Leaving Ukraine and arriving in Mexico with a growing desire to continue an “uncomplicated journey”

Before I knew it, all the faces I recognized had changed.

The coach bus filled with passengers traversed countless terminals. The deserts, rocky mountains, and cacti that were once visible from the window disappeared from view. I yearned for a simpler journey, far from the war zones of Ukraine that I visited often for interviews. That desire eventually led me to Mexico.

“I asked the locals. They all said not to ride the bus”.

That was the advice I received from my travel partner and editor, Maruo.

I attempted to convince him at an inn in a small town called Matehuala in central Mexico.

He’s not wrong, either. This country is vast, more than five times the size of Japan. Even locals opt for airplanes when traveling to the countryside since taking a coach bus can sometimes stretch up to 24 hours. It’s also rumored that night buses are frequent targets for police and thieves seeking money.

“But taking a bus is a better way to experience contemporary Mexico”, I persisted.

If we book a flight, we would need to secure tickets in advance and adhere to a set schedule. Given our month-long stay, time is on our side. I envisioned an easy and spontaneous trip, void from any complex plans. Both Jack Keruouc, who wandered the streets of America in pursuit of freedom, and William Burrows, drawn to spiritual experiences, set their sights on Mexico. What was it that attracted them to this place? The recent perception of Mexico, with its drug, gang, and immigration problems, is far from great. Perhaps concealed behind this perception is the reality of the people living here. That’s precisely why I want to travel as my heart desires, to be able to shine a light and experience the current state of Mexico first-hand. I shared with him my genuine motivations for this trip.

Maruo let out a sigh and accepted my reasoning, even though he was eager to go to a show featuring Morrisey in Mexico City. Morrisey, as you may already know, is a British musician. I sensed that this could suddenly alter our course in Latin America, but he was also accommodating my selfish plans. I wanted him to enjoy himself, and we didn’t have any fixed route in mind. Either way, he was going back to Mexico City for a little bit. We agreed to fly into the Northern U.S. border town of Ciudad Juárez three days later to reconvene and commence our southbound journey.

In the meantime, albeit a little lonely, I decided to take a bus to Monterrey alone to get as close to Northern Mexico as possible.

It was nearly evening when I arrived at the terminal. As soon as I got off the plane, the humid air enveloped my body. The electric billboard I had just seen indicated the temperature as 39-degrees Celsius. Located in Northeastern Mexico, the U.S. border town of Monterrey is said to be an industrial city and economic center where many foreign companies, including those from Japan, have established operations. And yet, as I strolled around my hotel, I heard disco music blaring from nightclubs, prostitutes lingering in alleys, and sensed an overall seedy atmosphere.

I set off with my backpack to find another place to stay around the budget lodging area nearby, only to be turned away as all the rooms were occupied. Apparently, many South American immigrants hoping to make it to the U.S. were staying there, and a number of them were congregating around the hotel entrances.

I eventually found a hotel with a spare room, but I can’t say it was clean. There was graffiti all over the door, and the ceiling fan that attempted to ventilate the room merely circulated the hot air. The stifling heat persisted even after taking a cold shower, prompting me to leave the room immediately.

I ate a taco from a nearby food cart alone and returned to my room. Unfortunately, the heat turned my room into a sauna, interrupting my sleep several times throughout the night. I tried to go outside to cool off, only to find the hotel’s exits locked for safety concerns. After multiple showers attempting to cool off, it was already morning.

A Memorial Day parade with 2000 horses and 1000 dancing people

The following day was a Sunday. I strolled down the main street, still sleep-deprived. There was not much foot traffic, perhaps due to the holiday. As I walked along the avenue lined with commercial buildings, a police officer appeared and abruptly began to enforce road restrictions. As I pondered if there had been an accident, I was startled by a rapid succession of pounding sounds on the asphalt.

It was a herd of horses. The sheer number overwhelmed me as they surged forward like a wave. Cowboys atop the horses showcased their skills, and spectators spontaneously emerged out of nowhere. Was it a parade? The horses’ hooves kicked the ground, and the cowboys posed proudly. Each adorned blue jeans, boots, and a sombrero. Some of them even sipped cans of beer and recorded videos on their smartphones while mounted on their steeds. I followed the parade along with the crowd. According to the man beside me, it was Monterrey’s municipal anniversary. Allegedly, they brought 2000 horses into town just for this occasion. Cowboys, referred to as “vaqueros” in Spanish, have deep roots in the history of Spaniards in Mexico.

“The vaquero is a symbol of our confidence, pride, and freedom”, the man proudly declared. Upon arriving at Plaza Zaragoza, the parade’s final destination, the number of horses resembled a ranch. I smiled to myself and thought, “stumbling upon an event like this is a great omen”.

Maria, a female staff member, addressed me in English.

“You must come back here at 5PM tonight. There will be 1000 people dancing”, she said.

1000 people dancing? What does that mean? It was so unexpected that I couldn’t comprehend her words.

After exploring the area, I returned to the square earlier than the designated time and found several groups already gathered, chatting. The girls were dressed in traditional skirts, while the young men sported tight pants and sombreros. I was impressed by their elegant appearance. As I marveled at them, other groups gathered one after another.

I noticed photographers from local newspapers and TV stations convening with their colleagues behind the makeshift stage in the plaza. As I tried to sneak up on stage to secure a place to shoot, a loud voice approached me from behind. When I turned around, a large man suddenly burst out in Spanish. Oh, no. Did I need permission to take pictures? As I searched for a suitable response, he grabbed me by the shoulders and led me over to the other photographers, giving me a thumbs up. He seemed to be saying, “Wait here, I’ll let you go up on stage later”. My worries were unfounded.

The dancing commenced with the start of the band’s performance. The dance featured captivating steps, like kicking the ground with the toes of their boots and twirling their outfits. Witnessing a thousand people dance to the rhythm of the polka was breathtaking. Perhaps it was the carefree spirit of the Latin people in action. Rather than a single, unruly group dance, each dancer genuinely appeared like they were relishing the experience. The local audience, also observing the performance, seemed to be enjoying themselves as they danced along.

As I walked off the stage past the group of photographers, I spotted Maria from earlier, standing in front of the speakers.

“What do you call this dance?” I asked. “It’s Ballet Folklórico!” Maria answered candidly. According to her, the event itself started three years ago with the aim of creating a new trend in an industrial city where traditional culture is difficult to establish. The number of dancers they had was impressive, even for a town celebration

After an hour of dancing, the dancers grew tired and headed for the catered meal. What awaited them was surprisingly, or perhaps predictably, a large quantity of tacos – enough for a thousand people! They joyfully bit into their tacos, their smiles beaming. Although I knew I was jumping to conclusions, I was surprised by the Mexico I was witnessing. While I was reveling in my thoughts, someone approached me and asked if I could take their picture.

The horse parade, the dancing, and these tacos. I felt like I fortuitously experienced the people’s identity just by roaming the streets.

Later that night, Maruo messaged me, dejected. Morrisey’s show had been postponed. I had no choice but to say, “that’s too bad”, and continued to tell him about my day as if to console him.

Two days later, the plane landed at Ciudad Juárez Airport in less than two hours. The runway was wet with rain. My cell phone picked up a signal and sent me the address of a motel where my travel partner Maruo was waiting for me. In the past, Ciudad Juárez was known as “the most dangerous city in the world” because of the drug wars waged by the cartels.

As soon as we got off the plane, Mexican immigration officials promptly began inspecting our IDs and directed foreigners, including myself, to wait at the airport. After the officer carefully checked my passport, I was released without incident, while others were escorted away from the airport in an immigration convoy. What lingered was an atmosphere thick with unease.  Nevertheless, fueled by the excitement of embarking on my journey, I gathered my spirits and  ventured into town in the drizzle.

The post Photographer Hironori Kodama’s Journey Beyond Ukraine: Mexico Diary Vol 1. – Monterrey appeared first on TOKION - Cutting edge culture and fashion information.

Keiko Suyama
Born in Tokyo and has lived in Paris for 20 years. She holds an MBA in Brand Management from INSTITUT FRANCAIS DE LA MODE. In 2010, she established Dessigne, a consulting company specializing in brand strategy, sales and communication, from Japan to the European market. In 2016, she started a conceptual project called “Bijo,” curating J-Beauty and lifestyle brands. She has clients in some 150 stores across 20 countries, from major department stores such as Harrods, Le Bon Marché, Ritz Paris, and Sephora.

“J-Beauty” has been gaining attention in the Western beauty industry. The beauty regimen that symbolizes Japanese beauty, derived from traditionally cultivated aesthetics, concepts and customs, has slowly become a part of the daily lives of people around the world. “J-Beauty report from Europe” introduces the J-Beauty brands which are gaining popularity in Europe while also digging into the ancient methods of Japanese beauty. The series is supervised by Keiko Suyama, who represents the brand Dessigne and has lived in Paris for over 20 years, consulting with Japanese beauty brands looking to expand into the European market. With Suyama, we explore various Japanese aesthetics and the driving forces behind the J-Beauty trend in Europe.

The tenth installment is the Swiss-based perfume brand Floraïku Paris, which combines haiku and scent. The starting point is a trip to Japan by literature-loving co-founder Clara Molloy with her husband. She was fascinated by Japan’s unique aesthetic sense and literature, especially haiku, and embodying the idea of perfume that spins a story through the sense of smell. Ms. Suyama is also one of the people who was captivated by Floraïku Paris’s universe which evokes all kinds of emotions. We asked Clara, who is well versed not only in haiku but also in Japanese traditions, about the poetic Japanese aesthetic that is the source of the brand.

Branding based on traditions such as Japanese kōdō, o-cha, and ikebana

––First of all, please tell us about Floraïku Paris.

Clara Molloy：The whole approach lies in this attention to the sense of beauty linked to a sublimation of everyday gestures and awareness, at the heart of Asian culture and literature. Our collections are based on traditional ceremonies: kōdō (incense ceremony), o-cha (tea ceremony) and ikebana (floral art), and the boutique experience aims to take the time, over a tea, to discover each fragrance according to one’s desire. To “listen” to them and to welcome what they guide us towards sweetness, impetus, memory… Then, the work of detail carried out on each bottle, by the patterns and the double use of the stopper which becomes a travel case, the importance of the naturalness of the compositions in homage to the richness of mother earth…, everything contributes to living the perfume as an art of living in itself.

––What motivated you to start  Floraïku Paris?

Clara：It all started with a trip we took with my husband John, to Japan in 2008. We went to Naoshima, the island known for being dedicated to art with many museums that had just been built. We were practically alone to enjoy the place. We then visited Tokyo and Kyoto, this unique atmosphere surrounded us captivating our hearts with its beautiful contrasts and shadows. This is how our desire was born, carried by a sense of culture, refinement and rituals related to time, which we strongly felt there. It made us think of an olfactory ceremony to celebrate nature, arts and beauty. It took time, as we had just launched our first perfume brand Memo Paris, but the seed was planted! And in 2017, we create Floraïku Paris.

––How did you get to know about haiku in the first place?

Clara：As I said, I’m passionate about literature and a writer, so I read a lot, and I’m deeply moved by haiku, that very short form in three lines, traditional and typical of Japanese poetry. Its intensity and delicacy, in such a brief moment, echo my own imagination, and the fact that it’s often linked to the seasons, to natural movement, made me wonder; when I read a haiku, I can imagine it, it an intense visual and emotional sensation. But could I also smell it? I had the idea that such a short, powerful olfactory poem might be possible. Floraïku Paris is the result of this vision, linking Flora, flowers and nature, to haiku and poetry.

––Can you tell us about the bestseller and signature products?

Clara：All over the world, I know our fans love “One Umbrella For Two.” I can relate, it’s a composition that combines a sweet, fruity, gourmand blackcurrant absolute with Genmaicha tea extract and cedarwood oil. The inspiration comes from a traditional Japanese umbrella named wagasa, and the haiku tells: Our eyes raise to the sky / No rain / One umbrella for two.

In terms of iconic fragrances, I’m thinking of our Shadowing collection, which consists of two scents: “Sleeping On The Roof” and “Between Two Trees.” This duo is really special for me, because we’re introducing a new way of wearing perfume. You’re familiar with layering, but shadowing is different: the idea is to reveal your favorite Floraïku Paris fragrance with a light (Sleeping on the roof) or dark (Between two trees) shadow, as you wish, by applying your fragrance and a shadow side by side. The image of the shadow, its presence and design, inspires me, and I know that Ikebana, as the art of arranging flowers, the forms they create through light, is as important as the bouquet itself. I wanted to develop this beautiful idea for the perfume.

Last, our Asian clients love the romantic citrusy sensuality of “Juste A Rose,” the intense woody notes of “Golden Eyes”, “I Am Coming Home” a fresh spicy composition of White Tea and Cardamom Oil, “In The Dark” for its aromatic floral heart and “In The Rain” a beautiful water lily opening a fruity woody fragrance.

Staying as close as possible to our intuitions and convictions

––What feedback have you received from your customers?

Clara：They can feel and appreciate all the work behind the perfume. The balance of the notes and accords, the design of the bottle… I think their emotion comes from the multitude of small attentions as if the magic was operating by discovering little by little the puzzle to be formed and the image to appear progressively: revealing a precious perfume. The haiku engraved on the back of the bottle, the inspiring, colorful and contemporary design of the caps, all different, the delicacy of the purse spray, participate, I hope, to the satisfaction of our customers.

––Finally, please share with us your vision of the future.

Clara：Staying as close as possible to our intuitions and convictions, without trying to follow the moment or the trend. Continue to be secretly sensual and discreetly audacious, both grounded and ethereal, with roots and clouds, body and soul. And with love, because it’s all about love. And we hope that more and more fragrance lovers in Japan will enjoy Floraïku Paris.

The post J-Beauty report from Europe Vol. 10: a poetic story of Floraïku Paris spun with haiku and scent appeared first on TOKION - Cutting edge culture and fashion information.

The ninth installment is IPSUM ALII, a Swiss-based company that combines traditional herbal medicine and modern science to transform it into skin care products. Ms. Suyama was also fascinated by the philosophical approach. The two founders, Kikoc Veopraseut and Nora Kato, have both been involved in Japanese culture and have accumulated international experience. Based on the mission to spread the power of herbal medicine rooted in Japanese tradition to the world, they lead not only the skin but also the physical and mental health through IPSUM ALII. We asked co-founder Kikok about their encounter with herbal medicine and its essential power.

IPSUM ALII
Kikoc Veopraseut grew up in France with a mother who, as a trained paediatrician, would complement some of the Western medicines with Eastern Herbal treatments. She studied both in France and the US before moving to Asia for her career and have experienced childbirth and childcare while spending eight years in Tokyo. During her time in Tokyo, she discovered the power and benefits of acupuncture for pregnancy, shiatsu for muscle stiffness, and Kampo for sleep and skin issues. Nora Kato was born and raised in both countries with a Japanese father and a German mother. She studied in Germany and got an MBA in France, then has worked for International brands in the luxury sector and in cosmetics in Europe and Japan. Incorporating Japanese rituals while living in Europe has always been a part of her. Even more so when she became a mom – now I am passing these rituals on her my kids.

Keiko Suyama
Born in Tokyo and has lived in Paris for 20 years. She holds an MBA in Brand Management from INSTITUT FRANCAIS DE LA MODE. In 2010, she established Dessigne, a consulting company specializing in brand strategy, sales and communication, from Japan to the European market. In 2016, she started a conceptual project called “Bijo,” curating J-Beauty and lifestyle brands. She has clients in some 150 stores across 20 countries, from major department stores such as Harrods, Le Bon Marché, Ritz Paris, and Sephora.

Introduce Japan’s powerful Kampo philosophy to Europe

––First of all, please tell us about IPSUM ALII.

Kikoc Veopraseut：We decided to embark on a mission: to bring equilibrium back into our busy lives, remove blockages, ensure our entire systems were circulating and flowing again – and at the same time, introduce Japan’s powerful Kampo philosophy to Europe with a range of holistic and clean skin care products, made exclusively in Japan.

We were careful to strip off as many ingredients as needed to comply with strict EU regulations and, most importantly, to ensure the purest and highest quality products for customers. We also did not add any fragrance to the products, as this can be highly irritating for sensitive skin. Then, the most powerful ingredients were paired with modern science – resulting in products offering a new life-boosting daily ritual for rest and reset. The end result? A holistic skincare line for active urbanists.

−−What motivated you to start?

Kikoc：We first met when we were living in Tokyo, before our paths crossed again while raising families in Zurich. IPSUM ALII came to life after countless conversations led to the realisation that despite living the lives of our dreams, like many busy working mothers, we were regularly exhausted with little time for ourselves – and this was often reflected in our skin condition. At the same time, we recalled countless moments of restorative peace and pleasure while living in Japan – from soaking in hot spring onsen baths to exploring the world of medicinal Kampo herbs, both of which had a positive impact on our skin as well as our general sense of well-being.

We believe Kampo is one of the last well-kept secrets in Japan, which benefits should be shared with the rest of the world! Hence, we decided to transfer the power of Kampo herbs from its traditional medical use in Japan to our daily beauty rituals in our first potent skincare essentials.

––Where does the name IPSUM ALII come from?

Kikoc：As we are using herbs from Japanese traditional medicine Kampo, it became quickly clear that we would use Latin as a language used in medical books.

”Ipsum” in Latin means oneself; for example selfcare

”Alii” in Latin means other; for example our environment and people surrounding us

IPSUM ALII reflects our philosophy of how taking care of oneself is part of a larger dimension that includes respect for our environment by showing others the way to a more balanced relationship between oneself and our surroundings. 

––Can you tell us about the bestseller and signature products?

Kikoc：We have two signature products: The Skin Refining Gel and the Nourishing Adaptogen Cream. A third one is coming soon.

IPSUM ALII uses a triad system, from the Kampo philosophy, of three essential elements, to categorize the benefits of each product – KI; KETSU; and SUI.

KI is energy fundamental to living things. KETSU represents blood, its consistency and circulation and SUI all other liquid elements in the human body. In Kampo, the healthy state of human beings means a well-balanced or non-deviated condition of the three substances.

The SKIN REFINING GEL is a gentle water-based creation, which both polishes and stimulates new skin cells, through a powerful blend of herbs and science. The main element KI is enhances blood circulation. The formulation is a true innovation for the European market. It reacts with the keratin on the skin and gently rubs off dead skin cells of the epidermis, enabling your skin to renew itself – like an eraser, leaving your skin smooth, rosy with a healthy illumination.

Key ingredients range from Kihada Bark, renowned for its anti-inflammatory qualities and rich in berberine, an established anti-aging compound; to Maguwa Root, which calms irritations, even skin tone and lightens age spots.

NOURISHING ADAPTOGEN CREAM, contains a soothing and profoundly replenishing plethora of 4 adaptogenic plant ingredients. Among them is Reishi, a fungus with antioxidant properties that strengthen the skin’s barrier. There is Akayajiou Root, which bursts with vitamins (A, B, C and D) and is considered a restorative Yin tonic with powerful antioxidant benefits. It is complemented by Hatomugi Seed, a powerhouse herb that smoothes, refines and tones dry skin; and anti-inflammatory Ukon, wild Japanese turmeric, rich in potassium, vitamins and magnesium. The KI, KETSU, and SUI elements in this product focus on building and maintaining your skin hydration. Blood cells are deeply nourished by nutrient-rich adaptogens. This moisturizer will boost your skin’s hydration level, strengthen its protective barrier, while reducing redness.

J-Beauty is not limited to skin care, it extends to lifestyle

––Despite the fact that each country has its own beauty ritual, why do you think J-Beauty captivates you?

Kikoc：We believe J-Beauty focuses on quality and a sustainable ‘less-is-more’ approach. It’s not about putting an endless amount of products on top of each other. It’s rather about selecting a few very good ones that emphasize healthy skin, rather than a quick fix for a skin issue.

When working with our award-winning small lab in Osaka, their attention to detail really stood out. We meticulously researched each ingredient and made conscious choices for each one of them. Sometimes favoring clinically proven ingredients over natural ones, to obtain  gentle yet effective products for sensitive skin

In fact, what is inherent to J-Beauty is its combination of tradition and innovation. In addition, good skin care is not overshadowed by strong perfumes, popping packaging, etc. It takes attention to experience it: the lightness of the texture, the smoothness of the gesture, the subtleness of the scent,.. noticing how the face feels, how the skin looks. With that in mind, J-Beauty becomes more of a ritual than a routine, where each gesture becomes a ceremonial, mindful step toward beauty.

––How do you define J-Beauty in your words?

Kikoc：J-Beauty is prevention above all. From cleansing our skin to hydrating it and protecting it from the sun. J-Beauty is about not too many products, but the essentials needed with the best of ingredients, in that sense it prioritises quality over quantity.

J-Beauty is quiet but powerful; by that we mean it is not in your face loud and shiny and persuasive, but rather calm and in the background. Maybe you have to look twice to see how good something really is. It doesn’t “scream” at a customer while attracting them with a special scent, J-Beauty just works quietly. It seamlessly combines tradition and innovation, and finally, J-Beauty is not limited to skin care, it extends to lifestyle!

––What do you think is the reason why J-Beauty gain popularity nowadays?

Kikoc：We think it follows a resurgence in the popularity of Japanese design (i.e. japandi in Europe), fashion (appointment of a Japanese Creative Director Nigo at Kenzo, etc.) and beauty (smaller Japanese brands adventuring in the European market). With a busy lifestyle and an increase in skin’s sensitivity (71% of adults identify as having sensitive skin, an increase of 50% compared to 2 decades ago), people are looking for less but better quality: the essentials.

In addition, in Japan often moderation, not excess, is key. That applies to skincare as well. A consistent routine with a few, qualitative products is more sustainable for the environment, gentler on the skin microbiome and more effective toward a healthy skin goal.

––What feedback have you received from your customers?

Kikoc：One of our online customers wrote that our cream is a  “must-have for product-stealing spouses”. Not only did the cream become one of her favorites, but it slipped into her husband’s routine as well! Another client, who has an oily face, said after applying it during her nighttime routine “it is the first time I wake up without a shiny oily face”. The makeup artist Karin Westerlund, who originally bought our cream for her boyfriend at Bijo, is now using it to prep models’ skin before fashion shows and shooting. She loves the cream and describes it as “rich but not shiny, also mild and perfume free. Great as so many models have sensitive skin”.

––Besides beauty rituals, what element of Japanese culture inspires you?

Kikoc：Definitely art, design, fashion and cuisine. We love designer Rei Kawakubo, artists Yayoi Kusama and Mariko Mori. The French writer and adventurer Antoine de Saint Exupery once said “Perfection is achieved, not when there is nothing more to add, but when there is nothing left to take away.” This is how we feel about Japanese aesthetics, products and services, there is nothing left to take away.

––Finally, please share with us your vision of the future.

Kikoc：We strongly believe in developing Kampo in Europe as the third pillar of Ancient Asian Medicine, like Ayurveda from India and TCM from China.

Kampo has so many great benefits that go beyond beautifying our skin. Kampo medicine works both pragmatically symptom-oriented (e.g. healing of eczema), but can also be used in the context of complex and diverse complaints (e.g. menstrual problems, menopause, stress-related issues). It would be wonderful if people in the West could experience its benefits more!

With this in mind, we’d love to develop a whole lifestyle line of Kampo-based products to make Japanese beauty rituals & wellness accessible to people outside of Japan as well.

The post J-Beauty report from Europe Vol. 9: IPSUM ALII maximizes the power of traditional medicine Kampo and bring J-Beauty rituals to the world. appeared first on TOKION - Cutting edge culture and fashion information.

In this eighth issue, we focus on the cosmetic store TSUKI Cosmetics, which has a physical store in Madrid, Spain. “Plays a role in the development of J-beauty in Spain,” Suyama explained. TSUKI Cosmetics sells only Japanese-made beauty products and share J-Beauty methods and culture through workshops and social media. “I was fascinated not only by J-Beauty, but also by the culture and respect behind it,” co-founder Luis Sastre said. She explored the field of J-Beauty, which was unexplored in Spain.

Luis Sastre
Born in Spain. She has more than ten years of experience in the communication and business field. Her long-held entrepreneurial dream allowed her to establish TSUKI Cosmetics. Sharing love for Japan and passion for J-Beauty with Edurne and Silvia, who encountered during the pandemic, opened the cosmetic store TSUKI Cosmetics in Madrid, Spain.

Keiko Suyama
Born in Tokyo and has lived in Paris for 20 years. She holds an MBA in Brand Management from INSTITUT FRANCAIS DE LA MODE. In 2010, she established Dessigne, a consulting company specializing in brand strategy, sales and communication, from Japan to the European market. In 2016, she started a conceptual project called “Bijo,” curating J-Beauty and lifestyle brands. She has clients in some 150 stores across 20 countries, from major department stores such as Harrods, Le Bon Marché, Ritz Paris, and Sephora.

Commonalities of respect for Spanish and Japanese traditions

––First of all, please tell us about TSUKI Cosmetics.

Luis Sastre: To talk about TSUKI Cosmetics is to talk about a team behind all the magic. Edurne was born and raised in the north of Spain and has wide experience leading her own businesses and restaurants, apart from a unique vision and passion for Japanese culture after her many trips there. Silvia is the youngest member and has been working on advertising for luxury brands for almost five years, and six years ago she started learning Japanese, which gave her wide knowledge about the culture. I have more than ten years of experience in the communication and business field, as well as entrepreneurship, logistics and web management. Thanks to a mutual friend, we all met in Ibiza after the pandemic and the project began.

Based on appreciation and deep respect for Japanese culture and beauty rituals, TSUKI Cosmetics reaches costumers who are interested in looking good and healthy. Spain has a huge Beauty Market which is full of brands that respond to consumer needs; however, we found a niche which was not covered yet and that was exactly what we were passionate for. Since the team was strongly aligned with this philosophy and having no other competitor in Spain, we decided to get to work.

––Where does the name TSUKI (means Moon in Japanese) come from?

Luis: It was during a specially long brainstorming session, when we came to the conclusion that what we really wanted was to show love for the skin in all its life stages. There is a very romantic sentence in Japanese which says: the Moon is beautiful, isn’t it? (月が綺麗ですね) which is ultimately a love confession, since TSUKI (Moon) and SUKI (to like/to love) sound very similar for us. A very shy yet romantic way to confess love.

––Can you tell us about the bestseller and signature products?

Luis: Gua Sha self-massage stones have been doing amazing, specially after we started performing workshops in our boutique in Madrid. They are always full of people eager to learn about Japanese face massage and the best products to do so. Apart from the Gua Sha from our friends from Bijo;, Shigeta Eye serum, EN Orange balm and Rice Oil are specially loved by our customers.

––Despite the fact that each country has its own beauty ritual, why do you think J-Beauty captivates you?

Luis: Spain and Japan have a common deep respect for tradition and rituals, which really helps us understand each other despite the differences. Furthermore, it is common knowledge in Spain that the skin of Japanese women and men always looks clear, radiant and beautiful.

Background of the Continued Development of Traditional Japanese Culture and Subcultures

––How do you define J-Beauty in your words?

Luis: We would define it as “less is more” and “there is a reason behind every step”. Simple, clear and out of unnecessary products. Tradition and modernity serving the best skin ever.

––What do you think is the reason why J-Beauty gain popularity nowadays?

Luis: Japanese products have always been perceived as curated and made out of the highest quality all around the world, and specially in Spain. Japanese beauty products are no exception for this, however the price of the most famous J-Beauty brands made Spaniards think that J-Beauty is simply on another level and not for everyone. We know that is not the case, and together with the visible Japanese love trend that we see in Spain, with Japanese movies on Spanish theaters, manga and anime culture, language exchange, restaurants… we would love to show that J-Beauty is great for everyone.

––Besides beauty rituals, what element of Japanese culture inspires you?

Luis: TSUKI Cosmetics took inspiration from all aspects of the Japanese culture from the very beginning, as we cannot conceive J-Beauty without Japanese tradition, innovation and unique way of seen the world around us. We cannot talk about Ruhaku without talking about Okinawa, its waters and its traditions, the same way we cannot talk about Makanai without talking about Kanazawa and its gold artisans. Bijo; also helped us get closer to the culture by showing us their huge variety of beautiful and traditional yet modern beauty gadgets.

––Finally, please share with us your vision of the future.

Luis: We are currently working on sharing our passion for J-Beauty all around Spain knowing very well that Spain is a very touristic country, we would also love sharing our passion with international people who come visit us from abroad.

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In Soho during the pandemic, I was one of those who were addicted to video games. First, the country life RPG Stardew Valley and then Animal Crossing drew me into a video game world for the first time in decades. With so many things suddenly disappearing before my eyes during the lockdown, I started thinking it would be nice to be self-sufficient, so I scraped together what I had at home and made planters to plant seeds and to grow basil, shiso, and other herbs. I also got some mushroom beds to raise oyster mushrooms and lion’s mane mushrooms. By extension, I was expanding my pumpkin farm in Animal Crossing, and every time I logged in, I would grow pumpkins, sell them, and upgrade my house with the money from the sales. In the game world, I was making a steady income out of the field (laughs).

When I moved to Connecticut, an essential condition for choosing a house was that I could do the gardening. Jim, my landlord, had said he would build a space for it, but I hadn’t heard anything even until around the spring equinox when winter was slowly coming to an end. However, I had zero knowledge about garden building, so while curbing my enthusiasm, I watched YouTube videos about soil, seed germination, and other gardening processes and learned the schedule from the “Old Farmer’s Almanac,” an agricultural calendar that you go through once if you are serious about it. Unfortunately, once I started delving into it, there turned out to be tons of things that I didn’t know.

In New York, I used to frequent Union Square Green Market. At the time, I often pondered which one to choose and take home from a pile of the $6-a-pound heirloom tomatoes (about $6 for one medium-sized tomato) freshly picked from Upstate (laugh), but now I can see how much work the farmers put into them and why they were high-priced. So I definitely wanted to grow heirloom tomatoes. I also wanted to grow a lot of Japanese cucumbers, shiso, and manganji peppers because I wanted to grill them with dried bonito flakes and a little soy sauce. I ordered Japanese vegetable seeds from Kitazawa Seed Company in Utah, whose packages for seeds have lovely illustrations on them. I started growing them in small planters in late March until they grew into seedlings indoors after the last frost (which varies from region to region) at the end of May. It is said that one should sow one seed per hole, but I sowed three or four seeds in one hole, thinking some seeds would germinate, but some won’t because they are so small. Surprisingly, however, they all sprouted, and by the time they became seedlings, the roots were too tangled, and it wasn’t easy to untangle them.

So, the one-seed-per-hole theory turned out to be correct. It may sound extreme, but I experienced firsthand that we live in a world of “microcosm and macrocosm” and the mystery of nature that such a tiny seed can grow into a lush vegetable. I raised enough seedlings to fill the sunroom of my house, but in May, I saw a variety of seedlings for sale at a local supermarket and thought to myself, “Why didn’t I just buy these seedlings?” Anyway, although it took more work, growing vegetables from seed was definitely more cost-effective, and it was great to grow organic Japanese vegetables that are not available in the supermarket. Watering the seedlings, replanting them in larger planters along the way to make them bigger, and seeing the growth process while caring for them was very much in sync with the game. In the meantime, as if Tom Nook, the mayor of the village, approached me in Animal Crossing, Jim, the landlord, told me he had something to show me. I took a short walk around the massive lot behind the house, and to my surprise, I was told that I could use a garden space there that hadn’t been used for decades. He said he would also build a new fence and bring in a machine to till the soil for me, which was an incredible turn of events. What an upgrade!

From that day on, we started picking up rocks and removing old roots, pieces of plastic, and other impurities from the soil. I am so grateful to my friends Glave, Nika, Nathan, and Maria, who stayed with me then for their help with the endless stone picking. Jim also renewed all the posts, and the “Kudo Garden” was completed just before the last frost after his solid, well-balanced, and beautifully done job, which was precisely what you would expect from a farmer. The seedlings were too numerous for the space available, so I planted them without measuring the distance between each of them and ended up redoing it the next day. But it helped that Magwart, a former farmer, DJ, graphic designer, and Georgia music fan from Portland, OR, stayed with me for a week in the summer to help us with the garden. He was a supervisor who helped me numerous times, from making cucumber poles to telling us that oyster fertilizer is suitable for Manganji peppers.

Fortunately, the garden was not destroyed by insects or animals, and the plants grew well. As a result, as for those heirloom tomatoes, I was able to harvest so many that I could pick one to take a bite and toss it away (although I never throw them away!), and I could even share them with my friends. Brian’s favorite summer breakfast was freshly picked cucumbers dipped in miso. The crispy Japanese cucumbers are totally different from the American ones, and I can’t wait for summer to arrive. So I hope to harvest more this year, and I also want to make some game music!

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Kasumi Arimura
Born February 13th, 1993 in Hyogo prefecture. She made her TV drama debut in 2010 in She’s a Steely Woman! (Asahi TV), and gained widespread attention for her role in NHK’s TV series Amachan shortly thereafter, in 2013. In 2015, Arimura was cast as the lead in Biri Gal, and won the Japan Academy Award for best lead actress/best new actor, and for best lead actress in 2021 for her role in Hanataba Mitaina Koi Wo Shita. In 2022, she appeared in the TBS TV drama Ishiko and Haneo and the film Tsuki No Michi Kake. In 2023, she appeared in NHK period drama Dousuru Ieyasu and the film Call Me Chihiro. Other appearances include Natarrage (2017), Soshite, Ikiru (2019), Rurou Ni Kennshin the Final/the Beginnings (2021), Zenkamono (2022), and others.
https://www.flamme.co.jp/actress/profile.php?talentid=11
Instagram：@kasumi_arimura.official
Twitter：@Kasumistaff

There exists values that are born from the time and cherished by people throughout the ages. In this series,時音, we look back at the works of people who have promoted such values and speak with them about what they anticipate in the future.

In this installment, we interviewed actor Kasumi Arimura, star of the film Call Me Chihiro. The film is a live-action adaptation of Hiroyuki Yasuda’s manga of Chihiro-san, and is directed by Rikiya Imaizumi. The film follows former sex worker Chihiro who works at a lunch box shop in a small seaside town, and the various interactions she has with the people she meets there.

Arimura captivated audiences with her performances in the films Hanataba Mitaina Koi Wo Shita, the TV drama Ishiko and Haneo, and Call Me Chihiro. We interviewed her about where she’s at currently, at the age of 30.

A comfortable distance

– Call Me Chihiro was wonderful. I also love Ishiko (TV drama Ishiko To Haneo).

Kasumi Arimura: Thank you (laughs).

– I feel that the characters you’ve played in recent years, including Kinu (from Hanataba Mitaina Koi Wo Shita), have truly been captivating. What do you keep in mind when you play these roles?

Arimura: In my case, I find that I need to create a good foundation for my characters within myself, or else things become too vague. To do that, I look for the core of all the characters I play. For Chihiro, I built up her past based on clues written in the original manga. I assumed maybe Chihiro got tired of being too giving in the past, whether it was in her relationships with men or in her relationships at the company she worked for. Or that maybe she doesn’t know how to give love because she didn’t receive it from her mother. And perhaps that’s why Chihiro wants to give love to so many people, and why she ultimately ends up burning out. Those past experiences may have been what led her to keep her distance. I can’t verbally explain the nuances, but I put the pieces together to create the role within myself.

– What did you try to remain conscious of when expressing the Chihiro that you created using your own body?

Arimura: Chihiro looks good with short, blunt bangs and long black hair. Just from her appearance, you can sense a beautiful and charming person. She speaks gracefully, and possesses an unforgettable charm that comes across even after one conversation with her. It was difficult to create Chihiro’s distinct character since she’s at a different place than where I am usually, and has lived a different life than I have. So what I could do was try to lower my voice, not speak too fast, and try not to deviate too much from a certain level of emotion and passion felt from the tone of my voice.

– Did you work with Director Imaizumi to adjust how to depict the more delicate details of womanhood, such as Chihiro’s past as a sex worker or her relationship with Taniguichi (Ryuya Wakaba)?

Arimura: Director Imaizumi repeatedly asked me to “be a little more cheerful” on set. But he also mentioned that Chihiro is hard to depict because she couldn’t be too bubbly or too reserved. Mr. Imaizumi was probably also wondering if things were right while shooting, which I didn’t know the answer to, either. We basically finished shooting by worrying about it together.

– Can you tell us a scene that moved you while you were playing Chihiro?

Arimura: I think for Chihiro, her relationship with (the wife of the manager of the lunch box shop she works at) Tae (Jun Fubuki) is special. It felt as if Chihiro (her alias) could be her real self, Aya (her real name) in front of Tayo.

– Chihiro tends to keep her distance from people because of her past experiences and to maintain her emotional stability.

Arimura: I felt like I could understand why she kept her distance from people. When I think about it, I’m also not the type to overstep, and I keep a reasonable distance with even my friends. This keeps my emotions from fluctuating as much in my personal life, which is more comforting to me. Since I’m so stimulated in my work life, I want to be able to live an unstimulating, calm personal life as much as possible (laughs). I think about how the other person may want me to keep my distance, too.

For instance, if someone asks me to listen to a problem they’ve been having, it may be better for them if I keep a reasonable distance so I don’t accommodate so much or get sucked into their emotions. When I think about things like that, I feel like the way Chihiro keeps her distance is perfect for my current self.

– Do you think you, like Chihiro, learned to maintain distance because of your past experiences with different people?

Arimura: I met a lot of people in my twenties because of my line of work. It becomes difficult to maintain good relationships with so many people if I don’t keep a reasonable distance. If you’re part of an institution that allows you to work with the same people all the time, it’s best to build good relationships during a long period of time. But the projects I’m a part of take three months, or even as short as one month to finish. Of course I treat everyone the same when I first meet them, and I work hard for the months we’re shooting. But if I don’t let the people go after I say goodbye when production ends, I wouldn’t be able to maintain myself. There’s a part of me that can’t move on if I don’t do that.

– You mentioned that you find a lot of stimulation from your job. Can you elaborate?

Arimura: I meet and part with so many people throughout the short span of a year, I work with countless people for a single project, and I have to manipulate my emotions to act, whether that’s to cry, laugh, depict anger, suffering, or happiness. Everything I can’t get from my personal life is all stimulating.

– You don’t get used to that stimulation?

Arimura: No, you don’t. That’s why living a quiet and calm life at home enables me to be more myself. The more I lay low, the more I can ride the waves of emotion when I’m acting (laughs). I believe that’s my style, too.

Solitude does not equal loneliness

– Chihiro has some profound dialogue that makes us question how many lives she’s lived. Are there any lines that struck you in particular?

Arimura: “A meal eaten together is delicious, but a meal eaten alone is still delicious” is the line that struck me most. There’s a negative impression that people who are alone are lonely, but that’s not true. There are many people in the world who love solitude. If someone feels that it’s easier for them to be alone, that’s what makes them happy. This line felt accepting of the act of being alone.

For instance, finding a place where a schoolgirl can eat lunch alone may be very difficult for her, but it may also be her place of salvation. They are free to love that space, and I think many people may be relieved of these anxieties if there were people like Chihiro saying that spending time alone is perfectly fine. I think there’s a lot of dialogue in the manga and the movie that can help people.

I personally think there’s nothing wrong with solitude because I don’t think humans can understand each other 100%. There are always things others don’t know about you, whether it’s someone you like, friends, or family. That objectiveness can be fun; you can imagine what they’re thinking about, and really consider the other person. We learn so much when we confront each other, and I think solitude is at the root of this process.

You’re alone when you fight, too. For example, you’re alone when you’re fighting through a workload that was thrust upon you. I’m sure the fight with solitude is common in any profession, and the responsibility gets heavier the higher up you are. Like the student who has the best GPA in the class must be in solitude to maintain that position. Athletes are the same. There are cons to being in this position, but there are also a lot one can learn from being alone. That’s why I don’t believe solitude equals loneliness at all.

– Are you conscious of when you’re fighting, too?

Arimura: It’s more like I’m fighting against myself, not with others.

– Unlike academics and sports, there is no numerical ranking for actors. What are some of the things you use as a guide when fighting against yourself?

Arimura: Castmates are like comrades at war in any project. I don’t feel any competitiveness, even with actors who aren’t on the same project, because we’re all comrades. I may envy another actor because there are so many unique and charming people in the field, but I try not to pay attention to it. I have to fight to get through this role or that day of shooting. It’s a fight to overcome what’s in front of you everyday (laughs).

“I’d like to work towards a better quality workplace”

– Do you have any favorite scenes after watching the finished film?

Arimura: I basically like all the scenes that Okaji (Hana Toyoshima) and Makoto (Tetta Shimada) are in (laughs). Like the scene in Makoto’s house where Okaji cries eating the yakisoba made by Makoto’s mother (Yui Sakuma), or Chihiro’s POV shot of Okaji and Makoto when they go to Chihiro’s house bearing get-well gifts, each of their scenes are so precious. I think they played incredibly important roles in this film.

Makoto was very free, but could say all his lines when rolling regardless. That’s what amazed director Imaizumi, who would say, “that’s why he’s impressive” (laughs). I heard that Makoto couldn’t cry during his audition when he was asked to. But when he was leaving the room, he offhandedly said, “I guess the part of me that can’t cry came out today”, which left a strong impression on the director (laughs). He was a very interesting child.

– I think Okaji’s perspective of the future changed for the better by meeting Chihiro during her high school years. Have you met anyone who has had that sort of impact on you?

Arimura: If you’re asking about encounters I’ve had since I started working this job, I was impacted by a senior at my agency. I trailed behind them because I assumed that I could be like that person if I worked just as hard as them. I read interview articles to digest this person’s thought processes, because I wanted to know what they were thinking. I feel like I gained a wider perspective by doing that.

– You were cast in so many projects in your twenties. How are you feeling, after turning thirty on February 13th? I’m wondering what age means to you.

Arimura: I’m shocked to already be thirty (laughs). Thankfully, my situation and background changed very rapidly in the last decade. These ten years have almost been too rich of an experience, and felt like it was gone in an instant. In terms of age, I don’t put much emphasis on it. I often think about what I can do in the present to age gracefully.

– The fact that Call Me Chihiro will be available on Netflix on the day of its theatrical release will also be a new experience. What would you like to work on in the future?

Arimura: Work is more fun when you’re able to have discussions with others. There have been increasingly more situations in which people will do exactly what I say.Instead, I’d like to create a work environment where we can share thoughts and ideas with each other. I’d like to work towards a better quality workplace in my thirties.

■Call Me Chihiro
International streaming on Netflix & Japanese theatrical release on February 23rd
Cast: Kasumi Arimura, Hana Toyoshima, Tetta Shimada, van, Tatsuya Wakaba, Yui Sakuma, Lily Frankie, Jun Fubuki, and others.
Based on: Chihiro-san by Hiroyuki Yasuda (Akita Shoten “Akita Ladies/Comics/Deluxe” edition)
Director: Rikiya Imaizumi
Screenplay: Kaori Sawai, Rikiya Imaizumi
Producer: Netflix, Asmik Ace
Production company: Asmik Ace, Digital Frontier
Distribution: Asmik Ace
https://chihiro-san.asmik-ace.co.jp

Translation Mimiko Goldstein
Photography Mikako Kozai（L management）
Styling Yumiko Segawa
Hair & Make-up Izumi Omagari

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This is the third year of the pandemic, now that we’re in 2023. Compared to the beginning of lockdown, the city has almost returned to how things were pre-covid; it seems like it was all a bad dream. Yet, some places still reflect the pain of that period, and we’ve lost some things along the way. This series is about recalling the near past and chronicling the strange flow of time, and my first year of living in Connecticut was vastly different from my life in the States before then. That year was filled with events I want to document, like learning to light a fire in a fireplace without any firelighters as a city mouse who lived in New York for a decade, falling in love with sunrises and sunsets, and discovering how to live off-the-grid in nature.

What I missed the most once the city changed because of lockdown in 2020 were the things that made each day a bit special. It was shocking to see the little sweets I treated myself to, such as orange potato cakes and baklavas from Pi Bakerie, a Greek café in our former neighborhood, and almond croissants from Lafayette, a French restaurant, vanish. The only stores deemed essential enough to be open were just about supermarket chains. Freshly baked bread had disappeared from such stores, and many bakeries were closed too. On Instagram, it seemed like one person after another started baking sourdough bread at home, and supermarkets were constantly low on flour and yeast. I tried baking bread several times but couldn’t do it well. Instead, I asked Mariko, a neon artist who had often helped me out with catering, to bake bread many times because she made delicious homemade sourdough and focaccia for her friends. Mari-chan, thank you for sharing that joy with me back then! I didn’t succeed at baking bread, but I got into making sweets out of necessity under the guidance of Brian, who has a strong opinion on sweets. As a result of trying to make various kinds, I can now make financiers, lemon bars made out of mochi flour, and different types of cookies, which I wasn’t interested in previously, to my liking. I want to give myself a pat on the back for that. With that said, buying the perfect croissant in New York in 2020 was close to impossible. 

Amid all that, I unexpectedly came across a stylish-looking café called Arethusa Amano in the small town of Richfield in Connecticut, a 13-minute car drive from home. The café, run by a dairy farm called Arethusa Farm, came to me as a shock because it sold everything that faded away in New York in 2020. Starting with beautiful, crispy croissants, I never knew fresh donuts, French-style lemon cream, and crullers could taste as good as they were. For their egg and cheese sandwich, an American breakfast staple, Arethusa Amano uses their own English muffins and eggs and cheese from the farm. Their cuban sandwich that uses brioche that would make you melt(even I, as a vegetarian, thought was good), cruffins (a hybrid of a croissant and muffin) with mascarpone, and cookies that change monthly are a bit more reasonably priced compared to New York. This is another good thing about the place. Across the café is Arethusa al tavolo, an American fine dining restaurant and a daily store that sells Arethusa’s ice cream, milk, cheese, yogurt, butter, and vegetables in the spring and summer. 

The owners are, low and behold, the executives of the shoe brand Manolo Blahnik. After the brand rose in popularity as Sex and the City’s Carrie’s favorite shoes, the executives purchased the dairy farm of their dreams in 1999. With “Milk like it used to taste” as their tagline, they take care of and pamper more than 300 cows; they shampoo and treat the cows’ tails every day. Of course, if you go upstate, you’ll find many organic farms and farmer’s markets where the local vendors sell food that uses high-quality ingredients, but the majority of them are homemade and hippie-like (which is also something I love, don’t get me wrong). It’s pretty cool to have a food culture derived from a luxury brand just as well-known in New York in a small town in the northern part of Connecticut. Plus, it’s so close to where I live. When I miss the city a bit, I’m going to visit Arethusa instead of making my own cakes, which tend to be less on the sweet side.

Edit Nana Takeuchi

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In the ninth installment, we look back on Shibuya’s Android Opera®︎, presented last November at the National Art Center, Tokyo, and its possibilities and perspectives along with Kyoji Takahashi’s photographs.

Keiichiro Shibuya
Keiichiro Shibuya is a musician who was born in 1973 in Tokyo. He graduated from the Tokyo University of the Arts with a B.A. in Music Composition and founded the music label ATAK in 2002. Notable works include a Vocaloid opera comprised of no people called The End (2012) and the Android Opera®︎ Scary Beauty (2018). In September 2020, he created the soundtrack for the film Midnight Swan and won the Music Award at both the Mainichi Film Awards and the Japan Movie Critics Award. In August 2021, Shibuya’s opera Super Angels had its world premiere at New National Theater Tokyo. In March 2022, he showed his new Android Opera®︎, MIRROR, a collaboration between an android, Buddhist music, shomyo, and an orchestra from the UAE, at Expo 2020 Dubai. In April, he created the soundtrack for xxxHOLiC, a film by Mika Ninagawa. Further, he established the Android and Music Science Laboratory (AMSL), a science laboratory of androids and music, at the Osaka University of Arts. He explores the boundary between humans and technology and life and death.
ATAK：http://atak.jp
Twitter：@keiichiroshibuy
Instagram：@keiichiroshibuy

“FORWARDISM” – Facing the future and continuing to take on challenges

On November 15th of last year, I had the opportunity to see Shibuya’s Android Opera®︎ with an orchestra for the first time in Japan since “Super Angels” in 2021. It was being shown at the National Art Center, Tokyo. Shibuya’s Android Opera®︎ was presented as the conclusion of the “FORWARDISM BMW THE SEVEN Art Museum”, organized by BMW.

“FORWARDISM BMW THE SEVEN Art Museum” was an event held for the Japan premiere of the BMW flagship sedan “THE i7” and its flagship SUB “THE X7”. The word “FORWARDISM” included in the title, represents the BMW philosophy that promises to “face the future and continue to take on challenges”. The methodology for putting this “FORWARDISM” into practice is the “fusion of art and technology”, and both THE i7 and THE X7 are fully infused with the aesthetics and latest technology that BMW has cultivated over its long car-making career.

An attitude that works towards the future and continues to take on challenges, and the fusion of art and technology –. These may be the key words to understanding musician Keiichiro Shibuya, who studied classical composition at the Tokyo University of the Arts, but who has not limited himself to that field. Instead, he has created cutting-edge electronic sound works spun by eccentric processing/editing using computers, resonating with artists around Mego in Austria and 12k in New York, and who released his first album on his own label, ATAK. In a sense, it seems inevitable that Shibuya’s main project, the Android Opera®︎, would be presented at this event.

After the greeting by Christian Wiedmann, President and Representative Director of BMW Japan (as of November 2022/current President and Representative Director is Masatoshi Hasegawa) and the presentation by Katsunosuke Endo, Director of BMW Japan, the venue shifted into chit chat mode. DJ EMMA began playing, spinning masterful selections and mixes that painted the space into brilliant colors with its groovy house music.

Introducing an “outsider” – an Android – into traditional opera

After a while, the sounds that fill the venue shift into electronic drones. We look towards the stage in front of us, and we see the latest model of the Android Alter series, Alter 4. Already set up and swaying leisurely, Alter begins reading a text in English.

As the atmosphere in the hall suddenly takes a turn, Shibuya and the orchestra’s forty musicians appear on stage and take their places.

As the orchestra finishes tuning, a powerful sequence of beats echo through the venue, accompanied by vivid lighting, signaling the start of the Android Opera®︎. While the audience stares at the stage with bated breath, listening intently for the next sound, Shibuya plays the piano, while still standing. Introspective, melancholic, and richly nuanced, the beautiful sounds and phrases indicate that the next song about to begin is “Scary Beauty”. The orchestra starts to play with Shibuya’s piano, the string and wind instruments’ phrases being delicately and dynamically woven together. After a break-like development in which the parts playing the mid and low registers stop playing, Alter, who had been swaying its body in time to the sound, begins to sing, accompanied by all the sounds of the orchestra.

Sung to a poem by French novelist/poet Michel Houellebecq, this song is the main theme of Scary Beauty, Shibuya’s first Android Opera®︎, which premiered at Miraikan in 2018 (a prototype version was presented in Australia the previous year). An opera is the culmination of a comprehensive art form created by the European ethos. By introducing an “outsider” in the form of an android, Shibuya separates the tradition and the operatic format from its underlying anthropocentrism, and presents new possibilities for artistic expression and a vision that illuminates the future of society.

The awareness of these issues is a continuation of those presented in THE END, an “opera without humans” featuring the vocaloid Hatsune Miku, which premiered in 2013. The Android Opera®︎, however, employs an orchestra to penetrate deeper into the institutional framework of opera, and by creating a situation in which androids and humans resonate and coexist, I believe it achieves even greater expressive intensity and impact.

After the song ends, Orta begins to speak in English, with Shibuya’s piano playing in the background, and explains the importance of forwardism, which was met with surprise and commotion from the audience. To challenge oneself, to open up new paths, and to keep moving forward. Alter explains that this work leads to the enrichment of not only oneself but also others and society.

The future state of life and spirit as illustrated by androids

The band plays the song “The Decay of the Angel” next. The piano, orchestra, and sequencer blend together to form a strong, rich groove that envelops the venue. Around two minutes after the song begins, Alter’s vocals come in. The flowing melody line, which seems to soar to the heavens, invites the audience’s excitement.

“The Decay of the Angel” is a song that was created for the aforementioned Android Opera®︎ Scary Beauty. The song title derives from the title of the English translation of the fourth volume of Yukio Mishima’s final work, The Sea of Fertility. Through the events and dramas that unfold across time and space, we, the readers, are left to ponder about life and death, and the nature of human existence.

Needless to say, as an android, the Alter has no biological life. However, watching the Alter respond while singing to the sounds created by Shibuya and the orchestra gives an impression that our perception of life or a spirit may change in the future.

The session between Shibuya and the Alter that followed was also very thought-provoking. Instead of singing a predetermined part, the Alter improvised along with Shibuya’s improvised piano. The joint work of human and android, exploring and figuring out melodies together, conveys hope and possibilities for the future.

The Android Opera®︎, where humans and non-humans interact

The last song of the day’s Android Opera®︎ is “Midnight Swan”. It was written as the main theme song for the film Midnight Swan (released in 2020, directed by Eiji Uchida, starring Tsuyoshi Kusanagi), and was the title track of album ATAK024 Midnight Swan (2020), Shibuya’s first piano solo album since ATAK015 for maria, released in 2011.

Laying atmospheric electronic sounds as a foundation, Shibuya’s delicate touch on the piano flows out as a massive kick that resonates to the very core of the body, is slowly struck, instantly changing the mood in the venue. The beautiful and emotional piano pieces, filled with sadness, hesitation, melancholia, and sensuality, are given deep, varied sounds and further dynamism by the orchestra, drawing the listener closer into its soundscape.

Like “The Decay of the Angel”, the lyrics sung by the Alter are the result of the joint work between Shibuya and collaborator Takashi Ikegami (Professor of Complex Systems and Artificial Life at the University of Tokyo) and Cypher, an AI lyric and text generator project. The Android Opera®︎ is shaped by the interaction of human and non-human creations and performances.

After the break, the kick switches to four-on-the-floor to heighten the sense of elation to a climax, and the Android Opera®︎ comes to a close with the song leaving a lingering aftertaste. Although it was not a long performance, lasting just over 20 minutes, it was an evening filled with intensity, enough to appreciate the possibilities and appeal of Shibuya’s newest form, the Android Opera®︎, which could be called the culmination of the current state of the art.

Even after Scary Beauty, Shibuya has continued to update his Android Opera®︎s with Super Angels (premiere: 2021, New National Theatre, Tokyo), which featured a collaboration between an Alter and an opera singer, a script by Masahiko Shimada, and a video created by WEiRDCORE, and with MIRROR (premiere: 2022, Dubai Expo), created with Buddhist music/Koyasan Shomyo and the NSO Symphony Orchestra from the UAE. We are excited to see what kind of performance he will surprise us with next, and what vision he will present to us in the future.

■ BMW “EXCLUSIVE VIP PARTY” Keiichiro Shibuya Android Opera®︎
Date: November 15th, 2022
Venue: The National Art Center, Tokyo

Staff:
Concept, Composition, Piano, Electronics: Keiichiro Shibuya
Vocal: Alter4
Orchestra: 45 musicians gathered specially for BMW’s party

Android Programming: Shintaro Imai
Sound: Yuki Suzuki
Visual: Kotaro Konishi
Lighting: Wataru Kawasaki, Go Ueda
Stage Manager: Kazuya Kushimoto, So Ozaki
Android Assistant: Akihide Kimura
Hair&Makeup: yoboon
Production Manager: Natsumi Matsumoto
Production: ATAK

Android – Alter4
Belonging to Osaka University of Arts – Art Science Department
Android and Music Science Laboratory (AMSL)
Design supervised by Hiroshi Ishiguro
Music supervised by Keiichiro Shibuya
Programming by Shintaro Imai
Pedestal design by Kazuyo Sejima & Associates

Translation Mimiko Goldstein

The post The Android Opera®︎’s Collaboration with BMW as Photographed by Kyoji Takahashi – A Report on the Special Event Held at the National Art Center, Tokyo – “Massive Life Flow; Inside the Mind of Keiichiro Shibuya” Part 9 appeared first on TOKION - Cutting edge culture and fashion information.

We found our house on Zillow, an online real estate marketplace. It was a major adventure moving from the metropolitan city of New York to the American countryside. Thanks to the pandemic, the BLM movement, a demand for societal change in the prolonged mistreatment of the Black community in the country, erupted nationwide. Amid all this, something I imagined would happen in the Midwest took place in the big city of New York: White Supremacy rallies. I started to see news of hate crimes against Asian people too. I had lived in the city for a decade, yet I didn’t know anything about the distorted social structure of America. I didn’t know anything about Connecticut, either. 

Our top conditions for our new home were: within two hours from New York by car, far away from neighbors, thus ensuring the protection of privacy, and equipped with a fireplace and some gardening space. Another essential condition was distance. That is, being able to see friends within an hour’s drive. I looked for houses close to my good friends because I knew I would want company. With that said, there weren’t a lot of houses for rent to begin with, and we didn’t have much leeway to choose. On Zillow, you send a request to go on a house tour once a listing catches your eye. You then connect to an AI broker called Alex and exchange inorganic-sounding messages. It introduces a local broker who would set up a house tour. But when I found our current home, I got connected to Jim and Julie instead of Alex. When I saw a normal message starting with a hello, I almost screamed to Brian that there was a human being on the other side of the screen.   

The house was a 40-minute drive from Evan and Liutas, our friends living in upstate New York, and an hour away from Dimes Deli’s Zach and Sophie’s upstate home, whom I’ve known since I founded Chiso, my food project. Coincidentally, journalist Yumiko Sakuma’s “house on a mountain” was across from Zach and Sophie. And it was 20 minutes away from our life-hack boss and New York neighbor, Ross’s cabin.   

We went to see the house at the beginning of January 2021. We wore masks the first time we met Jim and Julie since the pandemic was still in full swing, but they were so welcoming it blew my mind. They also knew about Chiso because they looked at my website after our first exchange and told us we could move in immediately if we liked the house. The renovated two-story farmhouse from the 1800s was where Julie grew up. The 2,000-square-foot house was on a 36-acre plot of farmland with two fireplaces and six bedrooms. Jim told us he’d make sure we could use the classic-styled fireplaces, which the previous tenant didn’t, and that he’d make space for a garden. The walls had been painted in brown and cream colors, and they had many windows from which you could see a beautiful landscape. One of the reasons I felt comfortable was simply because the house was built in a similar way to Evan and Liutas’ place. Moving away from my New York life, which had become dreary because of covid, felt refreshing since I had never lived in the countryside. I felt excited to start a new life surrounded by nature. It was winter then, so the trees were bare, making the house in the distance visible. But we were told we would have privacy once spring brought its abundance of greenery.   

Moving during winter was more challenging than expected, but I got it done thanks to Nathan and Brian’s hard work. The two fell asleep because they were exhausted, but I began unpacking at midnight to at least clean the kitchen because Jim was planning on visiting the following day. Then, something suddenly flew over my head: a bat! The room was boiling because I didn’t know how to use the heater, so I kept the windows with no screens open. The bat probably flew in by accident. I woke Brian up, and we somehow shooed it away with a broomstick. I was shocked, however, after discovering that some bats carry rabies. 

A year has passed since we moved into our home, but my feelings haven’t changed. I get to experience the beauty of nature through the intricate colors of each season—yellow, blue, purple, pink, red, green, and so on. The sunsets in winter are so gorgeous that they made me discover the existence of the wonderful time of just gazing at the sunset. I feel grateful to live among nature’s epic rhythms: birds chirping, strong winds from over the hills, the sound of the many wind chimes around our home. The house does require some maintenance, though, since it’s old. Jim is thankful we’ve taken that role on.   

Our house is in a farming region where you can’t get your food delivered, but there are excellent supermarkets and bakeries—possibly better than those in New York—15 minutes away by car. Let me tell you all about it next time.   

Translation Lena Grace Suda
Edit Nana Takeuchi

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We at TOKION asked Peppe to create a manga series to find out what an Italian man thinks of Japanese culture. In the series, Peppe will experience Japan’s unique culture and introduce it in the form of a short manga story. For the 6th edition, as a spin-off, we asked Peppe, who is currently back in Italy, to try a popular ramen dish in Milan.

–This time, since you are in Italy, we asked you to try ramen, one of the most typical Japanese foods. How was the taste when you actually tried it at a restaurant that is said to be delicious in Milan?

Peppe: Hmmm……….If you want good food in Milan, you would definitely be better off going for the risotto! So far, I have been impressed by it no matter where I’ve eaten it or what ingredients were in it.

–What flavor was the ramen you had this time?

Peppe: It was hard to choose because all the ramen had strange combinations of ingredients, not like in Japan where they are categorized into miso(salty soy bean paste), shoyu(soy sauce), tonkotsu (pork bone), and shio (salt). I was surprised to find sashimi in some of them. I tried the vegetarian ramen this time.

–Is there any kind of ramen that is unique to Italy? 

Peppe: The restaurant I went had peperoncino ramen, so I guess that would be it (laughs).

— Do you remember the first time you ate ramen in Japan? 

Peppe: I remember it well. I had champon ramen at a famous Chinese ramen restaurant in Nippori called Bazoku. It was really delicious and brought tears to my eyes. I took a picture and even wrote “Thank you, Champon” on Facebook.

–When you come back to Japan, what would you like to eat first?

Peppe: Rice. I want to eat good rice. Since I haven’t eaten it for a long time, I long for that first bite of warm, soft, and delicious Japanese rice. Oh no! I think my taste buds have totally turned Japanese.

Translation Shinichiro Sato

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