Known for his vibrant colors, bold pattern combinations, and whimsical designs, Sebastian Masuda (増田 セバスチャン, MASUDA Sebasuchan) is leading the next generation of Kawaii expression. As the designer of 6% DOKIDOKI in Harajuku and the creative director behind Kyary Pamyu Pamyu, as well as numerous international kawaii art installations, Masuda has made it his mission to spread joy and vibrant color around the world. More than just an artist, Masuda is a kawaii philosopher, redefining ‘kawaii’ not only as a term for cuteness but a global concept that embodies personal expression, freedom, and love. Inspired by the 90s rave culture slogan of PLUR, (peace, love, unity, and respect), Masuda seeks to unite us by celebrating our uniqueness. Through his exhibitions, world tours, and interactive art projects, including his most recent exhibit, Yes Kawaii is Art in Los Angeles, Masuda has played a significant role in spreading kawaii culture across the global; sparking enthusiasm as well as deeper appreciation of kawaii as art form and vehicle for self-expression.
Masuda’s signature creative style was highly influenced by the vibrant Harajuku youth culture of the 70s and the 80s. Born and raised in Chiba, Japan, just about a 30-minute train ride from Harajuku, Masuda spent many weekends soaking in the sites at the famous ‘Harajuku Hokoten’. Beginning in 1978, Omotesando Dori, the main boulevard from Harajuku Station, was closed to traffic to create a pedestrian paradise known as ‘Hokoten’ (hokoten is an shortened expression coming from Hokousha Tengoku (歩行者天国) which translates as “pedestrian paradise”). While Hokoten no longer takes place in Harajuku, similar pedestrian zones still exist in spots like Ginza, Akihabara, and Shinjuku.
The Harajuku Hokoten was a hot spot for young performers and dancers, with the Takenoko-zoku dance groups rising in popularity in the late 70s, followed by various rock ‘n’ roll bands in the 80s. As these performers competed for attention, their fashions and staging became increasingly extravagant, attracting up to 10,000 visitors at Hokoten’s peak.
As the area grew in popularity, music producers took notice, using the location to promote new bands. As music companies continued to ramp up their promotions, the event became too big to control, prompting stricter regulations that ultimately lead the end of Harajuku Hokoten in 1998. With the streets no longer closed to thru traffic, the performances ceased, and crowds quieted down. However, Harajuku continued to be a hub for creativity. Unable to express themselves through dance and music, fashion emerging as the dominant form of self-expression, and Masuda was there to help lead this new movement.
In the mid-90s, Masuda began spending time not only in Tokyo but also in Los Angeles, immersing himself in the vibrant 90s rave culture. The bright colors, kandi brackets, and childhood toys that defined 90s rave fashion would also prove to be a lasting influence. In 1995, he opened his shop 6% DOKIDOKI, initially as a space to sell fun toys and fashion for him and his friends to use at raves. He even stocked fun, colorful toys he found during his trips to America. Although he hadn’t intended for it to become a brand, due to requests from his fashion-forward friends, he started to design and his own pieces. As his unique designs gained in popularity, he continued to hone his personal style and 6% DOKIDOKI, as we know it today was born. During this time, Harajuku was home to many similar shops, artists, and designers all working in the area, and collaborating with each other to create what has now become the iconic Harajuku kawaii style.
A key moment in the Harajuku kawaii movement came in 1998 when the brand Benetton launched an ad campaign featuring models in the Harajuku kawaii style, introducing this unique fashion to a global audience. Riding the wave of ‘Cool Japan’ in the early aughts – when Western interest in anime and Japanese pop culture was surging – the Harajuku style also started to gain mainstream popularity. Soon ‘kawaii’ was making its way in American pop culture musical artists like Gwen Stefani, Avril Lavigne, and Katy Perry (albeit not always with the best results). The rise of social media sites like MySpace made it easier for niche communities across the globe to connect, giving Masuda the opportunity to connect with international fans with a growing interest in Harajuku kawaii.
After connecting with international fans on MySpace, Masuda started receiving emails from groups in the US and Europe to bring his kawaii fashion to their cities. In 2009, he went on a worldwide tour, visiting over 25 cities sharing Harajuku kawaii and culture to excited audiences. Around that same time, Kyary Pamyu Pamyu, a popular J-pop singer and fashion icon, approached him to be his art director starting with her hit music video for PONPONPON, which went viral on YouTube. Due to the popularity of Kyary Pamyu Pamyu both domestically and internationally, Harajuku kawaii continued to grow, helping to raise the Masuda’s profile and open up new opportunities for his creative expressions.
This new fame provided Masuda with the opportunity to explore more unique art projects and avant-guard expression. In 2014, Masuda moved to New York and held his first US show, Colorful Rebellion-Seventh Nightmare, in the Chelsea neighborhood. It was a great success and attracting crowds from both New York’s art scene and beyond (I even traveled from Boston to check it out!). That same year, he launched the Time after Time Capsule public art project, which featured a giant transparent Hello Kitty shaped time capsule where fans could add colorful letters their future selves. Masuda mentioned that the inspiration for this project came seeing all the different people in the kawaii community like individual starts in the sky, sparkling in their own unique way. He has taken this time capsule to over 20 cities where it has been filled with the dreams and messages of the global kawaii community.
During the pandemic, Masuda worked to create projects that could connect us even while we were isolated. In 2020 he launched the Kawaii Tribe sessions, hosting group calls that allowed kawaii fans across the globe to connect and communicate with each other. In 2021, his exhibit SENSE SHARE BEAR debuted at the Museum of Art Pudong in Shanghai with links to exhibits in Berlin, New York, and Tokyo, offering unique interactive experiences that connected art patrons across the globe. This exhibit continued on Masuda’s mission on using kawaii expression as a way to foster connections between global audiences.
Most recently, his exhibit, Yes, Kawaii is Art, just concluded in Los Angeles. This exhibit featured an overview of Masuda’s work, as well as brief history of kawaii in art. I was fortunate enough to attend multiple times, including a guided tour by Sebastian himself!! Look forward to a more in-depth post on that exhibit soon.
I feel incredibly grateful to have met Sebastian Masuda and to hear him talk about his art and mission. Although I was already a huge fan, listening to him discuss his passion for creating international communities, fostering global connections, and bringing joy to people deepened my appreciation for his work. As a former 90s raver myself, I love seeing Harajuku kawaii fashion carry forward the spirit of the 90s and the ideals of PLUR. I’m looking forward to his next projects and hoping he continues to inspire audience across the world with his amazing creations.
