In an exclusive interview with L'Officiel Singapore, the Japanese artist shares about keeping his craft young and vigorous and his upcoming plans.

Ranging from anime-style, Rococo-style bouffants, to biomorphic elements, wig artist Tomihiro Kono strives in his delicate inventions. Earlier on in his career, Kono started as a hairdresser in Japan before embarking on his journey as a hairstylist and headwear designer. After honing the comprehensive skills of Japanese hairdressing of Geisha hairstyles, he began to expand his repertoire and expertise beyond the scopes of Japan. While seeking to grasp a distinctive personal style, he moved to London shortly after, worked as a session hair stylist, and began making head props. In an effort to blur the lines between the two, the self-taught artist decided to launch his own namesake label in 2016, Tomikono Wig, specialising in wig making and head prop designs.

Tomikono Wig has made a name for itself as the game-changer in hair styling. To Kono, wigs are beyond a piece of accessory, they have become an integral part of embracing and transforming identities. The artisan&rsquo;s creative and modern take on wig-making continues to open up new horizons for both the artist and the wearer.

Kono has worked alongside remarkable designers like Junya Watanabe, Collina Strada, Maison Margiela, and Jil Sander, and dressed popular artists like Bj&ouml;rk and HYUKOH. Having established himself as a skillful artist with his inventive techniques, we speak to him about the biggest break in his career and how he takes his craft forward.

You&rsquo;ve often been described as an avant-garde wig and head prop artist as well as a master of disguise. How would you describe the Tomikono aesthetic?
Contemporary, inspiring, creative, and unique.&nbsp;
What is the biggest misconception that people have about your craft?&nbsp;
I don&rsquo;t think there is a misconception between my viewers and me. But sometimes young viewers think I&rsquo;m in my 20s but I&rsquo;m older than that. I like the misconception because it means the aesthetic and idea of my work is young and fresh.&nbsp;
You've continued to push the boundaries of prop and wig-making and hair-styling. What do you think is your biggest breakthrough?
When I published my book PERSONAS111 &mdash; a book about the art of wig making in March 2020 just after the lockdown in New York. That publication let people know about my work and philosophy and it was when I got the greatest feedback from peers in my industry.

How does your background in Japan contribute to your accomplishments in New York, London, and more?
The basic hair skills that I learned in Japan before heading to London in 2007 made my basis of techniques.&nbsp;
Hair has always been known to be a delicate piece to work with. How do you ensure the details and intricacies speak for themselves?
Hair is indeed very delicate and it is much more difficult to control than you think. I&rsquo;ve acquired various techniques through my career as a hair stylist, head prop artist, and wig maker. So the totality of all those techniques and my experiences are added to my work. 
What do you do on days when you&rsquo;re facing creative burnout?
I have a garden in my backyard that I enjoy spending time in. I maintain my plants and feed my fish. I enjoy touching and watering the plants as well as planting some herbs. I love focusing on nature when I&rsquo;m not in the mood for working. It's really relaxing.
If you weren&rsquo;t pursuing the arts, what do you think you would specialise in?
Gardening.

How would you interpret fashion/beauty in your own words?
It&rsquo;s all about the beauty of transformation.
What can the avid followers of your work anticipate?&nbsp;
I&rsquo;m going to showcase my wigs at Hair Power, from 9 July 2022 to 8 May 2023 at <a href="https://www.wereldmuseum.nl/en/about-wereldmuseum/press/press-releases/wereldmuseum-rotterdam-presents-hair-power">Wereldmuseum Rotterdam</a>. And we are currently working on a new book, probably launching in Fall.&nbsp;&nbsp;

Wig Artist Tomihiro Kono Continues to Challenge the Visual Interpretation of Identities

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