Mademoiselle Yulia is a multifaceted talent—she is active in the fashion scene as a DJ while also producing her own kimonos. In this series, Yulia, who is well-versed in art and architecture, visits her favorite spots and discusses how she coordinates kimonos that harmonize with the surroundings. In this seventh chapter, she steps into the studio and residence of sculptor Fumio Asakura, while seamlessly blending urban kimono styling with the old-town charm.
The immense size of the Statue of Jutaro Komura becomes strikingly clear when seen next to Yulia.
Showcasing the Contrast Between an Avant-Garde Studio and Sukiya-Style Architecture
1st Image: Looking out at the courtyard from the bedroom on the first floor.
2nd Image: From the studio rooftop, a view of the U-shaped residential space surrounding the garden.
A true lover of sculpture, Yulia often visits Asakura Museum of Sculpture (also known as Asakura Choso Museum)—a masterpiece created by sculptor Fumio Asakura, known as the father of modern Japanese sculpture. Originally built in 1907 as his studio and residence shortly after he graduated from the Tokyo School of Fine Arts at 24, the space evolved over time, reaching its current form in 1935. The modern atelier, built from concrete, features a rooftop garden and sunroom, while the compact living quarters are exquisitely crafted in the sukiya style. Wandering between these two spaces feels like transcending time.
“Both spaces are so captivating. Each visit reveals new facets of Asakura’s artistic vision, and I can’t help but return again and again,” Yulia shares with excitement.
The modern facade, with its black-painted walls, was considered avant-garde for its time. The coat Yulia is wearing is a new piece from KOTOWA, a brand she co-founded with a friend.
Upon entering the studio, the first thing that impresses is the incredible ceiling height—it’s tall enough to easily accommodate the towering statue of Jutaro Komura, which stands 3.75 meters high. Typically, an artist’s studio would have windows only on the north side to ensure steady lighting, but Asakura’s studio was designed to allow light from the north, east, and south. To soften the shadows created by natural light, the design features a smooth curve from the ceiling to the walls. Additionally, to accommodate large-scale works, the studio is equipped with an electric lifting platform—a rarity for its time. The platform can descend to a depth of 7.3 meters, allowing the artist to work on sculptures as tall as 4 meters.
The ceiling height is an impressive 8.5 meters. From the parquet flooring to the lighting design and elegant windows, every detail reflects the artist’s distinctive attention to craftsmanship.
In the adjacent room, Yulia is surrounded by bookshelves that stretch from floor to ceiling.
“Ever since I saw the scene in Beauty and the Beast, where books are reached using a ladder from a wall of shelves, I’ve dreamed of having a study like this,” she says.
Passing through the sliding door, which feels like a tunnel, the space transitions into a traditional Japanese room.
The study, with books filling every inch up to the high ceiling, is a dream space for Yulia.
As she walks down the hallway, with a view of a Japanese garden featuring large stones and a pond, she reaches the wooden residence wing. Designed by Asakura and completed by landscaper Sataro Nishikawa, the garden captures the beauty of the changing seasons. The walls of the first-floor living space exude rustic charm, with straw applied to create a natural atmosphere, while the guest room on the third floor, the ‘Asahi Room,’ is uniquely decorated with agate. From the tokonoma alcove to the ceiling panels and wooden rails, the space is beautifully crafted with fine woods.
“The attention to materials is such a distinct approach, especially for a sculptor,” Yulia comments, captivated by the artistry.
1st Image: Through the old, wavering glass doors, you can view the concrete studio building across the garden.
2nd Image: From the second-floor ‘Soshin Room,’ the studio comes into view. The upper part is painted black, while the lower section is white, creating a striking contrast that highlights its modern aesthetic.
3rd Image: The black sand walls of the Soshin Room beautifully frame the blue-and-white porcelain vases.
1st Image: The opulent ‘Asahi Room,’ with its ceiling made of rare Jindai cedar wood.
2nd Image: The agate walls softly glow as they catch the morning light.
The final stop was the rooftop garden, a perfect example of urban greening. Yulia comments, “The scratch tiles add a classic touch, making the space even more beautiful,” as she admires the building’s details. From here, you can look out over Yanaka, but the large olive tree in the garden, with its vibrant evergreen foliage year-round, makes it easy to forget you’re in the heart of the city.
The garden isn’t just for ornamental plants; vegetables are also grown here. Asakura, who believed gardening was an essential part of an artist’s education, once used this space for horticultural training at the Asakura Sculpture School. He even built a greenhouse and made horticulture a mandatory subject for his students. In his book ‘Sculpture Droplets,’ he wrote, “Of course, intuition is necessary in any line of work. However, the main reason for making horticulture a core subject is that this intuition is essential for sculptors.”
1st Image: The vegetable garden, where tomatoes and eggplants grow in the summer. On this day, autumn roses were in bloom, nicely timed for Yulia’s visit.
2nd Image: The sculptor’s playful spirit is evident in the placement of the sculpture ‘Hogan’ (first unveiled in 1924) on the rooftop, adding a unique touch to the building.
A Festive Ensemble Paying Tribute to the Museum’s Owner
Yulia took inspiration from the cat sculptures and chose to wear the pictured Juban with a cat pattern.
For this occasion, Yulia chose a Tōkamachi tsumugi kimono with an Oribe checkered pattern. “I wanted to stroll through the old-town atmosphere of Yanaka and Ueno, so I went for a light, checkered design that felt relaxed and not too formal,” she explains.
To keep the look from feeling too casual, she paired it with a fashionable obi made from fabric designed by Gekka Minagawa, a dye artist who lived during the same time as sculptor Fumio Asakura. The motifs from the Bible were painted using a unique technique that blends Western painting methods with yuzen dyeing, and subtly evoke the spirit of Christmas.
Yulia also notes that the key to making the outfit look refined is the hairstyle. “I had my hair styled in a traditional Japanese way but with a modern twist, adding volume to the sides,” she shares. Every detail, including the choice of hair accessories, reflects the philosophy that “beauty lies in the details,” a sentiment that aligns with Asakura’s own artistic vision.
1st Image: The front of the obi features a design of Adam and Eve, while the taiko section is decorated with a goat, symbolizing Christmas in parts of Europe.
2nd Image: The obidome (obi clasp) is decorated with a pinecone.
3rd Image: For the hair accessory, only the kogai (hairpin) is used, creating a chic and elegant look without the comb.
She brought about a seasonal essence by layering festive motifs upon a smoky plaid tsumugi.
Mademoiselle Yulia
She began her career as a DJ and singer in her teens. Based in Tokyo, Mademoiselle Yulia is actively engaged globally, organizing kimono styling sessions, kimono workshops, and writing columns. In 2023, she co-founded the brand KOTOWA with friends to add stylish flair to everyday wear by incorporating kimono. She also runs a YouTube channel ‘Yulia’s Room’ where she uploads new content every week.
instagram: @MADEMOISELLE_YULIA
◾️The location featured:
Asakura Museum of Sculpture
Address: 7-19-10 Yanaka, Taito-ku, Tokyo
Phone: 03-3821-4549
Official URL: https://www.taitogeibun.net/asakura/
