Illustrator Yusuke Nakamura – Known for Collaborations with "graniph" & Artwork for ASIAN KUNG-FU GENERATION – Explores the Evolution of Women's Fashion & Hairstyles.

Yusuke Nakamura is an illustrator known for his unique style that combines delicate motifs with bold coloring, often creating an inorganic impression of women. His work spans a variety of fields, including CD artwork for artists like ASIAN KUNG-FU GENERATION, book cover illustrations, character design for anime, and collaborations with apparel brands.

In this interview, we delve into his 20-plus years of experience in depicting women across various domains. As he describes his focus on "realistic women," we trace the changes in women's fashion and hairstyles through his distinctive lens.

The Reason for Depicting "Realistic Women"

Women depicted by Nakamura often have uncolored skin and dark hair. What led to this current style?

Just before graduating from university, the boom of moe games and anime hit, where girls with red or pink hair wore revealing clothing and smiled widely as the norm.

However, in reality, especially back then, not many people dyed their hair red or pink, and I found it jarring to see women always smiling in illustrations.

So, I thought, "Isn't it okay to depict women as they are in real life?" and began to draw women with that perspective in mind. It may seem a bit out of place to demand that level of realism from illustrations with fantasy elements, but I hope to provide comfort to those who see my work, saying, "This kind of representation is good too."

What sources of inspiration do you draw from when depicting "realistic women"?

I often take inspiration from the fashion and hairstyles of people walking in the streets. The women in my illustrations serve not as characters but rather as "an entry point for viewers to resonate with the content." If they are too outlandish, it becomes difficult for people to relate.

Consequently, I strive to maintain a balance, drawing from individuals I observe in the streets, so that they don’t appear overly cool or cute.

In other words, it’s about not showcasing too much sense of fashion. While the compliment "That’s stylish!" may seem positive, it can sometimes be a roundabout way of saying, "I didn’t quite get it."

I'm not aiming to make it look uncool, but I do keep the idea of not making it too sharp in mind.

The Fun Found in Fashion Work that I Initially Said I'd "Never Do"

You are currently active in various fields; are there differences in the way you illustrate for each domain?

Instead of differences between fields, I adjust my illustration style based on the target audience. For example, CD jackets tend to target a specific age group, while books cater to a broader range of readers, from elementary school students to individuals in their sixties.

If the target audience is clearly defined, the colors, motifs, and fashion will have elevated parameters, while a wider audience leads to more neutral representations.

Ultimately, what is important is that illustrations are a form of advertising in a broad sense. I am conscious of how effectively I can express them through my perspective and filter.

Recently, you've been collaborating with apparel brands like "Graniph." Have you encountered any unique challenges specific to fashion?

Working in apparel involves collaboration with designers, and it tends to be very influenced by trends and sales, making it somewhat different from other types of work.

In the collaboration with "Graniph," since it’s a brand present in shopping malls, I need to create themes, designs, and items at appropriate price points that make customers think, “That’s cute, maybe I should buy it” when they pass by the store.

For example, if I were to draw a tiger on a T-shirt, I might consider that using yellow for the overall color would suit the motif. However, basic color clothes are popular in Japan, so such a choice may not sell well.

If items don’t sell, there won’t be future collaborations, which ultimately means I can’t deliver my creations to fans. If my recognition in the apparel world becomes solid, I might have more freedom, but I’m only halfway there right now. Therefore, my discussions with the person in charge often focus on making items in colors and shapes that truly resonate.

While there are challenges, there’s also joy in learning new things and experiencing the feeling that my clothing is being worn by many people in the streets, almost like having exhibitions in various places. A few years ago, I claimed I would "never engage in apparel," but that's completely changed now (laughs).

Why did you believe that "you would never engage in apparel"?

What I desired were items at accessible price points, but when the price is kept low, the production period often gets shortened to increase turnover. I felt that this did not align with my personality, which prefers to take time creating.

Initially, I even declined the opportunity with "Graniph," but after persistent offers from the person in charge, I came to understand the brand’s intentions. Moreover, although "Graniph" is an apparel brand, it guarantees about half a year for production, and the price range matched what I was aiming for, which led me to accept the collaboration.

How has Women's Fashion, Hair, & Makeup Evolved?

Can you share any particularly meaningful works from the characters you've illustrated so far?

I have a strong connection to the character designs in Tomihiko Morimi's works, "The Tatami Galaxy (四畳半神話大系)" and "The Tatami Time Machine Blues (四畳半タイムマシンブルース)."

Several characters that appear in both works share characteristics, yet they adapt their hairstyles and fashion according to the times—from the 2000s in "The Tatami Galaxy (四畳半神話大系)" to the 2020s in "The Tatami Time Machine Blues (四畳半タイムマシンブルース)."

For instance, the character "Akashi-san" has the same bob hairstyle, but in the 2000s, her bangs were heavier and fluffier, while in modern times, her bangs are thinner creating a lighter, more compact bob.

Additionally, her outfit in the 2000s combined a knee-length dress with leggings, whereas now, the dress length is longer and the overall fit is oversized.

As a result, "The Tatami Time Machine Blues (四畳半タイムマシンブルース)" resonated with younger audiences who were unfamiliar with "The Tatami Galaxy (四畳半神話大系)." While I felt relieved by this, I also realized the power of fashion.

Moreover, in my design for the packaging of Asadaame, we've altered the styling over the years—from how the bangs are styled to the overall form of the same short haircut in the designs done a few years ago versus the most recent ones. This adaptation is interesting to me as it reflects the changes of the times.

From your perspective as Nakamura, who has observed women in the city for many years and reflected this in your illustrations, how do you think women's fashion and hairstyles have changed?

I have been carefully watching for over 20 years, and I get the impression that women are trying to enjoy fashion more freely without being constrained by gender compared to men.

For example, when I first illustrated a girl with short hair on the cover of the song "君の街まで" by ASIAN KUNG-FU GENERATION around 2004, I was told, "She looks boyish," but nowadays, when I draw short-haired women, I don't hear such comments. There might be less clear categorization like there used to be.

On the other hand, makeup trends seem to be leaning towards emphasizing tear bags and giving lipstick a glossy finish, showcasing femininity more. I feel that there is an increasing appeal in combining makeup to express femininity while balancing it out with fashion.

Similar things are happening in other areas as well, where people who used to be labeled as "otaku" because they liked anime or idols are now very knowledgeable about fashion, creating a kind of "mixing" atmosphere.

I think this represents a new value system, and I feel it's a wonderful era where the embarrassment of declaring one's interests, regardless of genre, is starting to disappear.

For over 20 years since starting his activities, Nakamura's works have continued to be supported by a wide range of generations regardless of the era. Behind this "universality" lies his adaptability, as he absorbs trends from people in the streets while maintaining his own style, continually updating his illustrations. Nakamura's "experimentation" is likely to continue in the future.