How Were Hitsujibungaku’s Live Performance Costumes Created? The Creation of Designer Kanako Kakimoto, Who Crafts Outfits for Renowned Artists

There is a unique fashion for the streets, the office, and even moments of relaxation at home. The same goes for those one-night-only concerts, filled with cheers from the crowd.

Artists' live costumes, bathed in the spotlight for several hours, are often etched into the audience's memory. What kinds of creativity and ingenuity go into designing these special outfits?

In this article, we interview Kanako Kakimoto, who not only produces her own brand but also crafts costumes for musicians. We asked her about the process of creating outfits that are deeply connected to music and physical performance.

Custom-made Costumes Coloring Hitsujibungaku's Live Shows

At Hitsujibungaku TOUR 2024 "soft soul, prickly eyes," Kanako Kakimoto’s outfits graced the stage.

Moeka Shiotsuka (Vo.Gt.) and Yurika Kasai (Ba.) wore custom-made tops that softly wrapped around their bodies.

"The process of creating costumes for artists usually starts when a stylist reaches out to me. We go through multiple meetings, working together to craft outfits that match the performance.

"The key feature of Hitsujibungaku’s tops is the gradient of gray and ochre. Since the tour’s main visual used a grainy black-and-white photo, the stylist and I brainstormed ways to capture those 'particles' in the costumes.”

Inspired by the flyers that audiences must have gazed at countless times, these outfits bring the tour’s world to life. Although they serve a completely different purpose from everyday wear, not a single detail is overlooked.

“To make the gradient as beautiful and durable as possible, I worked with a dyeing factory I’d previously collaborated with, and asked them to finish the piece using a spray-dyeing technique.”

Designing live costumes also involves creating for the high-energy and unusual environment of “performance.” Artists sing, dance, play instruments, and move in ways they never would in daily life.

The design process is quite unique, as it must support effortless movement while bringing out the artist’s charm to the fullest.

"First and foremost, I kept in mind that they both needed to feel relaxed wearing the outfits on stage. Instead of layering on elaborate decorations, I twisted and tied stretch fabric to create complex silhouettes from simple patterns.

"Also, the silhouette is only complete when they are playing guitar or bass. By twisting the fabric in the opposite direction of the guitar strap, it creates movement and looks beautiful on stage.”

She says studying how artists move during live performances and imagining those actions is crucial.

How Do You Become a LIVE Costume Designer?

In addition to Hitsujibungaku, Kanako Kakimoto has helped shape the worlds of many artists with her designs: creating solo outfits for JURIN in XG’s 1st WORLD TOUR “The first HOWL,” providing technical support on stage costumes for Southern All Stars, and producing outfits for Chara, Wednesday Campanella, and SARM.

Her work in this field began in 2021, with a pivotal moment coming from working on Yuki Koyanagi’s live show.

"I actually studied abroad at ESMOD Paris, and my graduation pieces caught the eye of a stylist on Instagram, leading to a request to rent them out. That’s how I first got involved with the entertainment industry.

"The first artist who commissioned me for an original costume was Yuki Koyanagi. This project laid the foundation for my approach to design.

"Creating stage wear for Koyanagi, whose singing is powerful and whose stage movements are bold, required a completely different approach than designing for fashion models.

"For example, I used a circular pattern for the hem so it would flare dramatically when she raised her arms, and I even replaced buttons with hook-and-loop fasteners to make quick costume changes easier."

Through extensive research, she has found a balance between dynamic, sometimes fetishistic decoration and the functionality unique to live performances. There was also her pursuit as a fashion designer driving this.

"Costume designers, together with stylists, are essentially there to support the artist. Within the world of entertainment, there are all sorts of designers.

"Some are craftspeople who meticulously create costumes just as ordered, but I have my own brand, so I hope to subtly infuse my costumes with my worldview as well."

Why Music Needs Fashion

She became interested in being a fashion designer when she was little, at first simply wanting to be someone who could "move the world."

"From a young age, I hoped to do work that would inspire people. I was drawn to fashion design out of a desire to create trends and so I enrolled in the Fashion Design course at Kyoto University of Art and Design (now Kyoto University of the Arts).

"Even so, while I was in college, I started to question fleeting trends that disappear so quickly. I wasn’t sure what I really wanted to do, and felt a bit lost."

That's when she found her current direction. She was struck by the costumes at the breakup concert of "Tokyo Jihen," which she attended as an audience member.

"Those costumes were the work of stylist Kumiko Iijima. I had never been so moved by clothing before. That’s when I became interested in stage costumes. The first live concert costume I ever designed was an original outfit for my high school light music club.

"Costume designers may be behind the scenes, but it's the closest way you can support an artist. Fashion gives those who step up to the stage 'confidence.'"

She later went to study abroad at ESMOD in Paris. Rather than being swayed purely by mode and drifting from stagewear, she was interested in learning garment construction techniques and establishing her own worldview. There she also encountered motifs that would form the foundation of her work as a designer.

"Among authentic garment-making, what I discovered was the motif of colorful tapes and piping. They can be used to bind or constrict the body, but they hold power in that. While weaving in unique nuances through design, I think they're also elements that can be used freely.

"I also did ballet as a child and used to wear toe shoes and leotards. In ballet, expression is completed by fixing the body with costumes. That formative experience may also have an influence on me."

Indeed, you’ll notice that many of Kanako Kakimoto’s stage costumes feature intricately woven tapes, harnesses, corsets, and similar elements. Carrying those motifs, she's beginning a new challenge.

"I've just launched my own brand and am preparing for the second exhibition in May. While these are clothes to be worn in everyday life, I incorporate rope techniques from antique corsets and use design ideas developed through stage costumes.

"Of course, I’ll always value my work with stage costumes, but at the same time, I want to deliver to even more people. My muses are the truly 'real' people who have fought and been hurt."

No doubt, the image of women this brand conjures overlaps with the presence and way of life of the artists she has clothed.

Whether it's a massive arena or anywhere in society, the world should always be a stage to express yourself.