep supporting them and developing creations together.’

She adds: ‘Kyoto is a very important place. It has more than a thousand years of history and artisans are always trying to create something new. This spirit has nurtured Kyoto’s handcraft traditions. We really want Kyoto’s artisans to keep thriving – so we want to continue working with them and hope this store will create more opportunities to showcase their work.’

The starting point of the design concept was simple, according to Minagawa: ‘We’ve been working with Yoshioka-san for a long time so I didn’t need to give him specific instructions. I just said that Kyoto’s machiya townhouses are generally all brown with white walls – and I’d like some pink.

‘From there, the pink concept expanded – soft pinks, almost white pinks, various shades. Yoshioka-san created the Olympic torch from a cherry blossom-dyed aluminium. He said that pink suits Kyoto and the pink idea gradually grew.’

A sense of Kyoto imbues the new HaaT store from the start. The shop, on Aneyakoji Street, has an unusually wide façade measuring 12m. Here, a grey stone boulder – reminiscent of a tea-room entrance – is set smoothly into concrete on the ground beneath a pink curtain floating in the breeze, creating a soft transition between in and out.

Entering the space, there is an immediate sense of lightness not typically associated with often dimly lit Kyoto machiya townhouse architecture. Centre stage is an updated framework made of new timber, with a traditional stone garden at the rear visible through a wall of glass.

The atmosphere is lightened by a soft contemporary material palette. There are smooth swathes of light grey concrete floors, contrasting gently with a pink-white shade painted on walls, as well as cleanly cubed display and counter units.

A sense of dynamism is evoked by accents of aluminium, tinged with soft tones of cherry blossom pink – with clothing hanging from a horizontal hanging rail cutting cleanly across one side of the space, creating angular lines of shadows; plus a wall of modular pink panels which are adjustable for displays.

For Yoshioka, the space is shaped by an essential notion of creating something new, rather than replicating the past, as he explains: ‘The design undertaken in this project was not merely an effort to reproduce a traditional townhouse or to renovate its interior, but rather a comprehensive reconfiguration of the building itself.

‘By retaining only the structural framework and roof and redesigning the entire architecture – including the façade – the project sought to reconstruct the structure as a new and original work of architecture.’

The dialogue between past and future is perhaps best captured at the rear of the store. Here – Minagawa’s favourite spot – a glance up reveals the beauty of the original wooden eaves overhanging a large window framing garden views. The timber craftsmanship is subtly highlighted by mirrored surfaces on walls either side, evoking a clean and light infinity effect.

Yoshioka adds: ‘This fusion gives life to a space where the spirit of Makiko Minagawa’s creations breathes quietly. In this harmony between inorganic material and traces of meticulous handwork, a new form emerges to bridge the past and the future.’

Since launching in 2000, HaaT has carved a distinct creative path as a womenswear brand focused first on textiles, fusing heritage craftsmanship with exploratory technology, as brought to life in three lines: Every Month, Every Week and Every Day.

Textile innovations are written into HaaT’s DNA – from lightweight crinkly Kyo Chijimi fabric, which is woven with twisted threads in pure spring water in nearby Shiga, to kabira, an Indian hand-stitching technique creating soft dimensional surfaces reminiscent of Japanese sashiko embroidery.

At the new HaaT store, exclusive items include the cloud-like texture of light Kumo Shibori pieces and graphic patterned wool clothing called Roving Kogin, woven in shades of pink or grey and white.

‘My inspirations come from the makers we work with,’ explains Minagawa. ‘Japan and India share many similarities. Both cultures make things that last, repair what is worn and have traditions that evolve. Sustainability is essential because it keeps traditions alive. And for the future, the idea of always creating something new is important.’

HaaT / Kyoto. 569 Kikuyacho, Yanaginobanba Higashi-iru, Aneyakoji-dori, Nakagyo-ku, Kyoto

isseymiyake.com

Japan has soared to the top of bucket lists for many world travellers recently, and it is no surprise given the country’s enticing offering – from the striking, contemporary skyscrapers and neon lights of Tokyo to the traditional Japanese architecture and quaint streets of Kyoto. Speaking of which, this Kyoto house, titled Element, is a recent addition to the suburban streets of Uji City, bringing together traditional interior touches wrapped up in a contemporary façade.

This Kyoto house is a concrete oasis

The residence was designed by Apollo Architects & Associates, who considered the surrounding environment as they developed their plan. Principal architect Satoshi Kurosaki says: ‘The ground floor is enclosed by reinforced concrete walls for security and privacy, while the second floor is designed to be open with glass openings. The interior is a courtyard-style building with a mix of large and small courtyards, while at the same time aiming to create a continuity between the first and second floor spaces through the use of a large atrium.’

The L-shaped plot faces two roads along with an elevation change. The architects tackled that by designing the residence like two cubic volumes that seemingly intersect each other. This blocky, concrete façade is broken up by a large south-facing window. Soft cedar board lines the underside of a large overhang, bringing a more traditional, natural touch to the material palette.

This modern interpretation did prove to be a challenge for the architecture studio, considering its heritage Kyoto context, as Kurosaki explains: ‘In order to resolve the contrast created by the insertion of modern architecture into the extremely classic cityscape of Kyoto, we made positive adjustments to this project by incorporating classic design elements such as the cedar plank pattern on the exterior walls, deep wooden eaves, and coffered ceilings.’

When entering the residence, guests are welcomed into a bright two-storey atrium space. Courtyards, a key element in traditional Japanese architecture, are a key feature of the home, adding an essence of calm while also connecting the residents to the outdoors.

The courtyards are dotted across the floor plan; for instance, in the kitchen and dining area, where a central courtyard area is equipped with a bench and fully opening sliding doors. Each distinct courtyard makes a unique contribution to the spatial experience within the home.

Venturing up to the second floor, guests will find a dedicated office space and fitness facilities. Surrounded by glass, this part of the house can be viewed from the ground floor, which underlines a sense of wellbeing and productivity in the composition.

‘I want visitors to feel its dynamism and rich continuity within the space,’ says Kurosaki. ‘The three gardens, with their different qualities, form an intermediary area, creating a multi-layered depth to the interior and exterior spaces and a variety of variations in light and shadow.’

Intricate detailing abounds in Element House. For Kurosaki, a standout moment is the visually striking ceiling: ‘The ceiling scene, which is lightly illuminated by indirect lighting, is fantastic from both the inside and outside, and is in keeping with the Kyoto cityscape.’

The series of concrete ribs and recessed solid walnut panels creates a moment of effortless harmony between traditional and contemporary materiality – important in striking a balance between the 21st-century residence and its historically rich context.

apollo-aa.jp

Thirteen years ago, I took a lonesome walk through the Japanese city of Kyoto. Taking a break from the group holiday I was on, I decided to have a wander through the backstreets and found a photography exhibition. It was the first iteration of the now-renowned photo festival Kyotographie, to which I returned for the first time last week.

The event’s 13th edition, themed ‘Humanity’, features exhibitions by major names such as Mexico's Graciela Iturbide, the UK's Martin Parr, India's Pushpamala N, and Ivorian internet sensation Laetitia Ky. Also on view are shows by under-recognised Japanese photographer Mao Ishikawa, emerging Taiwanese artist Hsing-Yu Liu, The Anonymous Project collaboration between Lee Shulman and Omar Victor Diop, and a centrepiece in the form of a huge mural The Chronicles of Kyoto, part of the ongoing series by JR.

Founded in the aftermath of the Fukushima disaster by couple and collaborators Lucille Reyboz and Yusuke Nakanishi, Kyotographie has always sought to challenge and to enlighten. Installed in public and private buildings and public spaces around Kyoto, the festival opens up the city to its audience and participants, who in turn bring a diverse range of viewpoints to this location that has a reputation for tradition and the preservation of history.

Since its inception, Kyotographie has gained international recognition and has expanded to include the emerging-artists showcase KG+; a European satellite event at Les Rencontres d'Arles, in France; and a sister music festival in Kyoto, Kyotophonie.

Kyotographie undoubtedly contributes to the city's visitor numbers, but with them comes the threat to Kyoto's historic buildings, from both footfall and redevelopment.

‘In Japan, it's a bit taboo to talk about politics and the environment; it's still a bit difficult to speak directly, so that's why we show work addressing these topics,’ says Nakanishi, who co-directs the festival. ‘But to attract both a local and international audience, we also show work by the legends of photography alongside work looking at the environment and human rights.’

The festival draws on local expertise, from scenographers to artisans, to design and realise the exhibition spaces, sometimes including sound and other sensory elements; each space is individually curated, with written statements.

‘For us, we aim to help connect the underground with the mainstream and that's really important; I think it was one of the main characteristics of the festival from the beginning. We also like to maintain a connection with craftsmanship and to support the city,’ Reyboz says.

Master photographer Graciela Iturbide’s eponymous exhibition is her first retrospective in Japan and is installed on hand-plastered temporary walls that appear almost velvet-like. The pink of the plaster offsets her uncanny, humorous and almost impossibly composed black-and-white photographs. Among them are some of her greatest images alongside lesser-known works, as well as photography created for Dior.

For the exhibition spaces, the festival's founders eschew the white-cube aesthetic. ‘We talk with the artist and then the scenographer, and look at how we should show this artwork with the greatest impact for the audience and sum up its message,’ continues Reyboz. ’We always like to have so many discussions with the artists before starting to create.’

Mao Ishikawa’s exhibition ‘Red Flower’, installed in Kondaya Genbei Chikuin-no-ma, a 280-year-old obi wholesaler, features the photographer's series on Okinawa in the 1970s. The Japanese island serves as a US military base and the project focuses on the life and relationships formed between women on the island and Black American soldiers. The black-and-white images show the artist’s friends and are a warm, hedonistic portrait of friends partying on the beach and young families. The showing of this well-known series is timely, as there have been protests against the ongoing military presence on the island.

The theme of ‘Humanity’ is clearly addressed in the exhibition of ‘Being There’, by The Anonymous Project founder Lee Shulman and Senegalese photographer Omar Victor Diop, who inserts himself into vintage photographs of white 1960s Americana. Diop highlights the omissions inherent in imagery taken during and just after the end of segregation in the United States. The artist fits in perfectly, but does he?

‘It came from noticing that in every picture there would be an empty spot, which would usually be the spot left by the person who [stepped out of the frame] to take the picture, so an empty chair or an empty corner in the picture and that's where I get in,’ explains Diop. ‘We had a lot of fun shooting the project, but it does lead you to make your own social commentary about those golden years that weren't golden for everyone. In none of these pictures of parties and family functions do you see a person of colour, and that's where my presence has highlighted the absence of, not only Black men, but in some of the images, you could put a woman and it would scream the same thing.’

Hsing-Yu Liu, a Taiwanese artist who was awarded the KG+ Select award for emergent photographers in 2024, exhibited a portrait series of his parents, who raised him in rural Taiwan. After coming out to them as gay, he embarked on this series, where he dresses each parent in the other’s clothing; his parents participated partly to illustrate their acceptance of their child. These touching, occasionally comic films and still images explore gender, sexuality and family.

One of the most popular shows of Kyotographie 2025 comes from Palestinian-American photographer Adam Rouhana. ‘The Logic of Truth’ takes his images of daily life in Palestine from 2022 to 2024, and installs them in the fabric of Kyoto's Kurochiku Hachiku-an, a 1926 former townhouse. Panels of photographs replace walls and doors, and one image, facing the window and printed onto translucent material, changes with the time of day. Rouhana’s portraits of life in the West Bank alongside bucolic pastoral imagery are installed in the former private home to illustrate the idea of homeland through the language of domestic space.

‘I think that the work I’m making has been attracting an audience because it’s showing people something they haven’t seen before – something not hugely accessible to folks from this region, so that’s catching people’s attention,’ says Rouhana. ‘Most of the work that you see from Palestine is doom and destruction, violence and occupation, which is critical to cover, there’s no question about it, but I think that my work shows a different side of the same coin that isn’t covered as much.’

This independent festival always set out to address the issues of the day in a way that the local press couldn’t, highlighting local and global issues while commenting on the conversations happening in the photographic world. Each of the photographers featured at the festival, no matter their age, contributes to the contemporary discourses of authorship and representation happening in the industry, at a moment when the focus is on who is holding the camera as much as what the camera itself is focused on.

Kyotographie 2025 runs until 11 May, kyotographie.jp

Explorations through Japan in the wintertime are inflected with postcard-perfect scenes – triangular minka houses laden with snow, light-as-air powder trails on Niseko slopes, and steaming onsen baths. While matsuri festivals pack the summer social calendar, once the mercury drops, the communal onsen (hot spring) tradition comes to the fore. A cornerstone of Japanese wellness rituals, the geothermal bathing activity is rooted in ancient times and is believed to cure illness and imbalances in the body. Here’s the Wallpaper* edit of the best design-led onsen hotels in Japan to check into, so you can feel the stress of the year melt away.

Dip into the best design-led onsen hotels in Japan

Aman Kyoto

Aman properties have the magical ability to transport guests to an otherworldly environment, and the Aman Kyoto resort does it with panache. Set amidst lush woodland, a moss-dominated plot that was once slated to become a private textile museum now offers a tasteful and elegant architectural response to the cultural richness of its host city. Kerry Hill Architects, a long-time Aman collaborator, deftly incorporated local influences, surroundings, and culture into the design identity; the property’s homage to native tradition and craft is encapsulated in the choice of materials and handmade decorative items.

Aman Kyoto’s pared-back, remarkably minimal, and pleasantly geometrical interiors across its 26 guestrooms exude tranquillity and evoke contemplation. Ryokan elements like tatami mats and tokonoma alcoves are preserved. In the Aman Spa, luxurious indoor and outdoor onsens await, the perfect precursor to a transformative spa treatment featuring natural apothecary.

Aman Kyoto is located at 1 Okitayama Washimine-Cho Kita-ku, Kyoto 603-8458, Japan; aman.com

Banyan Tree Higashiyama Kyoto

For the first Banyan Tree hotel in Japan, the international hospitality group could not have chosen a better location: the Higashiyama outpost neighbours the venerated Kiyomizu-dera temple, and sweeping views of the city are part and parcel of its hilltop perch. Kengo Kuma mapped the architectural vision for this 2024 addition to Kyoto’s onsen resort scene, harmoniously blending the property’s bamboo-forest surroundings with traditional building techniques and open spaces to underscore the tranquil nature of the hotel.

Designer Yukio Hashimoto translates the ethereal concept of yugen – meaning ‘mysterious beauty’ – into elegantly minimalist interiors, elevated by clean lines, natural materials, and soft earth tones. Private onsen baths, drawn from natural hot springs, are found in the upper-tier rooms; communal facilities are available on-site as well. Save time for a traditional dance-drama theatrical performance at the Noh stage and a kaiseki meal at Ryozen.

Banyan Tree Higashiyama Kyoto is located at 7 Seikanji Ryozan-Cho, Higashiyama-Ward, Kyoto 605-0861, Japan; banyantree.com

Fufu Kyoto

Part of the growing Fufu boutique hotel group – with sister properties in Nara, Hakone, and Karuizawa, among others – Fufu Kyoto’s idiosyncratic charm stems from its dedication to the Japanese hospitality concept of omotenashi, embodied as a time-honoured ryokan experience with modern infusions. Hidden in plain sight, this modest retreat follows a natural-palette-driven aesthetic blueprinted by Saiun Design, allowing subtle detailing like washi-papered screens, lattice partitions, and ikebana arrangements to take the lead.

Fufu Kyoto channels simple alkaline hot-spring water from the Nose Art Lake onsen source to the 40 Hinoki cypress bathtubs across the hotel, one for each room. Luxuriate in your private onsen till the sun goes down, then head to restaurant Ioto for a multi-course meal amid bonsai and maki-e lacquer art, and bar Yae Hitoe for exquisite saké recommendations.

Fufu Kyoto is located at 41-41 Nanzenji Kusakawacho, Sakyo Ward, Kyoto 606-8437, Japan; fufukyoto.jp

Hoshinoya Tokyo

Japanese onsen inns typically evoke imagery of serene sanctuaries, nestled in the depths of the great outdoors, off the beaten track, serenaded by the whisper of nature. Hoshinoya Tokyo turns that notion completely on its head. Located in Otemachi, in the heart of the capital, the 84-key hotel brings ryokan hospitality into the cosmopolitan modern age. Designed by Rie Azuma of Azuma Architect & Associates – whose signature can be found on many a Hoshinoya resort – the property’s old-meets-new essence is impressed upon all available surfaces.

Hoshinoya Tokyo’s metal-lattice façade imitates a classic asa-no-ha hemp-leaf pattern found on kimonos; woven tatami flooring is standard across the rooms; walls in the shared spaces are elegantly textured and carved. An outdoor bath on the top floor provides a unique view of the sky through a skylight. Water is piped up from the Otemachi onsen, a subterranean hot spring with high salt content and seaweed minerals with healing properties to help alleviate fatigue and retain heat in the body.

Hoshinoya Tokyo is located at 1 Chome-9-1 Ōtemachi, Chiyoda City, Tokyo 100-0004, Japan; hoshinoresorts.com

Kai Okuhida

Burrowed within the northern Japanese Alps, Kai Okuhida adds striking contemporary flair to the Okuhida-Onsengo villages in the Gifu prefecture, celebrating the region’s long-standing onsen heritage. Developed by the Sakakura Building Research Institute and Kanade Design Office, the timber-and-stone resort, centred around a courtyard, is landscaped to emulate the meandering paths and alleyways of traditional onsen towns. Hida artisanry is at the heart of the interior design; details like Hida-shunkei lacquer, Hida-zome fabric-dyeing techniques, and the art of mageki wood-bending are showcased throughout the rooms in furnishings and decoration.

Of the 49 guestrooms, 28 are furnished with private outdoor baths, fed from the flow of the restorative Hirayu onsen. Communal facilities, including a footbath and a hot-spring river, are dotted across the property, backed by lush mountainscapes and changing foliage. Post-thermal relaxation, head to the restaurant: One of the most famous exports of the area, Hida beef, is heavily featured on the seasonal menu.

Kai Okuhida is located at 138 Okuhida Onsengo Hirayu, Takayama, Gifu 506-1433, Japan; hoshinoresorts.com

The Ritz-Carlton, Nikko

In the upper reaches of Tochigi Prefecture’s mountainous landscape sits Ritz-Carlton, Nikko, a stoic nature retreat engulfed by swathes of forests, the imposing shadow of the next-door Nantai stratovolcano, and the scenic Chuzenji lake. Nikken Sekkei and Melbourne-based studio Layan Architects + Designers worked in tandem to create a minimal and modern aesthetic, embedded with artisanal craftsmanship and local materials, keeping traditional Japanese architectural features like genkan entryways and Nikko-bori woodcarvings.

Slip on a yukata robe, provided by the hotel, and pad down to the bathing facilities, where the indoor and outdoor onsen gurgles sulphurous water piped in from the Yumoto hot springs – a thorough soak is said to combat fatigue and pain, with the added benefit of rejuvenating and moisturising skin. After, indulge in a feast of seasonal ingredients at the Japanese Restaurant, prepared sukiyaki-, shabu-shabu-, or kaiseki-style.

The Ritz-Carlton, Nikko is located at 2482 Chugushi, Nikko, Tochigi 321-1661, Japan; ritzcarlton.com

Zaborin

Complement a ski trip to Hokkaido with a luxurious ryokan stay. Comprising just 15 villas in Hanazono, one of Niseko’s prime ski areas, Zaborin’s exclusivity translates to an intimate, secluded experience; each room offers its own private indoor and outdoor onsen, fuelled by mineral-rich gensen kakenagashi – free-flowing natural volcanic waters, unadulterated and not reused – from the property’s own hot-spring source, drawn from underground.

Architect Makoto Nakayama and designer Shouya Grigg applied deft touches to blend contemporary comforts with the meditative, introspective design so oft found in Japanese interiors, bolstered by wide-open spaces to frame the outside: views of the snow-capped Mount Yotei and the Hanazono forest. Birch-like details in the rooms echo the texture and character of the surrounding woods. Choose between washitsu or yoshitsu sleeping arrangements to rest your head on a tatami futon or Western-style bed, respectively.

Zaborin is located at 76-4 Hanazono, Kutchan, Abuta District, Hokkaido 044-0084, Japan; zaborin.com

Where will 2025 take you? Twelve new months offer plenty of possibilities for travel plans and hotel stays. Whether you are seeking an otherworldy experience in Nepal’s fabled Mustang Kingdom, a minimalist stay in Tokyo, or a fairy-tale cabin suite in the Irish countryside, Wallpaper* has you covered. Here are our most-read-about hotel openings of the past year, all ready for you to book.

The hotels to book in 2025

Shinta Mani Mustang in Jomsom, Nepal

Shrouded in mystique, in Nepal’s Mustang Kingdom, Shinta Mani Mustang offers a stylised immersion into Tibetan Buddhist life. Reimagined by Sherpa Hospitality and designer and architect Bill Bensley (building on Prabal Thapa Architect’s original 2010 design), the stone-and-timber retreat exudes the rugged charm of Thakali villages and the rich hues of Tibetan monasteries. Candlelight and monk chants fill the lobby, setting the tone for sipping warm apple brandy at Aara bar or savouring traditional Mustang dishes at Nilgiri restaurant. The 29 rooms are all anchored by floor-to-ceiling windows framing Himalayan views. For relaxation, the hillside spa – featuring glacier-blue pools and herb-infused therapies by Tsewang Gyurme Gurung, an 11th-generation Tibetan medicine doctor – is the perfect counterpoint to adventurous days.

Shinta Mani Mustang is located at Marpha-5, Jomsom 33100, Nepal, shintamanimustang.com

Hotel Rakuragu in Tokyo, Japan

Who would have imagined that a narrow parking lot could one day house a nine-storey hotel? Well, it can – meet Hotel Rakuragu in Tokyo’s Nihonbashi district. Conceptualised by Kooo Architects, the property’s lantern-like façade, with irregular cut-out windows and angular balconies, blends urban privacy with abundant natural light. Inside, 14 guest rooms, ranging from 13 to 35 sq m, radiate serenity with rounded corners, diatomaceous earth wallpaper, and low wooden bed platforms softened by plant-lined balconies. A nod to jazz culture runs through the property, from the hotel’s name, which references ‘ragtime’ in Japanese, to curated playlists. Anchoring it all is a minimalist lobby, where raw concrete meets crisp white walls, elevated by a sculptural mirrored piece from design studio We+ – a fitting entry to this tiny but mighty minimalist retreat.

Hotel Rakuragu is located at 1 Chome-7-9 Nihonbashihoncho, Chuo City, Tokyo 103-0023, Japan, hotelrakuragu.top

Six Senses Kyoto in Japan

Respectfully adding a touch of contemporary escapism into one of Japan's best-preserved historical regions, Six Senses Kyoto, the brand’s Japan debut, is a modern wellness retreat to daydream about. Designed by Blink Design Group, the 81-room hotel nods to the city’s ancient cultural rituals and was developed around four key themes: playful, organic, biophilic and sustainable. Rooms, with views of the central courtyard or Toyokuni Shrine, feature wooden partitions with flippable panels, woven copper lighting, and sun-filtering sudare screens. Wellness is at the heart of the experience, with a spa offering everything from Watsu therapy to a Biohack Recovery Lounge, all set against a backdrop of ikebana arrangements and Zen design. Food is served in the all-day dining Sekki and Café Sekki, while for after-dark, Nine Tails is an intimate cocktail bar with the atmosphere of a modern apothecary.

Six Senses Kyoto is located at 431 Myohoin Maekawacho, Higashiyama Ward, Kyoto, 605-0932, Japan, sixsenses.com

Woodland and River Suites at The Montenotte in Cork, Ireland

Perched above the River Lee, The Montenotte – a luxury urban resort with 107 rooms, a wellness centre, a cinema, and a restaurant and bar – has long been a local favourite, thanks to its proximity to Cork’s city centre and sweeping views of the harbour. Its latest addition is a collection of nine outdoor suites designed by Henry J Lyons Architects. These include the Woodland Suites, set above a forest canopy, and the River Suites, amid wild Irish flowers. Dublin-based designer Rósín Lafferty has infused the interiors with a mix of Japanese-inspired design and Ireland’s natural beauty, featuring light oak, travertine floors, bronze mirrors, and custom rice paper screens. Exclusive to guests who book the suites, the Woodland Suite Experience is completed with the Club House, a peaceful space with harbour views, perfect for leisurely breakfasts or afternoon cocktails.

The Woodland Suites at The Montenotte are located at Middle Glanmire Rd, Montenotte, Cork, T23 E9DX, Ireland, themontenottehotel.com

Ta’aktana Labuan Bajo in Indonesia

Ta’aktana, a new Luxury Collection resort by Marriott International, is determined to put Labuan Bajo, a fishing village on Indonesia’s Flores island, on the map as a luxury getaway. Spanning 16 hectares, the resort comprises 70 rooms, including seven overwater sea villas. Balinese firm ANP Interiors reimagined natural wood and fibres with a modern, minimalist approach, with woven ceiling panels standing out as a handsome achievement in the villas. Wellness at Di’a Spa channels the spirit of Flores’ Rangko and Batu Cermin caves, offering everything wellness alongside Korean hair and scalp therapies. With five dining options, including the Japanese-inspired Taba, the Indonesian farm-to-table Umasa, and a café showcasing Flores’ finest coffee, the resort delivers a gastronomic journey as rich as the island’s biodiversity.

Ta’aktana Labuan Bajo is located at Pantai Wae Rana, Labuan Bajo, East Nusa Tenggara 86763, Indonesia, marriott.com

Singita Milele in Natta, Tanzania

Singita Milele, found within Tanzania’s 350,000-acre Grumeti Reserve, redefines the traditional safari experience and sets a new standard for modern African bush design. Two years in the making, the 1,200-square-foot buyout sanctuary, designed by South Africa’s HK Studio, accommodates ten guests across five suites, each inspired by the panoramas, shades, and tones of the Serengeti. Vast indoor and outdoor spaces, including a massive infinity pool, offer uninterrupted views of the Great Migration. The design reflects the surrounding savannah, with locally sourced fixtures and artworks deepening the connection between guests and the land. Whether lounging on expansive decks, dining in the open-air area, or observing wildlife through a telescope, Singita Milele is as open to the elements as it gets.

Singita Milele is located at Natta, Tanzania, singita.com

Hand-stitched leaves in fiery shades. Persimmon-dyed sake sacks. Expanses of thatching. Bespoke wood furniture. Autumn – with its flavours, leaves, ingredients, colours, textures – is the creative and culinary springboard for Noma Kyoto’s return to Japan. The celebrated Nordic food pioneers this week open a pop-up for the second time in the ancient city (the 2023 Noma pop-up was with the same collaborators), inspired by all things autumnal.

The seasonal influence is etched onto not only the inventive contents of the perfectly crafted Japanese plates – it’s also written into the DNA of the spatial design, again brought to life by Copenhagen-based OEO Studio. Noma Kyoto – along with its entirely relocated restaurant staff – opens its doors on 8 October for a ten-week pop-up inside Ace Kyoto, following the success of its inaugural stint in the city during spring last year.

The restaurant, helmed by cult chef René Redzepi (co-author of the Noma recipe book, published in 2022), spans the same venue as last year – the strongly structured, cavernous main dining space at Ace Kyoto, with double-height walls of glass overlooking tiered gardens. Last time, it was all about spring, layered with an ethereal underwater theme expressed through a ‘forest of seaweed’. This year, the atmosphere shifts, courtesy of its crafted autumnal makeover in the hands of OEO Studio and Noma’s interior stylist Christine Rudolph, who has been busy collecting leaves and natural objects from across Japan.

Here, Thomas Lykke, co-founder of OEO Studio alongside Anne-Marie Buemann, takes Wallpaper* on an exclusive early tour ahead of the opening (with a few friendly interruptions from Redzepi and Rudolph), exploring the pop-up’s design details, from forest to furniture.

Noma Kyoto returns

Wallpaper*: Can you sum up what’s around us in three words?
Thomas Lykke: Intimacy. Forest. Colours.

W*: What’s the seed of the design?
TL: Forests. We wanted to create something completely different from last year’s underwater theme in spring. This time, we were very inspired by the forest and its colours, so the idea is to bring this inside. In the main restaurant space, we’ve built a wooden pavilion, a frame, from which we are hanging about 5,000 autumn leaves in a gradation of autumn colours. They’ve been pressed and hand sewn and then attached to the pavilion. The interior lights flicker through the leaves from above, so even though we are inside, it creates this effect of komorebi – the beautiful Japanese word referring to sunlight filtering through trees. We wanted to create something completely different from last year’s underwater theme in spring.

W*: And the foundation of this idea?
TL: The pavilion is very important. It’s a frame in the main restaurant space. It's Dinesen wood – Douglas fir from the Black Forest in Germany. We drew it and had it produced in Jutland and then shipped over. It was all pre-cut so we kept our fingers crossed it would fit – luckily, it does. It’s a contemporary take on traditional Japanese joinery, so it was made without nails, inspired by the temples of Japan. At Noma in Copenhagen, Dinesen is a thread going through the restaurant there too – so it’s like bringing a piece of Noma Copenhagen here.

W*: How does it impact the atmosphere?
TL: It creates a journey. What do we need when the seasons change and it starts getting cold? We need to be welcomed and embraced. This pavilion helps create an embracing and welcoming atmosphere. It’s also practical. It gives us a framework to hang leaves on. And it brings down the high ceiling – but it doesn’t close it off, you still get the openness and light from above. But it all feels more encapsulated and protected. It helps with acoustics too.

W*: And so many leaves – where did these come from?
TL: Christine [Rudolph, Noma's interior stylist] has been collecting all the leaves.

Christine Rudolphe: There are 5,000 leaves, all pressed and hand-sewn. It’s all taken about a year, from gathering the leaves since last autumn, to drying and sewing. I found the leaves mainly in Japan, some in Denmark. Whenever we visited craftspeople in Japan, I would ask if I could take some leaves with me. We have many plants and wood from forests and other objects from nature, installed all around us. This one here is a cucumber magnolia – its large leaves look a bit like tobacco. I was very excited when I found these leaves behind a little shed while visiting a ceramicist in rural Japan. It’s amazing how much beauty can be found in a leaf when you look closely.

TL: We wanted this space to pay tribute to Christine's finds from the forest and also Japanese craftsmanship techniques.

W*: Can you tell me more about the craftsmanship elements?
TL: The entrance desk is wrapped in beautiful traditional thatching by artisan Ikuya Sagara. He also created a stretch of thatching with contemporary lines in the main restaurant space – it spans one wall and hides the bar. We also worked with washi artist Wataru Hatano to create persimmon-dyed paper panels to cover the column in the middle of the restaurant – the colours blend perfectly with autumn. There are also persimmon-dyed sake bags on screens, and mirrors are covered with eel grass seaweed boards from Denmark, which feels warm and organic, plus helps acoustics and has a link to the kitchen.

W*: How did the furniture come to life?
TL: We collaborated with Time & Style to make these tables and chairs. We work with incredible craftspeople all over Japan who typically specialise in one technique – for example, ceramics or textiles. But what’s amazing about Time & Style is that they are so broad and yet nothing is compromised – you can feel such a deep passion for craftsmanship, quality and tradition, with an eye for bringing things into a new context, so the works sit beautifully in Milan, Amsterdam, New York or Tokyo. The founder Yoshida-san even flew to Denmark with the first prototype of the chair and we all went to Noma and sat on it to test it.

W*: Can you highlight some furniture design details?
TL: The chairs we designed have a tatami seat, which we think is a first. No one has done three-dimensional tatami before – but we asked our collaborator Mitsuru Yokoyama in Kyoto if he could take on this challenge. Tatami is normally square and one-dimensional – but our suggestion was that as you can steam-bend wood, why not the same for tatami? I don’t know how he did it exactly but he managed. The wood is Zelkova, which is very sacred in Japan, used in temples. The table is made using Yoshino Sugi, cedar wood from Nara. It’s been growing for 150 years to create this long length. And the wooden construction underneath is like a building, it has no nails. Both the chair and tables were designed to show the beauty of the natural material.

W*: How is it all different this year?
René Redzepi (taking a quick break from the test kitchen to join us): We are two layers deeper this time. It’s a completely different season and all the thinking for the past three years has naturally grown into a new chair, or a new table. It’s all evolved and become much better. It’s more crafted, clean and cosy. We are more confident stepping into this. We even have a leaf library. What we are doing here is basically setting up a stage.

W*: Same with the food?
RR: Yes absolutely. We are more authentic this time. And less worried about whether we’re being respectful to the ingredients. Autumn is also one of my favourite times of the year, along with spring. To experience these seasons in Kyoto is a must try in a lifetime.

W*: What imprint do you hope this whole experience will leave on people?
TL: It’s all about creating a journey. It’s important for people who came here last year to have a completely different experience. We want to double-wow them this time.

noma.dk/kyoto

‘A sanctuary of ethereal beauty’: these are the words Japanese architect Kengo Kuma uses to describe his new hotel project, Banyan Tree Higashiyama Kyoto, which sits in the magical bamboo forests of the Higashiyama Mountains.

With a harmony of contemporary lines, meticulous craftsmanship and a natural material palette, the new hotel – the first Banyan Tree in Japan (joining seven other establishments in sister brands) – is intimate and self-contained. Its essence is perhaps best reflected by a signature highlight at the rear of the property: a contemporary reimagining of a traditional Japanese Noh theatre, designed by Kuma to blend into the surrounding bamboo forests. ‘In Japan, there is a tradition of seeking retreat in nature, known as in-sei, which emphasises withdrawing from the bustle of daily life to find peace and spiritual renewal,’ Kuma tells Wallpaper*.

Banyan Tree Higashiyama Kyoto, Japan, by Kengo Kuma

‘Higashiyama, with its serene landscape and rich history, embodies this tradition perfectly. We wanted the hotel to be a place where guests could devote themselves to spiritual fulfilment and reflection,’ the architect adds.

With the hotel located a short walk from the celebrated (and always busy) Kiyomizu-dera Temple on Kyoto’s mountainous fringes, the transition from a ‘tourist trail’ to an ‘ethereal hillside’ sanctuary begins with a shrine-like wooden gate at the threshold.

The façade then shifts into focus: spanning one wall is a sweeping expanse of organic stones once used in the ryokan inn that formerly sat on the same site. The exterior matte black walls are further sharpened by vertical timbers, rafters and eaves crafted from woods including hinoki cypress, harmonised with the curved lines of traditional kawara roof tiles. ‘Kyoto has a strict landscape ordinance and the use of tiled roofs is a rule,’ Kuma says. ‘However, this restriction has created a beautiful landscape around Kyoto, and we took advantage of the tiled landscape to create stretching, deep eaves and soft shadows with continuous rafters under the eaves.’

Inside, the triple-height reception, designed by DWP International, has sweeping glass walls at the rear, framing a minimalist garden, alongside a sculptural ceiling installation evoking a sea of bamboo plus calligraphic abstractions by washi artist Wataru Hatano on the wall behind the front desk. The nearby lobby lounge is loosely compartmentalised with a scattering of artworks and a tea area, where welcome matcha is whisked for guests.

The Yukio Hashimoto-designed guest rooms – divided into two adjacent buildings – have a light purist beauty, fusing traditional Japanese aesthetics with a comfortable contemporary edge. There are swathes of tatami, low-lying window-side platforms with sunken seating and tokonoma alcoves with works by ceramic artist Eiichi Shibuya. Other details include expanses of gold leaf above the bed, gently dividing sliding screens, plus Japanese-style bathtubs crafted from aromatic hiba wood – and, in front-facing rooms, breathtaking views across city rooftops.

Guests can also enjoy onsen bathing and a serene spa with high-quality massages; plus fine dining at Ryozen restaurant, tapping into a wealth of seasonal ingredients, including Kyoto vegetables, and a signature dashi broth made using five-year-aged Rishiri kelp from Hokkaido.

The restaurant – plus three guest rooms above – directly overlooks the Noh stage, as brought to life by Kuma. A skeletal outline of a theatre, crafted in aromatic wood, mirrors the meticulous structural dimensions that underpin the traditional vernacular of the Noh theatre.

Yet, in a contemporary twist, the theatre is constructed without a roof or walls filled in. As a result, its frame-like lines of wood, minimalist, crafted and clean, seem to dissolve into the greenery of the bamboo forest – resulting in a unique sense of spatial lightness and transparent beauty, as it hovers in its natural setting.

For Kuma, the creation of a Noh stage creates a ‘groundbreaking connection’ between Japanese ryokan-style inns and contemporary hotel, as he adds: ‘We hope that the Noh stage will evolve more as one of the hotel’s charms and become a symbol of Kyoto's new culture, a place that will be loved for many years to come, where guests will want to come back again and again.’

Banyan Tree Higashiyama Kyoto is located at 7 Seikanji Ryozan-Cho, Higashiyama-Ward, Kyoto City, 605-0861 Kyoto, Japan, banyantree.com

Tea and craft are markers of the coexistence between humans and nature. These elemental ingredients lie at the heart of Ogata at The Shinmonzen, a new teahouse and boutique in Kyoto that offers a contemporary reinterpretation of Japan’s traditional tea culture. The new space sits just behind the latticed façade of The Shinmonzen, an escapist, contemporary nine-suite hotel designed by Tadao Ando, on a quiet street in the Gion district.

Ogata at The Shinmonzen, Kyoto

Ogata at The Shinmonzen was brought to life by Shinichiro Ogata, founder of Tokyo-based studio Simplicity, long respected for its contemporary reimaginings of Japan’s traditional culture for daily life. This one follows in the footsteps of flagship Ogata Paris, which opened four years ago with a boutique, restaurant, tea salon and gallery in a 17th-century hôtel particulier in the Marais district.

The Kyoto rendition, like the ancient city itself, is intimately scaled. Light-flooded and serenely minimalist with a natural material palette, it spans two spaces, accessed via a street-level entrance cut into the hotel’s wooden façade. The left side is all about tea and confectionery, the former prepared at a central stone counter, where crafted traditional wagashi sweets are served. On the right is a curation of crafted objects, including teapots, tea cups and Yoka fragrance – layered blends of natural ingredients ground with a traditional mortar, so, unlike incense, the scent fills the air without being burnt or heated.

Hoping to ‘propose a way of being that embodies the coexistence of people with nature’, Ogata says, ‘the space is a creative expression of this: two parallel rooms existing in symbiosis. The left section, where Japanese tea and sweets are featured, is raw and natural. The right side, where the objects for daily living are placed, is more structured. Decked with an almost latticework series of shelves, it is a homage to the city of Kyoto and its grid pattern streets.’

The materials and atmosphere are anchored in Japan’s tea culture – as reflected in the standing counter, its raw organic lines hewn from stone sourced from Kyushu, a southern island with a rich tea heritage. ‘Carved out of the earth so as to enhance nature’s etchings, it is very much the gathering place, where the guests are greeted, tea is brewed, objects wrapped,’ explains Ogata.

Ten bespoke Japanese tea blends, neatly lined up, are packaged in organic white vessels, crafted from biodegradable bamboo and bagasse – to which boiling water can be directly added, either for an on-the-spot counter tea or to take home. These include tea No.1, a refreshing blend of sencha, yuzu peel and kuromoji twigs, recommended to ‘invigorate and start the day fresh’.

‘I created ten blends in pursuit of the possibilities of Japanese tea for people around the world to enjoy in their daily lives,’ says Ogata, who is opening a third outpost at Château la Coste in France over the coming year. ‘The blends not only reveal the myriad flavours of Japanese tea, but each was created with intention and a proposal of how to enjoy them. There are more invigorating blends to start the day, others I recommend to pair with meals, and even a tea to calm the mind in the evening.’

He adds: ‘Many people associate Japanese tea with the tea ceremony, and the many rules associated with it, which can be rather daunting. However, this is only a fraction of the Japanese tea culture; it is also very much an everyday beverage with hundreds of varieties enjoyed across regional Japan.’

For Ogata, the words ‘natural’, ‘dignified’ and ‘of the present’ best sum up the atmosphere of the new spaces. ‘Not only is natural tea beneficial to our health, but more importantly, it brings people together around a common experience. The simple act of adding water to leaves is not bound by culture or religion; with just a few minutes, tea can facilitate this human necessity of slowing down and being together. Through making Japanese tea more accessible to the world, I hope to bring back these simple daily rituals into our hectic lives.’

Find Ogata at The Shinmonzen, Shinmonzen-dori, 235 Nishinocho, Higashiyama Ward, Kyoto, 605-0088, Japan, theshinmonzen.com

This article appears in the October 2024 issue of Wallpaper*, available in print on newsstands from 5 September on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today.

You will likely have encountered Veronica Ditting’s work, even if you do not know her name. The highly influential creative director and designer – who comes with a string of awards to her name – conceived the distinctive original design for The Gentlewoman (she worked at the magazine for 12 years, from when it was founded, leaving in 2021) and has worked on a slew of projects for brands including Maison Margiela, The Row, Louis Vuitton, Tiffany & Co and Hermès. For the last, she guest art-directed Le Monde d'Hermès magazine, one of the industry’s highest accolades.

A new exhibition in Kyoto, Japan celebrates Ditting’s career so far, particularly her work in printed matter, the medium for which she is best known. Titled ‘Folio Folio Folio: Print by Veronica Ditting’ (until 28 July 2024) and taking place at the city’s ‘ddd gallery’, the exhibition – curated by London-based design historian Emily King – spans two decades of print projects including books, magazines, exhibition design and other ‘printed delights’. These include The Gentlewoman – memorable covers shown as the exhibition include those featuring author Zadie Smith and gymnast Simone Biles – as well as a series of printed ephemera created for the launch of Hermès’ beauty line.

‘Folio Folio Folio: Print by Veronica Ditting’ at Kyoto ddd gallery

For the latter, process images of the ‘colour chapters’ show how Ditting achieved the ’intense and beautiful’ combinations of colour by manipulating physical pages to see how she could replicate it on-screen. Meanwhile, a slim, narrow book echoes Pierre Hardy’s design for the Hermès lipstick. These works – among several others – are displayed in the exhibition on custom stands created by the Veronica Ditting Studio, while a series of vivid large-scale images by Beijing-born photographer Qiu Yang capture models, dummies and proofs in graphic style. The process images were photographed at Ditting’s home in the Barbican, London.

Here, as the exhibition continues in Kyoto, Wallpaper* catches up with Ditting about the career-spanning project.

Wallpaper*: How did this exhibition come about? Do you have a link with Kyoto?

Veronica Ditting: ‘ddd gallery’ in Kyoto is one of the few galleries in the world dedicated to graphic design, alongside its sister gallery ’ggg’ in Tokyo. While their online presence is sparse, I have been aware of some of the shows at the gallery over the years. Then in autumn last year, London-based design historian Emily King asked me if I’d consider a solo exhibition at ddd. Emily had curated a show about British graphic designer Alan Fletcher [a Wallpaper* cover artist] at ggg back in 2008 and she’s kept in touch with the team ever since.

Without being fully aware what I was actually committing to, I pretty immediately said yes. The chance to work with Emily in an in-depth manner and to finally visit Japan – my first time – in such an engaging manner seemed too good to be true.

W*: How has it been to see your work collated in this way? Do you enjoy looking back on past projects?

VD: These days, I mainly work in fashion and it seems like we never pause and reflect. Everything is always about moving forward. Taking the time to go back into my archive and look back on projects has for the most part been quite joyful, and at times also confronting.

For months, Emily and I would meet at my Barbican office, deep-diving into my archive, working on the selection and phrasing the approach to ‘Folio Folio Folio’. As a creative director, my work covers many different aspects – from image-making to graphic design. Therefore a show could take many shapes depending on the approach.

Given the context, we decided to primarily focus on graphic design and particularly on printed matter. You could say the exhibition is a celebration of printed matter and everything it entails. Maybe in a different space it would be a significantly different exhibition.

W*: When it comes to print design, why is it a medium you have gravitated towards? What is it about the physicality of print that is appealing?

VD: Working closely with printers and bookbinders is something I treasure deeply. Print is the aspect that is most closely related to craft within our practice. At the start of my career, I would even press-pass business cards [‘press pass’ refers to the process of travelling to the printing press to run final checks while your project is being printed]. Obviously I don’t have that type of time commitment any longer, but realising how much you can influence at the press has fine-tuned my eye.

When Emily and I started discussing what the approach at ddd could be, we fairly quickly decided to focus on the physicality of my works; a lot of them have a specific construction or folding technique applied to them.

Over the course of many months, my team built display stands by hand, each specifically designed for the pieces on show. 155 in total! Standing at various heights and angles, these stands allow several vantage points on the pieces. The display emphasises the materiality and three-dimensionality of the works, essentially creating a topography that visually underlines the fundamental characteristics and sensibility of the pieces.

W*: What are some of your personal highlights from the exhibition?

VD: It’s hard to pick favourites, but I would say one of the highlights which works really well in the space and the display method is the Hermès Beauty chapter. I’ve been working with Hermès since 2015 on different projects and with the Beauty métier since 2019. In the exhibition, all press publications and invitations created since are shown. The specific ratios and the publications chapter pages are revealed in a significant manner. The communication for the women’s ready-to-wear department of Hermès also stands out as all of the pieces relate to the aspect of construction and folding.

Then two early projects come to mind. In 2008 I designed ‘Andy’, a newspaper to accompany the Andy Warhol exhibition at the Stedelijk Museum in Amsterdam. Working to an extremely tight deadline and budget, I decided to concentrate on Warhol’s appearance in popular media such as advertising campaigns and editorials. The newspaper shows Andy modelling and acting on TV shows. Footnote images and fun facts are scattered throughout the publication, in the middle of the publication is an index of all people mentioned in its pages. It was an expansion of my graduation project, and these visual devices anticipated the information layering that became a central feature of The Gentlewoman magazine.

Another highlight is the publication A Study on Colour by Dutch artist Katja Mater, published in 2009. It shows Katja’s photographic series ‘The Human Colour Wheel’, an experimental work partly inspired by Isaac Newton’s colour theory and partly by Katja’s own formulations. Designed in close collaboration with Katja, the publication was one of my first projects touching upon art direction and commissioning. It’s a humble publication, but still meaningful to me.

W*: Tell me about the photographic project by Qiu Yang, and how that came about?

VD: Twelve large-scale posters photographed by Qiu Yang show work-in-progress material from my archive. Models, dummies, proofs and design sketches are included and each image relates to a specific focus of my practice. All [of them] are photographed at my office and home in the Barbican. Qiu and I studied together at the Gerrit Rietveld Academy in Amsterdam and have been collaborating ever since on different types of projects. He documented some of my projects last year and the way he lights and frames my projects feels appropriate. Significantly, the posters speak to the commissioning of images, which is a pivotal aspect of my work as a creative director.

One poster shows a vast amount of dummies created for the Hermès women’s ready-to-wear runway shows. When asked to create a new classic invitation for the shows, I considered both the moment the card would be received and when the invitee would be rushing from show to show. Significantly, the design is small enough to fit into a bag or pocket and rigid enough not to bend in transit. During the design process, we eventually arrived at an innovative construction involving two small rigid cards held together with a sheet of paper. Flipping the invitation open reveals a colour or texture related to the design direction of the particular season. In the exhibition space, the super-large posters are installed on the walls, giving a sense of the process behind the designs on display in this exhibition and also of their tactility.

’Folio Folio Folio: Print by Veronica Ditting’ runs at Kyoto’s ’ddd gallery’ until 28 July 2024.

studioveronicaditting.com

First launched in 2016, the ‘Pasticcino’ bag, by Weekend Max Mara, takes its name from the Italian word for ‘small pastry’ – its scooping design, in gathered fabric, attached with a small metal frame and ball closure, is made to be clasped in the hand as one might a cornetto on a morning commute. The style, which recalls the nostalgic glamour of clasp-fastening evening bags of the 1920s and 1930s, has been in permanent rotation ever since, reimagined in endless iterations of colour, pattern, size and material.

In 2022, the ‘Pasticcino’ embarked on a world tour, setting off from its native Milan, and travelling first to Venice. There it was reimagined in the city’s sumptuous Fortuny fabrics (which are still made in Mariano Fortuny’s century-old textile mill housed in an ancient convent on the Venetian island of Giudecca) and studded with candy-like gobstopper Murano glass clasps by Gambaro & Tagliapietra. The second stop on the tour was France, where a guipure lace exterior by Dentelles André Laude captured Paris’ synonymy with savoir-faire. Meanwhile, a faïence ceramic clasp was created by earthenware factory Manufacture des Emaux de Longwy, founded in 1789.

Weekend Max Mara’s ‘Pasticcino’ bag takes a trip to Kyoto, Japan

This month, the ‘Pasticcino’ makes the next stop on its round-the-world odyssey, landing in Kyoto, Japan, the ancient city long known for its commitment to craft – from decorative fans and glazed pottery to woodwork, kimono dyeing and stonecraft. Titled the ‘Pasticcino Bag Treasures of Japan’, this edition is crafted from the rich and evocative fabrics made by Kawashima Selkon Textiles, a company that has been creating silk jacquards for traditional Japanese formalwear and interiors since 1843. The bag comes in six variants and two sizes, each limited edition, and features different motifs from fluttering birds to blooming peonies, roses and buttercups.

Some of the designs are instilled with hidden meanings: a smattering of pink flowers represents an ancient symbol of fertility, while a reimagined design from 1905 recalls the grandeur of Kyoto’s Imperial Court. Each bag is completed with a colourful woven boule clasp made by the craftspeople of Bottega Nakamori-Kumihimo. The bottega has been creating obijime – the woven cord used to hold an obi belt in place – since 1927, in a process that takes more than 20 days of twisting, winding and dyeing. Each of the 5,000 spheres it created for Weekend Max Mara took up to an hour to complete.

According to the esteemed bottega, the intricate boules, used to open and close the bag, are a symbol of its meticulous ‘commitment to craftsmanship and tradition’, an ethos that is shared by Weekend Max Mara as it plots where the well-travelled ‘Pasticcino’ bag will be heading next on its cultural journey of discovery.

The ‘Pasticcino Bag Treasures of Japan’ is available from Weekend Max Mara’s website, in small (available maxmara.com) and medium (available maxmara.com).

A version of this article appears in the July 2024 issue of Wallpaper*, available in print on newsstands, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today

‘We wanted to create this feeling of water,’ says COS design director Karin Gustafsson of a new collection featuring the over-millennia-old Japanese tie-dye technique, shibori. Meaning to ‘to wring, squeeze or press’, the intricate process is achieved by manipulating the fabric into complex folds, which are then dyed before being unfurled to reveal the constellations of patterns left behind, which might conjure flowers and animals, or dripping stripes reminiscent of running water.

The journey would take her and her team to the ancient city of Kyoto, Japan’s historic capital which was first settled in the 7th century and flourished due to its plentiful supply of water, from lush mountain lakes and bountiful rivers – the Kamo-gawa in the east and the Katsura-gawa to the west – to its large natural water table, accessed through the thousands of wells across the city. Water also helped establish Kyoto’s synonymy with ritual and craft, allowing for the production of saké and tofu, fabric dyeing, ikebana and tea ceremonies, even the creation of kimonos.

COS x Tabata Shibori: the story behind the collection

’Wherever you go in the city, all the street names and the neighbourhoods, they are always associated with water,’ says shibori artisan Kazuki Tabata, whose eponymous Kyoto-based studio Tabata Shibori collaborated with COS on the limited-edition collection. ‘Everything is water.’

We talk in a suite on the upper floor of Kyoto’s Six Senses hotel, a recent opening in the city’s historic Higashiyama district, and a stone’s throw from the Toyokuni Shrine, constructed in the 16th century in memory of shogun Toyotomi Hideyoshi. It is a setting which proves an apt backdrop for the project: the hotel was inspired by Kyoto’s Heian era, a period rich with flourishing craft, best encapsulated by the 504 raku tiles that depict nearby Mount Kurama over the hotel’s reception desk, created by ceramic artisan Yoshimura Rakunyu in a process which took over two years.

‘Craft has always been important to COS, because we’ve always set out to create fashion and design that lasts beyond the season,’ says Gustafsson, who was connected to Tabata through local connections after being inspired by the art of shibori when creating the brand’s S/S 2024 collection. ‘It didn’t feel right for us to try and mimic shibori [ourselves], it was important for us to go to a true craftsperson, to recognise that there’s so much more behind it.’

Tabata, who was approached to undertake the project on Instagram, initially believed that he was being pranked, having never previously worked on a project of this scale. When he realised the approach was genuine, he agreed, and granted Gustafsson and her team access to his wealth of shibori designs – some of which, including one that features on a scarf in the collection, take him up to three weeks just to create the hundreds of meticulous origami-like folds in the fabric before it is dipped in dye (the latter process taking just a few moments; afterwards, the fabric is rinsed and washed, before finally being unfurled to reveal the resist-dyed pattern).

’I saw that the craftsman was going away in Japan,’ says Tabata, who was studying lighting and music at Osaka School of Sound Arts at the Visual Arts College, when his uncle, a shibori artisan, died. ‘I thought: if no one is doing shibori then it will go away too. So I took it up. I really wanted to keep the tradition going.’ After thousands of hours perfecting the craft, he discovered Kyoto’s kyo shikanoko shibori, a complex version of the technique that creates a pattern recalling the spots on fawns and requires days to create the tight rows and folds needed to achieve its unique design. It has since become his speciality.

In the collection itself, which spans menswear, womenswear and accessories, a handful of his unique designs are transposed as prints across the airy garments, which capture a mood of fluidity and lightness befitting the summertime release. ‘Mr Tabata’s work really informed the collection’s design,’ says Gustafsson. ‘We wanted to continue that idea of fluidity in the artwork, so we translated his designs across different fabrics and through different techniques.’ These include a version of the design woven into the fabric of a men’s jacket and shorts like traditional Indonesian ikat, while on other pieces – like a breezy kaftan dress – Tabata’s work seems to hover across its surface.

And, despite Tabata’s years spent mastering certain shibori techniques, Gustafsson says the unpredictable digressions of the dye encapsulate the Japanese concept of wabi-sabi – the acceptance of imperfections and flaws, and a belief in the ephemeral nature of beauty. ‘I think the beauty of imperfection is important,’ says Gustafsson. ’I think materials in life change with wear, which is something you should embrace rather than see as something negative. It’s amazing to see a garment that has gone through life; that has been enhanced by mending.’

As for how it feels to be in Kyoto as the year-long project readies to hit stores – backdropped by a programme that included a traditional tea ceremony; a ‘dinner party’ at Jugyuan, a restaurant housed in a 110-year-old sukiya building; and a workshop at Kyoto University of the Arts, where Tabata teaches – Gustafsson says she hopes the collection will encourage people to seek out and learn about shibori and traditional art forms like it. ‘We can’t take this type of craft for granted anymore.’

COS x Tabata Shibori is released today (5 June 2024). It is available from the COS website and selected COS stores worldwide.

cos.com

Kyoto’s rich heritage of craft and making has proven a seductive proposition for international brands in recent months; Le Labo recently opened a Kyoto store dedicated to ’slow perfumery’, while Italian leathergoods brand Valextra has taken over a former teahouse on Hanami-koji Street, combining historic architecture with icons of midcentury Italian design. Meanwhile, Bangkok-based hotel chain Six Senses revealed a breathtaking Kyoto property, its debut in Japan, last month (April 2024) in the Higashiyama district.

Inside John Lobb’s Kyoto store

Joining the line-up this month is the latest store from historic British shoemaker John Lobb, which has recently been refreshing its physical retail offering with a series of sleek new international addresses. These include the opening of a store at 700 Madison Avenue in New York, created alongside French architecture studio Ciguë, following new outposts in Paris and Los Angeles. Kyoto marks the latest expansion, and sees the brand continue a trend of architecturally astute, aesthetically unique stores, choosing one of the city’s traditional wooden ’machiya’ houses for the outpost.

Citing the popularity of John Lobb in the locale – Japan continues to be a large market for the shoemaker, which has been present in the country for over two decades – the store marks its seventh Japanese location. The new Kyoto store is masterminded by architect Teruhiro Yanagihara, whose eponymous studio is based between France and Japan; here, he combines a mood of Japanese minimalism with the midcentury codes that have defined John Lobb’s other recent openings. Entering through a John Lobb-branded version of the ’noren’ curtain, shoppers are greeted with a sleek interior with floating shelving, curving furniture, and traditional pillars that divide the space. A cabinet of curiosities, meanwhile, displays John Lobb’s various soles and lasts.

The opening also comes with a cultural component: a photographic series featuring the lauded Japanese director Hirokazu Kore-eda, whose 2023 film, Monster, was released to international acclaim (and a slew of nominations, including a win for Best Screenplay at the Cannes Film Festival). The latest chapter of ‘Lobb Stories’ – which sees the brand ’take a walk’ with talent from around the world – Kore-eda wanders the ancient streets of Kyoto wearing John Lobb’s ‘William’ shoes, the house’s signature monk-strap design. ’With each step, he seemed to confirm the sensation of the old cobblestones beneath his soles,’ says the brand.

John Lobb Kyoto, 256 Umemotocho, 3 chome, Higashiiru Yamatooji Shinmonzendori, Higashiyamaku, Kyoto, 605-0064. Open now.

johnlobb.com

Le Labo might be self-described as ‘born in Grasse, France, but raised in New York City’. But the boutique perfume brand has never shied away from a global presence. Founded by Fabrice Penot and Eddie Roschi in 2006, Le Lebo sources ingredients from all corners of the world and has built an array of storefronts in Copenhagen, Australia, and Germany, among other countries. Now, Le Labo has a new flagship outpost in Kyoto, Japan, aptly named Kyoto Machiya.

For Deborah Royer, the global brand president and creative director of Le Labo, Japanese culture is inherent in its DNA. ‘I have such a deep respect for this country’s intrinsic kindness, overwhelming beauty, and unending well of inspiration,’ she says. ‘This same appreciation and love for Japan have been part of Le Labo since our founding, considering it a living embodiment of our deepest values of preserving artisanship, creating with intention, and honouring the nuanced beauty of what’s impermanent, incomplete, and unrushed.’

Le Labo Kyoto Machiya draws upon the principles of wabi-sabi

Nestled in the Shimokorikicho, Nakagyo-ku neighbourhood, and housed in a traditional Japanese wooden townhouse (or machiya) dating back to 1879, the flagship was meticulously preserved to create a destination that appeals to all of the senses. ‘[It] embraces the history, beauty, and uniqueness of the existing space while epitomising everything Le Labo stands for, capturing the nuanced subtleties of our story and highest values in one intentional setting,’ Royer shares.

Though Kyoto Machiya marks the 13th Le Labo lab in Japan, with its first Kyoto location opening inside the Ace Hotel in 2020, Royer shares that the company took its time to find the perfect location for this flagship. ‘When we discovered this beautiful space, we embarked on a journey to restore it to its original splendour while ushering it into a new chapter as a sanctuary for the senses through our craft of slow perfumery,’ she says.

The new location, which once served as a family-owned sake brewery, spans across two levels and was meticulously designed to honour Japanese heritage and craftsmanship. Not only did Le Labo work with centuries-old materials and local artisans, but the brand also eschewed its signature distressed steel elements to create its first wooden fragrance lab booth with reclaimed Japanese materials.

‘As eternal students of wabi-sabi, we’re continually guided by the soulful beauty that comes from moving slowly, quieting the noise, accepting what is and allowing space for the unexpected,’ Royer adds. ‘This intent directs us and shapes the feeling we seek to share through our craft of slow perfumery.’

Inside the space, head upstairs to find two traditional tatami rooms: one with a fragrance organ that displays hundreds of essential oils, while the other acts as an open atelier for local artisans and craftspeople alike. (The flagship’s first featured artisan was master calligrapher Manabu Kamo, who created a series of works for the lab with Kurotani Washi, traditional hand-made paper from the Kurotani region.)

The celebration of Japanese heritage and craftsmanship extends to the outdoor garden, a tranquil oasis peppered with restored statues and plants native to the area. Additionally, guests can enjoy coffee, tea, and vegan pastries at the store’s small café, the brand’s third outpost outside of its New York and Shanghai locations. A careful mix of slow perfumery and slow living, the flagship invites visitors to stop, stay awhile, and smell the Rose 31.

Le Labo Kyoto Machiya is open now located at 604-8016 Kyoto, Nakagyo Ward, Shimokorikicho, 2-206. Opening hours 10am to 7pm.

lelebofragrances.com

Six Senses Kyoto, the Japan debut of the hotel brand, fuses a medley of inspirations. Playful, organic, biophilic and sustainable design informed the development of the airy new-build property, home to 81 rooms and suites with thoughtfully layered interiors by Singapore’s Blink Design Group. Kyoto, of course, is the protagonist – from the contemporary craftsmanship and playful references to its ancient heritage, through to a wellness programme that draws on the wisdom of the city’s long-standing cultural rituals.

Wallpaper* checks in at Six Senses Kyoto

What’s on your doorstep?

Set within Kyoto’s Higashiyama district, this modern wellness retreat places guests among UNESCO World Heritage temples, atmospheric lanes and some of the city’s most enduring craft traditions. Next door, Maana Living curates a soulful mix of art, antiques and everyday objects by Japanese makers, while nearby Oud. pairs contemporary art and interiors with a greenhouse-like setting. Also worth a visit is the former home of celebrated potter Kawai Kanjiro, who not only designed the house but crafted much of its furniture and artwork, lending the museum its singular character.

Who is behind the design?

The design offers a modern riff on the Heian era of Kyoto, a richly fertile creative period from the late 8th century to the early 12th century when countless traditional arts flourished in the former capital city. ‘Taking a deep dive into the heyday of the Heian era, which celebrates the concept of miyabi (a heightened refinement and appreciation of nature which flows through the design), we sought to align with our concept of ‘place-making’, something very near and dear to our hearts. It means showcasing the culture of a location in its instinctive way that connects the hotel magically with its environs,’ Clint Nagata, founder and creative partner at Blink Design Group, tells Wallpaper*.

Upon crossing the hotel’s temple-like wooden threshold, the mood shifts with panels of intricately woven hikihaku foil reflecting shades of the sun, crafted by century-old Kyoto artisans Nishimura Shoten, alongside the naturally hewn edges of a horse chestnut table. Natural light floods the main lobby space overlooking a large courtyard garden. Meanwhile, a long white ash front desk sees a scene-stealing wall depicting 504 raku tiles, crafted over two years by ceramic artisan Yoshimura Rakunyu.

The work captures an abstract shift of oranges and greens, evoking nearby Mount Kurama, the birthplace of Reiki and one of the settings in Tale of Genji – set in Heian-era Kyoto and thought to be the world’s earliest novel. High ceilings reflect organic undulations hinting at early folded books known as orihon, and a metal wall sculpture depicts a cast of animals emerging from a scroll in reference to Japan’s first manga comic, a playful 12th-century work known as Choju-giga. The playful tone continues in the elevator, where organically shaped mirrors showcase animal etchings.

And threading all these elements together is the spirit of playfulness, known as asobi gokoro, according to Nakata: ‘It’s a playfulness that references elements of Japanese culture, reflected in various fittings and furnishings. We hope that this perspective allows our guests to take away very special memories of an extraordinary hotel experience long after their stay.’

The room to book

Lining the upper-floor corridors are fox heads crafted from recycled washi paper, which act as occupancy indicators. At the touch of a button, guests can illuminate either the fox's whiskers or eyes. The guest rooms, overlooking either the central courtyard or Toyokuni Shrine at the rear, balance crafted serenity with playfulness. Wooden walls divide bathrooms and bedrooms with flippable panels of natural and red-painted wood; woven copper lighting is by Kyoto makers Kanaamitsuji; a large abstract white painting of the moon hides a large TV; and Japanese-style sudare window screens filter sunlight.

For non-conformists, the Premier Suite Garden King is the room to book. One of just two accommodations with direct access to the private Japanese garden, it sits apart from the main guestroom wings and feels more akin to a secluded residence, complete with a separate living room. Thoughtful details continue at turndown, where guests can choose from a selection of sleep aromas designed to encourage deeper rest, or cosy up in circulation-enhancing sleepwear.

Staying for drinks and dinner?

Food is served in the all-day dining Sekki and Café Sekki: warm open spaces with organic materials and biophilic abstractions, where dishes are crafted from mindfully sourced seasonal ingredients, such as Kyoto vegetables grown by seventh-generation Yamada Farm. The signature five-course Sekki Dinner traces a path through mountain, field and sea, with dishes such as Toyama white shrimp soup enriched with house-made chickpea miso and herb-crusted Japanese beef sirloin served with a sherry jus.

For something more intimate, Sushi Oga Higashiyama offers a counter-only experience where chef Sakai works with seasonal seafood, pairing it with the restaurant’s distinctive red-vinegar rice. After dark, Nine Tails is an intimate cocktail bar with the atmosphere of a modern apothecary and design details, including a forest-green tiled counter and yakisugi burnt cedar flooring. The back bar is a treasure trove of Japanese spirits, with hundreds of bottles ranging from household names to elusive rarities. If you’re undecided, ask for a tasting and let the bartenders guide the way.

Where to switch off

The lower levels, wrapping around the sunken courtyard garden, are home to hubs such as an Earth Lab – as in all Six Senses – an intimate space with a sculptural wood ceiling, where workshops unfold, making beeswax wraps and mosquito repellent. Wellness also steals the show. The expansive spa is home to a serene network of spaces: a swimming pool with a designated area for Watsu therapy, an Alchemy Bar, a Biohack Recovery Lounge and a Tea Lounge.

Water sounds, ikebana flower arrangements and Zen-inspired rocks complement expanses of natural materials and soft biophilic curves, while each of the treatment rooms is inspired by the five senses and complete with wind chimes, rock gardens, incense and moss walls. Look out for the daily wellness programme, where guests can start the day with mat pilates or wind down with sound healing and hammock serenity yoga.

The verdict

Like all Six Senses properties, the Kyoto outpost possesses a palpable sense of calm. Here, however, it is paired with the attentiveness and excellence of Japanese hospitality. Despite its urban setting, the hotel often feels worlds away from the city beyond its walls. Daily wellness activities, thoughtful rituals and a highly engaged team foster a sense of connection throughout the stay. Staff are quick to share favourite neighbourhood spots or tailor recommendations to individual interests. Meanwhile, a warm blend of Japanese woods and citrus, created by Tomoko Saito Aromatique Studio, drifts through the property, becoming one of those subtle details that linger long after departure.

Six Senses Kyoto is located at 431 Myohoin Maekawacho, Higashiyama Ward, Kyoto, 605-0932, Japan

The centuries-old tradition of soba, a type of buckwheat noodle, has been declared an intangible cultural heritage in Japan. This recognition also extends to the establishments that serve them, like Kawamichiya in Kyoto, which has been in operation for over 300 years and is known for its homemade broth and soba noodle dishes that continue to attract visitors.

Step inside Kawamichiya Kosho-An in Kyoto

Kawamichiya Kosho-An is the brand’s newest outpost, opened in a 110-year-old Kyoto townhouse. Designer Endo Shojiro and architect Masaharu Tada from td-Atelier led the renovation process, adding fresh design details while preserving the original features of the 143 sq m building. They note: ‘Soba has been consumed in Japan since ancient times as an easy meal for everyone and a luxury presented to the shogun and lords. Our design of Kawamichiya Kosho-An caters to this beautiful ambiguity.’

The project included restoring lost design elements such as lattice windows and tiled roofs while adding new geometry and functionality to the space. The original tokonoma, a recessed space in a Japanese-style reception room, now serves as a display shield, while the wooden doors and shoji screens serve as walls and dividers.

For those seeking a quick bite, there’s dedicated space accessed directly via the main entrance, following a stone path. Diners seeking a prolonged meal can choose between group dinners on a large tatami-mat floor or the tori-doma zones, featuring intimate two-seater tables.

endo-design.jp

td-ms.com

There are more beauty salons in Japan than there are konbinis (convenience stores). Currently, the ratio is around 250,000 beauty salons to 56,000 konbinis. In Omotesando, Tokyo, a battleground for beauty salons, it is said that there are more than 300 within a kilometer radius.

The Japanese obsession with beautiful hair goes back to ancient times, with different historical periods known for different artistic and experimental hairstyles. One notable example of hair art that remains deeply rooted in Japanese society today is the so-called 'geisha hair', which differs depending on social status, age, and other factors.

To get a closer look at Japanese hair art over time, Prissilya Junewin, a Berlin-based, Indonesian-born Chinese photographer, visited three cities in Japan and documented hair artisans’ craftsmanship through different generations and specialisations. 

This article is the first in a three-part series that looks behind the scenes of their work and philosophy. First stop, Kyoto wigmaker’s Kyokatsura Imanishi.

Kyokatsura Imanishi, Kyoto: hair art traditions passed down through generations 

Among the many unique regional cities of Japan, Kyoto holds an exceptional position. In the local redlight districts, such as Gion, there are an abundance of ‘teahouses’ where geishas entertain their customers every day. They are known for their secrecy, and many do not allow first-time visitors without a recommendation from their regular customers. 

Thanks to this system, the industry remains shrouded in mystery. Yasuo Imanishi and his son Yasunori are two of the few people who are allowed to intervene in such a mysterious world. They specialise in making wigs for geiko (senior geishas), differently from maiko (junior geishas), who have their hair done with natural hair. A whopping 90 per cent of all geiko in Kyoto are their clients.

Salon founder Yasuo is a veteran with 70 years of experience in this field. Shortly after the war, he started training at a wig shop in his neighbourhood out of a need to simply make a living. ‘I didn’t know anything about wigmaking back then,’ he says. ‘When I started my training, there was a high demand for Japanese wigs, after the usual New Year’s break we had to work without a day off until summer, from 8am to midnight. I worked three times as hard as others.’ 

After his training, he independently opened Kyokatsura Imanishi in 1966. Currently, the store is run by his eldest son, Yasunori, who has over 30 years of experience.

Yasunori half-jokingly describes himself as ‘naive’. ‘Many people in the field train elsewhere before taking over the family business, but in our case, I was trained at this store from the beginning because of my father’s policy of not wanting me to follow other people’s methods,’ he explains. 

His father has never taught him any of the techniques or know-how verbally. ‘I have never been told by my master to do this or that,’ Yasuo says. ‘Without any guidebooks, I had to learn by watching every step. I just did the same thing to my son, not meddling with him too much, but letting him learn by practising.’

Most of their daily work consists of the maintenance of geiko wigs delivered from the teahouses. ‘Geiko use their wigs every day and re-tie them once a month. Most of them have to be returned within a day or so,’ Yasunori explains while his father sits next to him, constantly combing the hair of a wig. ‘When we arrive at work in the morning, the first thing we do is untie all the wigs and wipe off the old grease. Then put on new oil and use our antique hot iron to straighten the hair. Then we curl the hair and tie it up again. We do this process endlessly, from morning to evening.'

Their wigs are highly regarded by discerning geiko in Kyoto for their meticulous craftsmanship and carefully composed shapes that suit the look of each customer. ‘We know most of the faces of the customers who send us their wigs in for maintenance,’ they say. ‘If we don't know their faces, we ask for a portrait and work on it based on the photo,’ Yasuo continues. ‘To some extent, I can adjust the hair following their requests to make a face look a certain shape. However, we believe that our clients come to us because they like our style, so usually, they let us do what we think is best.’

When we asked the Imanishi family about their future prospects, they replied with concern: ‘We don't know yet.’ Like other traditional crafts, the future of this industry remains uncertain. ‘After all, our core client base is geiko, but their numbers are decreasing nationwide. Since the geisha world is declining, our business is also naturally downsizing. Sadly, that is the reality.’ 

The family are now focusing their efforts on promoting wigs for weddings. ‘Back in the day, when the economy was booming, many brides and grooms spent a lot of money on their weddings, and there were a lot of orders for wedding wigs. But nowadays, the number of people who hold weddings themselves is decreasing, especially for brides who wear kimonos and have their hair done in traditional Japanese style, which is less than 20 per cent of the total. That’s why we have started an Instagram page and are uploading videos to YouTube to promote our products,’ says Yasunori.

‘I became a part of this important Japanese culture without noticing it,’ Yasuo replies when asked why they kept working as wigmakers for such a long time. ‘In the past, we used to have seven or eight employees, but they have all left and are now working other jobs; the situation is the same for other traditional craft stores around me, so I desperately hope one of my sons will eventually take over and keep this tradition alive. That is my motivation now.’ 

Hearing this, his son laughs and intervenes, ‘Really? To be honest, this is all I can do. It’s all I’ve been doing for so long. But when geiko and the brides send us messages on social media thanking us for our work, that motivates me.’ 

Yasuo nods in agreement and says, ‘When the customers are happy, we are happy too, and that's what matters to us.’

kyokatsura_imanishi

On-set interpretation: Tsukasa Tanimoto. Production: Mothership Tokyo

Copenhagen-based design atelier OEO Studio has transformed a 200-year-old machiya townhouse in Kyoto into an artistic enclave for Shanghai-based Japanese furniture brand Stellar Works and renowned kimono textile specialist Hosoo, creating an immersive experience that is perfectly in tune with their shared philosophy of timeless craftsmanship.

Stellar Works and Hosoo Textiles’ Kyoto showroom

Discreet, muted tones and an earthy material palette of plaster walls, timber floors and shoji screens retain the quintessential spirit and understated beauty of this classic Japanese residence in the historic Nishijin textile district, while the fluid semi-open layout and a traditional engawa (veranda) overlooking the courtyard garden allow for separate backdrops showcasing different collections. 

The scene is set from the large genkan (entrance area) where guests remove shoes before stepping onto a tatami-mat space with a handpicked selection of furniture. At the time of the store’s opening, this included an elegant minimalist Yabu Pushelberg room-divider screen whose partitions featuring Hosoo’s signature fabrics can be adjusted and the colours mixed and matched to change the mood of a room. 

Also on show was the ‘Discipline’ sofa, an enticingly curvaceous modular piece designed by Stellar Works’ creative directors Neri & Hu, and upholstered in a complex weave of silk, silver and washi, woven using Japanese three-dimensional techniques in the adjoining Hosoo workshop. 

‘These fabrics have a very unusual appearance and texture that fit beautifully with the very simple minimalist lines of our designs,’ Yuichiro Hori, the owner of Stellar Works, explains.

Hosoo was founded in 1688, and its reputation for traditional weaves dates back centuries. Now the 12th-generation owner, Masataka Hosoo, has overseen the invention of a revolutionary new loom that allows for a far greater width than the typically narrow bolt of cloth for obi, thereby opening the door to endless exciting future possibilities such as the interior fabrics for Stellar Works designs. 

Throughout the 200 sq m showroom, furnishings such as the ‘Taylor’ sofa, a design by Yabu Pushelberg with a soft generous form, and the ‘Aya’ collection of sleek yet comfortable dining chairs by OEO Studio, are creatively arranged alongside works by artists and artisans, including an outstanding new collection of tatami mats in soft pink and indigo developed by Mae Engelgeer and made by Yokohama Tatami.  

The newly launched aviation-inspired ‘Kyoto’ lamp by OEO Studio is another standout Stellar Works piece. Made of Unesco-listed washi paper by the same craftspeople who produce Kyoto’s traditional washi and bamboo wagasa (umbrellas), each shade features an enso (Zen circle) hand-painted in black ink, and the lamp packs flat for shipping. 

Showrooms by their very nature are functional spaces, but this expressive collaboration communicates a shared vision in a unique place that embodies a deep respect for both heritage and innovation, conveying a very contemporary cultural exchange between modern design, traditional objects and architecture.

Stellar Works x Hosoo Showroom
By appointment only
752 Bishamoncho, Kamigyo Ward, Kyoto, 602- 8227, Japan
stellaworks.com hosoo-kyoto.com

In proof that life does work in mysterious ways, a new exhibition of work at Ace Hotel Kyoto showcases an unexpected dialogue between centenarian Japanese artist Samiro Yunoki and the American artist Kori Girard, the grandson of textile designer/artist Alexander Girard. Yunoki and the younger Girard first crossed paths when both were commissioned by the LA-based firm Commune Design (who oversaw the hotel's interior design) to create work for the hotel; Yunoki designed the typeface and logo for the hotel and created all the artwork in the hotel's guest rooms, while Girard designed the tile floor of the hotel's restaurant, Mr Maurice's Italian, as well as the silk screened panels within the space. 

'It was in working with Commune Design on the hotel's restaurant design that I was more formally introduced to Yunoki-san's work,' recalls Girard. 'The more I saw, the more I felt an undeniable connection.' 

Girard requested a meeting with Yunoki through a mutual friend and 'during our visit, [Yunoki] shared many stories including one about a trip to the Girard Wing at the Museum of International Folk Art in New Mexico,' Girard continues. 'He explained that he was very influenced by this exhibition and that after he saw it, he felt a greater sense of possibility in his own work. I was very excited to make this connection as the Girard Wing of the MOIFA has also been a huge and lifelong influence on my work.'

Prompted by Roman Alonso, Commune Design's co-founder, a two-person exhibition of Yunoki and Girard was proposed for the inaugural show at the gallery space at Ace Kyoto. 

'Yunoki-san accepted the idea and promptly said he would have his works for the show done ASAP and that he would be working in collage,' Girard relates. 'Inspired by his energy and fervour, I decided to create a kindred body of work in the same medium. The relationship of the pieces is found in a reverence for the concepts of “play" and “colour".' 

Comprised of six works from each artist, 'East Meets West' is a celebration of colour, geometry and form. It also coincides with Yunoki's 100th birthday and poetically underscores the longevity an artist's creative legacy can have.  

'It was clear to me that the opportunity to make a show in conjunction with Yunoki-san would open up my practice to explore a more spontaneous and abstract approach,' Girard concludes. 'I also believe the long-distance collaboration for this show worked so well, only because the spirit of our interaction was rooted in undying curiosity and devotion to a creative life.  I am humbled and excited to share what came of this once-in-a-lifetime opportunity.'

'East Meets West' will run until January 10, 2023 at Ace Hotel Kyoto. acehotel.com

As one of Japan’s oldest public museums, its elegant façade, neoclassical symmetry and curved tile rooftop have been celebrated as a Kyoto landmark for more than eight decades. Now, Kyoto City Kyocera Museum of Art – formerly known as Kyoto Municipal Museum of Art – will soon begin a new chapter, with the completion of a three-year renovation by Japanese architects Jun Aoki and Tezzo Nishizawa.

The update has added a fresh, modern and minimalist edge to the original 1933 building, designed by architect Kenjiro Maeda and a classic example of Imperial Crown Style architecture known as teikan.

‘Taking over the designing style and manner of the original architecture doesn’t mean just repeating the original design adopted over 80 years ago,' Aoki, also the museum’s new director, says. ‘It means carefully observing the ‘grammar' of the original architecture and utilising this ‘grammar' to design what is required at present. As a consequence, we could create a new architectural space where visitors can barely tell which parts were renovated.' 

Inside, the building’s original materials still shine, with expanses of rich marbling, original floor tiling and sweeping stone staircases, in shades of apricots, forest greens and creams. Yet contemporary touches create a lighter, more open feel throughout the museum, home to a 3,600-strong collection of Kyoto artworks, from Japanese-style Nihonga paintings to calligraphy. 

Standout features include a minimal glass ‘ribbon', clear and transparent, which flows along the façade beneath the original entrance, creating a new light-flooded entry point at the base the building.

The Central Hall, formerly the main exhibition space, has been transformed into an airy white hub connecting three levels of galleries, with its heritage balanced by a light, minimal touch – as seen in the high white ceiling, oak parquet floor and elegant curves of a spiral staircase.

A bolder addition is the Higashiyama Cube, a new wing for contemporary art overlooking its Japanese Garden, with a roof terrace and clean-cut façade of pre-cast concrete panels, with minimal vertical motifs of champagne gold (plus an inaugural exhibition by Hiroshi Sugimoto, whose Glass Tea House Mondrian floats on the nearby pond).

Other touches include the clear walls of The Triangle, dedicated to emerging artists; new shop Art Lab Kyoto selling a sleek medley of art books and Kyoto gifts (plus minimal white museum goods by Beams Creative Laboratory); and cafe Enfuse, serving up craft coffee and meals with seasonal local ingredients.

‘Kyoto is not a city that conserves old things just as they are,' adds Aoki. ‘Kyoto is a city where old things are constantly given a new perspective as time progresses. This means things are constantly added and revised, creating multiple layers. I would be very grateful if the new dimension we’ve added to this museum forms another new layer for the city.'

INFORMATION

aokijun.com; tezzonishizawa.com

If the rash of new hotel openings - which includes offerings from the Aman and Park Hyatt groups among others - is anything to go by, Kyoto is certainly having a moment.

The newest kid on the block is the 60-room Maja Hotel, an updated version of Japan's traditional capsule concept, but with a slick Scandinavian look.

Behind a timber-slatted façade - a modern nod to Kyoto's machiya townhouses - on a quiet street in central Kawaramachi, Finnish industrial designer Harri Koskinen has created a serene and minimal aesthetic revealed through a mix of light Tamo Ash wood, concrete and considered lighting.

With an entrance designed to resemble the shape of a house, complete with a triangle roof, the capsules themselves come in two sizes: the smaller ones follow a traditional capsule hotel format and are stacked on top of each other in two levels, while the larger ones are full-height walk-in rooms complete with a western-style bed. Privacy comes courtesy of blue-green pulldown Marimekko textile blinds, designed by Koskinen himself.

Also designed by Koskinen are the tables - using legs made from a tree that used to grow in the building's courtyard - and his iwatemo KI-0202HK chairs, crafted in Iwate Prefecture, which fill the communal public spaces.

Meanwhile, Cafe Aalto serves up a taste of Finland – from salmon soup to cinnamon rolls – alongside official reproductions of Aalto-designed tables and chairs.

ADDRESS

92 Tsuchiyacho
Nakagyo-ku
Kyoto

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Kyoto’s Gion neighbourhood has long drawn locals and culture-vultures alike for its storied collection of period architecture, teahouses and bijoux shrines, but the 23-bedroom Sowaka is – once you step through its inconspicuous façade and into the stone threshold – a certified head-turner.

Named for the Sanskrit blessing at the end of Buddhist sutras, the ryokan-style hotel has, thanks to the careful ministrations of local architect Shigenori Uoya, retained the footprint and bones of the original teahouse that stood on the site.

The patina of a ryokan – tatami mats and sliding paper doors, and kimono’d staff gently swishing through the mood-lit corridors – is layered over original oval windows that frame tranquil tableaus of rock gardens and moss-covered trees.

Modernity gently intrudes by way of low-slung chairs, cashmere and camel hair mattresses, and in-house restaurant La Bombance, an outpost of the Tokyo original where head chef Tadahiko Urimori parlays seasonal produce into luscious edible works of art.§

INFORMATION

Website

ADDRESS

480 Kiyoi-cho
Yasaka Toriimae-sagaru
Shimogawara
Higashiyama
Kyoto

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Many modern urban hotels like to boast of their connection with the art community but few, we wager, can hold a candle to Kyoto’s newly minted BnA Alter Museum.

Located within a few minutes walk of fabled Gion, Karawamachi and the Kamo river, the 10-storey building hides a kaleidoscopic fantasy within its relatively nondescript narrow white façade .

A vertical wing, rising up the building’s entire 10-storey height, is taken up by four art galleries (collectively named SCG) with the museum shop, café and lounge that looks like the result of a one-night stand between the Jetsons and Takeshi Murakami, and a bar staking the ground floor.

Meanwhile, 31 bedrooms occupy the third to tenth storeys. We use the word ‘bedroom’ loosely because each is literally a permanent exhibition by 15 Japanese artists who collectively have created an extraordinarily eclectic mix of interior designs, some of which feature charged swirls of colours and three-dimensional installations that seem to pour out of the ceiling. A particular treat is that some of the rooms look directly into the SCG art galleries.

If calmness is key to your sleep, we suggest booking the all-white serenity of the Daito Manabe-designed room or the Brutalist-inspired D_R_M room by the vocalist, EYE.

ADDRESS

267-1 Tenmacho
Shimogyo-ku
Kyoto

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It may not have room service or Egyptian cotton bed sheets, but one thing Kyoto’s newest design hotel does have, are books.

Following the success of its Tokyo outpost which opened in 2015, this is the second Book and Bed hotel for real estate company R-Store, who chose the central Gion district for its Kyoto location. Dressed by Makoto Tanijiri of Suppose Design Office, on the surface, the hotel has the appearance of a bookshop, with floor-to-ceiling shelves that are packed with over 3,500 tomes curated by local bookstore Keibunsha Ichijoji. However on closer inspection, 20 blue curtains can be pulled aside, to reveal integrated capsule-like rooms, each with their own mattresses, clothes hanger and power socket.

The perfect hideaway for the solo traveller, bookworms can spend the day visiting the city’s sites, before retiring with a novel and a beer from the small neon-lit bar. And for locals who don’t need a bed for the night, the rooms can be rented hourly during the day, for that quick solitary reading fix.

INFORMATION

Website

ADDRESS

9F Kamogawa Building
200 Nakanocho-Nishiiru
Higashiyama-ku
Kyoto

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Despite the fickle nature of the travel industry, the one destination that remains constant, is Japan; its easy nature, compelling culture and natural beauty has made it a popular draw for seasoned travellers and occasional tourists alike. 

So it’s no surprise then, that the country’s hospitality industry continues to boom with hotels from local brands such as Hoshino Resorts to international groups like the Four Seasons opening at a dizzying pace. The latest brand to follow suit is from Singaporean property company Roxy-Pacific. Taking its cues from the trend for affordable design accommodation, the 81-room Noku Kyoto might not have five star butler service, but its endearing charm, calming Japanese design sensibility and faultless location - right next to the Marutumachi subway station and adjacent to the bucolic gardens of the city’s Imperial Palace - is certainly great value.

Inside, the aesthetic is subtle and understated, with blonde woods, soft lighting and a low-key colour palette that has been smartly interspersed with colourful patterned headboards, adding a dash of modernity and texture. Bathrooms, to be fair, are on the cosy side, but what it lacks in space, is more than made up for with the generous-sized bottles of Shiseido amenities. 

In the lobby, sip on artisanal brews from local coffee master Takahiro Maeda, who has provided locals with their caffeine fix since 1971, and fuel up on the delicious french toast, before immersing yourself in the city’s sites- many of which are only a short stroll away.

ADDRESS

205-1 Okura-Cho Karasuma-dori Marutamachi sagaru
Nakagyo-Ku Kyoto-city 604-086

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Hand-crafting copper, tin and brass tea-caddies since 1875, Kaikado has now also started brewing tea at its newly opened café, a short stroll from its small workshop and flagship store in Kyoto’s Kawarmachi district.

Housed in a 90-year-old listed building, the café serves an eclectic selection of treats, including cakes from local bakery Hanakago, tea from London’s Postcard Teas and coffee from Wani Coffee in Tokyo.

Designer Thomas Lykke from Copenhagen-based studio OeO was charged with transforming the old city-tram warehouse and has skilfully combined his native Nordic sensibility with the century old heritage of Kaikado in a bright interior with partially exposed concrete walls, that are tempered with light oak furnishings and cooper lamps, designed by OeO and made by Kaikado.

At the moment, a visit to the second floor bar is by invitation only, but this might change in the future. If it’s any consolation, the café is set to age beautifully and become even better over time. 

ADDRESS

352 Sumiyoshi-cho
Shimogyoku Kyoto

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One of the most beautiful cities in the country, best-known for its architecture, history, ancient temples and peaceful zen gardens, Kyoto is top of the list for anyone visiting Japan. So, considering its significance as a major destination, it is a little surprising that luxury hotel offerings are so thin on the ground. All the more reason then, to welcome the new Ritz Carlton with open arms.

Located on the banks of the Kamogawa River in downtown Kyoto, a quick stride away from a string of attractions including Nishiki food market and the atmospheric geisha district, Gion, the hotel - assembled to resemble a traditional Meiji house and courtyard -  slots so discreetly into its surroundings, that most passersby wouldn’t think to take a second glance.

Dressed by US-based Peter Remedios Design Studio, interior details such as bonsai trees, patterned motifs, zen gardens or peaceful water features - including a three-storey waterfall that takes centre stage - are a nod to the traditions of Japan, while blond woods and subtle, indirect lighting create a warm and welcoming atmosphere. This continues to the 134 guest rooms and suites, which either overlook the tranquil inner courtyard, or frame views of the river and the Higashiyama mountains beyond.

In the basement is a sexy 20-metre indoor lap pool tiled with deep aquamarine mosaic, while the spa offers treatments such as the ‘Ryokucha Serenity Ritual’, which uses the anti-oxidant properties from green tea.

Upstairs, the dining spaces have been designed by Tokyo-based outfit Spin Studio. These include traditional Japanese options from multi-course Kaiseiki dinners to La Locanda, an elegant wood-panelled fine-dining Italian restaurant that occupies a former townhouse dating from 1908.

The biggest temptation though, is the Pier Hermé boutique with its exquisitely displayed treats, located right at the entrance of the hotel.

ADDRESS

Kamogawa Nijo-Ohashi Hotori
Nakagyo-ku
Kyoto

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Given it’s usually the Park Hyatt properties that are better known for their luxury design-led offerings within the Hyatt Hotels brand, Kyoto’s Hyatt Regency comes as a pleasant surprise.

Designed by Japanese studio Super Potato, the property’s sleek, understated interiors are a modern update on traditional Japanese aesthetics; a dramatic laser-cut wooden installation, that filters subtle glow, clads the ceiling of the lobby; soft, indirect lighting illuminates the corridors; while guest rooms - some of which overlook a serene bamboo garden - feature bright kimono fabric headboards that take centre stage. Bathrooms are Japanese-style wet rooms, but for the full shebang, take some time  out in the spa to experience local therapies such as the fermented Hinoki powder bath- a dry treatment said to promote relaxation.

While the hotel offers a number of dining options including perfectly sizzled steak at The Grill or home-style pizzas served at Trattoria Sette, we suggest stepping outside to sample the city’s local offerings- the perfect treat after a day spent visiting attractions such as the Kyoto National Museum or the atmospheric geisha district, Gion, which are only a short stroll away.

ADDRESS

644-2 Sanjusangendo-mawari
Higashiyama-ku

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