In ’90s Japanese street-style, few brands compare in omnipresence to Takao Yamashita’s beauty:beast. Partially impacted by his strict upbringing, Yamashita-san’s subversive graphics and messaging quickly found popularity among Japanese youth in the ’90s. Like his longtime friend and colleague, Shinichiro Arakawa, Yamashita-san was heavily impacted by time spent internationally; both have shown collections in Paris and spent time working with designers like Christopher Nemeth in London. Today, beauty:beast's legacy has found new life, resonating with young people who have re-discovered the brand through vintage street-style magazines like FRUiTS.ARCHIVE.pdf spoke with Takao Yamashita, digging into the history of the brand, its sub-labels, and some of Yamashita-san’s lesser known projects.
You studied architecture in university before transitioning into fashion. What interested you about architecture, and how did it cross over with fashion?My father was involved in urban development in our hometown of Nagasaki. I think he wanted to raise me as his successor. He was a very strict and demanding parent, and I ended up following the path he laid out for me. As a young person, I had a vague desire to pursue a career that could bring happiness to people. However, urban development and the construction of houses and buildings felt overwhelmingly large in scale and didn’t seem very realistic to me. There are, however, many commonalities between architecture and fashion. Among them, one aspect I still value deeply is this: buildings have foundational bases, main pillars, frameworks, walls, and windows, and these all require calculations of gravity which are always essential in the design process. Similarly, in fashion, it’s essential to account for the wearer's body structure—the position of the shoulders, the hips, and how fabric drapes and flows around these points. Designing involves working with the framework of the body, the amount of fabric, and making gravity an ally in creating the final form. In all three-dimensional design, points, lines, planes, and colors coexist to form space. Additionally, the design process often involves considerations similar to those in architecture, such as considering the “exterior” and “interior” aspects. In architecture, you must think about the surrounding environment, seismic resistance (momentum), and fire resistance, while ensuring a comfortable interior environment. This includes considerations like temperature regulation, ventilation, and humidity control. Likewise in fashion design, we balance the external appearance with the inner comfort of the clothing which are parallels and significant similarities between the two fields. And this idea doesn’t just apply to architecture and fashion—it extends to cars, home appliances, and all kinds of product design.
Tell us about the early days of beauty:beast. What is the meaning behind the name and what kinds of stores carried the brand initially? What was it like launching a brand and seeing it become a business?I believed that the internal struggle between the darkness in everyone's heart and the light of hope was what defined life and truly represented humanity. Back then, I sought the simplest words and metaphors that anyone could easily understand and relate to and in 1990, I turned to the classic novel “Beauty and the Beast”.To me, the hideous Beast and the kind-hearted Beauty (Belle) represented two sides of the same person's inner duality. I imagined a story in which, one day, these two aspects would come to accept each other and live as one human being. Thus, instead of using "beauty & beast," I chose to express it as "beauty:beast"—a single term. The seemingly contrasting words in "beauty:beast" serve as a metaphor for human existence: we are creatures who pursue beauty while also grappling with our inner beast. Through this concept, we want to develop fashion that promotes self-affirmation and the power to live for each and every person who wears our clothing.Defying my father’s opposition, I chose to pursue a career in fashion, leaving my family business behind and moving out of my home in Nagasaki to begin working in Osaka. When my parents cut off financial support, I participated in a flea market for the first time to raise funds. At the market, I displayed vintage clothes I owned along with ten handmade caps I made using hagiography (scraps of fabric). It was there that the owner of a store called "Ashita no Hako" (The Box of Tomorrow), which curated items from independent Osaka designers, happened to pass by. The owner purchased all the hats I had made, marking the start of my first business venture. From that point on, I began creating hats and clothes for the store to sell. Gradually, the scale of my work expanded. A few years later, I started holding exhibitions with various creative friends, and my business grew further. It was an incredibly exciting time. Everything I created and every way I sold my work felt experimental and unconventional. Through these experiences, I learned countless valuable lessons.
Please tell us about the relationships you had with Shinichiro Arakawa and Christopher Nemeth. Were there any other collaborators or creative mentors that helped you in your career?Shinichiro Arakawa has been a close acquaintance of mine since the early 1990s and continues to be to this day. I got to know him because one of my former assistants moved to France and helped him out during his time in Paris. He also happens to be a mutual friend of Christopher Nemeth, who was a friend of my business partner Paddy Meehan (from Scotland) back when I founded B:B (in 1991).Christopher Nemeth, too, had many mutual friends with us in London, and during his lifetime (the 1990s), we often met privately while we were working in Tokyo. Our conversations were mostly private, about things like family, and we had a good friendship. I know lots of interesting stories about him, but we rarely talked about creative work. Christopher was someone who created almost everything on his own, interacting with people and having conversations in his own shop. He was a one-of-a-kind creator. Even now, I still think the fashion world lost a truly irreplaceable talent.As I didn’t attend fashion school, I unfortunately don’t have a mentor I can specifically call my own. However, I’ve been helped by many people and have learned a great deal from them, which has brought me to where I am today.Among them, London stylist Adam Howe, Simon Taylor from Tomato, and photographer Norbert Schoerner have been particularly important in laying the foundation for beauty:beast, and they continue to be kind to me. After the year 2000, I also had the honor of meeting Maurice Renoma, the founder of the French brand "Renoma," who has been an incredible person to know.What was it like showing in Paris for the first time? How was it compared to showing in Japan?In 1991, I launched the brand “beauty:beast” and presented numerous collections in Osaka. Through the language of clothing, I sought to combine styling with music and space, creating powerful, message-driven stories. It wasn’t just about commercial fashion—I was searching for a place in fashion that could give courage to those who wore it. Would people accept this conception of fashion? Or is it something that is not needed? To find the answer, I decided to challenge myself by heading to Paris, the epicenter of global fashion expression.At the time, there were very few designers who ventured directly from Osaka to Paris. Skipping Tokyo, Japan's capital, to present in Paris was seen by some as reckless, and I was often criticized as a ʻreckless young man’. Despite the various doubts surrounding me, my first presentation in Paris was blessed in many ways—especially by the people who supported me. I developed products using materials rooted in the traditional techniques of “Arimatsu”, a region in Japan known for its heritage craftsmanship. The models for my presentation were cast by Adam Howe, a stylist who brought everyone together by having them travel from London on the Eurostar to assist me. Above all, I was deeply grateful for the support of Sylvie Grumbach from “2nd Bureau”, a Paris-based press attaché agency. At that time, in 1993, she was handling major figures like Vivienne Westwood and John Galliano. Despite my status as a complete newcomer, she took my clothing seriously and provided incredible support that went beyond anything I could have imagined in Japan—coordinating the venue, contacting press representatives, and more. Her help was indispensable, and to this day, I am sincerely grateful to her. Thanks to her extensive cooperation, I was able to realize my first presentation in Paris. Without meeting her, it’s possible that “beauty:beast” might not exist today.In the 1990s, Japan still felt incomplete in its understanding of fashion as a cultural expression compared to Paris. People in Japan’s fashion industry at the time were often closely connected to magazines and other media, which made them influential but also prone to making statements that could be perceived negatively. This sometimes had the potential to harm business. There were very few individuals dedicated to collaboratively advancing the fashion business. As a result, while my activities in Tokyo appeared outwardly focused on the industry, my main efforts were directed toward my customers and fans. Each city has its own unique history and perspective on clothing. In particular, Japan’s culture and history of kimono make its approach to selling and valuing clothing different from that of other countries. This uniqueness might hold the potential for discovering new marketing and creative approaches.
In 1995, you developed a number of diffusion lines like “also,” “blue,” “red,” and “4ge,” can you tell us what the differences in the lines were? There are a few other lines that you made that I was curious about; ‘NU-LV’ (New Love), ‘spirit of beauty:beast’ essentials line, and the ‘Angelic’ wedding collection."blue" is a collector’s line focused on items showcased in collections."red" is a diffusion line that reinterprets collection items to make them easier to market."also" is an alliance line featuring casual items such as denim and T-shirts, identified by the icon "2.""4ge" is a licensed line developed for Europe, particularly with a focus on London."spirit of beauty:beast" is the essential line, while "5" focuses on alliance products in Japan, such as accessories, bags, shoes, and other miscellaneous goods in Japan."Angelic" is an alliance line specializing in wedding dresses and formal wear for men, developed by a company specializing in weddings.All of these products were designed and developed at the “beauty:beast” atelier, where seasonal concepts, designs, graphics, and occasionally patterns were created. Production and sales were then carried out through specialized factories, either independently or in collaboration with partners.Why pursue alliance development? The reason was that producing everything in-house had limitations—it lacked the specialized equipment, expertise, and marketing networks needed for certain items and scenarios. Additionally, it often resulted in higher-priced products. By developing through alliances, we were able to enhance both design quality and marketing while offering products at more accessible price points for consumers.Lastly, "NU-LV (New Love)" was a suiting line for business scenes at a more affordable price. It featured items designed by Yamashita for a film’s costumes and was developed and sold by a company specializing in men’s clothing.What was the inspiration behind your original characters like the bunny and the angel? Who is ‘Kemono Tsukai’?In the modern day, it may seem commonplace, but seeing the animation of a bowing woman on a bank ATM screen in 1996 left a profound impression on me. I began to wonder if an idealized image of a woman—eternally beautiful, untouched by scandal, and admired by all—might one day be embodied as an anime character. Back in 1997, incorporating anime or manga characters into fashion was considered highly taboo. However, we deliberately chose character motifs as symbols of beauty and began expressing them through intricate embroidery.Around the same time, in 1998, we unveiled a collection called “Dark Knight”, which explored the themes of the darkness and light within the heart—expressing the inner struggles of the human psyche. The concept of “Dark Knight” centers around the realization that, by confronting one's inner darkness, one can eventually discover that they themselves are the "Dark Knight" who guides their own inner light and shadow. While assembling this collection, I wondered if there might be a way to convey the same message outside the realm of fashion. Though still unpublished, “Dark Knight” includes a manga version that I personally illustrated and wrote the scenario for. It’s a biopunk sci-fi story that challenges the idea of expressing the emotions conveyed by the collection through the medium of manga. This story serves as a metaphor for the brand’s concept: "the journey to discover one's true self." It portrays the process of overcoming various hardships and ultimately reaching the crucial realization of confronting one's true self. Through this fictional narrative, we aimed to evoke these emotions in readers, creating a deeper connection to the message behind the collection. “Kemono Tsukai” is the bundle name used by Yamashita, and it means "Beast Master." It is a pen name used exclusively for works related to sound and illustrations created directly by Yamashita himself.
You have done design work for a number of other brands. Tell us about the projects you did for Pioneer, Seiko, and TOYOTA. At Pioneer, I was responsible for the exterior design of the "Loopmaster," a groundbreaking portable CD player at the time. At Seiko, I developed collaboration designs for wristwatches as official designs for “Mobile Suit Gundam”. Since both products had outstanding performance, I focused on proposing exterior designs that integrated fashion and fit seamlessly into everyday lifestyles. For TOYOTA, I designed the outfits for the motorsports girls and concierges at the 33rd Tokyo Motor Show in 1999, based on a futuristic theme.Tell us about your experiences as creative director for FILA and adidas’ sports casual line.Since the 2000s, the fashionization of sportswear has gained global attention. This period marked a turning point where consumer markets began shifting from a performance-centric mindset to a lifestyle-oriented approach. Of course, functionality remained essential, but there was a growing focus on design and personal expression. Arguably, Y-3 was the pioneer in this movement, successfully merging fashion with sports functionality!Moreover, there was a shift in how design proposals were presented in the sports industry. Instead of the traditional hand-drawn sketches often used in fashion, the approach became more technical—closer to the work of pattern makers and modelists, incorporating precise drafting and structured presentations.Around this time, we also transitioned from relying on hand-drawn designs to using digital tools like Adobe Illustrator and Photoshop for illustrations and documentation, reflecting the evolving creative process.
What did you do for ASICS and the ‘Ayami’ line?From 2008 to 2015, I was responsible for the direction and design of ASICS' running apparel. As sportswear became increasingly fashion-forward in the 2000s, the global running boom created a demand for running apparel that seamlessly fit into everyday life. This led to the launch of the “Ayami” line—a brand that merged high-performance running functionality with fashion. Over time, the collection expanded into categories such as fitness, walking, and swimming. The earliest design I was asked to do was to develop a more feminine mark using ASICS' signature shoe icon and reimagining it as a ribbon-like motif. This design language grew into a global concept.Creating apparel that felt natural in a lifestyle setting while maintaining top-tier functionality for various sports and workouts required a deep understanding of human-centered design. Working closely with ASICS, a company that takes the health of its users very seriously and has advanced ergonomic technology, allowed me to refine my approach to performance-driven fashion with a strong emphasis on user well-being.
Was beauty:beast ever featured in any Japanese or American films for costumes.All works are in Japanese cinema: 2000: Costume Design for Japanese movie “The City of Lost Souls” (Hyōryūgai), directed by Takashi Miike, under Durban brand nulv. 2002: Created costume designs for musician SUGIZO in “Soundtrack”, directed by Ken Nikai. 2003: Costume Design for HYDE (L'Arc~en~Ciel/VAMPS) in the futuristic sci-fi film “MOON CHILD”, distributed by Shochiku.
What was the concept behind the beauty:beast hair salons?When launching the wedding line “Angelic”, we received numerous inquiries from couples for advice concerning hair and makeup. While their dresses and tuxedos were from beauty:beast, they wanted a complete beauty experience that extended to their hair and makeup as well. In response, we presented our concept to several salon owners, many of whom resonated with our vision. This led to collaborations with salons, allowing us to expand the beauty:beast approach to total beauty—from head to toe. Although bridging different industries presents challenges, this concept of “total beauty styling” remains a work in progress, with great potential for further growth.What is Neven records? Tell us about some of the artists that were signed to the label and the kinds of music you were making.“Neven” is a collective of creators designing experimental of “Never Even Enough”, with beauty:beast at its core.The initiative began with the development of immersive audio environments for beauty:beast’s collections, where location, time of day, and lighting were carefully orchestrated alongside sound design. As the concept grew, many sound creators resonated with the vision and organically became part of the collective. Due to the overwhelming audience turnout at beauty:beast’s collection shows, an after-live party was introduced, allowing a broader audience to experience the full show via film screenings. The music for these events, including live performances and DJ sets, was curated by members of “Neven”. Under the alias “Also Beauty:Beast”, the duo of Yamashita and Mikurino released a collection of soundtracks for beauty:beast. Last year, the collective collaborated with Israeli artist Nesssix to reconstruct and release an album based on '90s recordings. Other projects have been released under the names Kemonotsukai, Z Bremen, and tEchnoLLoSS.
What is Basesix LTD.?Basesix LTD. is the company name that was changed from beautybeast LTD., which halted the release of collections in 2000. Following the sudden cessation of collection releases, there were numerous inquiries from industry professionals and related companies, which led to the decision to change the company name in order to shift its business model. At the time, the name was chosen with the idea of rebuilding a new apparel system, with at least six members remaining.After 2002, beauty:beast didn’t have as many collections, aside from a few anniversary shows until 2019. What were some of the decisions you made when re-introducing the brand?I have always been searching for fashion’s place as it evolves and transforms with each era. When deciding to relaunch beauty:beast, I was struck by the sudden surge, since 2019, of young people in North America posting about past collections with hashtags like #beautybeast and #aka.beautybeast on social media. This made me realize the presence of a new generation I should be engaging with, and it inspired my decision to restart the brand. Thanks to social media, I have had the opportunity to connect with young creatives in their teens and twenties worldwide, exchanging ideas beyond borders, gender, and religion. I sincerely hope to continue creating proposals for a better future through these collaborations. Now, I am not only communicating with young people in North America but also collaborating with individuals across the world, actively working on new creations. Through this process, the day when I unveil a new beauty:beast collection may not be just a dream. For me, fashion is more than just a means of self-expression—it is a tool to connect with the world. Through my creations, I want to share the power of fashion in self-expression, cultural innovation, and social connection with more people. I hope that everyone can discover their true selves through fashion, gaining confidence in their lives. With this vision, I will continue to create and innovate.What are some of the future plans for yourself and the brand?The COVID-19 pandemic and shifts in social dynamics have profoundly altered our way of life, significantly impacting perceptions of fashion and consumer behavior. Particularly among younger generations, fashion has gained importance as a means of self-expression, while values such as sustainability and diversity have become increasingly essential. Amid this evolving landscape, our brand seeks to create new value by embracing digital innovation while preserving traditional craftsmanship, ensuring that our vision resonates with a wider audience. Key initiatives:1.) Merging Digital and Physical Realities:We aim to explore new forms of expression by integrating virtual fashion with real-world fashion, utilizing digital platforms such as social media and gaming. 2.) Co-Creation for Innovation:By actively collaborating with creators worldwide, we strive to incorporate diverse perspectives, fostering groundbreaking and original works. We particularly seek to support young creators, amplifying their unique sensibilities and ideas through our brand. 3.) Commitment to Sustainability:We are dedicated to addressing environmental and social challenges by incorporating sustainable materials and production processes, establishing a more responsible and enduring foundation for fashion. Through these initiatives, we aspire to go beyond simply offering clothing—we aim to redefine the essence and purpose of our brand, carving out a meaningful place in the future of fashion.Lastly, we believe that fashion has the potential to be a field for expressing all values, transcending gender differences and national borders, and a multi-communication category with the potential to create opportunities for people to connect with each other.We believe that what is here is a sharing of values that is connected to the spiritual world, which is different from simple social communication.beauty:beast does not trust general trend maps. We value the personal trends that people feel.
Special thank you to Takao Yamashita for graciously sharing these responses and rare images from his personal archive. Be sure to check out the ‘archives’ section on ARCHIVE.pdf's website for the most comprehensive look at beauty:beast available online. Follow @aka.beautybeast to stay up to date with their latest releases!