2024.10.25
Japanese Designer Shining in Paris: Miki Omori's Runway Debut & Passion for Education
Miki Omori, a fashion designer living abroad for 24 years, moved to France after working as a faculty member at a fashion school. She has worked with prestigious brands such as Balenciaga, Lanvin, and Nina Ricci, and served as the Senior Design Director for COACH in New York, where she held various positions in the luxury fashion sector through job-based employment.
Currently, she is the Associate Director of the Master's program at Parsons Paris. On the fourth day of PARIS FASHION WEEK Spring/Summer 2025, she modeled in the show for Rick Owens, an appearances at the official Paris runway which has been a childhood dream of Omori's.
Immediately after the show, she had the opportunity for an interview. This time, we will discuss her experience on the runway and her activities as an educator.
PROFILE
Miki Omori
After graduating from the Apparel Design Department at Bunka Fashion College and experiencing a teaching career at a fashion school, she moved to France in 2000. She worked as a designer in design teams at several longstanding brands for 15 years in the French luxury industry. In 2015, she relocated to New York, serving as the Senior Design Director for Women's Wear at the American brand COACH. She returned to Paris in 2019 and has been sharing her knowledge of fashion design with students from around the world as the Associate Director of the Master's program at Parsons Paris (the Paris campus of NY's Parsons School of Design) since 2021, while continuously communicating to Japan through social media, lectures, and writing activities.
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53-Year-Old Japanese Woman Makes Her Modeling Debut at Rick Owens's Show
When was your participation in the show confirmed?
It was officially decided the day before the show. Preparations for a fashion show usually begin about 4 or 5 days in advance. After that, the casting agency requested by the maison prepares candidates, and simultaneously styles the show together with stylists and consultants.Chosen models do fittings 2 or 3 days before. Once the final judgment is made, a confirmation email arrives late the night before.
In my case, the email arrived just before 11 PM the night before.
That was cutting it quite close, wasn’t it?
I had been told to be prepared, but I was anxious until it was officially confirmed. Late-night communications are common in this industry, but I was quite nervous until that point.What was it like to actually walk the runway?
I was just focused on making sure I didn’t trip. It had also rained right before, so I needed to be careful. The shoes were a bit big, but I had to walk in them regardless.I’ve been involved in fashion shows during Fashion Weeks for about 20 years, so I understood the overall flow. As a model, I referenced the movements of models I’ve seen before, and surprisingly, I wasn’t very nervous.
In this show, Rick Owens aimed to cast students and teachers involved in fashion and art. In terms of diversity, I feel that the fashion industry is about 20 years ahead of Japan. Diversity is no longer just a trend but is becoming the standard in the industry.
The promotion of diversity is progressing, isn't it?
During Fashion Week, diversity has become a crucial element. For instance, in last year's BOSS show, Naomi Watanabe participated, and Demna Gvasalia, the designer of Balenciaga, featured a diverse array of people such as family members, colleagues, and journalists in his show.Seeing these changes made me think, “Even if I’m short, someday I might be able to walk a show.” I personally had a phase when I wanted to become a model when I was younger, but it was something I could never have imagined 20 years ago. However, recently, I’ve started to feel like, “I might have a chance too.”
Amidst all this, I heard that Rick Owens was looking for students and teachers to model. I had to give up last time due to height restrictions in the men's show, but this time there were no specifications on height. As a result, a diverse group of people participated in the women's show, and I was able to join as part of the “diversity quota.”
Over the past 20 years, the diversification of the fashion industry has advanced remarkably. Being a 53-year-old Asian woman at 150cm tall and able to model at the pinnacle of the fashion world, Paris Fashion Week, is proof of that.
A Fashion Education Completely Different from Japan
It is said that there are almost no Japanese educators active in Paris. What made you choose this path?
I have worked as a designer for 20 years at the forefront, but I have come to think that it is time to nurture the next generation. The catalyst was the timing of returning from New York to Paris during the COVID-19 pandemic, which made it difficult to change jobs. All interviews came to a halt, and I chose to pursue a career in education.I have always liked teaching and have experience teaching in Japan. My plan was to transition into education after retirement, but that timeline has shifted a bit earlier. Initially, I intended it to be a temporary position, but it has turned out to be more enjoyable than expected, and I am still continuing. It has been three years now.
Could you tell us more about the content of your lectures at Parsons Paris?
The lectures primarily focus on teaching design. I cover the sources of design, inspiration, and the process of translating themes into clothing as a product, which is known as the development process. Surprisingly, many people are unfamiliar with this.
In my classes, I give individual assignments to each student and provide personalized guidance. It’s not a one-size-fits-all lecture; I tailor my instruction to meet the individual challenges of each student.
I have been teaching in the two-year master's program, and the students have obtained their bachelor's degrees from design universities around the world. However, when it comes to the development of design, most of them do not understand it. There may be very few teachers who teach this field properly.
Parsons Paris has a very international atmosphere, and there are hardly any French students. Classes are conducted in English, attracting students from around the globe. It is challenging to teach students from diverse backgrounds, but it is rewarding.
This educational method is completely different from that of Japan. Japanese fashion education emphasizes sewing techniques, but I feel it lacks in the process of design, particularly in balancing practicality and creativity.
A true designer has a deep understanding of body structure and function and creates garments accordingly. Simply producing extravagant designs is not sufficient. Additionally, it is crucial to delve deeply into the social background and cultural significance of themes, as well as related knowledge of music, movies, and art.
For this reason, my classes demand thorough research. I want students to learn the structure of garment making in depth, but their knowledge of pattern making is still quite shallow.
If you were to offer advice for Japanese students to thrive globally.
For young people aiming for the overseas fashion industry, I would encourage them to come abroad at least once to experience the atmosphere. There are various pathways, such as progressing from Japanese vocational schools to overseas universities, or starting from a school abroad instead.It is essential to understand the differences between the fashion industries in Japan and abroad. Actual experience in entering the overseas industry is necessary. There is also the option to use working holidays to build connections, but what is most important is to take proactive actions.
On the other hand, experience in Japan is also incredibly valuable. Japanese sewing techniques and pattern making skills are highly regarded overseas. Even if language is a barrier, strong technical skills can help secure employment.
Ultimately, leveraging one's strengths as a Japanese individual while possessing an international perspective and experience may be the key to succeeding in the global fashion industry.
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