MIYA NISHIYAMA, the Unique Costume Designer Known for "Ano" & "FRUITS ZIPPER," Talks About the Creation of Unparalleled "Kawaii"

MIYA NISHIYAMA, a costume designer responsible for numerous outfits for popular artists and idols such as Ano, FRUITS ZIPPER, and Niji no Conquistador, has garnered immense popularity for her uniquely cute world created through free-spirited imagination.

As she celebrates the 10th anniversary of her brand, a photo book summarizing her works, titled "TEN #衣装 #アイドル #カワイイ #MIYANISHIYAMA," will be published in October 2024. She shared her unique career, which began with an unexpected opportunity in costume design, and her dedication to creating costumes in detail.

The Path to Becoming a Designer Fueled by the Creation of Opening Ceremony Costumes

You have a rather unique background as a costume designer and didn't attend a fashion school. Did you always enjoy making clothes?

I think my interest was fairly average. My mother loved clothes and sewing, often dressing me in handmade outfits, which inspired me to start using a sewing machine from elementary school. I mostly made simple items like covering cylindrical shapes and even sewed clothes for my Licca-chan dolls.

However, I never considered turning clothing into a career. I attended a university in Fukuoka with a design department, but I found it unfulfilling.

Despite attempting to transfer to a university in Tokyo, I became exhausted from working part-time while attending prep school, leading me to a job in the apparel company. For a long time, I felt like there was something I wanted to do, but I wasn't quite sure what that was.

How did you transition into costume production?

About ten years ago, I left the apparel company. During this time, I helped a friend as a coordinator in Taiwan while also working on design projects.

I learned from someone I was working with that "Ai-chan from Shiritsu Ebisu Chugaku is seeking a designer for her opening ceremony costume for the Hiroshima Carp."

At that time, Ai-chan was a voice actor for the anime "Tamako-chan to Kokkubô" and wanted a costume inspired by that character.

Back then, my sewing skills were at a level where I only made cushion covers and hair accessories. Yet, for some reason, I accepted the request (laughs). Maybe it was because I was bored with my previous job.

Looking at the photos of the costume, it seems very elaborate, almost like a mascot outfit, and the level of completion is impressive for a first-time effort. Did you then begin your journey as a costume designer in earnest?

No, initially I thought, "This was a fun experience," and never imagined I would continue doing this professionally for such a long time (laughs). However, after friends saw the opening ceremony costume, I gradually started receiving requests and began occasionally making clothes.

One day, an editor from a fashion magazine saw my costumes at a band exhibition and said, "We'd like to do a feature on you," which was when I decided on my brand name about ten years ago. It was about six or seven years ago that I started focusing solely on costume production.

I Want to Create Things that Only I Can Make

You also sold one-of-a-kind clothing for a period, right? Are you currently only focused on costume production?

I stopped selling regular clothing about five or six years ago and now concentrate on costume making. I think I prefer creating outfits with a special feel rather than everyday wear.

If it's something others can do, I see no reason for me to do it. When I receive a costume request, I occasionally inform clients if a store-bought option would be more economical, depending on the nature of the project.

I want to create things that only I can produce, and it makes me happy to be sought for "costumes that only I can make."

Could you explain your design process and how you reach the final product? Please use the debut costumes for FRUITS ZIPPER as an example.

As FRUITS ZIPPER is affiliated with ASOBISYSTEM, which features many artists active not only in Japan but internationally, I started imagining a cosmic theme.

Rather than something sparkly and fluffy, I aimed for a slightly edgy and stylish image. I mainly used silver fabric and suggested mixing different materials like vinyl and patent leather.

When it comes to NISHIYAMA's designs, one is immediately drawn to the sense of volume and the unique combinations of various fabrics. What aspects of your costumes do you feel are their defining features?

I'm fond of mixing different materials and oversized ribbons, especially combinations that are not commonly seen. There’s something cute yet slightly scary about certain sizes. For example, cats are incredibly cute, but if they were 10 meters tall, that would be terrifying (laughs).

I think I unconsciously incorporate that feeling into my costumes. It's like, “This amount of frill is probably just right, but I'll add 100 times more.” I prefer addition and multiplication over subtraction and division.

When production costs rise, I adjust by changing the lining or other elements. I'm not particularly aware of trends; I believe I create based entirely on my personal preferences.

Additionally, I place great importance on how costumes look on stage. Since the compatibility with lighting is crucial, I rarely use black, as it tends to absorb color.

How do you adjust when the fabrics or materials you envisioned aren’t available?

I sometimes start from textile design, ordering and creating original fabrics.

For example, I might incorporate the group's logo into the fabric, or when designing costumes for the Osaka group Nanakorobi Yaoki, I created a takoyaki pattern… I pay attention to details even in places you might not notice.

A Decade of Costume Design

In October, a commemorative book titled "TEN #衣装 #アイドル #カワイイ #MIYANISHIYAMA" was published. The cover features a newly shot photograph of Ano wearing new costumes.

I have known Ano since before their debut, and I aimed to express a sense of raw beauty or gem-like quality in the design. The poncho is connected to the dress, incorporating various fabrics.

What challenges do you want to pursue in the future?

Regarding costumes, I feel like I've done everything I wanted, so I’m interested in trying something completely different.

In the past, I had the opportunity to design costumes for characters from the anime "The Quintessential Quintuplets," and it was incredibly enjoyable.

There’s no need to hunt for ideal fabrics, and since illustrations don’t have gravity, you can make them as floaty as you like. I want to do more work in that 2D realm.

Recently, I've also had many opportunities to appear on the radio, and I’d like to engage in work that doesn’t leave a tangible legacy.

When it comes to costumes, I want to create pieces that everyone would find cute, and I want to establish my brand further.

I hope that MIYA NISHIYAMA can reach a point where it no longer needs the label of “the designer of the costumes worn by Ano” and can produce a photo book solely from clothing alone.

MIYA NISHIYAMA continues to captivate many with an original approach to fabric creation and a unique blend of materials, garnering robust support from idols and artists.