Think back to your childhood toy box for a moment. Even if you never had one, pretend you did. Also pretend like it was full of dolls, beads, sequins, and other small, sparkling charms. Pick one of them up in your mind’s eye. Really narrow in on it — can you feel it? That’s the magic Tanaka Daisuke injects into modern fashion. The lavishly adorned Tokyo-based brand unveils collections that dip into childhood nostalgia yet are drenched in radical edge.
In our conversation with the founder of this exquisite brand, Daisuke Tanaka, we explore their journey ignited by discovering Alexander McQueen’s collection on a magazine’s cover, their unwavering devotion to craftsmanship, and their drive to empower through fashion.
We’ve honed in on their latest Autumn/Winter 2024 collection titled Memories. Think Wednesday Addams with a taste for the occasional sparkle and colour. As noted on the collection’s statement:
“A reunion with the things that made my eyes sparkle so, way back when. As a child, I kept a small collection of dolls, beads, sequins, and other small, bright things tucked away in my toy box. This collection appears to be a mishmash of my favourite things. In my mind, though, they’re all connected. Everything I am, everything in that toy box, is here.” – Daisuke Tanaka
Is there a figure or experience in your life that you would say ignited your creative passions and drove you to embrace the design world?
I attended a high school where I learned to make interior (furniture). When I was undecided about my university path, I stumbled upon a fashion magazine with Alexander McQueen's collection on the cover at a bookstore in the city. That was the moment I wanted to enter this industry. I had a gut feeling that I could do it too. After that, I entered Osaka Bunka Fashion College, and after graduating, I worked at a brand in Tokyo. Later, I started Tanaka Daisuke with someone I met there in 2021.
As just mentioned, in 2015 you graduated from the Bunka Fashion College in Osaka, specialising in knitwear. I’m curious about how your time at college influenced and nurtured your passions, such as embroidery and costume design, and shaped you into the designer you are today.
I chose the knitwear department during my studies because I was intrigued by the patterns expressed through knitting. Eventually, I transferred to the knitwear department and graduated. I think Osaka Bunka Fashion College provides students with broader opportunities compared to other schools. As soon as I entered, I became interested in embroidery, so for the four years I attended, I imitated the details of brands in my own way. As for passion, it hasn't changed since my student days; every day spent in the process of creation is an experiment to see how far I can push myself to achieve the highest point possible.
Earlier this month your AW24 collection Memories walked the runway in Rakuten Fashion Week — congratulations! Can you tell us a bit about this collection and the narrative it tells?
As said on the 2024 Autumn/Winter collection statement: “A reunion with the things that made my eyes sparkle so, way back when. As a child, I kept a small collection of dolls, beads, sequins, and other small, bright things tucked away in my toy box. This collection appears to be a mishmash of my favourite things. In my mind, though, they’re all connected. Everything I am, everything in that toy box, is here.”
We saw a lot of rhinestones and bijoux for the hair and makeup of your show, along with sequins draping down the runway’s ceiling. What guided these choices?
We wanted to create an atmosphere at Tanaka Daisuke's event where attendees would feel like they were enchanted by magic. To achieve this, we designed an effect where magic powder (sequins) would rain down onto the floor of the audience and onto the models. We paid close attention to striking a balance between reality and fantasy. Regarding hair and makeup, we believed that balancing natural makeup with embellishments would enhance the sense of realism. We used jewels to adorn facial features, creating a balance with the overall look.
Across your various collections, would you say there’s a common thread running through them?
I believe that each season reflects a fantasy from a Japanese perspective, intertwined with various cultural influences. Recently, I've been drawing inspiration from the anime I watched during my childhood. This season, I've mixed Western couture-like details with that inspiration.
Given the varying cultural reactions to more provocative elements in fashion, do you feel you need to anticipate or gauge audience reactions when designing garments that reveal more skin?
Yes. While it's important to incorporate necessary elements to convey the concept, if they're not available, exploring alternative methods is crucial. Being flexible in your approach allows for more effective communication of the concept.
How do you hope the wearer feels when donning Tanaka Daisuke?
Simply put, it's about transformation. Also, I would be happy if you could discover a new aspect of yourself from within.
In what ways do you believe fashion influences personal identity and vice versa, especially in light of your brand’s focus on helping wearers discover a new self?
I would be happy if I could help you realise that you are the protagonist of your life and be yourself.
Embroidery has an intricate, labour-intensive nature, and in a time where sustainability is increasingly valued and needed, is it challenging to balance these traditional methods with the modern demands for sustainable fashion practises?
Embroidery machines have also advanced, and while it’s not possible in every case, many things that can be done by hand embroidery can now be replicated by machine embroidery. Therefore, learning about the latest technology is very stimulating. Additionally, some glass beads are made by recycling old bottles, and I would like to gradually try this.
Considering your interest in creating transformative experiences for your wearers, have you humoured the idea of expanding into more interactive or immersive fashion experiences?
I think it is a good match with the concept of Tanaka Daisuke, but since the brand involves a lot of handwork (such as embroidery), I also want to insist on having people touch and see the products in real life, so I believe balance is important.
Looking ahead, what do you hope for the evolution of your brand?
After working on brand-like product creation for seven seasons, I have come to understand it a little better myself. Next, I became interested in how these creations reach people. Are my thoughts being conveyed to the recipients? I want to research and create things that resonate with more people while updating and maintaining the quality beyond the current level.
