The Finest Fit for Life’s Biggest Moments

Japan has a very unique approach to formal attire for weddings. Traditionally, the kimono has been at the heart of Japanese bridal wear, but we now see an increasing blend of these traditional elements with Western-style gowns. As a company deeply involved in this industry, how would you define Japan’s distinctive approach to wedding dresses and the way these two cultures—traditional and Western—have come together?

It’s quite a complex and fascinating evolution. Japan’s wedding culture has deep traditional roots, especially in the kimono, but over time, Western influence has become dominant. I think this shift was partly historical. After the war, Japan was occupied by the United States, and that exposure led to a natural admiration for Western culture. It wasn’t imposed in a negative sense, but Western aesthetics became something that people admired and aspired to.

Personally, having studied in the U.S. and grown up in Japan, I see both perspectives clearly. When I was educated only in Japan, I didn’t feel that tension. But once I studied abroad, I began to see how much Western influence had shaped Japan’s tastes—particularly in areas like fashion and weddings.

So when our customers choose Western-style wedding gowns, it’s not only because the designs are beautiful, but also because there’s a deep-seated cultural admiration for Western craftsmanship. Western designers—especially from Europe and the U.S.—have set the global standard for bridal fashion. Their gowns are seen as the pinnacle of quality and design. In Japan, a gown made in the United States and Europe carries an inherent prestige. This cultural backdrop plays a huge role in why international gowns resonate so strongly here. It’s both an aesthetic and psychological connection.

In Western countries, people typically buy their wedding dresses, wear them once, and then store them away—something that can be seen as quite wasteful. Your company has helped popularize the idea of renting wedding dresses. How did this culture of dress rental emerge in Japan, and how do you communicate its value to a global audience that might not be familiar with it?

The rental culture in Japan didn’t really start from a spiritual or philosophical standpoint—it evolved out of business structure. In Western countries, the wedding planner usually takes the lead in organizing the event. In Japan, however, the central authority is the wedding venue itself. This is unique to our market; it doesn’t work this way in China, Korea, or most other places.

Because venues control the process, they also decide which dress shops couples are introduced to. So if we have a contract with a venue, customers are referred directly to us without advertising costs. In return, we pay the venue a commission whenever a customer rents a dress. Therefore, renting became the more sustainable business model—both economically and culturally. Over time, this approach became so common that customers stopped asking whether they could buy; they simply assumed wedding dresses were meant to be rented.

Of course, to support this system, we had to innovate. Each gown is cleaned and restored after every rental, which requires specialized techniques. Our logistics are also quite advanced—one dress might be in Tokyo today and Sapporo tomorrow. We’ve built a nationwide operation to move gowns efficiently, maintaining quality while serving multiple clients. This system is unique to Japan and, I believe, could offer valuable lessons to other markets. It aligns naturally with the growing global emphasis on sustainability and resource efficiency.

As people around the world become more aware of sustainability and cost efficiency, do you see potential to introduce Japan’s rental model to Western markets?

Absolutely. I think our model has real potential internationally. No one outside Japan has yet built such an organized, high-quality system for rental and reuse. On my company’s website, I often talk about bringing this approach to Western audiences. It’s not just about economics—it’s a philosophy of efficiency, care, and respect for resources, all without compromising beauty or quality.

You mentioned Japan’s shrinking wedding market due to population decline. At the same time, we’ve seen an increase in foreign couples traveling to Japan to get married. For example, recent figures show that nearly 18% of resort weddings in Japan last year involved foreign couples. Do you view this as a potential new business opportunity?

Definitely. I’ve seen this trend firsthand. My wife is a professional photographer based in Fukuoka. She started her photography business just a couple of years ago and, without any paid advertising, now receives around 20 inquiries a month—mostly from foreign couples. Many come to Japan to propose, even in regional cities like Fukuoka, and they seek out photographers who can communicate in English. This rise in foreign couples visiting Japan for proposals and photo shoots is very interesting. Whether or not they hold the actual wedding here, they’re clearly drawn to the idea of celebrating love in Japan. It’s becoming a kind of romantic destination, and that’s opening up new business possibilities for us.

We’ve heard that even couples who don’t hold full ceremonies in Japan often come for pre-wedding or engagement photos. You’ve also opened a photo studio. Do you see this as a way to capture that growing international interest?

Yes, exactly. That’s one of the reasons we started the studio. Some couples may not hold their ceremony in Japan, but they want to experience the aesthetics—wearing a kimono or a Japanese-inspired gown for a photo session. By offering both the dresses and photography in-house, we can provide a complete experience, which sets us apart.

HWIT Wedding Dress

When you work with international designers—around 30 from 13 different countries, I believe—how do you choose your partners, and what guides those collaborations?

Communication and respect are the foundation. Japanese people tend to admire Western creativity, and that admiration can sometimes lead to a one-sided dynamic. I encourage my buyers to move beyond that. It’s not just about finding gowns that will sell; it’s about understanding the designers—their philosophy, their inspiration, their cultural context.

When we attend major fashion events like New York Bridal Fashion Week or Barcelona Bridal Fashion Week, I remind my team not to treat these trips as sightseeing opportunities but as moments to build genuine relationships. We must understand not just what the designers make, but why they make it. That’s why I value having a multilingual team. Our head buyer, for instance, speaks English, Japanese, and Chinese, which allows us to connect deeply across cultures. It’s about human relationships, not just transactions.

This approcah leads us to carry world-leading gown designers such as ELIE SAAB, one of the most influential names in global bridal fashion. It took considerable effort to secure exclusive partnerships like that. Their brand is incredibly selective; for example, they only allow one official partner per country. In Japan, only two companies are authorized to carry their gowns, including ours. That exclusivity differentiates us from competitors.

Are there particular markets or designers you’re currently interested in exploring for new collaborations?

We’re always looking for new regions and talents. We consistently attend Fashion Weeks in New York and Barcelona, but I’d like to expand to new destinations—perhaps Australia or smaller European cities where independent designers are emerging. Sometimes, exceptional creativity exists outside the mainstream fashion circuit, and I want to discover those people.

Let’s talk about your brand HWIT. It combines Japanese craftsmanship and materials with contemporary design. Could you introduce HWIT to our readers and explain how you integrate traditional and modern elements?

HWIT was born from a collaboration between myself and a Japanese designer who studied in Italy, graduating from Istituto Marangoni, one of the world’s top fashion schools. Like me, he understands both Japanese and Western sensibilities, and that dual perspective defines the brand. Our goal isn’t to create something that is purely “Japanese” or purely “Western.” It’s about blending the refined craftsmanship of Japan with the functionality and modern aesthetic of the West. For example, we use traditional materials and techniques—some originating from kimono-making in Aomori—but reinterpret them for contemporary life.

The concept behind HWIT is to design gowns that are not limited to a single day. We want pieces that can be worn beyond the wedding, in daily life or special occasions—a sustainable, versatile approach to luxury. The designs are minimal, elegant, and deeply rooted in Japanese culture, yet global in their appeal.

HWIT has already attracted attention internationally, even being worn by Venus Williams. With this growing recognition, how do you plan to expand the brand globally?

The next step is to increase our number of stockists overseas. That’s why we’re heading to Barcelona again—to meet international buyers and boutiques. We’ve attended these events for over a decade, initially as buyers, but now we go as exhibitors. HWIT is currently the only brand we showcase at these fairs, and we see it as our bridge to global markets.

For many brides, choosing a wedding dress can be overwhelming. You employ around 150 coordinators—how do they support your clients in finding the right gown, and what sets your approach apart?

Our coordinators are central to what we do. We don’t consider them “fitters” or salespeople. When a client visits, we don’t simply say, “Please look around.” Instead, we begin with a detailed consultation—understanding why they chose their venue, what they hope to express at their wedding, and how they want to be perceived by their guests.

It’s not just about selecting a gown that looks beautiful; it’s about understanding the essence of their story and translating that into design. We guide them toward what truly reflects their individuality and emotion. That’s why we call our staff coordinators—they coordinate life moments, not just dresses. Our philosophy, “Dress the Life,” embodies this belief. It’s about illuminating people’s lives through clothing—not only for their wedding day but across life’s most meaningful moments.

The launch of the Williams Family Excellence Program during the 2025 US Open in New York

The phrase “Dress the Life” suggests an ongoing relationship with your customers. Beyond weddings, do you maintain other touchpoints with them?

Yes. For instance, I also operate a funeral business. Life is a series of meaningful milestones—beginnings and endings. I want our company to be present at those moments, supporting people through joy and remembrance alike. It’s about being there for life’s turning points.

Your care for people seems to extend not only to your customers but also to your employees. In 2018, Forbes Japan recognized your company for its progressive work-style reforms—an unusual achievement in Japan, known for long working hours. Why did you decide to challenge that cultural norm?

The reason is very simple: 90% of our employees are women. They are the core of our company, and it’s my duty to ensure they can work and live well. That means creating a workplace that supports balance, fairness, and opportunity. Japan still has a long way to go in reforming its work culture, and the process isn’t easy. But I feel a strong responsibility to contribute to that change. It’s not about perfection—it’s about progress.

Finally, this year marks the 130th anniversary of your company. Looking ahead to the 150th anniversary ten years from now, what is your vision for the future?

My guiding philosophy is to enrich people’s lives. The wedding business remains central to who we are, but I don’t want to limit our future to it. Japan is facing real challenges—economic stagnation, demographic decline—and I want our company to be part of a new story of revival and pride.

Before joining the family business, I worked in finance at a major global investment bank, focusing on mergers and acquisitions. I witnessed Japan’s economic strength firsthand—especially during the global financial crisis when Mitsubishi UFJ invested $9 billion to help stabilize Morgan Stanley. That moment made me proud to be Japanese.

But after leaving finance and spending the past 15 years running this company, I’ve seen Japan lose some of that confidence. I want to change that narrative, even if in a small way, by showing that a Japanese company can succeed globally. If I can achieve that, it might inspire others—especially young people—to believe again in Japan’s potential. For now, we’ll continue to grow within the wedding industry, but I’m open to any venture that aligns with our mission of enriching life. The possibilities are wide open.

Would you ever consider expanding into something completely different, outside of weddings and fashion?

I’m open-minded. If an idea captures people’s hearts and connects to everyday life in a meaningful way, I’m interested—whether it’s fashion, food, or something entirely new. For now, our focus is weddings, but I never close the door to new opportunities.

Thank you very much.

For more information, visit their website at: https://www.ffines.jp/en/