Interview with Hana Mitsui

Hana Mitsui ("HM") interviewed on Wednesday, 14 May.

Could you please tell us about your experience as a designer, artist, architect or creator?

HM : I was born in 1990 in Connecticut, USA, and completed my Master’s degree at the Royal College of Art in London in 2014. During my time there, a fabric I designed was selected by Alexander McQueen and featured in their Spring/Summer 2015 collection. After returning to Japan, I spent seven years working on textile and bag design at ISSEY MIYAKE. In 2023, I established Hana Textile Design Studio in Tokyo. To further realize my creative ideas through hands-on material development, I also founded Hana Material Design Laboratory, Inc., where I explore the potential of various materials and turn my inspirations into tangible designs and products. In addition to running my studio, I currently work as a visiting lecturer in the Textile Design Department at Tama Art University. My practice extends beyond fashion to include textile design for interior and architectural contexts, always aiming to bridge traditional techniques with contemporary applications.

How did you become a designer?

HM : I decided to become a textile designer because I found the field of textiles to be uniquely flexible and full of creative potential, allowing my designs to transcend industry boundaries and take on many different forms. Textiles are used in every aspect of daily life—from architecture and fashion to interiors and even automobiles. Their ability to softly transform form and atmosphere, while having a profound impact on space and perception, deeply fascinated me. After receiving foundational training in Japan, I completed my master’s degree at the Royal College of Art in London. This experience was a major turning point in my life, expanding my worldview and allowing me to believe in the potential of my own textile design through exposure to diverse cultures and values. One of the fabrics I created during my studies was selected by Alexander McQueen and used in their Spring/Summer 2015 collection—an experience that solidified my belief that craft and concept can coexist. I later joined ISSEY MIYAKE, where I spent seven years designing textiles and bags. This time taught me the importance of deep material understanding and research-driven design. In 2023, seeking more creative freedom and personal expression, I established my own design studio. In addition, I founded a research-focused lab dedicated to exploring the possibilities of materials and turning ideas into tangible design outcomes.

What are your priorities, technique and style when designing?

HM : When it comes to my design process, there are three key aspects I prioritize: material exploration, concept-driven design, and the fusion of traditional craftsmanship with modern technology. Material Exploration For me, the first step in any design process is understanding the material itself. I deeply believe that the characteristics of the material I work with shape the final product. Whether it's fabric, textile, or other mediums, my focus is on studying the material's texture, durability, and its possibilities for transformation. I enjoy exploring how materials can be manipulated or combined in new ways to create innovative designs. This hands-on experimentation often drives the direction of my work, allowing for unexpected outcomes that feel both fresh and authentic. Concept-Driven Design Every project begins with a clear concept or idea. I strongly believe that a design should tell a story or evoke a particular emotion or feeling. I draw inspiration from a wide range of sources, from traditional Japanese textiles to modern art, architecture, and nature. My designs are often rooted in cultural themes or social contexts, giving them a deeper meaning beyond their aesthetic. The concept becomes a foundation upon which the material, form, and function are built, ensuring that the design is not only visually pleasing but also rich in significance. Fusion of Traditional Craftsmanship and Modern Technology I integrate traditional craftsmanship techniques with modern digital tools to create unique designs. While I am deeply connected to handcraft and the tactile nature of creating physical prototypes, I also embrace the use of digital tools and technologies, such as computer-aided design (CAD) software, to enhance precision and push the boundaries of what’s possible in design. I feel that combining these two aspects—tradition and innovation—gives my work a distinct character and an edge in the contemporary design world. When starting a new project, I usually begin by researching and gathering inspiration, whether through travel, studying different cultures, or diving into the historical context of materials and techniques. I sketch my ideas, experiment with different materials, and often create mock-ups or physical models to get a tactile sense of how the design feels. I believe in the importance of hands-on creation and constantly refine my designs through physical experimentation before finalizing them digitally. In essence, my approach to design combines a deep respect for materials, a strong conceptual foundation, and a balance of traditional craftsmanship with the latest technology to create designs that are innovative, meaningful, and timeless.

Which emotions do you feel when designing?

HM : When designing, I experience a range of emotions, with the most prominent being excitement, curiosity, and a sense of accomplishment. Excitement and Curiosity The initial phase of design, when ideas first emerge, is particularly thrilling for me. There’s a rush of excitement when I start exploring new concepts, materials, and their possibilities. At this stage, it feels like the potential is endless, and I get caught up in the excitement of the ideas expanding in my mind. There’s a sense of curiosity about venturing into unknown territory, and a thrill in seeing where that can take me. The Journey of Exploration The design process itself is also incredibly fulfilling. As I work to bring an idea to life, I enjoy the trial and error, discovering new solutions, and pushing the boundaries of what I can create. While there are moments of frustration, the joy and satisfaction that come from overcoming challenges or finding an unexpected solution are immeasurable. The journey of exploration itself gives me a deep sense of fulfillment and keeps me motivated. The Sense of Accomplishment at Completion The moment when a product or project is finished and I see the final result is truly rewarding. To see something that started as an idea in my mind come to life and take a tangible form is an indescribable joy. I also get immense satisfaction imagining how the design will be used and appreciated by others. The feeling of accomplishment at the end of the process is one of the most fulfilling aspects of being a designer, and it brings me a deep sense of happiness. Designing fulfills me by offering continuous learning and discovery. The act of solving problems, bringing ideas into reality, and seeing my work have an impact is what drives me. The freedom of creation and the joy of seeing my ideas take shape, along with the possibility of influencing others, is what makes design such a rewarding pursuit for me.

What particular aspects of your background shaped you as a designer?

HM : Several aspects of my background have significantly shaped me as a designer: Educational Experience and Cultural Exposure My education at the Royal College of Art was a pivotal moment in my design journey. It not only provided me with the technical skills and knowledge to refine my craft, but also exposed me to diverse perspectives from around the world. The cross-cultural environment of London, along with my studies, allowed me to approach design from a broader and more inclusive standpoint, which encouraged me to integrate both tradition and innovation in my work. This exposure to different ideas, materials, and design philosophies was essential in shaping my approach to textile design. Early Work Experience with ISSEY MIYAKE My time at ISSEY MIYAKE for seven years played a crucial role in refining my design sensibilities. The brand's commitment to exploring new materials, pushing boundaries, and prioritizing functionality alongside aesthetics taught me the importance of both artistry and pragmatism. The experience deepened my understanding of materiality, as well as the importance of research and experimentation. It also instilled in me a sense of discipline in executing designs at a high standard and working on collaborative projects that bridge various disciplines. The Influence of Craft and Tradition I have always been drawn to the balance between craft and conceptual thinking. My background in traditional Japanese textile techniques, coupled with my curiosity for modern design possibilities, has been a cornerstone of my work. I’ve always believed that craft and concept can coexist harmoniously. This belief was reinforced during my time at the Royal College of Art, especially when one of my designs was selected for Alexander McQueen’s 2015 SS collection. It taught me that high craftsmanship can amplify conceptual designs, making them not just functional but also deeply meaningful. The Entrepreneurial Drive and Establishment of My Studio Establishing my own design studio and research lab was a turning point that helped me further shape my identity as a designer. The desire to express my creativity freely and to explore materials in-depth pushed me to create a space where I could experiment without limitations. It’s this entrepreneurial spirit that now fuels much of my design work, whether it’s through experimenting with new materials, exploring various disciplines, or collaborating with other designers and artists. In sum, my educational background, hands-on experiences at ISSEY MIYAKE, my belief in the intersection of tradition and innovation, and the entrepreneurial drive to create my own design studio all contribute to who I am as a designer today. These experiences have shaped my philosophy that design is about finding balance—between creativity and functionality, tradition and modernity, and craft and concept.