In conversation with Onoe Ukon

Do you usually wear jewellery?

I’ve always liked jewellery, and I used to wear it quite a bit. I wore various pieces without thinking much about balance. Looking back, I see that I was simply exploring my personal style. I didn’t want to look too flamboyant, or like a stereotypical kabuki actor. I liked the spirit of kabuku (“to tilt”) in kabuki – the extreme and unconventional character of kabuki performers. Standing out was necessary, but I wanted it to look effortless.

Kabuki costumes are quite bold, aren’t they?

During the Edo period, theaters were lit only with candles and natural light. People began wearing flashy kimonos because darker clothing made it hard to distinguish who was on stage. That’s where the tradition of bold costumes began – out of necessity. The same goes for the white makeup. It wasn’t for dramatic effect, but simply to make the actor’s face visible in the dim light. Over time, these practical choices became iconic symbols of kabuki. Today, with modern lighting, those elements aren’t strictly necessary. I believe both tradition and simplicity are important. Of course simplicity doesn’t mean doing nothing. That’s something I always try to keep in mind.

So, then what happened to your style?

My interest shifted to high-quality items, and my style became more essentialist. Take Rick Owens, for example – hisclothes are eccentric and intense, yet undeniably elegant. That’s the kind of elegance I began to seek in jewellery as well. More recently, I’ve been drawn to pieces with history, and that’s why FOPE resonates with me now. This sensibility connects deeply with kabuki. While dynamic, flamboyant movements often steal the spotlight, there is great power in stillness — in expressing emotion without moving. What truly matters in those moments is the actor’s dignity and presence. As I’ve gained experience, I’ve come to reflect more on those fundamentals. And I see them reflected in my style today. That’s why I’m so drawn to FOPE’s jewellery — it embodies a quiet pursuit of essence.

What do you like about FOPE’s jewellery?

It’s light and comfortable. I think this flexible gold technology is incredible – there’s something quietly powerful about it. Balance is important, both in life and in an actor’s expression, and I believe it’s essential to have both boldness and restraint. I’m drawn to things that embrace ambiguity – that live between extremes. As I was saying, I fell in love with this jewellery also because it has a historical foundation. This reflects who I am right now. Dignity, essence, history – I sense those qualities in FOPE, and perhaps that’s why I feel such a connection to it now that I value those same things in myself. When FOPE first approached me, they shared their story, and I was moved. Things that have endured often carry meaning – the same is true for kabuki. But if you can’t keep up with the times, you risk complacency. That’s why I believe it’s important to always maintain a questioning eye.

Do you find similarities between your story and FOPE’s history?

I too have inherited the history of a family business. My history was shaped by my ancestors, but I’m the first in this lineage to live at the intersection of tradition and the present. I deeply feel the importance, and the responsibility, of being a part of that history.

Kabuki is a family business, isn’t it?

That’s right. Kabuki is family. We are bound by a very strong sense of connection, united under the noble cause of preserving tradition. But what drives us goes beyond blood ties — it’s a shared commitment to keeping the craft alive. I come from a family line involved in Kiyomoto, a classical style of kabuki accompaniment music. My great-grandfather was a kabuki actor, and now I am too.

What is the charm of kabuki?

I think it’s the breadth of it. It’s entertainment, it’s history, it’s culture. It’s like a novel, a drama, a performance, a rite. Kabuki is a comprehensive performing art. Art but also entertainment. That contradiction, that duality, is part of what makes kabuki so compelling.

You started acting when you were three years old, and now you’ve come to this point. What is it that still attracts you to it?

What still draws me to kabuki is the feeling that my ancestors are living through me when I take a role. I think everyone has had the experience of thinking: I am who I am today because of what happened before me. In kabuki, that kind of inheritance is built in the art itself. For me, everything started when I saw a video of my great-grandfather, whom I’d never met. That moment shaped me. Maybe his will reached me across time and space. I like to think so. I’ve had moments where I felt I couldn’t go on – and it was that connection that kept me going. We’re bound by blood, and his presence is so powerful that I admire him, even without having known him. That’s the kind of power kabuki holds: the power to connect across generations.

Your seniors taught you a lot. Is there anything you particularly value?

I guess it’s about enjoying it. I don’t want to lose the joy of doing what I love. As I said, kabuki is not just about performance – it’s entertainment. And if I’m not enjoying it, I can’t entertain others. I take it seriously, of course, but at the same time, I want to keep the ability to smile through it all.

And do you always succeed in this?

No matter how exhausted I am, the moment I step into the dressing room, that feeling disappears. It’s thanks to the people around me, my colleagues, the audience, that I find the strength to carry on. That human connection gives me the power to do my best. Also the smiles of the audience encourage me. The many connections I’ve built through kabuki continue to reveal my true strength.

Please tell us about your dreams and goals for the future.

For years, my dream has been to perform Kagami Jishi, the same dance my great-grandfather performed. This spring that dream comes true. My next goal is to make it my signature piece — one that both Japanese and international audiences associate with me. I hope that new things will grow from that performance. I’d be delighted if kabuki’s magic reached beyond Japan and captivated audiences across the world.