KAIHO: A Young Talent Selected for Forbes Japan's "30 Under 30," Exploring His Origins & Current Status

Colorful and a bit strange, yet a world that makes you want to peek inside. 28-year-old special effects artist KAIHO has gained attention by providing works for renowned musicians such as King Gnu, yama, Kyary Pamyu Pamyu, and Official Hige Dandism, and in 2024 he was awarded "30 UNDER 30" by Forbes Japan, which selects 30 individuals under the age of 30 who will shape the next generation. Additionally, he serves as the creative director for the music festival "LuckyFes'24," continuously redefining the image of special effects makeup and expanding its possibilities.

We spoke with KAIHO about his roots, his dedication when creating works, and the challenges he looks forward to taking on in the future.

The Driving Force: A Desire to Do Something Truly Interesting

You’ve loved monsters and mythical creatures since you were young. What aspects of them attract you?

I absolutely love the thrilling sensation when I see something I’ve never encountered before. Since I was a child, I admired Shigeru Mizuki's works and loved drawing, being a child proficient in arts and crafts. I had a strong desire to do things differently from others since I was young.

In elementary school, we had a class themed on creating cutouts of insects, and while everyone neatly fit their drawings in the outlines, I vividly remember making a large rhinoceros beetle with its horns sticking out significantly.

It seems that your interest in special effects makeup began with movies.

Yes, I watched a lot of films as a child, but I was especially influenced by Tim Burton's "Beetlejuice." Although the characters were deformed, they had a sense of truly existing within that space.

I initially had a grotesque image associated with special effects makeup, thinking of zombies, but I was shocked to realize, "This is a technique where I can do anything."

I studied design in high school and then went to a school run by special effects makeup artist Amazing JIRO. What was the most impressive lesson you learned from JIRO?

I think JIRO is someone who expanded the possibilities of special effects makeup. He took a technique that was primarily used in movies and dramas and made it applicable in variety shows, advertising, and the fashion industry.

I resonate with his free approach to creation, expanding ideas from whatever materials are available. Seeing that inspired me to think, "I should break the mold."

As a special effects makeup artist, it is typical to create commissioned work for visual projects. Why did you choose a different path?

In the early days of my career, I did take on some film projects, but I found no excitement in simply creating as directed. So I boldly decided to dive into creating works that I love.

Until a couple of years ago, my work was not stable, and I lived in a 4.5-tatami room (approximately 7.3 square meters), but I never felt anxious. My foremost desire was to do something interesting. During that time, when the pandemic halted most work around me, I saw it as an opportunity and dedicated myself to creating works and shared them on social media.

Through that process, I feel that in the last three years, an environment where I can do interesting things has been developed. I also feel that there have been more opportunities for me to be recognized as a creator.

The Key is Balancing Bold Design with Delicate Techniques

It's because you have maintained a steadfast posture that you have blossomed, right? What was a particularly pivotal job for you?

There are various instances, but when I think of a turning point, it would be my work with musicians. It started with my special makeup for the members in King Gnu's music video for "It's a small world" (2018), and I feel that many people got to know me through Kyary Pamyu Pamyu's music video, as well as merchandise and music videos for Official Hige Dandism.

This year's Official Hige Dandism tour "Arena Tour 2024 - Rejoice -" had photo spots that recreated the music video, and it was deeply moving to see many people taking photos with my work.

So, which of your past works do you particularly like?

It's the main visual of "Tachikawa Yokai Bon Odori 2024." With the ambition of "Let's create a kappa that we've never seen before," I gathered my own staff to work on it.

How far can we deviate from the conventional image of a kappa—with a beak, shell, and plate on the head? I wanted to create a fashionable, truly believable kappa.

It was incredibly stylish and a kappa figure unlike anything we've seen before.

It received great acclaim, and there was even international interest. What I focused on was the rawness. It's the same with any work, but I aim to strip down everything to get close to the model's real face, making it appear like a truly existing entity.

This kappa, for the most part, is made of parts that are only about 2mm thick except for a few areas, so it's almost like bare skin. The lower lip to the jaw is that of the actual model. The closer it is to the real face, the more realistic the expression becomes.

Balance is also crucial. With special makeup, the attention tends to stay on the modeling of the parts, but it’s important to achieve balance so that the face isn’t emphasized alone when viewed as a whole once the makeup is complete.

If you overdo it, it can easily look tacky, so I keep in mind to "stop once it starts to feel fun."

By the way, how do you gather the materials you use?

For special makeup materials, I primarily import from the United States. However, I believe in using anything in my works as sticking too strictly to materials can limit expressiveness.

I often look for fabrics at curtain shops, dismantle clothing and wigs... I frequently search for materials at thrift stores too. I often dye them, deliberately dirty them up, or add signs of wear so they appear as if they truly exist.

Your works are also characterized by being very colorful and pop. How did you develop your vibrant sense of color?

I recently realized that my family's background in flower arrangement might be a significant root of mine. The shop was right next to our home, and I often went back and forth. I observed how my parents combined colors when making bouquets.

While flowers seem cute at first glance, if you look closely, there are sometimes slightly creepy or grotesque aspects. I think that something that's just cute or beautiful feels fake, so I believe there are aspects in my works that are both cute yet unsettling.

In the Future, Exploring the Potential of Special Makeup with a View to Activities Overseas

On the other hand, do you often wear clothes in more subdued colors? You’re wearing a chic patterned shirt today...

The colorful aspects are purely a realm of my mind, so it's embarrassing to be a part of that world. Sometimes during shoots, I get asked to "wear a work," but I absolutely refuse (laughs).

I love fashion, and I think there's a high affinity between it and special makeup, so I’d like to get more involved in fashion shows as well.

Personally, I envision that my works could match with brands like GUCCI, Comme des Garçons, and UNDERCOVER.

You are expanding your horizons beyond special makeup, such as serving as the creative director for the music festival "LuckyFes'24."

"LuckyFes'24" was truly a rewarding experience. I created objects and giant balloons placed around Hitachi Seaside Park and decorated trees...

Producer DJ DRAGON encouraged me by saying, "Feel free to do whatever you like," so I pursued interesting things, and I ended up using the entire budget without excess (laughs).

Through that experience, I felt that decorating an entire space with special makeup techniques is exceedingly fascinating and I believe I’ve discovered new possibilities. I’d like to get involved in urban revitalization and similar projects in the future.

Are you considering an approach overseas in the future?

I'm hoping to hold a solo exhibition in America, and I was thinking about going for a visit. I particularly feel that New York and Los Angeles show a strong interest in my work, as I often receive direct messages from there. However, doing a solo exhibition is quite expensive due to shipping and other costs, so I am always looking for sponsors! (laughs)

What’s important is not wealth or fame, but whether I can enjoy myself. Walking with a steady core and continuously forging my own path will undoubtedly lead to a worldwide presence in the future.