The untold story behind the creation of the "dress that comes to life," imbued with passion for craftsmanship and vitality.

The "NEWSPACE" project showcases prototypes of free expression by emerging art directors exploring next-generation art direction. The fifth installment is the mysterious "ZOETROPE DRESS," which comes to life as if it were truly alive.

The work was created by Kubota Emi, an art director whose practice spans graphic design, spatial design, product development, and more, transcending genres.
We reveal the detailed background and production process behind the creation of the "ZOETROPE DRESS".

Creating a "device" that exists between "art" and "fashion"

First, watch the video capturing the dress in motion.

 

In ancient times, humans created clothing as a "tool."
Eventually, people began to be influenced by what they wore, altering their feelings and attitudes.
What if dresses came to life and began to toy with humans?
This work embodies that fantasy.

─ How did the concept for ZOETROPE DRESS come about?
ZOETROPE DRESS is a dress that moves as if it were alive.
It was created by applying the zoetrope animation technique; when illuminated by a strobe light at regular intervals, it appears to move even to the naked eye.

The background to this work's conception was heavily influenced by my personal activities, which began during my student days. I've always been fascinated by the power of decoration, creating textile series and three-dimensional works themed around "dressing."

Past Personal Works

On holidays, driven by a desire to deepen my understanding, I participate in fashion study groups and gatherings where artisans share their knowledge of dyeing and weaving.
Through these activities, I developed a desire to express the primal power of "clothing," which has captivated people since ancient times.

But I'm not a fashion expert, and the world already has plenty of beautiful clothes. So I wanted to create something like a "device" that exists between "art" and "fashion" – something only achievable when the skills of an art director combine with those of a professional clothing maker.

A "moving dress" utilizing classical animation techniques

─ Please tell us more about the "Zoetrope" mentioned in the work's title.
 "Zoetrope" means "wheel of life" in Greek. It refers to a primitive animation technique invented before the advent of film technology. It involves arranging a sequence of images in a circular pattern, spinning it, and viewing through a gap to create the illusion of movement.
In modern times, it has evolved into a technique for creating 3D animation. By intermittently blocking the viewer's line of sight, it creates the effect that the 3D object itself is moving right before your eyes.

This work. Each part of the dress is designed as a continuous shape so that it becomes an animation.

While pondering, "What skills of mine could be applied to clothing?", I recalled this technique from my student days when I made animations. What if I combined a zoetrope with a dress? Couldn't that create something mysterious, unlike anything anyone had ever seen? Based on this hypothesis, a journey of trial and error began to see if it was truly achievable.

Collaborating with a genius creator to transcend imagination and genre

─ How did you connect with the fashion designer handling the knitwear for this project?
I wrote a proposal and consulted with Takushi Nishida of coromoza about finding someone to collaborate with. He introduced me to Motohiro Tanji, whose knitwear pieces command overwhelming presence and have garnered attention both domestically and internationally.

Motohiro Tanji's Work

I find the synergy and energy born from collaborating with others truly captivating. This time, working with professionals across various fields—including Mr. Tanji, photographer Ayaka Yamazaki, and producer Minoru Nishiki—allowed us to complete a piece that surpassed my own imagination.
I hope you'll take a moment to appreciate the powerful expressions of knitwear, created through the masterful use of both home knitting machines and hand knitting.

The approximately six-month production process involved repeated trial and error and hands-on verification.

─ You mentioned it was a continuous process of trial and error. Could you share the specific steps?

 

First, we verified how the knit animation would appear. We attached roughly connected knit parts to a dome-shaped structure and rotated it. (Step 1)

Next, to verify if the dress shape × zoetrope mechanism would work, we experimented at approximately 1/6 scale. We created dress patterns and, using pi and other calculations, determined the placement needed for the dress parts to move continuously. (Step 2)

After that, we explored using clay to determine what shapes of parts would be most effective when animated. (Step 3)

Then came full-scale adjustments. Testing with actual-size parts revealed that the pointed shapes that worked at 1/6 scale sagged under gravity at full size. (Step 4)

After testing various shapes, we finally arrived at a spiral design. (Step 5)

We then captured the finished dress in both video and photography.

Creating something that doesn't yet exist in this world, something uncategorizable

─ How do you think the role of art director will evolve in the future?
I feel the role and required skills of an art director have been expanding year by year alongside changes in people's living environments.
We're seeing more projects requiring comprehensive direction across print, 3D, and spatial design.
For example, when creating an original sweets brand for a food company, I was involved in everything from the concept to store design, graphics, packaging, and the website. I also collaborated with the pastry chef to develop the products.

Case Study: Patisserie GIN NO MORI

Working with people from various professions through projects and creative work has taught me the importance of flexibility.

For instance, blending serious elements with relaxed ones.
Understanding the beauty of your own culture while embracing the wonderful cultures of other countries.
Letting go of preconceptions and taking that first step.

I believe that what emerges when we leap across these boundaries is something truly unique, something that doesn't yet exist in any world.
Whether in professional work or personal projects, I want to keep creating things that defy categorization, challenging myself with the unknown.

I also plan to develop and expand this work, "ZOETROPE DRESS." Applications include stage direction and video works. 興味を持っていただいた方は ぜひinfo@newspace.galleryまでご連絡ください.

"ZOETROPE DRESS" STAFF LIST
・Art Director: Emi Kubota
・Knit Designer: Motohiro Tanji
・Photographer: Ayaka Yamazaki (amana inc.)
・Producer: Minoru Nishiki (amana inc.)
・Director: Seishi Ono
・Hair & Makeup: Naoyuki Ogimoto
・Retoucher: Chie Shuto (amana inc.)
・Music: Makiko Sato, Noriyuki Sato (Heima) Titles omitted