Yui, a free-spirited artist, had always been Chitose's confidante and sounding board. She arrived at Chitose's Tokyo studio, bearing a small gift – a delicate, hand-carved wooden box adorned with intricate patterns. Inside, Chitose found a note that read: "For the girl who still dreams."
Saegusa frequently lectures on the concept of Ma (間), the Japanese aesthetic of negative space, or the "interval between things." However, she has updated this ancient concept for the digital age. She argues that the modern smartphone screen, with its endless scroll, has destroyed Ma . We never pause; we never see the silence between notifications. Chitose Saegusa
Chitose had been a good daughter. She had learned kado (flower arranging) until she could make a single wilted branch speak of sorrow. She had mastered the tea ceremony, her movements as precise as a Noh actor's. She had earned a degree in Art History from a respectable university, not because she loved it, but because it was an acceptable minor ornament on the family resume. Now, the final act was upon her: marriage to Hiroshi Tominaga, the scion of a banking family, a man she had met exactly four times. He was not unkind, just unremarkable—a smooth pebble of a person. Yui, a free-spirited artist, had always been Chitose's
Beyond her professional accomplishments, Saegusa is also known for her kind heart and commitment to social causes. She has participated in charity events, such as the 2018 Japanese Red Cross Society charity concert, and has used her platform to raise awareness about important issues, including mental health and education. She argues that the modern smartphone screen, with
Saegusa's reluctance to engage with the media and the public has led to a dearth of biographical information about her. Her private life remains largely unknown, and she has been known to avoid public events and readings.
Unlike many of her peers who studied Western oil painting at Tokyo University of the Arts (Tokyo Geijutsu Daigaku), Saegusa initially trained in (Japanese-style painting). This traditional discipline, which uses mineral pigments ( iwa-enogu ), glue ( nikawa ), and washi paper, would become the technical backbone of her career. However, she quickly became frustrated with the rigid subject matter of classical Nihonga—flowers, birds, and historical landscapes.
Yet, as she stood backstage, basking in the glow of her success, Chitose knew that this was only the beginning. She had a responsibility to continue pushing the boundaries of fashion, to inspire and empower others through her art. And with Yui by her side, she was ready to take on the world, one exquisite design at a time.