The unparalleled mind of Isamu NoguchI has profoundly inspired the genius behind HARRI’s sculptural designs. From HARRIs debut collection to his recent presentation at London Fashion Week, featuring the talented Eurovision finalist Nemo, Noguchi’s legacy has provided a playful foundation for many of HARRIs creations. Renowned for his ability to craft sculptures unconstrained by space, Noguchi’s prolific artistic career spanned both the United States and Japan, and saw him create iconic designs such as the Noguchi Table and Akari Light. HARRI’s innovative approach to fashion is deeply rooted in the three essential points of Noguchi’s artistic philosophy.
Everything is sculpture
"Any material, any idea without hindrance born into space, I considered sculpture."
Isamu Noguchi
Whether it was a table, lamp or chair, Noguchi saw every object as a matter of sculpture embracing them as a vital force of everyday life, that unified the human being with the world surrounding them. Clothes ground our identities while enabling us to navigate our surroundings, and for HARRI, they represent another way to infuse sculpture into an unconventional field of creativity. Just as Noguchi transformed ordinary stone into extraordinary designs, such as his iconic Black Sun Sculpture, HARRI has, since debuting his Striped Swirl Inflatable Trousers in 2020, adhered to a philosophy of avoiding traditional routes of garment making to amplify human physique through inflation. Viewing the human body as a canvas for boundless sculptural interpretations.
Credits: Photography by Ruven Afanador
Noguchi’s Black Sun (1969), a large black granite sculpture based in Seattle, is an exemplary piece showcasing the ability to create dynamic abstract forms from something traditional. The sculpture’s circular shape and hollow center invites contemplation and interaction, envisioning a timeless design that would appear to move as the sun does, creating a dialogue between the sun and the artwork itself as it exists within a mundane environment.
Black Sun 1960 - 1963
Sculpture is meant to be playful
"When an artist stopped being a child, he would stop being an artist."
Isamu Noguchi
Isamu Noguchi deeply believed in the power of play in art. He often remarked that if an artist lost their childlike curiosity about the world, they would cease to be an artist. He envisioned his creations as playgrounds where people could reconnect with their inner child, forming new interpretations of the world around them. This vision stood in stark contrast to the sterile, utilitarian structures prevalent in his own reality. An iconic example of this playful approach is his Play Sculpture (1976), a large, red, looping structure designed for children to climb and explore, blurring the line between traditional playground equipment and art.
Play Sculpture c. 1965–80 (fabricated 2017)
This belief is mirrored in HARRI’s philosophy, where space-age hoops, crafted from stone papyraceous fabric and latex, recreate the traditional silhouette of flared trousers. Just as Noguchi transformed everyday objects to evoke a sense of child-like wonder, HARRI does the same through inflating latex like one would do with a balloon as a child, creating designs that bring a sense of joy and imagination to viewers.
The need for belonging
“I wanted other means of communication - to find a way of sculpture that was humanly meaningful without being realistic, at once abstract and socially relevant.”
Isamu Noguchi
The quest for deeper connection highlights a fundamental need: the desire for belonging and meaningful interaction. Noguchi’s pursuit of a form of sculpture that was abstract yet socially relevant reflects his understanding that art can serve as a bridge between individuals and social constructs. By seeking ways to convey human experiences and emotions through abstract forms, Noguchi aimed to create works that resonated on a personal level, to create impact.
For HARRI this manifests as a nod to greater freedom of physical expression, giving individuals a sense of belonging in a world full of strict forms. In his menswear designs, he shapes the body in ways that counteract the stiffness traditionally imposed on men in fashion. By doing so, HARRI channels Noguchi’s spirit of creating socially relevant art, transforming fashion into a more inclusive and expressive medium that bridges the gap between personal identity and impactful dialogue.
One may say HARRI is a sculptor trained in fashion, but in being so, he is creating humorous yet genius wearable art in a world filled with rigidity. Like Isamu Noguchi, who transformed materials into abstract forms that challenged perceptions, HARRI redefines fashion by influencing playful sculptural elements that invite new interpretations. Together, their work celebrates the idea that art, whether static or wearable, can transcend boundaries and spark a deeper connection with the world.
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Cover Picture Credits: Isamu Noguchi with Black Sun in Seattle | Photographer: Frank B. Denman
