Koki Nakano | On Music, Fashion, and His Unbreakable Bond with Issey Miyake’s Satoshi Kondo

Interview with Japanese composer and pianist Koki Nakano

How did your collaboration with Issey Miyake initially come about?

I was asked to compose music for their 2023 S/S Paris collection. I was thrilled to hear that the head designer, Mr. Satoshi Kondo, owns all of my albums and listens to them while designing. He shared this with me during our first meeting, which was a great start for our collaboration.

What aspects of Issey Miyake ‘s design philosophy resonate most with your own approach to composing music?

I admire their concept of continuity and fluidity, exploring new shapes while cutting fabric as little as possible. Mr. Kondo isn’t afraid to place simple principles like “joy” or “hope” at the forefront of their innovative, subtle craftsmanship. I’m fascinated by their approach, which always celebrates humanity while exploring the edges of contemporary design with unique perspectives. I often reflect on a famous composer’s idea that a phrase contains all the information needed for its development. I take my time to discover the most authentic progression of any material with potential, which aligns with ISSEY MIYAKE’s principle of “A Piece of Cloth.”

Could you describe the process of creating music for Issey Miyake’s runway shows? How do you translate the visual and tactile aspects of fashion into sound?

I’ve worked on two collections with them. For both, we had extensive meetings before I started composing. Mr. Kondo and his team shared the concepts, prototypes, and mood boards for the collections with me. From there, I researched materials that echo the theme and aim to create an emotional narrative that spans the 15-18 minute duration of the show. I always aim to create an experience where models and the audience immerse themselves in the universe ISSEY MIYAKE has created. In line with their “A Piece of Cloth” principle, I try to make the music flow like a “long breath” throughout the entire show.

Issey Miyake is known for combining traditional craftsmanship with cutting-edge technology. How does this blend of tradition and innovation influence your creative process in this collaboration?

My classical training, affection for acoustic and natural sounds, and curiosity for new materials – especially in electronic music – align well with their approach. This blend of tradition and innovation naturally resonates with my own work.

Fashion and music both have the power to evoke emotion and tell a story. How do you feel your music complements or contrasts with the clothing in Issey Miyake ’s collections?

I consider myself an emotional person and performer. I’ve performed live for my previous collaborations with them, and what I aim to bring to the collection is an emotional journey.

Sustainability in Music and Fashion

Sustainability is becoming an important topic in both the fashion and music industries. In what ways do you see your music engaging with ideas of sustainability? How has your collaboration with ISSEY MIYAKE influenced your views on environmental consciousness in art?

I like to think of our bodies as extensions of the environment, rather than seeing it in opposition. ISSEY MIYAKE often uses expressions like “clothed in nature,” and their garments sometimes act as unique models of the connection between the environment and our bodies. This concept has been inspiring for me.

Do you think music, like fashion, can contribute to discussions around sustainability? How?

Yes, I believe that creators can introduce diverse forms of joy and playfulness, which can shift the way we think about development and consumption. By encouraging non-linear progression, we can foster a more sustainable mindset. I see this as one of the most important roles of creation today.

In your compositions, do you consciously think about creating in a way that is “sustainable” artistically, perhaps by focusing on longevity or emotional resonance rather than trend-driven works? Can you give an example of a piece or project where you incorporated principles of sustainability, whether conceptually or practically?

My first album Pre-choreographed explored the inseparability of movement and sound. My previous album Oceanic Feeling was inspired by the French poet Romain Rolland’s concept of “a sensation of eternity” and “a feeling of being one with the external world.” My latest album Ululō focuses on the struggles of existence in a world defined by limitations, with a sense of romanticism.

My interest lies in creating music that explores the frameworks and limitations that surround us, making them as fluid and soft as possible. For instance, every time I listen to the second movement of M. Ravel’s Piano Concerto in G Major, I am moved by how its melodies fulfil and accompany me. I have immense respect for the methods of Occidental music that create this feeling through harmonies and orchestrations. As a non-Western artist, I aim to bring something new to this warmth, using both traditional instruments and modern technology.

Creative Philosophy and Future Directions

Many of your compositions feel deeply connected to nature and the organic flow of life. How do you see these natural elements tying into your music’s sustainability message?

I often consider sounds of the piano as a my voice or body, and other elements as its environment or a landscape in my compositions. often I explore different balance/relation between these two, it’s a kind of a research for alternative, better relation with surroundings for myself.