Shapeshifter, trendsetter, storyteller: In Japanese stylist and director Hirotaka Aoki’s world, fashion becomes fantasy, a transformative tool used to cultivate freedom of expression. With a portfolio ranging from world-renowned magazines like Numero to brands like Marc Jacobs and Maison MIHARA YASUHIRO, and recently styling Ichiko Aoba for Flaunt issue 196 ‘Shadowplay’, Hiro adopts a unique approach to styling, one missing from much of fashion in the modern age. When dictated by trends and beauty, fashion loses its connection and story, but Hiro’s conceptual approach brings fashion to the greatest of heights.

Deeply influenced by themes like love and questions of home, Hiro uses fashion to tell stories about humanity. Born in Japan, then moving to Australia, and now working primarily in Europe, Hiro connects with audiences around the globe. With so much cultural influence, Hiro utilizes vivid colors and textures to enrich world-building techniques that create a distinctive style. It is no surprise that although his career only started in 2022, his work has become distinguishable amongst the industry. When intention generates attention, it provides hope for storytelling in fashion to be up next in the trend cycle.

We spoke with Hirotaka Aoki on how the heart of his work is concept without compromise. With an artistic integrity that cuts like a knife, Hiro brings fashion back to its true form of creative brilliance.

Love, in your lens, assumes no shape, has no direction, is indifferent to temperature, and carries no expectation. When styling "Non-Geometric Love," how did you approach the visual capturing of such an intangible concept? 

This concept was originally born from my experience two years ago when I was thinking about what love was. I could not communicate with my long-distance ex-girlfriend over the phone about my feelings for her and my own feelings of weakness. 

For the way I visualized the concept, 

1) Clothing is not just something the model wore, but was used as a tool to symbolize LOVE. 

2) Unbalanced styling using different silhouettes on the left and right sides magnify the non-geometrical of love. 

3) Silhouettes that adhere closely to the body contrasting with oversized pants and lines that spread outward were intentionally used to express the fluidity of love. 

4) The difference in temperature was indirectly expressed by adjusting the lighting between light and dark. 

Fashion is sometimes described as the mirror of society. With your background in sociology, what do you think the current fashion climate says about the state of our interpersonal world? 

I believe that more people are possibly establishing their style from the culture of sharing. (Think of words like shared houses, shared offices, information and  knowledge sharing) Fashion has also been influenced to an extent by our surroundings. For example, when we choose clothes, we are greatly influenced by the community we are involved with, such as who owns a store or who recommended an item to us. I think that trends are now created by communities rather than by individuals.

Launching your career in 2022 and already collaborating with brands like Marc  Jacobs and Maison MIHARA YASUHIRO is an impressive feat. How has your unique creative direction set you apart and aided your momentum? 

First of all, I am truly thankful to the brand press, photographers, and production companies. They found interest in me and approached me after finding my editorials where I communicated my worldview through styling. Most Japanese stylists think about how to create a cool and beautiful style by combining outfits based on a given theme. But for me, I have my vision and use clothes as a powerful means to realize them. I also try to use my creations to mix different contexts and cultures to create new meanings and tell new stories. 

You were born in Japan, studied in Australia, and do a great deal of work in the  Netherlands. How have these global influences sculpted the framework of the stories you tell? 

My experience growing up in Japan gave me a special perspective in my storytelling. In Japan, there were many situations where it was difficult for me to express my opinions in a straightforward manner because of a culture that emphasizes reading the atmosphere and adapting to the occasion. However, I am naturally inclined to share my thoughts and struggled in such a suffocating environment. As a result, I began to work on creating stories through fashion as a  means of expressing my inner thoughts. In Australia, I learned how fashion relates to social movements and trends. This experience allowed me to have my skills in creating stories that combine fashion with other disciplines. And through my work in the Netherlands, especially the shoot with “Numero Netherlands,” I learned about the depth and importance of storytelling. With each project, I strive to bring more depth to the story by delivering empathy and surprise to the viewer. 

You've described "HOME" as more than a physical resting place, but a psychological refuge for our closest kept emotions and personality traits. Whose inner world was expressed in "HOME"? 

My HOME. It was based on Sapeur’s Philosophy who taught me about the communicative aspect of fashion. I used bright colors and primary red suits inspired by their aesthetic sense of bright colors and bold style. Also, following the same philosophy I  utilized movement and posture to express the theme of “HOME”. 

Your philosophy is centered on crafting "new identities" through the metamorphic nature of fashion. When did you first realize that fashion had this  superpower, and how did it catalyze your ideology? 

Identity is more long-term in my mind, and in the short term I believe it is “character.” Sapeurs and vintage clothing are key inspirations for my origin as a stylist. Sapeur taught me that clothing is a kind of art form in which one expresses their behavior and character. Through their clothing, they voice their self-confidence and their country's peace. Each piece of vintage clothing has a different history and context, and by combining them, new meanings and characters can be created. Through these experiences, I have come to see fashion as a tool for creating new characters.

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