Imagine my shock when I recently went looking to see if we had featured legendary costume designer Eiko Ishioka and discovered that we hadn’t Eiko Ishioka is one of those designers whose designs you instantly recognize leaving behind only a dozen films to her name but practically every single one of them is utterly unforgettable winning Japan’s prestigious advertising award in 1965 for her work with cosmetics company Shishido she did a stint as department store Parko Ikebukuro’s chief art director before opening her own design firm in the early-1980s It wasn’t until 1985 that Eiko Ishioka began designing costumes for film So let’s check out her historical filmography Mishima: A Life in Four Chapters is a 1985 biographical drama directed by Paul Schrader depicting the life of the controversial Japanese writer Yukio Mishima The film is structured around four distinct chapters that represent different aspects of Mishima’s life: his personal and literary struggles and his ultimate quest for a more idealized Japan The film begins on the last day of Mishima’s life Credited as the production designer and uncredited as the costume designer Eiko Ishioka’s strong design influence is seen throughout the film I dare you to try to name only three costumes in this film that are not 100% iconic Because damn near every costume is legendary This film garnered Ishioka an Academy Award for costume design in 1992 is a visually stunning fantasy epic set in a Los Angeles hospital during the 1920s The film tells the story of an injured stuntman who weaves an elaborate fantasy tale for a young immigrant girl named Alexandria As Roy’s increasingly surreal narrative unfolds it mirrors both his deteriorating mental state and his own dark past blurring the lines between fantasy and reality Eiko Ishioka’s costume designs make vivid use of color and texture adhering to historical lines inflected with the surreal Theresa: The Body of Christ is a Spanish drama directed by Ray Loriga centered around the life of Teresa de Ahumada a young noblewoman living in 16th-century Spain who begins having visions of Christ that lead her to reform the Carmelite order Eiko Ishioka’s designs are lush and cinematic even if they sometimes depart from historical accuracy (but hey that’s why you pay good money for someone like her to design your historical flicks If you’re going to break the rules make sure they’re well done is a visually striking action-fantasy film that reimagines the myth of Theseus a mortal man chosen by the gods to defeat the tyrannical King Hyperion and stunning visual effects to tell a story of heroism and the clash between human will and destiny I debated on including this one because it’s even more of a departure from history than any of the others on this list but in the end decided to include it because Eiko Ishioka’s designs are really visually striking another collaboration with director Tarsem Singh visually vibrant retelling of the classic Snow White fairy tale starring Julia Roberts as the wicked Queen and Lily Collins as the titular Snow White and adventure as Snow White teams up with a band of dwarfs to reclaim her kingdom from her evil stepmother Eiko Ishioka’s designs are exaggerated historical silhouettes especially with the wicked Queen’s costumes Do you have a favorite costume designed by Eiko Ishioka My favorite of her designs are the ones for Dracula and Mirror Mirror (Although I wish it could have been worn by someone like Eva Green.) Mirror Mirror has the best costumes of any Snow White adaptation though I’ll admit I love the costumes in Snow White: A Tale of Terror but I smell Studio interference with her process for the Snow White remake but didn’t realize they all connect with the same designer I have mixed feelings about Eiko; I’m one of those horribly pedantic people who can’t stand bad historical costuming especially that which veers toward hysterical – say Julia Roberts’ “Mirror Mirror” wedding dress some of her out there designs for “Dracula” are just amazing The Klimt-influenced embellishments on Gary Oldman’s robe and Sadie Frost’s wedding dress are OTT gorgeous And who doesn’t love the red bustle gown worn by Winona Ryder even if the historical period is wrong for the story’s timeline That white beaded headpiece from “The Fall” looks amazing It’s like something out of an Erté illustration I suppose Eiko is a bit marmite – you either love her or hate her but she did create some incredibly striking costumes and perhaps the fact that she wasn’t of Western culture gave her the unique perspective to create something singular out of European and Near Eastern stereotypical characters I did get to work with a couple of the men’s costumes that she’d designed for “Dracula,” altering them for a stage production so that’s my one and only connection My favorite of her work is the costumes in “Dracula” I had the pleasure of talking to her whenever she called the costume house where I worked She was in the beginning process of designing the uniforms for the 2008 Olympic Games opening ceremony She would call related a collab on the design with the owner DRACULA is my hands-down favorite of her work It is IMPOSSIBLE for me to choose a favorite costume from that movie I was sooooooo focused on Henry Cavil’s and Luke Evans’s bodies that I didn’t pay attention to the other characters who were actually wearing clothes! The Mirror Mirror costumes put the new SnowWhite film to shame! And the Dracula costumes actually make the film 100% worthwatching (despite Keanu Reeves hilarious accent!) This site uses Akismet to reduce spam. Learn how your comment data is processed. Keep the snark flowing by supporting us with a small one-time donation on Ko-fi Seok-Woo Song — Photos exploring the pressures and loneliness of life in Korea Federico Borella & Michela Balboni — Photographing rural Italy’s “tree men” AikBeng Chia — Recreating vivid scenes from 1970s Singapore with the help of AI WePresent is the arts platform of WeTransfer.The simplest way to send big files A platform to empower creatives while using business as a force for good Eiko Ishioka’s work makes my brain explode in which the singer appears as a ghoulish nude sculpture and gets shrouded by skeins of blood-red cable  drooling from her mouth and nipples; who created the trippy theatrical sets for the film “Mishima: A Life in Four Chapters” (1985) a shape-shifting portrait of the tortured Japanese writer Yukio Mishima and his fictional worlds which is one of the strangest and most beautiful movies ever Ishioka was also behind the lush-as-fuck costumes for the masterpiece “Bram Stoker’s Dracula” (directed by Francis Ford Coppola) and won an Oscar for them in 1992 Everything she created between her 1960s youth and her death in 2012 is kind of magical Ishioka was the product of a matrix of unique and intense influences Her father was also a designer; she lived with her parents in cosmopolitan uptown Tokyo As she explained in an epic 1984 interview with Artforum “[Our] lifestyle wasn’t a traditional Japanese one We lived in a Western-style house [...] the two of them took me to French restaurants we saw American movies […]” (This amazing and epic Artforum interview is by far the most expansive chat Ishioka had with anybody in print about her biography and her aesthetics—it’s like a 19th-century novel or something pretty much all my Ishioka quotes come from there.)   the family was hiding out in the countryside it felt like they had crash-landed in another century Traditional Japanese values reigned; all that fun Western stuff she knew was gone “I was one very strange kid wearing fashionable-looking clothes among country kids who wore traditional Japanese kids’ kimonos but on the way the country kids would kick and punch me very lonely.” Not that this hideous experience made Ishioka rebrand as a meek and anonymous mouse she got revenge for all that trauma through the work: it stands out like something on fire; it doesn’t even try to be “normal” but creates its own luxuriously alien world and dares you to come inside The whole dislocating experience would replay when she and her family returned to a very different Tokyo in 1945 the capital that used to be home had turned into a looking-glass version of an American city trippy cornucopia of stuff to taste and touch Pre-teen Ishioka was bewitched by the influx of American chocolates (“the taste of heaven,” she said) she still claimed that her “first strong impression of beauty” came from American products “The first film I ever saw was a Hollywood animation,” she recalled in that Artforum interview what I saw was so beautiful.” All the key ingredients of her work are here: the unfathomable but ultra-seductive the supernatural promise of certain objects and textures the dreamy juxtaposition of Eastern and Western influences Once Ishioka completed her studies at the Tokyo National University of Fine Arts and Music in the early 1960s She was one of those wunderkinds who was greeted with a chorus of “Whoa!” right from the beginning She could conjure up stark but mesmerizing images at the drop of a witch’s hat She did a campaign for Japanese skincare brand Shiseido while she was still in her twenties (a girl dreaming on the weirdly fleshy shore of a beach: surrealism gone sunbathing) Her 1979 campaign as art director for Parco starred the actress Faye Dunaway dressed in black slyly eating an egg her come-hither face wreathed in a funeral veil: the classic Ishioka riddle She explained that sucker-punching everybody with an incredible non sequitur was a practical necessity on Tokyo streets swamped with rival ads [...] I have to think about how to get them to stop.” Her client list got legendary—Issey Miyake Isamu Noguchi: serious masters operating in wildly different fields She concocted the posters for the Japanese release of Francis Ford Coppola’s “Apocalypse Now” in 1979 and her reputation reached Hollywood the swanky coffee-table book collecting some of her greatest hits Ishioka acknowledged that this was a bizarre situation for a designer but now the traditional power dynamics of the artist-client relationship went head-over-heels because Ishioka was being hired to majorly imprint her aesthetics upon a project transmogrifying the whole thing by virtue of her presence rather than simply serving somebody else’s vision She became the ultimate person whose services to procure if you were a director trying to represent fairytale spaces As Coppola declared in a documentary on the costumes in “Dracula,” the fact that Ishioka “a weirdo outsider with no roots in the business”  guaranteed that the movie wouldn’t be just yet another zombie rerun of a classic all flimsy castles and Alsatians spray-painted grey to look like wolves When I was secretly watching “Bram Stoker’s Dracula” on VHS as a milk-toothed demon child it was obvious from the spooky lightning going through my body that the movie was hot Sadie Frost (playing the doomed minx Lucy) bangs a werewolf during a summer thunderstorm The animal inside comes outside; danger and delight entwine A lot of that febrile sexiness is transmitted by the costumes: straitjackets with batwings too-tight corsets embroidered with evil snakes All of Ishioka’s work is powered by this ravishingly strange sensuality Sometimes her costumes don’t even look like clothes but freaky industrial sculptures Or they look like clothes that have been doing a lot of psychedelic drugs: vast flowing through equally insane rooms like waves crashing on some otherworldly beach she didn’t focus exclusively on the costumes but shaped the work of several departments at once (prosthetics set design) to create the whole world of the film That’s why her filmography is like a genre to itself There’s J Lo astride a white horse in “The Cell” in a huge snowy mountain of a dress swagged with sparkly fur like a Y2K version of Narnia’s White Witch One of the bedrooms in “Mishima” is an orgy of gooey pink textures as if the protagonist is sleeping inside a flower a golden pagoda splits open wide like a book on fire and blinds somebody with its mysterious glow “Dracula’s” aesthetics aren’t straightforwardly “release the bats!” Gothic but a kind of psychedelic decadence that feels simultaneously hyper-allusive to everything from Francis Bacon’s paintings (blood flows off the body like unstoppable silk) and entomology textbooks (she really loved bugs) to Diane Arbus and yet weirdly not of this world “Reference is only reference,” she explained in that documentary on the costumes for “Dracula,” “I never take a design element straight from the source.” One of Ishioka’s true descendents the equally adventurous make-up artist Isamaya Ffrench tells me It draws from so many cultural markers that together they create a strange sensation of both belonging and alienation.”  A paradox can be ripe with possibilities The luscious conundrum at the heart of Ishioka’s stuff is that mixture of “rich” and “visceral” all of it oozing together to create a hot and sinister uncanniness Ishioka created all the costumes for Jones’ “Hurricane” tour in 2009  The killer number is the Disney witch frock she wears for her version of “La Vie en Rose:” gory red a flower of evil blooming in a riot of spikes Want (even) more WePresent?Sign up to our monthly newsletter. and the Beijing OlympicsWhat really mattersIn a world with too much noise and too little context We don’t flood you with panic-inducing headlines or race to be first We focus on being useful to you — breaking down the news in ways that inform We rely on readers like you to fund our journalism Will you support our work and become a Vox Member today Wednesday’s Google Doodle honors the convention-defying Japanese artist on what would have been her 79th birthday by Abbey White LinkCostume and graphic designer Eiko Ishioka at The Hudson Theatre. (John Lamparsk / WireImage / Getty Images)You may not know the name of the award-winning Japanese artist and costume designer Eiko Ishioka, the subject of Wednesday’s Google Doodle who died in 2012 but would have turned 79 today is known for her surrealist approach to costuming often blending the dark and unsettling into a dramatic aesthetic haunting tone earned her a Grammy Award (for art-directing the album art for Miles Davis’s Tutu) an Oscar (for the costumes in Bram Stoker’s Dracula) and three Tony nominations (for her work on 1988’s M Butterfly and 2012’s Spider-Man: Turn Off The Dark) over the course of her decades-long career Born July 12, 1938, in Tokyo to a graphic designer and a homemaker, Ishioka was a visual storyteller who took after her father’s profession and her mother’s forsaken creative endeavors Graduating from the Tokyo National University of Fine Arts and Music in 1961 Ishioka entered the male-dominated industry of advertising Despite warnings about potential hurdles to employment she dug in her heels and proved herself as a bold She initially became known for devising print ad campaigns featuring naked or nearly naked models — the likes of which were rarely seen in her industry at the time “To make a good ad, you have to approach people’s minds and bodies,” she once said “That was extremely shocking,” Maggie Kinser Saiki told the Philippine Star about Ishioka’s work “And yet she did it in a way that made you drawn to the beauty of it and then you realize you’re looking at nipples.” Ishioka began doing costuming work for Broadway and Hollywood starting in the early 1980s her passion for high-contrast coloring and minimalist focus (with a heavy emphasis on profiling the body) led her to conceive of the album art for Miles Davis’s Tutu her artistic fixation on the physical form helped her create the striking costumes for Francis Ford Coppola’s Bram Stoker’s Dracula including star Gary Oldman’s blood-red and muscle-like suit of body armor Ishioka’s work on the film earned her an Oscar for costume design Not all of Ishioka’s creations earned such industry plaudits, but many of them were memorable nonetheless — including her direction of Bjork’s 2001 music video “Cocoon,” and her costume design for Cirque du Soleil, the 2006 film The Fall (which is the main focus of her Google Doodle) and the 2010 Broadway musical Spider-Man: Turn Off the Dark Ishioka’s contributions to the Olympics and the worlds of advertising And it’s all of these things that help her boundary-breaking work remain unmatched Understand the world with a daily explainer plus the most compelling stories of the day Here’s why your potentially romantic meetup actually sucks. A new prosecutor, a surprising defense team addition, and a whole lot of controversy. Candace Owens and Joe Rogan are the latest frontier of the Me Too backlash. Advice author Lysa TerKeurst has a devoted audience, a dozen bestselling books — and she’s divorced. This website is using a security service to protect itself from online attacks. The action you just performed triggered the security solution. There are several actions that could trigger this block including submitting a certain word or phrase, a SQL command or malformed data. You can email the site owner to let them know you were blocked. Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page. Print As Japan’s preeminent graphic designer and art director in the 1970s and early ‘80s Eiko Ishioka helped build her reputation by heading media campaigns for Parco But instead of focusing on fashion or other merchandise in ads Ishioka sold Parco to the public with attention-grabbing a silver-haired British rake nonchalantly tosses his champagne glass overboard and makes his move on a dainty young Japanese woman In a longer commercial, actress Faye Dunaway wearing black against a black background silently gazes at the camera as she slowly peels a hard-boiled egg and then starts eating it as the camera moves in for a close-up a longtime New York City resident whose convention-defying award-winning career expanded in the 1980s to include design work for Broadway and the movies Ishioka won a Grammy Award in 1986 for best album package as art director for Miles Davis’ “Tutu.” Her sets and costumes for David Henry Hwang’s Broadway play “M Butterfly” earned her two Tony Award nominations in 1988 And after moving into feature films as the production designer on director Paul Schrader’s 1985 movie “Mishima: A Life in Four Chapters,” she went on to win an Oscar for costume design in 1993 for Francis Ford Coppola’s “Dracula.” Her varied career also included designing the costumes for the Cirque du Soleil show “Varekai” in 2002 The same year she designed uniforms and outerwear for some members of the Japanese Canadian and Spanish teams for the Winter Olympics in Salt Lake City and directed a surreal music video for the Bjork single “Cocoon.” Ishioka was director of costume design for the opening ceremony of the Summer Olympics in Beijing Her other credits include serving as visual artistic director for “David Copperfield: Dreams and Nightmares” on Broadway in 1996 and designing the costumes for “Spider Man: Turn Off the Dark,” which is currently on Broadway Ishioka’s bold costume designs include a suit of molded leather armor for Jennifer Lopez in director Tarsem Singh’s 2000 film “The Cell,” a scarlet robe with a 22-foot train for Gary Oldman in “Dracula” and a hot pink costume with octopus-inspired appendages for Cirque du Soleil “I suppose you could say I’m obsessed with creating work that has never been seen before,” she told the New Zealand Herald in 2007 “Eiko by Eiko,” a collection of her groundbreaking early work in graphic design and art direction “Commercial work’s purpose is to sell merchandise,” sculptor Isamu Noguchi wrote of Ishioka in an essay in the book to move a message into society — to subvert consumerism.” Coppola described Ishioka’s work as “breathtakingly original Ishioka showed an early talent for drawing Her father became a prominent commercial graphic designer “an ordinary housewife,” encouraged her to pursue an occupation Ishiko told Canada’s Globe and Mail in 1984 After graduating from Tokyo National University of Fine Arts and Music in 1961 she joined the advertising division of Japan’s largest cosmetics company she reportedly became the first woman to win Japan’s most prestigious advertising award dennis.mclellan@latimes.com Television Sports Entertainment & Arts Obituaries Obituaries Sports Entertainment & Arts World & Nation Music Subscribe for unlimited accessSite Map Ibaraki — About 800 varieties of autumn rose are in full bloom throughout Ibaraki Flower Park in Ishioka please disable the ad blocking feature and reload the page This website uses cookies to collect information about your visit for purposes such as showing you personalized ads and content By clicking “Accept all,” you will allow the use of these cookies Users accessing this site from EEA countries and UK are unable to view this site without your consent The park prunes the stems of the roses that bloomed in spring so that they bloom again in autumn Autumn roses are deeper colors than in spring The roses bloomed earlier than usual this year due to the intense heat in the summer They are expected to remain at their peak until early November illuminates the roses and marigolds from 5 p.m “We want visitors to enjoy colorful roses in the daytime and enchanting roses at night,” said the park’s spokesperson Hiromi Ushioda Our weekly ePaper presents the most noteworthy recent topics in an exciting © 2025 The Japan News - by The Yomiuri Shimbun Please enable JS and disable any ad blocker SEARCHJOIN CLUB Taken from the November issue of Dazed & Confused: gothic splendour to Francis Ford Coppola’s erotically charged Bram Stoker’s Dracula (1992) the Count’s stiffly caped onscreen image had been as frozen in time as the vampire himself But in the hands of the visionary costume designer and art director he became a surreal and sensual creature in exotic received a posthumous nomination for her eerie fairytale work on long-time collaborator Tarsem Singh’s Mirror Mirror It was always about the opulence and always so elegant and refined like the vampire bride in Dracula with that incredible lace ruff framing her face “Eiko is the high court of horror,” notes Deborah Nadoolman Landis historian and founding director of The David C Copley Center for Costume Design at UCLA “It was always about the opulence and always so elegant and refined It really was a head on a platter.” To Landis whose extensive work as a costume designer includes Michael Jackson’s “Thriller” and Raiders of the Lost Ark Ishioka belonged to an operatic school of thought “She was using costume design to advance the narrative by making her clothes part of the set Really it was as much set design as costume design and her dangerous eroticism made his 2000 debut The Cell soar to exquisite visual heights She created a beautifully menacing dreamscape to represent Jennifer Lopez being trapped in the perverted mind of serial killer Carl Stargher so she had to look erotic and uncomfortable at the same time,” Ishioka told the Ottawa Citizen in 2000 a big black-and-red wig and a bizarre hard collar made of plastic Jennifer asked me if I could make the collar more comfortable In a career that not only spanned stage and film but also included pioneering advertising work for Japanese department store Parco and collaborations with Grace Jones and Björk mysteriously illuminated by her poetic eastern vocabulary carnal red silhouettes and riffs on insects “Eiko leaves behind a huge legacy,” Landis says “Her work and drawings are artefacts and art that stand on their own She gives designers and directors permission to extend their imagination She took theatrical language and used it in the movies I think designers will be able to point to that flayed muscle samurai suit in Dracula and say while the appeal of a great geisha is assessed on her formal entrance in an ensemble of many layers and complex visual allusions – the costume is the performance came from that Japanese graphic tradition and took it around the world in every medium – advertising fashion and the conjunction of them all that was the opening ceremony of the Beijing Olympics in 2008 She combined wild imagination and rigorous discipline Photograph: John Lamparski/WireImageHer father but discouraged her ambition at Tokyo University to follow him into the business: Japanese graphic art was a male world working in the 60s in the ad division of the cosmetics company Shiseido which had led graphic imagery in Japan since it had promoted the "moga" (short for "modern girl") in the 1920s Shiseido girls were not ever that modern; they were brought up She opened her own agency in the early 70s personally acting as creative advertising director for major clients notably the sophisticated boutique chain Parco who stressed sex to communicate with the targeted young consumers "is very important in attracting people's souls." in which red threads extrude from the singer's nipples including photographs of very different definitions of female beauty from Morocco and India that she used in ad campaigns Ishioka exported herself and her creativity in the 1980s She had often designed what was worn in her campaigns (when anything was worn at all other than baby oil and the extreme results attracted commissions from media respectful of Japan's then high status in design The film director Paul Schrader asked her to be the production designer for his 1985 film Mishima: A Life in Four Chapters and she produced scenic landscapes as stylised as a folding screen winning an award at Cannes for artistic contribution She was nominated for two Tony awards for her sets and costumes for M Butterfly on Broadway in 1988 and was Francis Ford Coppola's only choice to robe Bram Stoker's Dracula his 1992 movie "opera with sex and violence" "the costumes are gonna be the sets" The clothes – a wedding headdress like an amphibian mating display scarlet armour striated with sinews – were certainly more dramatic than the actors Whatever she was asked to do, she excelled at. She won a Grammy in 1986 for her design for Miles Davis's Tutu album She staged an Issey Miyake couture collection as an actual theatre show Ishioka lived in Manhattan for decades, and her work is in its Museum of Modern Art, but she retained a base in Japan. Last year she married Nicholas Soultanakis. He survives her, along with her mother, two brothers and a sister. Eiko Ishioka, graphic designer and art director, born 12 July 1938; died 21 January 2012 Even though you might not be familiar with her name you’ve almost certainly seen some of her unique advertising or theatrical work Here’s a quick primer on the Japanese-born artist On what would have been her 79th birthday, Google Doodle has honored famed and eclectic designer Eiko Ishioka (1938-2012) Ishioka had artistic ambitions early, attending the Tokyo National University of Fine Arts and Music to pursue a career in graphic design. But the field was so heavily male-dominated at the time that her father told her she would have an easier life if she devoted it to designing dolls or shoes After graduating, Ishioka entered the advertising industry, creating campaigns for the boutique store chain Parco. Although Japanese culture doesn’t openly embrace nudity in popular culture, Ishioka frequently featured nude or semi-nude models in her ad campaigns While sometimes shocking to more conservative observers For a 1986 Miles Davis album, Tutu, Ishioka had the musician photographed by Irving Penn in black and white, with one harsh light overhead. The image was so striking it won a Grammy Francis Ford Coppola's 1992 film, Bram Stoker's Dracula, features a memorable performance by Gary Oldman as the title character, but it was Ishioka’s costume design—including Oldman’s sinewy, replica-musculature armor and actress Sadie Frost’s lizard-inspired dress—that made a lasting impression. Ishioka won an Academy Award for her work on the movie Ishioka’s creative impulses were never limited to any one medium. In 2003, she designed a new logo for the NBA’s Houston Rockets with a rocket cone and trailing exhaust intended to represent the upward trajectory of the game Ishioka contributed to the design aesthetic of the 2008 Olympic Games in Beijing as well as designing outerwear for select countries for the 2002 Games. For that event, she also designed what she called a Concentration Coat—a foam-like jacket that could essentially build a pod around the wearer “insulating” them from the prying eyes and questions of the press © 2025 Minute Media - All Rights Reserved Ishioka had artistic ambitions early, attending the Tokyo National University of Fine Arts and Music to pursue a career in graphic design. But the field was so heavily male-dominated at the time that her father told her she would have an easier life if she devoted it to designing dolls or shoes After graduating, Ishioka entered the advertising industry, creating campaigns for the boutique store chain Parco. Although Japanese culture doesn’t openly embrace nudity in popular culture, Ishioka frequently featured nude or semi-nude models in her ad campaigns For a 1986 Miles Davis album, Tutu, Ishioka had the musician photographed by Irving Penn in black and white, with one harsh light overhead. The image was so striking it won a Grammy Francis Ford Coppola's 1992 film, Bram Stoker's Dracula, features a memorable performance by Gary Oldman as the title character, but it was Ishioka’s costume design—including Oldman’s sinewy, replica-musculature armor and actress Sadie Frost’s lizard-inspired dress—that made a lasting impression. Ishioka won an Academy Award for her work on the movie Ishioka’s creative impulses were never limited to any one medium. In 2003, she designed a new logo for the NBA’s Houston Rockets Ishioka contributed to the design aesthetic of the 2008 Olympic Games in Beijing as well as designing outerwear for select countries for the 2002 Games. For that event, she also designed what she called a Concentration Coat—a foam-like jacket that could essentially build a pod around the wearer Please view the main text area of the page by skipping the main menu. The page may not be displayed properly if the JavaScript is deactivated on your browser Japanese version Copyright THE MAINICHI NEWSPAPERS. All rights reserved. Francis Ford Coppola's 1992 horror classic brought to life by its Oscar-winning wardrobe I would like to be emailed about offers, events and updates from The Independent. Read our Privacy notice Ishioka trained in advertising before casting her unique eye for patterns and detail towards more creative avenues costumes and promotional materials for operas working with such cutting-edge artists as Miles Davis director of The Godfather trilogy (1972-90) and Apocalypse Now (1979) The pair met when Ishioka designed the Japanese poster for the latter film and struck up a friendship Given imaginative free-rein by Coppola, Ishioka’s costumes for star Gary Oldman brought the vampire count to life and freed him from the black cape and evening wear the character had become associated with through iconic Universal and Hammer portrayals by Bela Lugosi and Christopher Lee Here are five of Ishioka’s most extraordinary creations from an under-appreciated movie packed with invention Coppola’s film opens on the plains of Eastern Europe, where Oldman’s Vlad Tepes is leading an army of Christian knights into battle against invading hordes from Turkey. Victorious, he returns home to find his bride, Elisabeta (Winona Ryder), has killed herself - believing him dead - and forsakes god in despair. Ishioka clads Vlad in an all-crimson suit of armour replicating the sinewy texture of flayed muscle, its helmet cast in the shape of a wolf’s head. Impractical, historically improbable but an utterly gorgeous flight of fancy. When English estate agent Harker first arrives at Castle Dracula, he is greeted by the count wearing a flowing scarlet silk kimono that trails behind him, a gold phoenix embroidered on its breast. New subscribers only. £8.99/mo. after free trial. Plan auto-renews until cancelled. ADVERTISEMENT. If you sign up to this service we will earn commission. This revenue helps to fund journalism across The Independent. Decrepit, ravaged by age and blood-starved, the robe gives the craven creature an Old World elegance and refinement at odds with the decay of his failing body. It’s the most clearly oriental design Ishioka brings to the film and one of cinema’s most unforgettable costumes. The clothing the count wears in Transylvania nods to the character’s ancient lineage and provides a direct contrast to the Bond Street tailoring he favours in the West. The billowing metallic gown above, rich in jewels and patchwork curlicues, resembles a bishop’s vestments and is entirely in keeping with the Satanic perversion of Christianity the demon represents. The 19th century gowns worn by Dracula’s female leads - Ryder and Sadie Frost - are largely true to the period but Ishioka nevertheless finds room to introduce unique character notes. Frost’s Lucy Westenra, for instance, is introduced wearing a peppermint green party dress patterned with entwined snakes, a motif hinting at the character’s overt sexuality, which Dracula will duly exploit. Later bitten and laid to rest, Lucy rises from the grave in an Elizabethan burial gown whose lace ruff was inspired by an Australian frill-necked lizard - typical of Ishioka's left-field approach. The open-necked red gown worn by Ryder above leaves Mina Harker vulnerable to the monster’s fangs while simultaneously conveying the character's latent passion and sensuality, its three-quarter length sleeves capturing the drama of the Romantic period. Never afraid to play with chronology, Ishioka’s move to modernise Dracula culminates in the revolutionary, though entirely practical, decision to hand him a pair of sunglasses. Rejuvenated by fresh transfusions upon his arrival in London, the younger count tours the West End in a fine charcoal top coat, waistcoat and matching hat, his dandyish shades shielding him from fatal sunlight and adding a steampunk flavour to the production, repeated in the striped straightjacket Tom Waits’s Renfield sports in the asylum. Join thought-provoking conversations, follow other Independent readers and see their replies THE ALL-NEW LEXUS LS IS A STORY OF CRAFTSMANSHIP FITTED TO THE INTERIOR DOORS IN SELECTED GRADES IS A NOTABLE EXAMPLE – COLLABORATIVE CRAFTSMANSHIP RESULTING IN A UNIQUE AND BEAUTIFUL ORNAMENTATION Lexus and Asahi Glass Company (AGC) together began to explore how to use glass in vehicle interiors to express Lexus’ distinctly progressive perspective on luxury Eventually this led to the Kiriko glass concept for the all-new Lexus LS flagship a unique Japanese tradition of hand-cutting delicate patterns into glass depending on the angle of both the light and the viewer’s gaze sake glasses and traditional glass ornaments AGC’s wide range of glass products include smartphone screens and television panels as well as automobile windscreens and windows Kiriko would require a completely new glass-molding process “Completely outside our traditional scope” It also required an artisan to design and craft an exquisite AGC turned to Kiriko glass Takumi craftsman Nakamura was tasked with re-creating Kiriko’s reflective effect in glass panels Unlike the reflection in a Kiriko sake glass prominent when held and moved around in one’s hand a door panel is relatively fixed and a standard Kiriko glass cutting pattern might not draw out the desired characteristic Running his finger along the lines of a cut-glass model Nakamura described his thoughtful solution “Cutting at altering angles through the hand-drawn lines on the glass results in a ‘twist’ allowing more light to reflect at different angles along those lines,” he said resulting in a distinctive and startling effect He also hopes LS passengers will be able to enjoy these reflections at all times with night driving yielding further reflections Nakamura’s meticulous methodology allows for this delicate and exacting design process – draw cut and polish – to be accompanied by several rounds of quality inspections it’s another eighteen months before the final Kiriko glass panels are ready to be fitted to the LS Multiple panel reproductions – exact facsimiles of Nakamura’s craft – were a singular challenge while an automobile’s rugged environment requires a durability far beyond that of regular Kiriko pieces For this venture to be a success required AGC to invent a whole new eight-stage process carried out in eight different locations across Japan To state that AGC built a new mold to duplicate Nakamura’s design would be an understatement His ‘twist’ lead to the incorporation of a never-before-implemented 3D digital scan when designing the mold faithfully rendering the glass panel’s unusual dimensions and accurately reproducing its unique expression “That’s something we never did before,” explains Ishioka “That area was a real challenge for us.” Partner vendors were carefully vetted to complete the remaining stages – finishing The latter achieved with both a film-dipping process and rear-mounted metal plating providing the Kiriko piece a sturdiness that belies its delicate appearance Their attitude and energy to exceed expectation impressed Ishioka “Our partners go beyond simply completing their task They also infuse their work with passion and emotion,” he said in keeping with the spirit present throughout the LS’s production journey even transporting batches between vendors required an all-new logistical approach from AGC and innovative delivery processes ensuring quality throughout the panels’ journey Quality control is taken seriously by a company used to delivering products of exacting standards to the bio-tech electronics and optics industries but even this existing process was insufficient Above and beyond an already rigorous quality inspection AGC must ensure the final output matches Nakamura’s prototype not only in accuracy and polish – but also in beauty It is difficult to fully comprehend the beauty of Kiriko glass without seeing it in person To follow the cut glass lines with one’s own eyes and marvel at the light subtly glistening in different directions as your viewing angle adjusts This finished ornamentation represents both Nakamura and Ishioka’s shared vision of Japanese beauty and luxury Japanese beauty represents a subtlety and depth that reveals detail and craft the more one observes looking at it from different angles yields different aesthetics yet it conveys an overall sense of harmony and connectedness.” This might also describe the union of Nakamura’s Takumi craftsmanship and Ishioka’s passionate willingness to push the boundaries of industrial technology “The partnership of traditional hand-made artistry and leading-edge industrial processes is – in itself – a form of craftsmanship.” On the day the highly-rated PGM Ishioka Golf Club made a roaring comeback to the JGTO schedule following a six-year absence rolled back the years to shoot a glorious eight-under-par 63 to tie for second spot after the opening day of the inaugural ISPS Handa Championship in Japan on Thursday Miyamoto had fond memories of playing at this venue as he once came in joint runner-up with the legendary Masashi 'Jumbo' Ozaki after being pipped to the title by Masahiro Kuramoto at the 2003 Acom International The now-defunct Acom International was hosted at the PGM Ishioka Golf Club from 1999 to 2006 and Miyamoto did not miss a cut in all his seven appearances from 2000-to 2006.  And now that the renowned Jack Nicklaus-designed course is back on Tour it has once again brought the best in Miyamoto after he fired nine birdies to offset a lone bogey to put himself in contention for his first victory since The Crowns triumph in 2019 Also enjoying a good day out were two other JGTO icons who posted matching 65s to be joint 11th and three shots off the pace Ikeda holds the distinction of being the last person to win at this venue when it hosted the Homa Tour World Cup in 2016 while Katayama came in joint-third that year.  Touted as a highly strategic course engulfed in the beauty of nature even Nicklaus was so proud of his own masterpiece that he regarded PGM Ishioka Golf Club as "the best golf course I know of in Japan." The course challenges its players with tight fairways requiring them to make full use of all 14 clubs ツアートーナメントを目指す選手たちが出場するACNツアーをサポートしていただいております。 ウォール・ストリート・ジャーナルは日本ゴルフツアー機構のオフィシャル・パートナーです。 オフィシャルフォトシステムは、株式会社ラキールのクラウド/コマーズ・システムのサポートによりJGTOimagesのウェブサイトでの写真の閲覧や検索、購入が容易に可能となりました。 SMBCモビットは、「JGTO クォリファイングトーナメント」のタイトルスポンサーです。 全ての選手にツアートーナメント挑戦のチャンスを提供するJGTOの姿勢にご賛同いただき、ＱＴをサポートしていただいております。 テーラーメイド ゴルフ株式会社は、日本ゴルフツアー機構のコーポレートサポーターです。 テーラーメイド ゴルフ株式会社からはツアーディレクター、競技委員、競技スタッフらがトーナメント会場で着用するユニフォームとして、商品のご提供をいただいています。 全国約240店舗のフィットネス施設を運営するセントラルスポーツ株式会社からは、ツアーメンバーが年間を通していつでも自由に施設を優待利用することができる環境をご提供いただいています。 株式会社LoungeRangeは、日本ゴルフツアー機構のコーポレートサポーターです。 完全個室の会員制インドアゴルフ場を運営する株式会社LoungeRangeからは、 ツアーメンバーがプライベート空間で練習できる環境を提供いただいております。 video and audio information and other data (collectively "content") contained or displayed herein are the exclusive property of the Japan Golf Tour Organization Copyright 2025 JAPAN GOLF TOUR ORGANIZATION AdvertisementSKIP ADVERTISEMENTSlide 1 of 5,By ERIC WILSON Among her most memorable costumes were those she created for “Bram Stoker’s Dracula,” as well as four films with the director Tarsem Singh beginning with “The Cell,” in 2000 “Mirror Mirror,” will be released on March 30 Share full articleEiko Ishioka’s Otherworldly CreationsThe work of costume designer Eiko Ishioka has fascinated designers as diverse as Alexander McQueen Issey Miyake and Viktor Horsting and Rolf Snoeren AD Ishioka’s early career peaked in the mid-sixties and seventies just when Japanese media was radically changing Born to a graphic designer father and educated at Japan’s most prestigious design institution the Tokyo National University of Fine Arts and Music she was inspired to go into the arts at an early age and did not waste time carving out her identity for the museum to explore her career through the concepts “Timeless,” “Fearless,” and “Borderless,” which are the best modifiers to describe her artistic passion Art direction for the poster ‘Can West Wear East?’ (Parco 1979)“Timelessness” is revealed in her early works from 1961 when she joined the advertising division of Shiseido but her bold posters for Parco are used as advertising references even today her widely acclaimed depiction of Hollywood actress Faye Dunaway and two young Asian girls in the Parco poster Can West Wear East Dunaway’s flamboyant garment with an exaggerated bird-like headdress presents a striking vision of womanhood: bold This sense of “fearlessness” had become a mantra for Ishioka’s exuberant creations she had ventured abroad and earned her rightful place among the cream of the crop in music Among her most notable collaborations were with Francis Ford Coppola which took her career in the direction of film poster design for the Japanese release of Apocalypse Now (1979) and eventually led to costume design for Coppola’s Dracula (1992) which gave her her first Academy Award for Best Costume The exhibition honors a full documentation of Dracula with impressive costumed mannequins of its characters The elaborate red dress on display exemplifies one of many stylistic preferences by Ishioka for this deep red color and perhaps something forbidden or reckless This intense affection for red spreads throughout the exhibition evident as well in Ishioka’s directorial music video for Icelandic singer Björk’s song Cocoon You can watch the full clip of the artistic manipulation of red tubes gyrating out of Björk’s nude body while she sings Ishioka audaciously conveys the power of feminine sexuality and sensuality without inhibitions Production design for the movie ‘Mishima: A Life in Four Chapters,’ (Directed by Paul Schrader Ishioka outdid even herself when she teamed with American director Paul Schrader for the set and costume design of MISHIMA—A Life in Four Chapters (1985) the surreal and controversial portrayal of novelist Yukio Mishima’s life The footage on the walls strikes the viewer with rousing palpitation as the scenes and sets float like theatrical art pieces The iconic Temple of the Golden Pavilion from Mishima’s novel Kinkakuji that appears in the movie captures the entire hall with its enormous scale and titillating gold appearance Ishioka garnered the Best Artistic Contribution Award for this tremendous project As Ishioka became an increasingly international designer her “borderless” pursuits stretched further towards wider horizons but also eclectically in various art forms—in opera Butterfly (1988) and The Ring of the Nibelung (1998-1999) by world-renowned composer Richard Wagner; in theater such as the musical play Spider-Man: Turn Off the Dark (2012); and in more international films The museum’s halls unveil the extravagant costumes and film clips covering the synopses of these adventure films The costumes are marked by striking colors such as voluptuous frills or a huge folded fan and a gooseneck on a head The bewildering elements of surprise never escape one’s attention Costume design for the movie ‘Mirror Mirror’ (Directed by Tarsem Singh Probably no other Japanese female artist and designer transcended cultural barriers and all these platforms of visual expression as successfully as the phenomenal Eiko Ishioka This powerful exhibition not only testifies to her stunning level of unique creativity but also broadens perceptions of art and design as a courageous influence on the meaning of freedom of expression Officials desperately want more women to work to boost the country's stagnant economy. But it also wants them to have more babies to reverse a long-running decline in the birth rate That's led to taxpayer-financed dating services in places like Ishioka "When you think about how to prevent a decreasing population nothing starts without marriage," said Kazuhiko Suzuki Related: Women: Japan's hidden asset At a recent "konkatsu," or "marriage-hunting," event nearly 80 single men and women buzzed around the room trying to gather as many answers as possible to a list of icebreaker questions like "What is your favorite food?" Then came speed dating in small groups so they could get to know each other better elderly volunteers from a local "marriage-promotion committee" would step in to guide the conversation along came to the event after her boss gathered all the single women in the office and suggested they attend the annual dating event As it tries to revive its sputtering economy the Japanese government hopes women like Abiko will pursue their careers at work and also have plenty of children The world's third-largest economy is in dire need of more people: Japan's population shrank by one million to 127 million in the five years through 2015 Related: Why Japan is failing its women But Prime Minister Shinzo Abe's efforts to bring more women into the workforce are falling short Challenging traditional gender roles can be an extremely unpopular move in Japan where many people still support the idea that a woman's place is at home Many of them "strongly believe that encouraging women to work reduces the birth rate, and leads to more divorce," said Machiko Osawa, a labor economist at Japan Women's University, who has long championed women's rights "That is one of the reasons why many politicians are reluctant to promote women working outside [the home]." that a more equal share of bread-winning and housework duties between the sexes will mean happier men and women -- and therefore a demographer at the National Institute of Population and Social Security Research as examples that Japan could aim to follow Both rank among the top 20 in the World Economic Forum's Global Gender Gap index and boast fertility rates far higher than that of Japan which ranks 101st out of 145 countries on the index Related: Japanese women lose fight to keep their surnames getting people to couple up is no easy matter Nearly all local governments in the country are trying to play matchmaker these days has hosted an online dating service since 2010 making it a pioneer in government-supported romance The prefecture of Hiroshima has managed some degree of success: 15 couples who met through dating events that started last year have since married Pictures of the successful couples are plastered on brochures in Hiroshima as a reminder to singletons to hurry up such as a dating cram school in Ibaraki prefecture on the eastern coast where Kyoko Ishiduka counsels singles on how to court each other Related: Japan's program to boost women in senior jobs is a dud But three years of speed dating in Ishioka has only yielded two married couples. And so the government is trying other options, including a housing stipend for those who marry and free early education for families with at least three children. At the town's recent dating event, eight couples had paired up by the end of the day. "We'd like to go out for dinner first, and start our relationship little by little," said one man, on his way out the door with his new girlfriend. Correction: A previous version of this story incorrectly described the place where 15 couples who met through dating events have since married. It was the prefecture of Hiroshima, not the city. MENUTHE IMAGE MAKERThe Late Eiko Ishioka Was a Costume Designer and ProvocateurEiko Ishioka had a vision of global chic that was as singular as the woman herself her fourth collaboration with director Tarsem Singh “Eiko wanted to evoke a true fairy tale,” Singh told me over the phone “She was not well during the movie; she was undergoing chemotherapy But Eiko had only two gears: full-out or no gear at all Her work kept her alive—it was her reason for being.” Like all of ­Eiko’s movie projects the costumes for Mirror Mirror are elaborate richly detailed manifestations of character A lace collar around the evil queen’s neck is designed to evoke the backs of reptiles; Snow White’s gossamer gowns include touches like overlapping leaves and climbing velvet vines that subtly underscore her exile in the forest there is the judicious use of what’s become known as Eiko’s Red “Eiko would say that red is the most difficult color,” Singh explained Eiko was encouraged to pursue a career in design Her father was a commercial graphic designer a ­traditional Tokyo housewife who wanted a more exciting life for her daughter After studying design at Tokyo National University of Fine Arts and Music Eiko began working in the advertising division of ­Shiseido in 1961 at age 22; four years later she was the first woman to win Japan’s most prestigious advertising award said that my name would not be famous if I were not a woman,” Eiko said in 2000 Her anger fueled her talent—and her ambition When she became the chief art director for Parco in 1971 she seized the opportunity in remarkable ways: Her campaigns were provocative Her defiantly antiproduct ads featured portraits of often naked women with taglines like “Girls Be Ambitious!” or “Don’t Stare at the Nude; Be Naked.” She used models from Morocco along with New York street kids in their eighties New Wave splendor In a particularly memorable series with Dunaway from 1979 Eiko photographed the actress in a gold and silver Issey Miyake satin robe and headdress and two young Japanese children—Eiko’s nieces—are embraced by the folds of her kimono The girls are wearing red dresses that reveal their nipples and a red pigment covers their eyes like a mask The ad reads: “Can West Wear East?” “It was a rather bold question,” Eiko later said “The image looks to the future—to a time when East and West become one.” Faye Dunaway with Eiko’s nieces in a 1979 Parco ad A 1977 poster for an Issey Miyake fashion show Eiko’s poster for the Luchino Visconti film L’Innocente The cover of Miles Davis’s 1986 album Tutu Stills from the 1973 Parco television commercial “You Are Fantastic Eiko’s poster “Holiday,” for a 1973 invitational exhibition A poster for the Eiko-curated exhibition of Leni Riefenstahl’s Nuba photographs A detail from Eiko’s poster for a 1978 musical production of Salome A Cirque du Soleil member from the Varekai production Eiko with Catherine Deneuve at the Academy Awards in 1993 where she won an Oscar for the costumes in Dracula and started traveling to New York more often While she gravitated toward extremes in her costume design Her apartment overlooking Central Park South “There was almost no furniture,” Singh recalled Singh and Eiko met in the late nineties when Singh hunted her down after seeing her work for Dracula which was only Eiko’s second job as a film costume designer Francis Ford Coppola had collaborated with Eiko on the poster for the Japanese release of Apocalypse Now and felt her sensibility was crucial for Dracula a weirdo outsider with no roots in the business—worked,” the director wrote at the time “The script was envisaged for very young actors Let’s spend our money not on sets but on the costumes because the costumes are closest to the actors I decided that the costumes would be the set.” Eiko’s otherworldly outfits did not disappoint: Dracula sports a bloodred sort of muscle armor that resembles anatomy-book drawings and the promiscuous Lucy wears a party dress embroidered with peppermint green snakes to underscore her eroticism and attraction to evil you don’t get exactly what you want—you never do—you get percentages,” Coppola wrote That kind of dedicated and singular vision is what Singh was after “My classmate Nico [Nicholas] Soultanakis and I were huge fans,” Singh said “We heard Eiko was really difficult to get It turned out not to be so hard: She worked on every one of my films—and Nico and Eiko fell in love They got married in the hospital a few months before Eiko died.” featured Jennifer Lopez playing a woman who enters the mind of a serial killer to solve a crime “She essentially becomes a sex toy,” Eiko explained in an interview “So she had to look erotic and uncomfortable at the same time “It was sometimes difficult for actors to wear Eiko’s costumes,” Singh said and it could take three people to carry a coat No one else could so successfully put together two things that don’t belong together but it had testicles—soft and cuddly with prominent balls Coppola took her to see a performance of Cirque du Soleil; in 2002 she was asked to create costumes for the troupe’s show Varekai She was told that flexibility and ease were required and that the wardrobe should not pose a danger to the acrobats Eiko designed costumes with jagged edges and spiked points that looked mortally dangerous “I want to keep the audience in suspense until the very end of the show,” she said While many of the Varekai performers were men they were rendered largely androgynous—and though Eiko’s male iconography is striking it is her depiction of females that separates her from other designers she was attracted to a new idea of sexuality an amplification of her fusion of Eastern and Western cultures Yet another commercial for Parco starred Dunaway in a glamorous beaded dress and black veil this was a meditation on “funny and serious “It’s very hard to come up with unique work again and again and again,” Singh said Her goal was not to be an ambassador for Japanese culture or Western culture Her goal was to be an ambassador for a new world: Eiko’s planet Channels Icons Like Marina Abramovic and Yoko Ono Spark the scientific breakthroughs that innovate treatments to improve the lives of patients Call (877) 272-6226, email info@pancan.org or Acclaimed costume designer Eiko Ishioka was featured on Google search’s Google Doodle this week The Tokyo-born designer would have been 79 years old on July 12 if she hadn’t passed from pancreatic cancer in 2012 Ishioka’s transformational designs won her an Academy Award for “Best Costume Design” for Francis Ford Coppola’s “Bram Stoker’s Dracula” in 1992 Some of her later works included “The Cell” and “Cirque du Soleil: Verakai.” Ishioka is part of the growing list of notable public figures lost to the world’s toughest cancer including fellow Academy Award winners Henry Mancini and Joan Crawford Other Hollywood notables claimed by pancreatic cancer include Patrick Swayze and Alan Rickman Pancreatic cancer remains the third leading cause of cancer-related death in the U.S and has a five-year survival rate of just 9 percent The Pancreatic Cancer Action Network is the only organization attacking pancreatic cancer on all fronts through research, clinical initiatives, patient services and advocacy. 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All rights reserved. Terms of Use | Privacy Policy Tres mujeres presentaron acusaciones, Kavanaugh negó categóricamente la veracidad de cada una The Queen made a special televised address to mark the 75th anniversary of VE Day in 2020 Ms Ishioka was behind some of the most iconic costumes of her time Today’s Google Doodle celebrates the life of Eiko Ishioka, the Japanese designer whose work graced the likes of movie stars, opera singers, Olympic athletes, and Cirque du Soleil performers. The award-winning designer died in 2012 of pancreatic cancer, at the age of 73. Today’s doodle showcases some of her designs, from Tarsem Singh’s 2006 movie The Fall. Here are five more things to know about the iconic designer: Her mother was a housewife, as was traditional for women at the time, and her father was a graphic designer. While both parents supported her artistic pursuits, her father encouraged her to design more traditionally feminine things, like shoes or dolls. Ishioka ultimately defied her parents' wishes and pursued a career in graphic design after graduating from the Tokyo National University of Fine Arts and Music. Four years later, she became the first woman to win Japan’s most prestigious advertising award. Soon after graduating, Ishioka joined the advertising division of the cosmetics company Shiseido, and in a few years she was designing on her own for Japanese department store Parco. Her advertisements for Parco featured models from around the world, often in their native dress. Even more strikingly, her ads often showed models in the nude. “You’ve seen a kimono: they’re not big into full-on nudes,” Maggie Kinser Hohle, a writer on Japanese design, told The New York Times of traditional Japanese fashion. “That’s extremely shocking. And yet she did it in a way that made you drawn to the beauty of it.” Ishioka’s dramatic designs made a splash in the opera world, where she earned a Tony nomination for Broadway’s M. Butterfly. For another opera, she reportedly designed a 10-foot-tall teddy bear, complete with a pair of testicles. She later branched out to designing for Cirque du Soleil, and even for athletes in the 2002 Winter Olympics. In 2008, she directed costume design for the entire opening ceremony of the Summer Olympics in Beijing. Ishioka is credited with linking up photographer Irving Penn with trumpeter Miles Davis for the cover of the jazz musician’s 1986 Tutu album. The designer won a Grammy in album packaging for her contribution. She also designed all of the striking outfits for a 2009 tour by singer Grace Jones – the artist once deemed “the ultimate fashion muse” by Vogue. Ishioka even directed the music video for the song “Cocoon”, in which singer Bjork appears to be nude and painted in makeup. The video was banned from prime-time MTV. Ishioka’s landed one of her film jobs as the costume designer for Francis Ford Coppola’s Dracula. The dramatic, richly coloured costumes scored the budding designer an Oscar for her work. She would later go on to work with director Tarsem Singh on four different movies, from 2000’s The Cell to 2012’s Mirror, Mirror. The designer laboured on the costumes for Mirror, Mirror even while receiving chemotherapy for her cancer. "Eiko had only two gears: full-out or no gear at all," Mr Singh told W Magazine. "Her work kept her alive – it was her reason for being.” Seattle Children’s Theatre is staging “Hana’s Suitcase,” the true story of a Tokyo museum coordinator whose detective work reunited a man in Canada with an artifact belonging to his sister the intrepid coordinator of the Tokyo Holocaust Education Resource Center had to go on in 2000 when she began a rewarding search for a young girl named Hana today Hana’s story is known to a multitude of young people worldwide through the book “Hana’s Suitcase” by Karen Levine a Canadian Broadcasting Corporation documentary titled “Hana’s Suitcase: An Odyssey of Hope” and a play by Emil Sher by Emil Scher. Through Feb. 7 at Seattle Children’s Theatre, Seattle Center; $22-$40 (206-441-3322 or sct.org) Like that of young diarist and Holocaust victim Anne Frank Hana’s story resonates especially with children who can see in her something of themselves In a production by the Young People’s Theatre of Toronto the multimedia drama “Hana’s Suitcase” is now in its West Coast debut at Seattle Children’s Theatre And to further their mission of introducing young people to Hana’s story and what lessons may be gleaned from the Holocaust Ishioka and Hana’s now 87-year-old older brother George Brady have come to Seattle to draw attention to the play and stimulate discussion among youth and other educators Brady was the living link Ishioka finally found with normal dreams” and an interest in art when the Nazis invaded Czechoslovakia in 1939 and conducted an anti-Semitic reign of terror there The Brady children lived above the family store in the town of Nové Město na Moravě Their parents were arrested by the Gestapo and sent to their deaths in a Gestapo prison and the Auschwitz concentration camp After being sheltered for a time by other adults were sent to Theresienstadt (a Nazi transit camp known in Czech as Terezin) when Ishioka visited the Auschwitz Museum in Poland She requested the loan of some relics for her small Holocaust education center and received by mail a small suitcase marked with Hana’s name and birth date Ishioka longed to know more the valise’s owner “I started writing letters to 40 museums all over Europe and they didn’t have any information about Hana Many books about Terezin were translated into Japanese and naturally I guessed she might have made some of the children’s drawings recovered there after the war which she signed with her name and the date.” But George Brady had somehow survived Terezin spoke little of his devastating adolescent experiences “I didn’t want to tell my children and burden them with it,” he recalls “When they asked about the tattooed number on my arm When Fumiko contacted him about her project out of the blue “She brought it all into the open and it changed our lives Were the memories of that dark time overwhelming I’m happy to see that Hana turned into a very positive symbol respect and appreciating parents and children Her story has touched the lives of so many people.” “I have found great interest,” responds Ishioka We have visited nearly 1,000 schools and over 200,000 students all over the country “We Japanese people have shied away from our own country’s aggression [during WW II],” she notes “and some people don’t want to discuss that period But when it comes to the stories of Hana and her brother we’ve found so much curiosity and support.” There’s also been much interest in other countries she says the lost and found tale of a little girl and her suitcase packs a compelling lesson about universal understanding Stay secure and make sure you have the best reading experience possible by upgrading your browser Northwest Asian Weekly January 29, 2016 By George Brady and Fumiko Ishioka sign copies of “Hana’s Suitcase” for students at Sanislo Elementary in Seattle Fumiko Ishioka watched and chatted as George Brady played travel Scrabble with his adult daughter in between press interviews at the Hyatt House Hotel on Jan Ishioka is a Japanese national and George Brady has lived in Toronto Brady is also a Holocaust survivor — the only one from his immediate family to leave Auschwitz alive Ishioka and Brady have known each other for years now The two are linked across continents due to Brady’s history and Ishioka’s interest in it They were in Seattle promoting “Hana’s Suitcase,” a play adapted by Emil Sher and based on Karen Levine’s book of the same name performed at the Seattle Children’s Theatre through Feb “Hana’s Suitcase” depicts the true story of how Ishioka and Brady met Ishioka was a teacher and curator at the Holocaust Education Resource Centre in Tokyo she is the organization’s executive director.)  Inspired by a guest speaker and Holocaust survivor Ishioka’s young students start a newsletter and Ishioka began searching for personal items that once belonged to children of the Holocaust for the education center — a search that led to an in-person visit to Auschwitz to make a personal request a small suitcase arrived at the education center Ishioka began writing letters to Holocaust museums searching for information about Hana’s life “It’s important to educate young children about the dangers of prejudice and discrimination — and how to fight against it to teach them the value of compassion,” said Ishioka Restrictions on Jews became more and more strident the children were banned from attending school she and George were sent to Theresienstadt (Terezin in Czech) the German-occupied part of the Czech Republic Hana Brady as a young girl (Photo provided by George Brady) Though Hana and George were not allowed to be educated children in the camp secretly studied and made art Although most pieces were destroyed during World War II Among the pieces were five paintings by Hana During a visit to England for work in July 2000 Ishioka stopped over in Terezin and the Jewish Museum in Prague A curator showed her a list of Nazi deportation records Ishioka found Hana’s name and — to her surprise — she also found the name “George Brady.” “I thought he may be still alive!” said Ishioka she returned to England and visited another museum to find someone who could connect her to George She eventually received George’s contact information holding a doll (Photo provided by George Brady) Japan was allied with Germany during World War II and has its own violent and grisly history of the mass murders of Chinese and the sexual slavery of Korean women Japanese institutions downplayed its role and war crimes carried out in World War II Education about the Holocaust is not consistently taught to children in school The Tokyo Holocaust Education Resource Centre was founded in 1999 to broaden the understanding of the Holocaust “It is a slow and complicated process,” Ishioka said in a release Japanese children at the center are eager to learn about Hana a French Jewish journalist who studied Japanese attitudes toward the Holocaust told the Times of Israel in an interview that contemporary Holocaust education in Japan cautions against extreme nationalism — being blindly obedient to one’s country Lewkowicz stated that the position is bold to take in a society that is known for being very conservative and hierarchical Since they were not allowed to go to school George and Hana used to play together — behaving the way siblings sometimes do George admitted that they argued and squabbled at times — but grew very close when their world started to become claustrophobic The last time George saw Hana was before he was sent to Auschwitz in September 1944 George would leave Auschwitz months later in January 1945 Then he attributed his survival to random luck “It took me a long time to get home,” he said and Hungary before finally arriving back in his hometown he found that none of his immediate family was waiting for him He said it took him a long time to move past the tragedy enough to function He said that he decided to live a successful life where he married and had four children — three sons and one daughter Ishioka and George Brady traveled around the world telling his and Hana’s story When a news story about them was printed in a Canadian Jewish newspaper created a documentary about Hana’s suitcase “The Holocaust and hope do not seem to be able to exist at the same place at the same time and his mother is also a Holocaust survivor “Hana’s Suitcase” has been performed all over the world “What makes this story important and beautiful is the fact that Fumiko is not Jewish,” said Lara Brady she spent so much time and energy on finding and telling this story to the world [This story] connects two seemingly unrelated different time phases telling us that what we have in common is more important than what divides us.” “It has been incredible to travel around for 15 years to tell the story,” said Fumiko in an interview children are touched by a life of just one girl They start wondering what they would do if they face the same kind of prejudice and discrimination in school or their community.” (end) “Hana’s Suitcase,” at the Seattle Children’s Theatre, will run through Feb. 7. For more information or to buy tickets, visit sct.org Emiri Aoki and Stacy Nguyen can be reached at editor@nwasianweekly.com The harvesting of yukiguni, or 'Snow Country,' lemons grown in greenhouses in Yamagata Prefecture has begun again in 2023 One of the fruit farmers is Hiroaki Ishioka "We will likely have 850 lemons to harvest which is significantly more than last year," Ishioka reports with a smile snow nearly a meter deep covers the ground outside Ishioka's greenhouse there is only the scattered remains of a December snowfall While the temperature outside hovers around freezing inside the greenhouse it's a comfortable 12-13 degrees Celsius temperatures vary by more than 10 degrees Celcius on over 100 days each year These temperature extremes are what make it possible for us to produce such delicious fruit." It was eight years ago that Ishioka decided to turn the cold and snowy weather in Yamagata to his advantage He began producing lemons that generally grow in milder climates His motivation was to respond to cancer sufferers who sought lemons grown without pesticides Ishioka found a cold-hardy variety of Meyer lemon To protect the trees from the cold outside air he grows them in a unique and highly heat-retaining structure The greenhouse is covered by two layers of vinyl which are separated to create a layer of air to keep the heat in After moving to the suburbs of Yamagata City he transplanted the lemon trees from pots into the ground Protected from the cold in 90 cm square plots that are sectioned off with Styrofoam Continue reading the full story on Japan 2 Earth (Read the article in Japanese.) You must be logged in to post a comment ' + scriptOptions._localizedStrings.webview_notification_text + ' " + scriptOptions._localizedStrings.redirect_overlay_title + " " + scriptOptions._localizedStrings.redirect_overlay_text + " Today's print edition Home Delivery It’s been an eventful 2022 for Japan’s national sport as well as first-time Emperor’s Cup winners Wakatakakage and Ichinojo while yokozuna Terunofuji has struggled to match the heights he reached in 2021.googletag.cmd.push(function() { googletag.display('div-gpt-ad-1499653692894-0'); }); Upheaval inside the ring has been matched by uncertainty outside it as the pandemic continues to have a significant impact on sumo In a time of both misinformation and too much information quality journalism is more crucial than ever.By subscribing Your subscription plan doesn't allow commenting. To learn more see our FAQ Sponsored contents planned and edited by JT Media Enterprise Division. NEW YORK - Eiko Ishioka, an Oscar-winning designer recently recognized for creating the costumes for Broadway’s “Spider-Man: Turn Off the Dark,’’ has died. She was 73. The designer died Saturday in Tokyo, her studio manager, Tracy Roberts, said yesterday. The cause was pancreatic cancer. Ms. Ishioka, who also worked in advertising and other graphic arts, won the 1992 Academy Award for Best Costume Design for the film “Bram Stoker’s ‘Dracula.’ ’’ She won a Grammy Award in 1986 for her cover design of Miles Davis’s album “Tutu.’’ She was also director of costume design for the opening ceremony of the 2008 Summer Olympics in Beijing. Other Broadway stage work included the sets and costumes for David Henry Hwang’s 1988 Tony Award-winning drama “M. Butterfly.’’ Home Delivery Gift Subscriptions Log In Manage My Account Customer Service Delivery Issues Feedback News Tips Help & FAQs Staff List Advertise Newsletters View the ePaper Order Back Issues News in Education Search the Archives Privacy Policy Terms of Service Terms of Purchase Work at Boston Globe Media Internship Program Co-op Program Do Not Sell My Personal Information triumphs in Osaka to secure Emperor’s Cup despite injuring his ankle the previous day The ancient Japanese sport of sumo is celebrating a new hero, after Takerufuji became the first wrestler for more than a century to win a top-division tournament on his debut There were wild celebrations at the Edion Arena Osaka on Sunday after he ended the 15-day contest with an unassailable record of 13 wins and two defeats The 24-year-old from the northern prefecture of Aomori shoved his opponent Gonoyama out of the dohyo ring to secure the Emperor’s Cup despite injuring his ankle the previous day when he had to be taken out of the arena in a wheelchair after losing his bout revealed that his stablemaster had encouraged him to pull out of the tournament to spare his injured ankle “But I knew I would regret it for the rest of my life if I pulled out,” the 143kg (315lb) wrestler said in a ringside interview Takerufuji is the first wrestler since Ryogoku in 1914 to win his maiden 15-day competition in the elite makuuchi division He also secured his first Emperor’s Cup faster than any competitor since sumo adopted the current tournament schedule in 1958, having only made his official debut in September 2022. His achievement is even more remarkable given that his rank, maegashira No 17, is the lowest among all 42 wrestlers in the division, which includes the grand champion rank of yokozuna. Most of the top-ranked wrestlers suffered multiple early losses in Osaka, while the only current grand champion, Terunofuji, pulled out after the first week with a back injury. Read moreGrand sumo’s six annual tournaments each last 15 days and are held three times in Tokyo and once each in Osaka Wrestlers move up and down the rankings – or hold on to their current position – depending on their record over the course of each tournament Takerufuji’s feat was a welcome piece of good news for Japan’s national sport which was recently rocked by allegations that a senior wrestler had violently abused a junior stablemate promoting calls for its governing body to stamp out the culture of violence and introduce more modern coaching and management methods In 2007, a 17-year-old junior wrestler died after being beaten by three senior wrestlers with a baseball bat. The film marked the first in a series of many advertisements for the luxury retailer created throughout the 70s and 80s, and though Kurigami has explored the fragile tension of anxiety and human relationships at length throughout the course of his seven decade-long career, it’s his commercial work that’s the most memorable. But then who could forget the image of Dunaway languidly consuming a boiled egg once they’d seen it?  Volume 8 - 2020 | https://doi.org/10.3389/fchem.2020.00068 We report the anisotropic thermal expansion of a transparent nanopaper structure comprising cellulose nanofibers (CNFs) The coefficient of thermal expansion (CTE) of the nanopaper in the out-of-plane direction was 44.6 ppm/°C in the temperature range of 25–100°C which is approximately five times larger than its CTE in the in-plane direction in the same temperature range (8.3 ppm/°C) Such a strong anisotropy in thermal expansion is mainly attributable to the anisotropic CTE values of single CNFs in the fiber axis and cross-sectional directions We observed anisotropic thermal expansion even in a bioplastic composite containing only 2.5% w/w CNFs The nanopaper structure can exploit the potential of CNFs and combine mechanically and thermally superior properties which makes them particularly useful as substrates to the best of our knowledge the CTE of the nanopapers in the out-of-plane direction has not yet been reported Herein, we demonstrate the anisotropy in thermal expansion of transparent nanopapers. The nanopapers were prepared from a 2,2,6,6-tetramethylpiperidin-1-oxyl (TEMPO)-oxidized CNF/water dispersion (Zhao et al., 2018) The in-plane and out-of-plane CTE values of the nanopapers were determined by thermomechanical analysis (TMA) and laser interferometry two other cellulosic films were assessed in the same manner: one was a bioplastic film of cellulose acetate (CA) and the other was a composite film with a CA matrix containing 2.5% w/w TEMPO-oxidized CNFs The mixture (12 mL) was dried under the same conditions as for the CA film The dried films of the CA and CA/CNF composite were peeled from the petri dishes and conditioned as well as the nanopaper The TMA was performed using a Shimadzu TMA-50 system in a nitrogen atmosphere within a temperature range of ~25–120°C at a heating rate of 2°C/min the film specimens (plane size 12 mm × 10 mm) were dried at 130°C in the device and the dimensional changes in the in-plane direction were measured under a slight compression load (5 mN) on the cross-sections of the specimens The laser interferometry was performed using an Advance Riko LIX-2 system in a helium atmosphere at ~90 kPa under the same thermal conditions used for the TMA The specimens (plane size 7 mm × 7 mm) were positioned horizontally and their dimensional changes in the out-of-plane direction were measured under a slight compression load (167 mN; ~6 kPa) on the surfaces of the specimens A rectangular specimen 3 mm × 30 mm in size was cut out from a nanopaper The specimen was fractured by uniaxial tensile load using a Shimadzu EZ-SX at 23°C and 50% relative humidity The gauge length and head speed were set to 10 mm and 1 mm/min The fractured surface was treated using a Meiwafosis Neoc osmium coater at 6 mA for 2.5 s The osmium-treated surface was observed by SEM using a Hitachi S-4800 at 1.5 kV Raman spectroscopy was carried out using a customized Photon Design near-infrared Raman spectrometer equipped with a YAG laser (wavelength 1,064 nm) and a Nippon Roper InGaAs detector. The intensities of the Raman band at 1,100 cm−1 (glycoside bond) were recorded as a function of the rotational angle of the polarization, as reported previously (Wanasekara et al., 2016) The thermal expansivity of the nanopaper and CA-based films in the (A) in-plane and (B) out-of-plane directions The inset in (A) illustrates the optical transparency of the nanopaper The CTE values were calculated from the linear regions in the ΔT of 25–100°C using the following equation: The values are shown in Table 1 as the mean and standard deviation of the four measurements in Figure 1. The CTE of the nanopaper in the in-plane direction was as low as 8.3 ppm/°C, which is comparable to that of a glass, as previously reported (Nogi et al., 2009) the CTE in the out-of-plane direction was significantly higher (44.6 ppm/°C) A CTE of 44.6 ppm/°C is still as low as that of a polymeric solid but some grades of plastics have similar or even lower CTE values The reference CA film was thermally isotropic as predicted and its CTE values in the in-plane and out-of-plane directions were both ~80 ppm/°C the out-of-plane CTE of the CA/CNF composite was also ~80 ppm/°C it is significant that its in-plane CTE value was lower (65.1 ppm/°C) The in-plane and out-of-plane CTE values of the nanopaper and CA-based films in the temperature range of 25–100°C Note that the in-plane and out-of-plane CTE values of the specimens were determined by TMA and laser interferometry The ΔL resolutions for TMA and laser interferometry are ~100 and 2 nm the measurements were performed in the detectable ranges the lower limit of the out-of-plane CTE value of the nanopaper is estimated to be ~0.9 ppm/°C using the L0 and ΔT values of 30 μm and 75°C (25–100°C) which is sufficiently lower than the experimental value of 44.6 ppm/°C (a,b) SEM images of a cross section of the nanopaper The inset in the (b) shows a simplified model for the packing structure of CNFs (c,d) Polar plots of the normalized intensities of the Raman band at 1,100 cm−1 (glycoside bond) recorded by applying the laser beam to (c) the cross-section and (d) the surface of the nanopaper The anisotropy of the CA/CNF composite (~65:78) also suggests that the fiber axes of the CNFs in the CA matrix were on average perpendicular to the out-of-plane direction Association of the nanopaper expansion with thermal anisotropy of single CNFs (A,B) Thermal expansion of a nanopaper specimen with dimensions of 10 mm × 10 mm × 30 μm in the temperature range of 25–100°C The dimensional changes at 100°C (the values in red) are calculated using the CTE values in the in-plane (44.6 ppm/°C) and out-of-plane (8.3 ppm/°C) directions of the nanopaper (C,D) Thermal expansion of a single CNF in the temperature range of 25–100°C the cross-sectional shape and length of the CNF are assumed to be a circle with a diameter 3 and 500 nm The dimensions at 100°C (the values in red) are estimated using the reported CTE values in the fiber axis (6 ppm/°C) and cross-sectional (53 ppm/°C) directions of the single CNF we demonstrated the anisotropic thermal expansion of transparent nanopaper structures comprising CNFs The out-of-plane CTE value of the nanopaper was approximately five times larger than the in-plane value (44.6 ppm/°C vs Such a strong anisotropy in thermal expansion was mainly attributable to the anisotropic CTE values of single CNFs in the fiber axis and cross-sectional directions It is interesting that a transparent polymeric solid exhibits such marked anisotropy in thermal expansion Attention may be required when thick nanopapers are used in electronic devices; the nanopapers only have a favorably low CTE value in the in-plane direction The bioplastic composite containing only 2.5% CNFs also exhibited anisotropy The datasets for this article are not publicly available because the raw data supporting the conclusions of this article will be made available by the authors, without undue reservation, to any qualified researcher. Requests to access the datasets should be directed to Takayuki Hirano, VGFrYXl1a2lfSGlyYW5vQHRyYy50b3JheS5jby5qcA==, or Tsuguyuki Saito, YXNhaXRvdEBtYWlsLmVjYy51LXRva3lvLmFjLmpw TH and TS mainly wrote the manuscript with the contributions of all the authors This research was in part supported by the JST-Mirai R&D Program (JPMJMI17ED) and the JSPS Grant-in-Aid for Young Scientists (17K15298) The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest Yuki Yoshida at the Toray Research Center for producing the Raman spectra of the CNF film The Supplementary Material for this article can be found online at: https://www.frontiersin.org/articles/10.3389/fchem.2020.00068/full#supplementary-material The crystallinity of nanocellulose: dispersion-induced disordering of the grain boundary in biologically structured cellulose Thermal expansion of self-organized and shear-oriented cellulose nanocrystal films Thermal conductivity in nanostructured films: from single cellulose nanocrystals to bulk films Elazzouzi-Hafraoui The shape and size distribution of crystalline nanoparticles prepared by acid hydrolysis of native cellulose Cellulose nanopaper structures of high toughness The thermal expansion of wood cellulose crystals CrossRef Full Text | Google Scholar CrossRef Full Text | Google Scholar Interfacial layer thickness design for exploiting the reinforcement potential of nanocellulose in cellulose triacetate matrix Tailoring nanocellulose–cellulose triacetate interfaces by varying the surface grafting density of poly(ethylene glycol) Crystallite size effect on thermal conductive properties of nonwoven nanocellulose sheets In-plane anisotropic thermally conductive nanopapers by drawing bacterial cellulose hydrogels CrossRef Full Text | Google Scholar Lateral thermal expansion of cellulose Iβ and IIII polymorphs CrossRef Full Text | Google Scholar Orientation of cellulose nanocrystals in electrospun polymer fibres CrossRef Full Text | Google Scholar Increase in the water contact angle of composite film surfaces caused by the assembly of hydrophilic nanocellulose fibrils and nanoclay platelets Nematic structuring of transparent and multifunctional nanocellulose papers Fujisawa S and Saito T (2020) Anisotropic Thermal Expansion of Transparent Cellulose Nanopapers Received: 14 October 2019; Accepted: 21 January 2020; Published: 07 February 2020 Copyright © 2020 Hirano, Mitsuzawa, Ishioka, Daicho, Soeta, Zhao, Takeda, Takai, Fujisawa and Saito. This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY) distribution or reproduction in other forums is permitted provided the original author(s) and the copyright owner(s) are credited and that the original publication in this journal is cited in accordance with accepted academic practice distribution or reproduction is permitted which does not comply with these terms *Correspondence: Takayuki Hirano, dGFrYXl1a2lfaGlyYW5vQHRyYy50b3JheS5jby5qcA==; Tsuguyuki Saito, YXNhaXRvdEBtYWlsLmVjYy51LXRva3lvLmFjLmpw Disclaimer: All claims expressed in this article are solely those of the authors and do not necessarily represent those of their affiliated organizations Any product that may be evaluated in this article or claim that may be made by its manufacturer is not guaranteed or endorsed by the publisher 94% of researchers rate our articles as excellent or goodLearn more about the work of our research integrity team to safeguard the quality of each article we publish