Interview with Nana Watanabe

I have always loved creating things by hand since I was a child. I would gather materials from nature to make small gifts and crafts, and I still remember the joy I felt when those pieces brought a smile to someone’s face. That experience deeply connected creation with happiness in my mind. After studying art and design, I started my career in fashion design, which eventually led me to jewelry as a form of wearable art. It all feels like a natural extension of that early joy.

What matters most to me is expressing a unique perspective that only I can see, and creating things I genuinely desire myself. I don’t follow trends or established frameworks but instead try to stay true to what I feel in the moment. Structurally, I apply knowledge from pattern-making that I developed in fashion, aiming to create sculptural, body-hugging forms. I don’t usually sketch—instead, I start by physically working with paper or fabric to develop prototypes, then refine the embroidery details to bring balance and completion to the design.

There’s a special kind of exhilaration that comes when an initial idea begins to take shape. As I work, I often imagine who the piece will reach and how they’ll feel when wearing it—and that thought alone brings a smile to my face. For me, design is both a form of self-healing and a bridge to connect with others.

My greatest inspiration comes from being in dialogue with nature and from the spiritual qualities of Japanese culture. Growing up surrounded by the sea and mountains in Japan shaped my sensitivity to color and form. The sound of the wind, flickering light, and the quiet presence of small lifeforms all live in my creations. The Japanese aesthetics of "ma" (negative space), restraint, and harmony with nature are at the core of my design philosophy. Beyond design, I rely heavily on observation and intuition, which help me stay authentic while exploring new forms of expression.

What is your dream design project?
I would like to expand beyond jewelry to explore more immersive forms of expression. I'm currently interested in creating embroidered art installations and functional yet poetic bags that combine artistry and utility. I hope to present my work in more countries and draw inspiration from new landscapes, cultures, and people. Traveling is an essential part of sowing creative seeds for me. Breathing in the air of different regions and reconstructing it through design is how I grow—as an artist and as a brand.

Trust your intuition and keep working with your hands—that’s what I still live by. Don’t be afraid to fail. Try many possibilities. The expressions that only you can create don’t come from thinking alone; they emerge through repeated prototyping and exploration. Even when you feel lost, keep moving. Progress lies in action.

Dig deep into what only you can create, and find meaning in offering that to others. I believe in the ripple effect of joy—when a piece touches someone’s heart, that joy spreads to others. Design has the power to light up small corners of the world. As professionals, we must turn our beliefs into form and communicate them through our work.

I wake up at 4 a.m. every day. Before breakfast, I spend time stretching, meditating, and studying. In the morning, I handle emails and shipping tasks. When I have time, I also experiment with colors or small design trials. The afternoon is for more routine tasks and meetings. After that, I prioritize spending time with my 4-year-old son. A well-balanced, mindful routine helps me stay creative and centered.

To what extent do design trends matter?
Rather than chasing surface-level design trends, I pay close attention to shifts in social atmosphere and people’s emotions. I make a conscious effort to understand the broader cultural and ideological movements happening around the world rather than relying on design magazines or trend-based social media. In doing so, I find a deeper relevance and uniqueness in my own work. I believe it’s more valuable to express the “now” in my own voice than to follow what’s currently popular.

How do you define good design?
Good design, to me, is something that stays in your mind for no apparent reason. It’s not just about function or visual appeal—it’s about a strong, clear idea that is beautifully resolved. When a piece moves your heart at first glance and brings a story to life upon touch, that’s when I know it’s good design.

I know a design is ready when I feel there’s nothing more to take away. Through a subtractive process, I aim to leave only the essence. To be honest, I always carry a sense of "it could be better," but that feeling is what drives me to the next creation.

One of my most iconic works is the "SHRIMP" earrings, which won the A' Design Award. In this piece, I focused on maximizing the qualities of the materials. The design integrates origami-like structure inspired by Japanese aesthetics with the fabric-handling finesse I developed in fashion. It combines lightness with sculptural strength and has become one of my most beloved wearable sculptures.

I’m not sure he would be classified as a designer, but I was deeply inspired by German zoologist Ernst Haeckel. His illustrations of natural forms taught me about the mystery and harmony of life. In fashion, I’ve been profoundly influenced by the color sensibility of Dries Van Noten—his work feels like poetry made of fabric.

I grew up in a coastal town in Kanagawa, Japan, where I was constantly surrounded by nature. This proximity to the natural world shaped my worldview and continues to influence the structure and color of my work. I’m also deeply moved by the concepts of "ma" (negative space) and quietness in Japanese culture. Music is an important creative companion for me—I often work while listening to classical or ambient sounds.

I primarily run my brand alone, though in recent years I’ve begun collaborating with trusted assistants and project partners. I value sincerity and open dialogue above all and choose collaborators based on whether we can dream and build something meaningful together.

I aim to practice ethical jewelry design by choosing low-impact materials and incorporating recycled polyester in my pieces. At the same time, I believe that simply making something that brings a smile to someone's face is one of the most sincere forms of contribution. If my work can lighten hearts and create small ripples of joy, then I believe it is helping to shape a more peaceful world.

Participating in the A' Design Award has been a major turning point for me. The exposure of my winning work on an international platform allowed more people to discover my brand and see my work from new perspectives.

What struck me most was how the process of verbalizing the background and intention behind my design helped clarify my brand's worldview. It was not only a way to communicate outwardly, but also a valuable opportunity to reflect on why I create and what I want to deliver.

Though major changes and reactions may still be ahead, the award has already given me strong confidence and encouragement for my next steps.

I’ve been fascinated with creating things by hand since I was a child. I used to gather natural materials to play with or make gifts for people and feel great joy when they smiled. That sense of joy in creation is at the root of my motivation. Designing is the most natural way for me to express myself—it moves people and adds meaning to everyday life.

I chose this path on my own. But looking back, I realize that creating was always a part of me since childhood—so in a way, I may have been guided by something within. While others pursued different careers at university, I never doubted that I wanted to be in a creative field. It wasn’t so much a decision as something that felt inevitable.

I design jewelry using embroidery and textile techniques. I draw inspiration from the colors and forms found in nature, and I aim to express them in abstract, poetic ways. Moving forward, I want to go beyond the boundaries of jewelry and explore larger-scale installations and spatial design.

Stay true to what you love and to the sense of discomfort or curiosity that only you notice. Having your own perspective is key. Don’t rush the results—trust your instincts and keep going, even if it feels like a detour. In the long run, every experience becomes part of your unique design story.

A good designer can create technically excellent work. But a great designer has the power to influence an era and move people’s hearts. It’s not just about beauty or functionality—it’s about raising questions, offering new perspectives, and connecting with society on a deeper level. That’s where greatness lies.

A truly great design touches people emotionally and withstands the test of time. It’s not about fleeting trends, but about reaching the deeper layers of why we’re drawn to something. When a design resonates with people on that level, it becomes truly meaningful.

Good design enriches our daily lives and emotions in positive ways. It has lasting value because it’s loved over time and doesn’t become waste. I also believe that when our hearts are fulfilled by beautiful things, even conflict can be reduced. Design can make the world a more peaceful place.

Good design enriches our daily lives and emotions in positive ways. It has lasting value because it’s loved over time and doesn’t become waste. I also believe that when our hearts are fulfilled by beautiful things, even conflict can be reduced. Design can make the world a more peaceful place.

It’s been a dream of mine to develop fabric starting from the thread itself. By designing texture, color, and weaving from scratch, I believe I can expand the expressive range of my work. I want to one day take on a project where the materials themselves are part of the artistic world I build.

I trust my intuition. I treasure the fleeting moments when inspiration strikes, often unexpectedly. Honoring those impulses has led me to my most authentic and meaningful creations.

Issey Miyake. Although I worked under him only for a short period, it was one of the most formative experiences of my life. His approach to creation was always groundbreaking, and he constantly reminded me of the essence of what design truly is.

I’m deeply inspired by Ernst Haeckel’s perspective and observation skills. His ability to capture the structures and forms of nature with such precision—and transform them into art—resonates strongly with the way I approach my own work.

My Shrimps Earrings are one of my most iconic creations. They appear humorous at first glance, yet each detail holds intricate craftsmanship and strong intention. Their lightness and poetic form seem to linger in people’s memories, which makes me believe they’ve achieved something special.

To nurture your sensibility, it’s important to look beyond design. Visiting museums, traveling, spending time with children—everyday experiences become your creative toolkit. Personally, I always ask myself: “Am I observing the world closely enough before I start creating?

I think I would have worked with children—teaching them art. I love seeing how freely they express themselves, completely unbound by rules. Their creativity would have inspired me just as much as I hope I could have inspired them.

For me, design is a way to communicate emotions and beauty that cannot be fully expressed through words. It’s the act of translating feelings, discomforts, or wonders into tangible form. It overlaps with art, but for me, it’s more like a bridge that connects people on a deeper level.

Design, to me, is something that makes people smile. When someone wears my work and lights up, those around them often smile too. That chain of joy becomes a loop that also comes back to me. That sense of shared happiness has supported me more than anything.

I wouldn’t call myself a great designer yet. But what has guided me is the belief in my own instincts. I create not based on trends or external judgment, but on what feels “right” to me personally. That internal compass keeps me grounded.

I’m far from being a master. But one of the biggest challenges was the fear that my work wouldn’t be accepted. Especially in Japan, where “jewelry” is often equated with precious metals or gemstones, it took time for my textile-based expressions to be understood. But by continuing to share my work without giving up, I slowly found people who resonated with it—and that’s how the path opened up.

I believe it’s essential to share the background and emotions behind the design—especially the feelings that went into it. By expressing the worldview through visuals like photography or video, you can convey emotions that words alone cannot reach. This helps shorten the emotional distance between the work and the viewer.

In the future, I plan to explore new forms of expression beyond jewelry—such as bags, hats, and other wearable objects, as well as spatial installations. I want to expand from wearable art into art that can be experienced, engaging more senses and emotions.

My ultimate goal is for my work to quietly warm someone’s heart, regardless of generation or cultural background. I don’t want to simply make “things”; I want to create experiences that resonate with people’s memories and emotions and stay with them for a long time.

I think people expect “new perspectives” and something that stirs their emotions. That’s why I always try to sharpen my own sensitivity and stay true to my expression without conforming too much to trends. I want to create pieces that offer beauty, surprise, and a gentle question to the viewer.

What I believe in through design is the power of joyful connection. When a piece touches someone’s heart, that joy spreads to others—and that small ripple of happiness can nourish souls. If we multiply those moments, I truly believe the world can become a more peaceful place. It might sound idealistic, but I believe in it deeply.

I’m currently preparing for a solo exhibition at a gallery I connected with through a mysterious and serendipitous encounter. I feel I’ll be able to show work in a way I never have before. I’m excited to explore new forms of expression and create a space that gently loosens the hearts of visitors.

My exhibition at the Museum of Arts and Design (MAD) in New York was a truly fulfilling experience. Showing my work in a different country and culture, I felt a strong sense that my expression “reached” people. It reminded me of the joy of connecting through sensation rather than language.

In Japan especially, I sometimes sense an unspoken tendency to form cliques or rigid categories that exclude anything different. I hope the industry will open up more—where freedom of expression is valued, and creators support each other across boundaries and labels.

With the rapid evolution of AI, I believe design is about to transform significantly. AI can help analyze, think, and execute at a high level—but that’s precisely why human intuition will become more valuable. I’m convinced that the most human part of us is our ability to say, “I don’t know why, but I love this.” Designs that appeal to that instinct will define the future.

It takes me quite a long time to refine the details after an idea comes to me. It’s common for a piece to take three to six months—or even longer. But for me, what matters most isn’t time—it’s whether I’m truly satisfied with the final piece.

I start by shaping something that catches my intuition—like a vague discomfort or a beautiful form or color I encountered in nature. I don’t begin with sketches. Instead, I create with paper or fabric directly, and from there I let the image gradually expand in my mind.

To cherish the perspective only I have, and to trust my intuition. Rather than relying on external validation, I always ask myself whether my heart is moved by what I’m creating.

I believe both influence each other, but I’m more drawn to design that creates trends. Designers should feel the edge of what’s to come and give shape to feelings that haven’t yet found words. That’s the essence of the job.

I value the warmth of handmade work, but I also incorporate technology, especially in embroidery production. Machine embroidery allows for precision, lightness, and delicacy that are hard to achieve otherwise. Balancing the charm of both hand and machine is a key part of my expression.

I mainly use Adobe Illustrator and Photoshop.

Color and materials are essential to directly communicating emotion and atmosphere. Because they’re sensed before they’re understood, the choices we make with them define the worldview of a piece. I especially focus on lightness, transparency, and the way colors interact.

I’m always happy when someone asks, “How did you come up with this?” Behind every piece is a story—a memory from a trip, a moment of discovery in daily life, a fleeting emotional shift. When someone wants to hear those stories, the dialogue deepens and becomes more meaningful.

I feel a pure sense of awe—“How did they come up with this?” And it makes me feel free, like I can let go of my own limitations. I love that moment when someone else’s work makes me realize I can be more open in my own expression.

One of my ideal partners is the photographer Terukazu Sugino, who I regularly collaborate with. His sharp, intuitive sense beautifully and precisely captures the world I’m trying to express—sometimes even better than I imagined. He often understands the intention behind my work just by seeing it. I truly believe in the creative potential of co-design, where different perspectives merge and elevate the result.

The senior designers I worked with during my time at ISSEY MIYAKE, and also the friends and clients who supported me when I first started my brand. The people who offered me honest feedback helped shape who I am as a designer today.

Ernst Haeckel’s art books. He beautifully captured the structures and forms of the natural world at the intersection of science and art. Just looking at his works fills me with endless inspiration. His way of abstracting nature has greatly influenced how I approach my own creations.

By simply continuing to create. Through producing a large volume of work, I began to see my own quirks and tendencies. By refining them, my personal style gradually emerged and evolved.

Taro Okamoto. His words and works deeply resonate with me. I’m always inspired by his ability to break through conventions and express the essence of life itself through art. If I could, I’d love to have a quiet conversation with him, just the two of us.

I’m very grateful for the awards, but what matters even more to me is the feeling that my work has truly reached someone. Being recognized comes with responsibility, but instead of pressure, I try to see it as encouragement—that someone out there is waiting for my next creation.

My favorite colors are yellow and green. I love places like forests, the seaside, and the peacefulness of shrines. I enjoy seafood, and early summer is my favorite season. Naturally, I love jewelry. As for brands, I’m deeply drawn to Dries Van Noten’s use of color and immersive world-building.

At an overseas exhibition, someone mistook one of my earrings for food and nearly put it in their mouth! It looked so realistic to them. I was surprised and delighted—it was a moment where art and humor met in the best way.

When I see someone wearing my work and smiling radiantly, I feel fulfilled beyond words. When I’m tired, I recharge by spending time in nature or visiting a quiet shrine. That calms my mind and rekindles my creative energy.

Not at all. But I was always “the kid who was making something.” I wasn’t seeking praise from others—I simply kept creating until I felt satisfied. That mindset hasn’t changed.

I hope humanity will live in harmony with nature and value emotional and spiritual richness. Even as technology evolves, I want to believe that we’ll still retain the ability to “feel” deeply and genuinely.

Through my work, I hope to spark people’s imagination and emotions—to create space for each person’s own stories to unfold. That relationship between the viewer and the piece is something I’ll always hold dear.

I currently operate on my own, and I have recently hired an assistant. I work in an area near the sea.

Design is something that brings smiles to people. It is the way in which I can fully express my abilities and find my sense of purpose.

I love creating unique pieces that no one has seen before—designs that appeal intuitively yet are the result of thorough conceptual thinking and are not easy to produce.

My favorite design is the award-winning SHRIMP earring. It maximizes the properties of the material, featuring an origami-like structure reminiscent of Japanese art combined with the refined fabric handling I developed during my fashion design days.

My very first professional design work was when I worked as a designer for ISSEY MIYAKE.

I feel most creative in the morning when I’m at my desk in a quiet room.

I pay special attention to whether the design is intuitively beautiful.

I feel so much joy—it’s incredibly fun.

I feel overwhelmingly happy.

A successful design requires a genuine consideration for others.

I look at whether the idea and aesthetics are well balanced.

I believe that there is no true value in creating something unless it comes from a place of kindness—towards the environment, society, and people. While environmental consciousness is essential, I also believe that bringing joy to others can help make the world a better place. In that sense, making people smile through design is one of the most meaningful contributions a designer can offer to society.

With the development of AI, I believe the field is undergoing major changes. AI assists with analysis, thinking, and tasks, paving the way for higher-quality creations. Moving forward, I am convinced that intuition will be the aspect that keeps us truly human. Design that appeals to one’s innate feelings—where the sense of 'liking' is at its core—will become increasingly important.

My last exhibition was held in May in Osaka, Japan, and I am planning a solo exhibition in June in Tokyo.

My inspiration comes from my childhood experiences in nature and the hands-on experiences I had visiting production facilities during my time as a fashion designer.

My design style is all about creating pieces that spark a sense of “I love this” at first glance—something that resonates intuitively. The forms are unique and airy, with a sculptural quality that sets them apart, even within the realm of jewelry. Drawing on my background as a fashion designer, I apply techniques from pattern making and garment construction to develop highly structural and distinctive designs. I don’t rely on sketches; instead, I work directly from inspiration, cutting fabric or paper by hand to create three-dimensional samples.

I live in Japan and have experienced various regions here. The richness of Japan’s nature and cultural heritage greatly influences my work. Japan offers unique cultural perspectives and sensibilities that lend distinct originality to designs influenced by Japanese culture. On the downside, being far from overseas can be a challenge—if I were based in Europe, for instance, I might have broader opportunities for international exhibitions.

Currently, I rarely work on corporate projects, although I have occasionally designed uniforms for companies.

I believe strong communication skills are essential.

I don’t usually create design sketches. Instead, I go straight from inspiration to cutting paper or fabric to make samples. Since my final pieces are three-dimensional, I don’t feel that preliminary sketches are necessary.

Some examples include an object made by my child, vintage sunglasses, the Nothing smartphone, RIKI clock, Fellow Carter Move Mug

Since my child is young, I go to bed at 8 p.m. and wake up at 4 a.m. Before breakfast, I devote time to stretching, meditation, and study, then work from 9 a.m. to 5 p.m. On my days off, I spend time with my child and husband.

I believe that gaining as much experience as possible through sheer volume of work will not only broaden your design range but also improve its quality.

I think it’s the best job ever, so I can’t really point out any negatives.

First and foremost, create something that genuinely excites you.

Not giving up until the very end.

I use my MacBook, pencils, a cutter, copier paper, Photoshop, Illustrator, scissors, and glue.

I work until I am completely satisfied with the result.

Approximately six months.

How did you create it?’

Last year, I had the opportunity to sell my work directly overseas at the MAD Museum in New York.

Many of my clients are creative professionals, such as artists and musicians.

I particularly enjoy the process of choosing colors."

I’m interested in designing not only jewelry but also bags.

I work on my own.

I’m currently working on a large octopus brooch.

They can reach out via email or through social media.