Rakuten Fashion Week Tokyo Fall/Winter 2024 Highlights ① Harunobu Murata, Yohei Ohno, Kanako Sakai, etc.

Rakuten Fashion Week Tokyo Fall/Winter 2024 collection was held over six days, from Monday, March 11th, to Saturday, March 16th. As in previous years, Shibuya Hikarie and Omotesando Hills were chosen as the main venues for the show, and 43 brands presented their latest collections in physical and digital formats.

The Japan Fashion Week Organization (JFWO) has strengthened its efforts to hold open-to-public events and communicate its message globally with its 2024 “OPEN, FASHION WEEK” annual slogan.  Especially since last season, as Tokyo’s fashion scene showed signs of gradual recovery from the pandemic, it was reported that it is regaining its vitality with the participation of international brands and an increase in the number of guests from abroad.

This season, along with such diversity and appeal to the global market, it was impressive to see the “high level of perfection of the show” created by each brand. The designers explored the essence of dressmaking while developing innovative presentations that combined the clothes with entertainment value, and some brands showed their ability to compete in the global market.

This article will introduce the latest collections of designers selected by OSF from 43 brands participating in Rakuten Fashion Week Tokyo Fall/Winter 2024.


On March 10, MASU held the “Rakuten Fashion Week TOKYO 2024 A/W SPECIALON-SCHEDULE RECEPTION PARTY,” a triumphant return event for its latest collection presented in Paris, ahead of the official schedule. The brand has been selected as the 6th award-winning brand in the “FASHION PRIZE OF TOKYO” organized by JFWO.

Upon entering the dimly lit event hall, visitors were shown “The Cinema,” a video of the Fall/Winter 2024 show during Paris Fashion Week in January. Mannequins that fully embodied the appeal of M.A.S.U.’s collections sat among the visitors in the audience seats.

This season’s theme of “rain” expresses the beauty and ephemeral mood of the collection through the skillful use of various materials and intricate details. The fleeting charm of raindrops was thoughtfully reflected in the deep color tones of the collection by utilizing the brilliance of materials such as studs, chains, and sequins and by cutting sweatshirts to look like water drops.

Photo Credit: Oui Speak Fashion

pays des fées

On March 11, pays des fées held a show at Shibuya Hikarie, presenting a quirky worldview different from that of other brands. The models on the runway walked like wooden marionettes or strutted around with balloons in their hands, creating a mysterious clown-like atmosphere.

Launched in 2014 by designer Lim Asafuji, pays des fées is a brand that continues to express deep themes each season based on the concept of “strange and cute.”

For the Fall-Winter 2024 collection, pays des fées embodies the confusion we all feel during physical change during puberty.

The show notes titled “Circle in Square” state, “We experience the urge to become inorganic matter like plastic during the uncomfortable growth period as we change physically during our adolescent puberty. I want to express this short transitory time that will remain in our memories forever (that feeling of never getting over that experience) into something tangible.” It was also accompanied by the message, “For this season of pays des fees, my clothing will act like a bandage to nurse that wound left from that experience.”

In addition to the above, another source of inspiration involved the “Concrete Poetry” of Kitazono Katsue, a well-known poet born of the Modernist movement. Asafuji found an affinity between the moods characteristic of unstable adolescence and the linear design of Japanese Dada of the Taisho era. She says she created this collection in homage to the inorganic, linear details of Kitazono Katsue’s poems and photographs.

These inspirations are projected onto the A-line coats with capes and dresses with large collars. The straight silhouette and the curving round prints, the contrasting shapes blended into one, and the delicate sentiment that Asafuji wanted to express were incorporated into the garments.

In addition, the “human hand” graphics in the circle and square patterns were created by collage artist Q-TA. This season was also characterized by a foundation of basic shades such as navy, gray, and white, compared to the vibrant color palette usually shown by the brand.

Courtesy of pays des fées
Pay des fées has vividly depicted surrealism in the past, but this season’s collection was sublimated to something more mechanical and fantastic, as if inorganic objects had come to life. The scene was like flowers with morning dew; a sense of fleshiness and warmth looked to offer solace to Asafuji or those seeking an anonymous inorganic existence.


HARUNOBUMURATA held its fall/winter 2024 show on March 12 at Jing in front of Harajuku Station.

Transcending the boundaries of Japanese designers, HARUNOBUMURATA is a brand that continues to express overwhelming elegance with its sophisticated minimalist design and use of first-rate materials, which is unique as a representative of “global standards.”

For the brand’s latest collection, designer Harunobu Murata was inspired by 20th-century German photographer August Sander’s THREE FARMERS ON THEIR WAY TO A DANCE. This iconic photograph Sander took in 1914 shows three young farmers, dressed in formal suits, staring majestically into the camera as all of Europe gripped by the anxiety and fear of the protracted World War I. As the three men walk to the ball dressed in unfamiliar costumes, the film conveys a positive sentiment of trying to find the joy of life in an uncertain and unstable time.

Murata mirrored these humanistic farmers’ outfits in a voluminous double-faced wool coat. Despite its massive appearance, the relaxed, oversized silhouette shimmers fluidly every time the model walks. Mohair boas and compressed knits also expressed the worker’s demeanor in the face of harsh cold weather, perfectly blending with the brand’s modern essence.


The collection’s color palette was muted gray or black, deep burgundy, glossy moss green, and flamboyant yellow or white. Each of the single-color pieces was uniquely accented with a removable gold-plated detail.

The new leather bag, “CONSTANTIN,” is beautifully curved and resembles a luxurious sculpture carrying a precious secret when gently cradled in one’s arms. Meanwhile, the new shoes, “BAUER,” were inspired by the wooden shoes of the good old farmer. The combination of wood and mohair brings comfort and warmth to your feet on a winter day.


The farmers’ efforts prospered the city, and the workers further contributed to its development. Eventually, inextricable decadence emerged.

HARUNOBUMURATA’s Fall/Winter 2024 collection echoes contemporary glamour and embraces the essence of human connection derived from simplicity.


On March 13, 2024, tanakadaisuke held a runway show at Shibuya Hikarie.

Designer Daisuke Tanaka won the “TOKYO FASHION AWARD 2024” co-sponsored by JFWO and the Tokyo Metropolitan Government. JFWO supported him for this show, including rental fees for Shibuya Hikarie. His alma mater, Osaka Institute of Fashion, also supported the show.

This season, “Tanaka Daisuke” presented a fantastic and romantic collection under “MEMORIES.

“A reunion with the things that made my eyes sparkle so, way back when. As a child, I kept a small collection of dolls, beads, sequins, and other small, bright things tucked away in my toy box.” As written in the show note, the audience’s feet were covered with twinkling stars and sequins to embody Tanaka’s childhood memories, and sequins rained down from the ceiling of the runway.

Reminiscent of Tanaka’s recollections, the many looks decorated with dolls, bijoux, and sparkling sequins cast a spell on the audience, making them feel like they were in the court of medieval Europe.

For the Fall/Winter 2024 collection, Tanaka’s challenge was to break away from the monotones and browns of the past and “emphasize the longing for pink.” The show’s first look featured a sweet baby pink all-in-one with ruffles, followed by pale pink men’s suits and ruffle dresses, adding to the romantic mood.

In the middle of the show, bright red European-style jackets, layered dresses with eye-catching turquoise and white ruffles, charcoal dresses with bold velour cutouts, and set-up suits with chains and other accessories for an edgy touch were all on display, creating diverse characters inhabiting “Tanaka Daisuke’s World.”

The thorough attention to detail in each look also stands out. The beauty of the elaborate details, such as frills, lace, and shimmering lamé, captivated the audience, making them want to zoom in and stare.

Courtesy of daisuketanaka
“I thought it was necessary for me now to spin my unfading ‘crush’ and ‘longing’ from my own experiences and perspectives, just like a rapper,” said Daisuke Tanaka.

The shimmering collections that evoked “crush” and “longing” in our hearts were as fantastic as if we had turned over the toy box we used to play with in childhood.


YOHEI OHNO held a show at Sen-oku Hakukokan Museum Tokyo in Roppongi on March 13.

Last season, under the theme of “NEW TOWN NEW CAR,” the brand presented some sporty and unique looks that reflected its feelings toward its hometown and family, as well as its image of the early Heisei era in which it grew up, however, the brand unveiled the concept “Classic for Adults,” which was a complete change of image.

The runway featured models of all ages, presenting dresses with a structured, classical feel suitable for all ages.

Courtesy of YOHEI OHNO

The trench coats, available in black, white, and beige, were also characterized by their oversized, draped design with a sense of movement. Throughout the collection, relaxed silhouettes were the foundation, and the lightness of the materials stood out as the models strutted about.

Courtesy of YOHEI OHNO

Designer Yohei Ohno confessed that while his brand is celebrating its 10th anniversary, he still feels “aware that I have not yet fully entered the world of luxury and adulthood.” The theme of this collection was to look back on the experiences he has gained over the past 10 years while honestly expressing his image of not yet being an adult.

Childish playfulness was occasionally added to the “adult world” and “luxury” created by Ohno. These included sporty dresses’ flipped skirts, handbags with large gold chains attached to the arms or chest motifs, and high heels reminiscent of cars.

Adding these novel Ohno-like accents transformed each piece into a unique entity with charm and essence without ending with royal elegance.

Courtesy of YOHEI OHNO


FETICO held its Fall-Winter 2024 show at the Tokyo National Museum’s Hyokeikan on March 13. In this collection, named “Eternal Favorites,” designer Eimi Funayama has captured the essence of what she is instinctively drawn to.

When the show opened, the first look featured a nun-like model with dark makeup and a large black bow in her hair. The long dress she was wearing had a cross-shaped cutout at the bust. Subsequent looks were similarly decorated with a cross cutout at the bust of the dress, on the side of the trousers, and on the sleeves and back of the bodysuit.

The collection’s star was velvet fabric, indispensable for expressing the Gothic world. It was used for ruffled shoulder jackets, cross-cut dresses, gothic-style embroidered bustiers and skirts, and other garments that exuded a graceful yet strong presence. Models also wore black veils on their heads and chokers around their necks that reminded one of the brand’s monogram, adding distinctive accents.

Since childhood, Funayama has loved velvet dresses, lace, and frilly children’s clothing. She has also been drawn to Victorian Gothic interiors, black-and-white art, and fetish styles. This collection’s dark gothic worldview was inspired by the eldest daughter, Wendy, who appeared in the 1991 movie The Addams Family.

“When I saw The Addams Family as a child, Wednesday fascinated me because she was so different from the usual ‘pretty’ girls. Albeit cynical and pessimistic, I found her fearlessness and eccentricity to be truly charming. She taught me not to be afraid of being different from other people.”

“Embracing the things you love equates to being able to love yourself. You can love yourself more when you are enjoying the things you love without caring about what others think. This is what I think is true happiness,” said Funayama.

From the middle of the show onward, tulle baby-doll blouses, negligee-like camisole dresses, and gauze-shirred dresses also appeared, showing romantic lingerie details.

In addition, silhouettes that emphasized body curves with shirring, gathering, and transparent knitwear showed the “Fetico-esque” emphasis on making women’s bodies look beautiful in all their glory.

Courtesy of Fetico


KANAKO SAKAI held its fall/winter 2024 collection at the main venue, Shibuya Hikarie, on March 13.

The brand had mainly presented clean, sophisticated, tailored looks based on “everyday combat wear for adult women.” It had also pursued a gender-neutral and free approach, such as using men’s models as runway models for its women’s line.

However, it was the strong and provocative “feminine” elements that Sakai presented this season on the runway, with its rhythmic drumbeat. These included a vertigo-hued bustier with a sharply protruding cone bra and pants shorts made of heart-shaped cut-out leather and lamé. Several pieces emphasized sexuality, something Sakai had never expressed before.

Sakai said that the inspiration for the Fall/Winter 2024 collection came from Marilyn Yalom’s 1997 book A History of the Breast, which she picked up one day.

Sakai empathized with Yalom’s statement about women’s breasts in the book: as a nurturer of infants, a desired object of men, even something the law requires to be concealed. Despite being a woman’s possession, the breast always seems to belong to someone else.

After learning of Yalom’s assertion, Sakai thought, “Femininity has been shaped by society, to begin with. No, it is not limited to femininity. Others have always defined one’s existence. Many people may feel this way in their daily lives.”

To find answers to these questions, Sakai confronted the “femininity” she had unknowingly been avoiding through this collection, created by social trends that made her uncomfortable.

While infusing the collection with such new sensibilities, Kanako Sakai’s unwavering passion for Japanese tradition and craftsmanship was also evident. For example, the metallic tailoring coat was made of Tamiya Raden “Yakifoil” fabric imported from Tango, Kyoto. The shimmering knee-high boots, mules, and neckties were decorated with traditional Japanese family crest patterns, and the shimmering ear accessories were lined with a motif of a thousand cranes.

Courtesy of Kanakosakai

The latest collection breathed new life into the brand’s aesthetics by overcoming and giving form to the “feminine” and “sexual” elements that KANAKO SAKAI has been uncomfortable with while respecting the styles she has cultivated up to this point.

Many sophisticated items that add color and glamour to everyday styles were displayed, and their new appeal shone through.