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Fusing Traditional Crafts with Cutting-Edge Tech: ZOZO NEXT's Textile Team Takes Us Behind the Scenes of the "Path in Trace - WADACHI -" Exhibition
The "Path in Trace - WADACHI -" exhibition, curated by stylist Shinichi Mita, was held this April at Laforet Museum Harajuku.
The exhibition kicks off with the bold premise, "What if humanity had reached space during the Edo period?" From there, it dives into a project that fuses traditional crafts with modern technology to explore the fundamental question: "What does it mean to wear something?" As a sequel to "in - Spire - Kokyū," held in 2023 at Dazaifu Tenmangu Shrine in Fukuoka, it also delves deeper into broader themes such as space-time and life.
We sat down with ZOZO NEXT's textile team, whose work stood out with its unique brilliance, to get the inside scoop. Join us as we uncover the origin stories of their creations and go behind the scenes of the production process.
PROFILE
Satoshi Nakamaru
He joined ZOZO Technologies, Inc. (now ZOZO NEXT, Inc.) in 2019. As a Director in the IoT/Textile Department of the MATRIX Division, he spearheads new technology development and commercialization. He specializes in creating soft functional materials and devices and designing user experiences and interactions that leverage them. His work has earned him accolades such as an ACM DIS 2019 Best Paper award and an Honorary Mention from the STARTS Prize at the Ars Electronica Festival.
PROFILE
Masaki Kawata
He joined ZOZO NEXT, Inc. in 2024. In the IoT/Textile Department, he is mainly in charge of implementing the textile artworks. He tackles creative projects by drawing on his diverse background and extensive expertise in manufacturing, chemical analysis, R&D, quality assurance, lithium-ion batteries, and digital cameras. He is also known for his work as a freelance cameraman and photographer.
PROFILE
Shikan Hou
They joined ZOZO NEXT, Inc. in 2024. In the IoT/Textile Department, they are involved in designing and fabricating artwork prototypes. Their specialty is product design.
PROFILE
Ryoken Miyazaki
He joined ZOZO Technologies, Inc. (now ZOZO NEXT, Inc.) in 2019. He has been engaged in the research and development of automation technologies, including automated apparel production and equipment for logistics warehouses. In the IoT/Textile Department, he drives the enhancement of textile functionality using robotics-related technologies. His areas of expertise are fluid control and robotics.
Collaboration with Shinichi Mita and the Path to the Exhibition
To start, could you walk us through how you came to be a part of this exhibition?
NakamaruWe first met Shinichi Mita during our research and development of new textile materials at ZOZO NEXT. We were exploring the next steps for turning these materials into actual clothing, and we were drawn to Mita's expertise in costume design and his ability to create captivating expressions with garments. It all began when we approached him for an advisory contract.
We were working on the theme of "transforming garments," but we ran into a roadblock: creating functional clothing immediately was challenging due to the numerous components required, such as actuators. It was during this time that he told us about his upcoming solo exhibition, and we were invited to contribute a piece.
How did you approach the exhibition's theme, "Reaching Space in the Edo Period"?
NakamaruMita first shared the worldview that carries over from his previous work, "in - Spire - Kokyū." Instead of giving us detailed specifications, he simply gave us the keyword "space." From there, we pooled our technology and our team's ideas, prototyping as we went and pitching concepts, asking, "Could this technology be a good fit for the world of the exhibition?"
The Lifelike, Pulsating Object: "Nokan"
Let's start with "Nokan". The sight of the washi paper object floating in space, constantly changing shape as if pulsating to its own rhythm, was incredibly striking. Could you share the story behind this piece?
NakamaruIt all started with the idea of creating "something where the shape and rigidity of the garment could change dramatically"—a piece that would undergo a major visual and functional transformation, like a long skirt morphing into a miniskirt.
We also took into account Mita's perspective from his work on costumes for artists like Perfume. Considering that a performer would be wearing it, we chose to use a safe and lightweight pneumatic system for actuation.
That led to a collaboration between us at ZOZO NEXT, the design studio nomena, and Nao Tesuki Washi, who supplied the paper.
What was the story behind choosing washi paper for the material?
NakamaruAt first, we experimented with fabric, but to achieve a more dramatic expansion and contraction, we realized we needed to apply origami principles. That's what led us to the "Miura fold."
NakamaruThis technology was devised by aerospace engineer Koryo Miura and is used to compactly store and then rapidly deploy things like solar panels for satellites in space. Its defining feature is its ability to instantly expand wide or fold down small with a single directional force, which was perfect for the dynamic transformation we were aiming for.
To make the most of this structure, we settled on paper as our medium, ultimately choosing highly durable washi (Japanese paper). We collaborated with Nao Tesuki Washi from Saga Prefecture, an introduction from Mita, consulting with them to develop the material for this project.
We actually had them mix a phosphorescent material into the washi. When the lights in the exhibition space go out, the phosphorescent washi emits a faint bluish-purple glow, a feature designed to express a mysterious side of the cosmos.
I heard that the lifelike movements are created by “pneumatic artificial muscles” inside. Could you explain how that works?
Miyazaki“Pneumatic artificial muscles” are soft actuators that use air intake and release to contract flexibly, much like human muscles.
In “Nokan,” we placed 12 tubular artificial muscles, made with the same origami structure as the exterior, inside the cylinder. By individually controlling which tubes contract, we can generate complex and organic shape changes throughout the piece.
You're right, I didn't notice any operational noise at all. Achieving that quietness must have been quite a challenge.
MiyazakiThe biggest challenge was the noise from the vacuum pumps and compressor that supplied the air. They made a loud noise, like running a vacuum cleaner at your feet, which is unacceptable in a quiet environment like a museum.
KawataSo, we enclosed the four devices (three vacuum pumps and one compressor) in a large, sealed box lined with sound-absorbing material. However, during a test run a week before the opening, the devices running at full capacity in the sealed space caused the interior to overheat tremendously.
When we measured the temperature, it had exceeded our projections, and we knew it was dangerous. We rushed to build a cooling system by incorporating a small spot cooler and a ventilation fan, which managed to keep the internal temperature down to around 70 degrees Celsius. It would have been no laughing matter if a fire had started—that thought really sent a chill down my spine (laughs).
“Sora Akari,” a Lamp That Tells the Story of an “Edo-Period Person Witnessing a Black Hole”
Next, we'd like to ask about the lighting piece “Sora Akari,” which you, Peng, were primarily in charge of.
PengThis piece was inspired by the plot of 'an astronaut from the Edo period traveling to space.'
In space, the astronaut discovers that the sun and moon are 'just rocks' and then encounters an inexplicable celestial body: a black hole. The story goes that upon returning to Earth, the astronaut's tale of 'a god-like celestial body called a black hole' sparks a new faith among the people, and this lamp is an object created based on that belief.
What specific considerations went into its form and materials?
PengThis lamp was shaped using traditional *hariko* (papier-mâché) techniques with washi paper. Its disk-like shape is inspired by a black hole's 'event horizon'—the boundary from which not even light can escape.
For the material, we chose washi because it fits the Edo period setting and can express the soft atmosphere of a celestial body. In fact, this washi is also a special type, infused with the same phosphorescent material as in “Nokan.” When the light is turned off, it emits its own faint, bluish-purple glow.
Through this piece, did you discover new possibilities for washi as a material?
PengAbsolutely. Washi is made by straining powdered fibers in water to form layers. During that production process, you can embed other things between the fibers.
Pioneering New Forms of Expression with “3D Knit Material”
I also heard you were involved in developing the 3D knit material used in “Tanchu” and “Tanchuso.” What kind of technology is it?
NakamaruThis is a special 3D knit material developed by Shima Seiki Mfg., Ltd. It's a technology where a 3D shape is formed by weaving shrinking threads into specific parts of the knit structure, which then hardens when treated with steam.
Mita was also interested in 3D fabrics, so I introduced him to this technology, which he then used to create the pieces “Tanchu” and “Tanchuso” for the exhibition.
How did this material come about?
NakamaruWhenever we discover a unique material, we often show it to Mita to get his professional take on it.
This material was initially a seed technology we were considering customizing for acoustic textiles in a separate, Expo-related project. Mita found its three-dimensional quality incredibly interesting and approached us, saying, "I'd love to try using this in a different piece." That's what kicked things off.
Mita and the other artists developed the concept for the artwork itself. Our role was to provide a key piece of the puzzle—the final material—by contributing this 3D knit.
What were your thoughts on seeing the completed artwork?
NakamaruIt looked completely different from when I saw the fabric on its own. Fused with other crafts, it became a fascinating new expression of the technology.
The team from Shima Seiki Manufacturing, who provided the material, also came to see it. It was memorable how surprised they were, saying, "Wow, so this is how our material can be used!"
I feel that by successfully acting as a bridge between creators trying new things and companies with innovative materials, we can create a positive impact on the entire industry.
This material seems applicable to clothing as well. It has a lot of future potential.
NakamaruEven Shima Seiki Manufacturing was looking for ways to use this material after developing it. By continuing to showcase it in forums like this, we hope that designers and companies will come forward wanting to use it.
As we collaborate with various designers in the future, we hope that by presenting this as a past example of implementation, we can spark their imagination and discover new applications.
At the intersection of tradition and technology, ZOZO NEXT's textile team has forged a new path—a 'Wadachi' (rut). Born from an initial idea of 'transforming garments' and created by overcoming even last-minute troubles, the collection of works is a testament to their spirit of exploration.
By connecting creators with material manufacturers and expanding the potential of materials like washi paper and knits, their challenge is to update the very concept of 'wearing.' We look forward to seeing what unknown territories they will explore next.
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