From kimono patterns to ukiyo-e color palettes — how Ico Asagiwa blends Taishō-era charm with modern flair to create a world uniquely her own.
1. Ico, could you start by telling us a bit about yourself?
My name is Ico Asagiwa, and I’m an illustrator based in Japan. I began working professionally in 2021, and more recently, I’ve started exploring manga creation as well — learning how to express my world not only through visual art but also through narrative and character.
As someone deeply passionate about Japanese history and culture, I hope my work can serve as a window for others to discover what makes Japan so uniquely beautiful.
2. What first led you to become an illustrator?
I’ve loved drawing since I was a child — it was always something that brought me joy. But in my twenties, I was actually part of an indie band and didn’t imagine illustration would become my profession. Making a living through music was challenging, so I gradually began taking on illustration projects as a side job, which eventually grew into a full-fledged career.
3. How did your current artistic style come to be?
From the beginning, I’ve focused on creating a personal visual universe, often drawing inspiration from the Taishō era (1912–1926), which was a fascinating time when traditional Japanese aesthetics met Western influence.
I frequently incorporate motifs like vintage kimono — including pieces passed down from my grandmother — and draw from the color palettes of ukiyo-e woodblock prints. That said, if I relied solely on those elements, my work would feel more like a replication of ukiyo-e. So, I try to incorporate my own elements, such as highlights and distortions to strike a balance between the elegance of classical Japan and a contemporary cool Japan.
Since all of my work is digital, I use subtle color distortion techniques like chromatic aberration to mimic the flat look unique to ukiyo-e. It’s always a compliment when people ask if my illustrations were hand-drawn — that’s exactly the texture I’m trying to evoke.
(A close up of Katana (刀) – The Modern Warrior)
4. Are there any specific ukiyo-e artists who have influenced your work?
I love ukiyo-e in general, but I’m especially drawn to artists from the Meiji period (1868–1912) — a transitional era when Japanese art began to incorporate Western perspectives.
(The Temple Page Shiragikumaru Wrestling a Green Demon 1866, Tsukioka Yoshitoshi)
Some of my favorites include Kobayashi Kiyochika, Katsushika Ōi, Kawanabe Kyōsai, and Tsukioka Yoshitoshi. Yoshitoshi’s work in particular fascinates me — it’s often dark or grotesque, filled with battle scenes and yokai creatures. Even though some pieces are unsettling, you can’t look away. I wouldn’t say my work is directly influenced by his, but I do admire his use of gaze, dramatic composition, and emotional intensity.
5. What’s next for you as an artist?
In addition to illustration, I want to continue growing as a manga artist. Over the past few years, I’ve seen firsthand how much people around the world appreciate Japanese art and culture — even at my solo exhibitions, many visitors have come from overseas. Through both manga and illustration, I hope to create work that inspires people to visit Japan.