Yohji Yamamoto’s collaboration with Takeshi Kitano on Dolls (2002) was more than just a fashion statement—it was a crucial turning point in the film’s creative process. A self-proclaimed "Kitano-film freak," Yamamoto had previously worked with the director on Brother (2000). But it was during Dolls that Yamamoto’s distinctive vision truly left its mark, as he was given complete creative freedom over the costume design, an unusual liberty in filmmaking. Kitano himself admitted that Yamamoto's designs were so unconventional they nearly derailed his expectations for the project.
Recalling their first fitting session, Kitano was shocked to see Miho Kanno, the lead actress, dressed in a striking red gown. This bold choice felt far removed from the gritty realism typically associated with the beggar characters she was meant to portray. "I almost fell down to the floor," Kitano confessed, suddenly unsure of how these flamboyant costumes would fit within his film. But it was in that moment of surprise that Kitano experienced a revelation—Dolls was not grounded in realism, but in metaphor. The characters were not ordinary people, but "human puppets," and their costumes could embrace this abstract nature.
With this epiphany, the costumes became more than mere clothing—they became visual extensions of the film’s themes of love, sacrifice, and despair. Yamamoto's use of extravagant, dream-like garments disrupted traditional filmmaking, where costumes usually conform to the narrative. Instead, the film itself had to adjust to the costumes. This reversal of the usual process allowed Kitano to fully explore the surreal, melancholic tone of the film, where beauty is heightened by tragedy.
