For Japanese-Filipino designer Yumi Christina Sakamoto, EDYA 1929 is both an homage to her roots and a way to share her story — and it all began when she saw the potential in using kimonos (Japan’s traditional garment) and turning them into wearable art.  

Every year, Japan has a surplus of discarded kimonos, which are often found in vintage stores throughout the country and sometimes in Japanese surplus shops in the Philippines. Noticing this, Ms. Sakamoto began to reimagine the traditional kimono by infusing it with a new spirit. Her designs honor her Japanese heritage while showcasing the skills of Filipino artisans.

Ms. Sakamoto and I connected over Zoom a few weeks ago on what was probably one of the rainiest days of the year, with her in Tagaytay, a hilly city that overlooks Taal Volcano, the famous caldera that has since become active, while I was at least 59.3km away in Metro Manila. Our conversation delved into how she began her journey as a designer five years ago, after leaving Japan pregnant. “I couldn’t do it in Japan alone anymore, so I decided to emigrate here, and since then, I was able to build a life with my family,” she said. Yumi opened up about those first few months in the Philippines, describing them as both hopeful and daunting.

She recalled financial hardships, language barriers, and the challenge of raising her child alone. Yet, despite these struggles, she found small joys in everyday moments—her son’s milestones,  the warmth of her mother’s culture, and the creative spark that came with her work. Her journey was not just about building a career; it was about rediscovering herself and learning to draw strength from both her roots and her new home.

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During a trip to a Japanese surplus store, Yumi noticed an old, discarded kimono in a corner. Despite its worn state, she immediately imagined turning it into something unique.

From then on, it exploded. EDYA 1929 became a brand known among Manila’s young, hip buyers drawn to experimental clothing and accessories. But EDYA 1929 meant even more to Yumi. She created the brand with her great-grandfather in mind. The name pays tribute to his legacy: ‘EDYA’ was the name of his store, originally established in 1929 in Japan. His store closed shortly during World War II, but through EDYA 1929, Yumi carries forward the spirit of entrepreneurship and heritage that defined her family.

As a designer, she turns kimonos into dresses, pants, shoes, and notably chopstick handbags—unique conversation starters. Each piece honors heritage while staying true to modern fashion.

In Japan, Yumi noted, people are less receptive to altering the kimono’s structure. In the Philippines, she said, “People are more open to new concepts here, and it’s a bit more forgiving to switch things up and explore new ideas.”

With over a decade of fashion industry experience, beginning in fast-paced Tokyo, Yumi creates from her mixed heritage. She aims to show that what is often seen as waste can become something beautiful and meaningful, not just for her but for her son and the women she works with. In her workshop in Tagaytay, she collaborates closely with a small team of Filipino artisans, who carefully disassemble the kimonos, clean the fabrics, and hand-stitch the new designs.  Yumi shared how the artisans often suggest details or finishes that reflect their own heritage, making each piece a true fusion of Japanese and Filipino artistry.

While working with kimonos is a unique process, it is in fact, one of the many actions that define modern-day Japonism, which is an ongoing 21st-century movement blending Japanese aesthetics with traditional principles. It extends beyond 19th-century art into modern fashion, digital art, architecture, and lifestyle, characterized by a “neo-japonism” that merges “traditional Japanese art with contemporary techniques.

 “Reworking kimonos  can be challenging, but it’s especially fulfilling because kimonos are one of a kind; you will never find the same piece. It’s always different because they are often hand-painted, and the embroidery done by its artisans is incredibly beautiful.”

Yumi Christina Sakamoto’s journey is a testament to the transformative power of creativity, resilience, and cultural pride. Through EDYA 1929, she has done far more than build a fashion brand — she has woven together the threads of two rich cultures, honoring the past while reimagining it for the present.

Each reworked kimono tells a layered story: of a great-grandfather’s entrepreneurial spirit, of a young mother who rebuilt her life in an unfamiliar land, and of Filipino artisans whose hands breathe new life into forgotten fabric.

In a world where fast fashion dominates, and heritage is often discarded alongside last season’s trends, Yumi offers something quietly radical with the idea that what is old, tattered or worn and overlooked can be the very foundation of something extraordinary. As EDYA 1929 continues to grow, so too does the conversation it sparks: about sustainability, identity, and the beautiful things that happen when two worlds dare to meet.

For more on EDYA 1929, check them out on Instagram HERE