Annalie van Doorn

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Annalie van Doorn

Isshin Dōtai Exhibition

2025

Deep unity of shared essence with equal value

Isshin Dōtai embraces the equal importance of every element within the creative process. From the animal that provides the leather, to the artisan who crafts it, to the artist who reshapes it into something new, and finally to the viewer who engages with it. Each step hoIds the same hierarchical value.

This exhibition weaves together multiple dimensions. Where traditional fashion often separates 2D as research and 3D as the final garment, lsshin Dotai reverses that narrative: 2D pattern shapes are reimagined both in silhouette and as standalone art objects.

The forms are inspired by Japanese Kura, leading to a playful yet thoughtful series of fashion illustrations that culminate in the final jacket. Drawing from Japanese paintings and the historical technique of Kinkarakawa – a cultural exchange between Japan and the Netherlands during the Edo period – a modern interpretation emerged. A new printmaking method was developed, merging contemporary innovation with ancient techniques such as embossing.

Selected works

Leather Fashion Illustrations

The illustrations reinterpret 2D pattern shapes as standalone artworks. Made by hand from leftover Japanese cow leather, they explore texture, form and layering. Originally created as studies for the collection, they capture the movement, shape and construction of the designs. What began as part of the design process became a finished work in its own right.

Leather Wall Piece

Takagi Jacket

The Takagi jacket evolves from the abstract wall piece, translating its sculptural form into a wearable design. Made from leftover Japanese cow leather, it is embossed and double-glued entirely by hand. The jacket combines the original 2D pattern shapes with 3D construction, turning the abstract form into a wearable piece.

Kura Skirt

Inspired by the Japanese Kura and entirely designed and made by hand, the skirt is crafted from leftover Japanese cow leather and transformed through a self-developed print technique into a textured surface filled with movement and pattern. Originally intended for shoe production, the leather was split and reworked into a new printed material. Referencing the historical Kinkarakawa technique, the skirt combines traditional leather craftsmanship with contemporary surface experimentation.

Takagi Top

The top translates negative cut-out spaces from the design process into wearable form. Made from leftover Japanese cow leather, it uses the same self-developed print technique as the skirt, adding texture and depth to the surface. Echoing the illustrations, the garment reuses shapes that would otherwise be left unused.