KANSAI YAMAMOTO's iconic "TOKYO POP," globally renowned as a costume for David Bowie, is now a BE@RBRICK! We spoke with Kenta Takaya, Designer and Creative Director at Kansai Yamamoto Inc., about the thoughts behind it and its development.

KANSAI YAMAMOTO's masterpiece "TOKYO POP," worn by David Bowie as a stage costume for his "Ziggy Stardust" US tour in 1973 and later becoming his iconic look, has been transformed into a BE@RBRICK. It is being pre-sold as a commemorative item for MEDICOM TOY EXHIBITION '24. We asked Kenta Takaya, Designer and Creative Director at Kansai Yamamoto Inc., about the development story and the thoughts behind the work.

Kansai Yamamoto
Born in Yokohama, Kanagawa Prefecture in 1944. Originally from Gifu City, Gifu Prefecture. In 1971, he became the first Japanese designer to hold a fashion show, "Kansai in London," in London, launching his career on the world stage. His avant-garde designs, which broke conventional norms, garnered overwhelming support from fashion-conscious youth. From 1974 to 1992, he participated in collections in Paris, New York, and Tokyo, establishing himself as a global designer. After 1993, he expanded beyond fashion design to become a producer of spectacular live events. He organized KANSAI SUPER SHOW and the Japan Genki Project worldwide, and was involved in comprehensive production for the 2008 G8 Toyako Summit's venue and social events. He also designed the interior and exterior of the new "Keisei Skyliner" limited express train for the Narita Shinkansen railway (receiving the Good Design Award in 2010 and the Blue Ribbon Award in 2011). He passed away in 2020 at the age of 76.

— What was the inspiration behind this BE@RBRICK of "TOKYO POP"?

Kenta Takaya(Hereafter, Takaya) Actually, the development of this BE@RBRICK took over two years, and the project was initiated right in the middle of the COVID-19 pandemic. We have had a long-standing relationship with Medicom Toy, and we decided to collaborate on a project that would bring energy to the world!

Kansai Yamamoto held his first fashion show in London in 1971, as the first Japanese designer to do so. Mary Quant, a leading British fashion designer, commented at the time, "Kansai is working incredibly hard. And his fashion had a significant impact on London's fashion scene." It's likely that a young David Bowie was one of those influenced by him.

TakayaThe "TOKYO POP" costume has a structure that splits in the front and back, inspired by the Kabuki technique of "hikinuki" (a theatrical device for instantly changing costumes before the audience's eyes). What Yamamoto valued most was the Japanese concept of "Basara," and the outlaw style of "kabuku" (to be eccentric or avant-garde), from which the word "Kabuki" originates. This resonated with David Bowie's creativity, resulting in an explosive energy.
Although it's a 50-year-old design, it hasn't faded at all even today. It was Kansai Yamamoto, along with the pioneering stylist Yasuko Takahashi (born 1941) and photographer Masayoshi Sukita (born 1938), who collaborated to create David Bowie's expression, transcending concepts of new/old, male/female, West/East.

TakayaWhen I asked Yamamoto about that time, he said, in his own words, "A young person working incredibly hard in the East and a young person working incredibly hard in the West resonated with each other, and they created a world of expression at the risk of their lives."
David Bowie faced a make-or-break situation with his tour to America from the UK, and Kansai Yamamoto likely spent his entire fortune on his fashion show in London. Both debuted their careers with immense risks, and this was a collaboration of energy between individuals undertaking such tremendous challenges.

At that time, the space race between the US and the Soviet Union was ongoing, and the Vietnam War was taking place, so there was also an undercurrent of anti-war sentiment among young people. While I wasn't alive then and cannot speak to that fervor, I believe it was a pioneering expression where "music" and "fashion," which are now inseparable, came together. We collaborated on this BE@RBRICK with the hope of conveying that explosive energy.

— What was the reaction to "TOKYO POP" being worn during the "Ziggy Stardust" American tour, an album hailed as a masterpiece of rock?

TakayaDavid Bowie first wore this costume on stage on February 14, 1973, a Wednesday. The venue was New York's Radio City Music Hall. Doors opened at 10:30 PM, and the show started at 11:00 PM. Despite the temperature being -7°C (19°F), over 6,000 people were lined up in front of the venue from the afternoon, waiting for the show to begin.

The show started 15 minutes late. At 11:15 PM, as the venue lights dimmed, David Bowie, wearing "TOKYO POP," descended from the ceiling on a spherical object resembling a disco ball. After singing the first song and receiving thunderous applause, he moved to the second song. Bowie remained motionless. A woman, like a stagehand, swiftly appeared and removed the costume in an instant, causing the New York audience to erupt in excitement.

Yamamoto was also present. At 3 AM the previous night, Yasuko Takahashi, who was in charge of David Bowie's stage costumes, called Yamamoto internationally, saying, "You must come right now." He flew there the next day and witnessed the scene, unable to stop his tears. His connection with David Bowie continued until the singer's passing.

— This costume wasn't originally made for David Bowie, was it?

TakayaIt was a piece originally created as a women's jumpsuit, which Yasuko Takahashi then styled. If you look closely at the actual garment, you can see evidence of it being altered, with gussets added and fabric extended to make it slightly larger. The waist is very narrow, so it's quite remarkable that David Bowie could wear it, as few men could fit. This replica here faithfully preserves the traces of those alterations.

— Could you tell us about the development of the "BE@RBRICK KANSAI YAMAMOTO “TOKYO POP” 400% / 1000%"?

TakayaFirst, we searched for the same fabric as the original. Medicom Toy handled the production, and we supervised the materials and details. The BE@RBRICK team had never worked on such an unconventional garment before, so they faced considerable challenges. The white lines were particularly difficult. Because the form is so different from a human body, the lines wouldn't flow evenly when applied to the BE@RBRICK. This was especially challenging for the 400% size, which is smaller and has finer patterns.

— The 1000% version replicates the structure that splits in the front and back, just like the original, doesn't it?

TakayaThe lining fabric and colors have also been faithfully reproduced. The BE@RBRICK team's technical skill is astounding; they worked with such perseverance on revisions that I am truly impressed. I can only express my deepest respect.

— The body features the name KANSAI YAMAMOTO in red.

TakayaThis red color was extracted from a photograph of the sunrise on the summer solstice (June 21st) at Futami Okitama Shrine's Meoto Iwa (Wedded Rocks) in Ise City, Mie Prefecture. The summer solstice is the day with the longest daylight hours, so we wanted to imbue this BE@RBRICK with the strongest solar energy. During development, especially amidst the pandemic, our sole focus was to deliver energy to everyone, so this color felt absolutely right.

— Could you also tell us the origin of the name "TOKYO POP"?

TakayaThe name "TOKYO POP" was given to this work quite some time after its unveiling. Fashion illustrator Antonio Lopez had an illustration collection called TOKYO POP, inspired by his visit to Japan. It included a drawing of someone working while wearing knickerbockers. Lopez and Yamamoto were long-time friends and often attended Kabuki performances together. It's said that the silhouette of this costume was inspired by Lopez's drawing of knickerbockers, leading to the name "TOKYO POP."

— Looking back, what are your thoughts on this collaboration with BE@RBRICK?

TakayaI have always held BE@RBRICK in high regard. While they are toys, they seem to serve as a medium for conveying social messages. For instance, through BE@RBRICK, people might discover Hokusai Katsushika, Keith Haring, or even the Louvre Museum or Kutani ware for the first time. Considering this, although "TOKYO POP" debuted over 50 years ago, I'm certain that this BE@RBRICK will introduce Kansai Yamamoto and David Bowie to new audiences. It truly demonstrates the power of BE@RBRICK as a platform.

— What are the future aspirations for Kansai Yamamoto Inc.?

TakayaIn 2013, the major retrospective exhibition "DAVID BOWIE is," which summarized David Bowie's world and career, opened at the Victoria and Albert Museum (V&A) in London. It set a record for the museum's highest attendance and subsequently toured globally, including Japan in 2017.
After 1993, Yamamoto shifted his focus from fashion to performing arts. However, as the stage costumes he designed for the aforementioned exhibition garnered significant attention, he held his first fashion show in 20 years, titled "Fashion in Motion: Kansai Yamamoto," at the V&A in November 2013. Five years later, in 2018, a new V&A branch, "V&A Dundee," opened in the city of Dundee in northern Scotland.
Yamamoto expressed his desire to hold a show at "V&A Dundee" right up until his final days. Therefore, as one of our future endeavors, we aim to hold an exhibition at "V&A Dundee."

Furthermore, many European brands meticulously preserve their past archives. However, in line with Kansai Yamamoto's personal philosophy, we have not historically retained past creations, viewing them as relics of a bygone era.
Consequently, we envision an exhibition that brings together scattered works from around the world, or perhaps new forms of expression utilizing technology that leverages the absence of existing archives. We hope to create something truly unique. A BE@RBRICK collection could potentially recreate these pieces, and realizing such a project would be an invaluable asset for us.

For example, a BE@RBRICK featuring a cape with the Kanji characters "出火吐暴威" (De-i-do Bo-i, a phonetic rendering of David Bowie) would be fantastic. We have many ideas. This particular costume would likely be the most challenging to reproduce, so it's unlikely that development would take as long as this one.

— We look forward to it. Are there any other events planned?

TakayaMost immediately, I will be the general director for the "Hanshin Koshien Stadium 100th Anniversary Ceremony: KOSHIEN CLASSIC ~1924.8.1 - 2024.8.1~" held before the Hanshin Tigers vs. Yomiuri Giants game on August 1st, marking the 100th anniversary of Hanshin Koshien Stadium. Yamamoto himself produced the "Japan Genki Project" as his life's work, and I collaborated with him on its direction. Moving forward, our company aims to contribute not only to fashion but also to events that energize people and initiatives that promote regional revitalization by helping to disseminate Japanese traditional culture.

— While researching past materials for this interview, I was surprised to learn that Yamamoto participated in the "2nd All Japan Chanson Competition" in 1965, before his debut.

TakayaThat's correct. The grand prize for that competition was a ticket to Paris. I heard that he entered because he was young, struggling financially, and Paris was the heart of fashion. Tokiko Kato, who went on to have a successful international career, won the Grand Prix that year. While Ms. Kato has also achieved global recognition, the sheer energy of that generation is truly remarkable. It's incredibly inspiring.

BE@RBRICK KANSAI YAMAMOTO “TOKYO POP” 400% / 1000%
Size | Approx. 280mm / 700mm tall each
Release Date | Scheduled for release in July 2024. *Following advance sales at MEDICOM TOY EXHIBITION '24, sales will be available on Medicom Toy's online store and directly managed retail locations.
Price | [400%] ¥28,600 (incl. tax) / [1000%] ¥140,800 (incl. tax)
*This is a limited edition product. Sales will end once stock is depleted. Thank you for your understanding.
©️KANSAI SUPER STUDIO
BE@RBRICK TM & ©️ 2001-2024 MEDICOM TOY CORPORATION. All rights reserved.

MEDICOM TOY EXHIBITION ’24
Venue: SPACE OVAL [Omotesando Hills Main Building B3F]
Location: 4-12-10 Jingumae, Shibuya-ku, Tokyo
Period: Tuesday, July 23, 2024 - Sunday, July 28, 2024 *Open daily
Opening Hours: 11:00 AM - 8:00 PM *Last admission 30 minutes before closing
Admission Fee: Free
You are welcome to view the exhibition freely at your preferred time.
*Admission may be restricted depending on the number of visitors.