Researched next-generation fashion branding and marketing through the lens of spatial design.

With growing concerns over the environmental impact of fast fashion, the industry is shifting toward sustainability, emphasizing new material research and circular practices. In this context, I launched Ad2+, a brand themed around “Transhumanism,” which reimagines vintage clothing by adding new layers of value and freshness. My role focused on (1) branding strategy and execution.

All brand tools and spatial installations were produced using recyclable or repurposed materials, embedding new meaning into discarded objects. Instead of relying solely on visual impact, the brand experience was designed as a seamless journey—from discovery to purchase to the moment the product reaches the customer. This involved (2) planning, (3) design, and (4) promotion, all integrated into a marketing approach that built “memory spaces.” These functioned as evolving brand communication touchpoints, gradually and continuously imprinting the brand’s worldview into people’s consciousness.

Ultimately, the project anticipated a future where the widespread use of recyclable materials could dull our sense of guilt toward clothing disposal. By doing so, Ad2+ evolved into a brand that questions the essence of fashion itself, and redefines what it means to cherish and form an attachment to objects.

As an embodiment of Ad2+’s philosophy of “emotional attachment to objects,” I designed a product that serves both as packaging and as a protective cover for clothing.

The design draws inspiration from the raincoat—an essential tool in Kanazawa, known for its high rainfall—while also considering functionality within fashion show presentations. Crafted from biodegradable vinyl with built-in UV protection, the cover integrates sustainability, practicality, and brand storytelling into a single product.

This sculptural artwork explores “smell” as an uncertain element within spatial design, created as an inquiry into the boundary between design and art.

The inspiration came from the scent of morning dew. Its source is geosmin, a compound produced by soil-dwelling bacteria, released into the air before rainfall and most perceptible in the fresh atmosphere of early mornings. It is a fragrance born from the cycle of life—what could be called “the scent of time.”

The piece embodies this concept through a pendulum that evokes the flow of time, and a delicate structure that conveys the fragile, almost miraculous existence of scent itself. It becomes an art piece that transcends visual and olfactory perception, offering a spatial experience of time and life.

I questioned the concept of conventional illumination as a form of spatial decoration. To me, it felt like an act of restraining nature—an anthropocentric display that lacked true beauty.

In response, I designed an installation inspired by the local ecosystem, using native plants as motifs for the lighting elements. Powered by natural energy, these lights not only illuminate but also create sound through collision, transforming into an interactive sensory experience.

The design was conceived to be appreciated both day and night, offering a new form of illumination that coexists with nature while reimagining the relationship between humans and their environment.

In the spring of 2020, the COVID-19 pandemic emptied Ginza—Japan’s largest commercial district—of its usual crowds. Yet, in the absence of people, we began to notice overlooked forms of life: the vivid greenery of roadside trees, the presence of crows, and other subtle but beautiful traces of urban ecology.

This project reinterpreted these small, everyday ecologies as expressions of an unseen beauty in the city. By sharing them, we sought to spark new reflections on the relationship between people, the city, and nature.

The installation featured a three-dimensional map of Ginza, within which we carefully displayed specimens collected through fieldwork and insights drawn from conversations with local residents. Each element was presented almost like a specimen, highlighting the hidden layers of life within the metropolis.

Over the course of a year, the exhibition unfolded across three themes—Plants, Earth, and Human Activity—ultimately revealing an unfamiliar yet beautiful vision of Ginza, reframed as an “Ecological Map.”

Researched next-generation fashion branding and marketing through the lens of spatial design.

With growing concerns over the environmental impact of fast fashion, the industry is shifting toward sustainability, emphasizing new material research and circular practices. In this context, I launched Ad2+, a brand themed around “Transhumanism,” which reimagines vintage clothing by adding new layers of value and freshness. My role focused on (1) branding strategy and execution.

All brand tools and spatial installations were produced using recyclable or repurposed materials, embedding new meaning into discarded objects. Instead of relying solely on visual impact, the brand experience was designed as a seamless journey—from discovery to purchase to the moment the product reaches the customer. This involved (2) planning, (3) design, and (4) promotion, all integrated into a marketing approach that built “memory spaces.” These functioned as evolving brand communication touchpoints, gradually and continuously imprinting the brand’s worldview into people’s consciousness.

Ultimately, the project anticipated a future where the widespread use of recyclable materials could dull our sense of guilt toward clothing disposal. By doing so, Ad2+ evolved into a brand that questions the essence of fashion itself, and redefines what it means to cherish and form an attachment to objects.

As an embodiment of Ad2+’s philosophy of “emotional attachment to objects,” I designed a product that serves both as packaging and as a protective cover for clothing.

The design draws inspiration from the raincoat—an essential tool in Kanazawa, known for its high rainfall—while also considering functionality within fashion show presentations. Crafted from biodegradable vinyl with built-in UV protection, the cover integrates sustainability, practicality, and brand storytelling into a single product.

This sculptural artwork explores “smell” as an uncertain element within spatial design, created as an inquiry into the boundary between design and art.

The inspiration came from the scent of morning dew. Its source is geosmin, a compound produced by soil-dwelling bacteria, released into the air before rainfall and most perceptible in the fresh atmosphere of early mornings. It is a fragrance born from the cycle of life—what could be called “the scent of time.”

The piece embodies this concept through a pendulum that evokes the flow of time, and a delicate structure that conveys the fragile, almost miraculous existence of scent itself. It becomes an art piece that transcends visual and olfactory perception, offering a spatial experience of time and life.

I questioned the concept of conventional illumination as a form of spatial decoration. To me, it felt like an act of restraining nature—an anthropocentric display that lacked true beauty.

In response, I designed an installation inspired by the local ecosystem, using native plants as motifs for the lighting elements. Powered by natural energy, these lights not only illuminate but also create sound through collision, transforming into an interactive sensory experience.

The design was conceived to be appreciated both day and night, offering a new form of illumination that coexists with nature while reimagining the relationship between humans and their environment.

In the spring of 2020, the COVID-19 pandemic emptied Ginza—Japan’s largest commercial district—of its usual crowds. Yet, in the absence of people, we began to notice overlooked forms of life: the vivid greenery of roadside trees, the presence of crows, and other subtle but beautiful traces of urban ecology.

This project reinterpreted these small, everyday ecologies as expressions of an unseen beauty in the city. By sharing them, we sought to spark new reflections on the relationship between people, the city, and nature.

The installation featured a three-dimensional map of Ginza, within which we carefully displayed specimens collected through fieldwork and insights drawn from conversations with local residents. Each element was presented almost like a specimen, highlighting the hidden layers of life within the metropolis.

Over the course of a year, the exhibition unfolded across three themes—Plants, Earth, and Human Activity—ultimately revealing an unfamiliar yet beautiful vision of Ginza, reframed as an “Ecological Map.”

Researched next-generation fashion branding and marketing through the lens of spatial design.

With growing concerns over the environmental impact of fast fashion, the industry is shifting toward sustainability, emphasizing new material research and circular practices. In this context, I launched Ad2+, a brand themed around “Transhumanism,” which reimagines vintage clothing by adding new layers of value and freshness. My role focused on (1) branding strategy and execution.

All brand tools and spatial installations were produced using recyclable or repurposed materials, embedding new meaning into discarded objects. Instead of relying solely on visual impact, the brand experience was designed as a seamless journey—from discovery to purchase to the moment the product reaches the customer. This involved (2) planning, (3) design, and (4) promotion, all integrated into a marketing approach that built “memory spaces.” These functioned as evolving brand communication touchpoints, gradually and continuously imprinting the brand’s worldview into people’s consciousness.

Ultimately, the project anticipated a future where the widespread use of recyclable materials could dull our sense of guilt toward clothing disposal. By doing so, Ad2+ evolved into a brand that questions the essence of fashion itself, and redefines what it means to cherish and form an attachment to objects.

As an embodiment of Ad2+’s philosophy of “emotional attachment to objects,” I designed a product that serves both as packaging and as a protective cover for clothing.

The design draws inspiration from the raincoat—an essential tool in Kanazawa, known for its high rainfall—while also considering functionality within fashion show presentations. Crafted from biodegradable vinyl with built-in UV protection, the cover integrates sustainability, practicality, and brand storytelling into a single product.

This sculptural artwork explores “smell” as an uncertain element within spatial design, created as an inquiry into the boundary between design and art.

The inspiration came from the scent of morning dew. Its source is geosmin, a compound produced by soil-dwelling bacteria, released into the air before rainfall and most perceptible in the fresh atmosphere of early mornings. It is a fragrance born from the cycle of life—what could be called “the scent of time.”

The piece embodies this concept through a pendulum that evokes the flow of time, and a delicate structure that conveys the fragile, almost miraculous existence of scent itself. It becomes an art piece that transcends visual and olfactory perception, offering a spatial experience of time and life.

I questioned the concept of conventional illumination as a form of spatial decoration. To me, it felt like an act of restraining nature—an anthropocentric display that lacked true beauty.

In response, I designed an installation inspired by the local ecosystem, using native plants as motifs for the lighting elements. Powered by natural energy, these lights not only illuminate but also create sound through collision, transforming into an interactive sensory experience.

The design was conceived to be appreciated both day and night, offering a new form of illumination that coexists with nature while reimagining the relationship between humans and their environment.

In the spring of 2020, the COVID-19 pandemic emptied Ginza—Japan’s largest commercial district—of its usual crowds. Yet, in the absence of people, we began to notice overlooked forms of life: the vivid greenery of roadside trees, the presence of crows, and other subtle but beautiful traces of urban ecology.

This project reinterpreted these small, everyday ecologies as expressions of an unseen beauty in the city. By sharing them, we sought to spark new reflections on the relationship between people, the city, and nature.

The installation featured a three-dimensional map of Ginza, within which we carefully displayed specimens collected through fieldwork and insights drawn from conversations with local residents. Each element was presented almost like a specimen, highlighting the hidden layers of life within the metropolis.

Over the course of a year, the exhibition unfolded across three themes—Plants, Earth, and Human Activity—ultimately revealing an unfamiliar yet beautiful vision of Ginza, reframed as an “Ecological Map.”