Drawn with simple but powerful lines, the women in itabamoe’s works gaze back at us with striking intensity.

What thoughts and intentions lie behind these portrayals of women? In this interview, we ask itabamoe—who is also active as an illustrator—about where she stands now as an artist.

“ii onna”—the Ideal Woman— Struck a Chord

Whitestone Ginza New Gallery

- Why do you choose to focus on women in your work?

itaba: I originally came from the fashion industry, and I started drawing by creating design sketches for women’s clothing. I found it really fun to draw the female forms, the curves, and the posture which led me to illustrating more seriously. Over time, as my life evolved and as the public increasingly responded to the women I portrayed, it felt natural for my work to center around women.

- You’re especially known for portraying "ii onna" - literally, ‘good women’ or ‘ideal women.’ What made you pursue that particular image?

itaba: At first, I was just drawing women without any catchphrase or label. But people often approached me saying, “Please draw girls,” or referred to me as “an illustrator who draws girls.” That didn’t feel quite right. The word “girls” didn’t capture what I was expressing, but calling them “women” felt too stiff or formal. I started wondering if there was a better way to describe them, and that’s when the phrase ii onna came to mind. It’s uniquely Japanese, and I felt it carried a nuance that fit perfectly—graceful, mature, alluring, but not bound by a single definition. Once I began using the phrase “I draw ii onna,” people immediately got it. It seemed to match the vague yet powerful image they already had of my work. Since then, I’ve continued to use it as a kind of signature.

Whitestone Ginza New Gallery

- Where do you find inspiration?

itaba: Since I’m also living as a woman myself, when it comes to portraying ii onna, I think a lot of the passion in my work comes from my own aspirations and reflections on society. It’s the closest subject to my own experience, so I’m able to approach it with the most honest intensity.

Rather than depicting a specific person, I try to project the mindset of women living in today’s world. That’s probably why so many people have told me, “She feels like me.” I think the simplicity of the lines, without too much detail, creates a kind of openness that invites empathy from a wide range of viewers. This is something I try to keep in mind when I create.

The women I imagine at the core of my work are those with a natural gravity, people who have a strong presence just by existing. They are not trying to please anyone, and there is something original about them. I admire that kind of magnetic character, and I hope to express it in my work.

- What elements or approaches do you emphasize in your creative process?

itaba: As I continued drawing women, I gradually started learning more about history. In the past, women were often confined to the home and unable to participate freely in society. They couldn't speak up for themselves or wear what they wanted. Thanks to the efforts of the women who came before us, we now live in a time where, although there is still room for change, women can express themselves more freely and live with intention.

For us, this may feel like the norm. But from a historical perspective, women who express themselves and live independently are a unique characteristic of our time. I hope to capture their presence in my work and pass it on to future generations.

I don’t focus on surface beauty. I aim to capture the inner spirit of each woman, and I always try to ensure that every piece speaks to the person who encounters it.

Drawing What I Desire, Not What’s Demanded

Whitestone Ginza New Gallery

- Rather than portraying the female body as an object of the gaze, your work seems to express a kind of self-directed, healthy sensuality. How do you approach that in your art?

itaba: I think we’re living in a time when we need to be considerate of many different perspectives. So when it comes to showing women’s skin in my work, I often find myself reflecting deeply on it. That said, I don’t think we should erase femininity or ignore what is naturally there.

I want to preserve a simple sense of beauty. Something beautiful can just be beautiful, without implying anything harmful or objectifying. I really love the lines and curves of the female body, and I don’t want to hide them under clothing. Clothes contain so much information on their own, so I usually depict the figures in something minimal, like a camisole.

I want to value the simple feeling that something beautiful is just beautiful, without any harmful or objectifying intent. I love the natural lines of the female body and don’t want to cover them with clothing. Since clothes carry so much information, I often keep it minimal—like a camisole.

What I want to express is the inner strength of women. I hope that this sense of femininity can be felt in a natural and comfortable way by those who see the work.

- What inspired your key visual “pattern_flower #017”? What meaning did you hope to convey?

itaba: While the overall image I want to convey hasn’t changed, I aimed to create a more suggestive atmosphere that encourages the viewer’s imagination. Compared to my usual pop style, I chose a more subdued color palette, and then added fluorescent tones to create contrast. The result has a slightly more refined, even chic impression.

The work was created in late winter and early spring, a time when I often experience a dip in my mood due to nervous system imbalances. But this year, I tried to embrace that feeling and turn it into something positive. I think I was able to express a kind of beauty that comes from that low, quiet emotional state.

itabamoe “pattern_flower #017” 2025, 91.0 × 65.2 × 5.2 cm, Acrylic on canvas

- What inspired your journey as an artist?

iitaba: I’ve always loved fashion, and I entered Bunka Fashion College at a time when vintage clothing was really popular. During a class on sketching for fashion design, I discovered how fun it was to draw people using bold, catchy lines.

Later, when I was working in the apparel industry, I found myself more drawn to editorial layouts and illustrations than to the clothes themselves while doing market research for magazines. That growing interest eventually led me to become an illustrator.

I worked as a freelance illustrator for about ten years, mostly creating work for ads and commercial projects. But I began to feel that the women I was asked to draw were always smiling, wearing bright colors, and designed to please someone else. A few years ago, I decided I wanted to explore the images of women I carry within myself and to leave behind something more personal. That’s when I started creating as an artist. The motifs may be similar to my client work, but the mindset behind it is entirely different.

Capturing the Times with a Sense of Lightness

Whitestone Ginza New Gallery

- How did you develop your use of intentionally uncolored areas and simple linework?

itaba: It all started with fashion sketches. At first, I was drawing simplified female figures as a base to showcase the clothing. That’s where my approach of leaving things unfinished began. I focus on conveying enough information with a sense of lightness, using minimal and direct lines.

As for color, I originally worked only with pen on white paper during my time as an illustrator, so that naturally carried over. I also didn’t feel the need to add color at the time. I believed the lines alone were enough to communicate what I wanted, and coloring the skin made the work feel a bit like animation. Recently, I’ve started experimenting with adding color to new pieces. I still see linework as my strength, so I’m keeping that at the core while trying out new approaches.

Until recently, I think we were in a minimalist era where simplicity was valued. But now, with the rise of K-pop idols and other global cultural influences, things have shifted toward a more decorative and expressive style, even in Japan. I want to respond to that atmosphere. It feels like a visually exciting time, which led me to start incorporating more visual elements like color.

Whitestone Ginza New Gallery

- Through your work, what kinds of values or perspectives on women and beauty in contemporary society do you hope to convey?

itaba: I’ve heard from people who said my work inspired them to cut their hair or motivated them to become the kind of woman they saw in the image. I’m also constantly inspired by women living today, so it makes me genuinely happy to know that I can have that kind of influence in return. I want to create expressions that feel in tune with real women and the lives they’re living right now.

Whitestone Ginza New Gallery

The women itabamoe depicts are always a reflection of their time. That is why viewers often sense the present in them, see a part of themselves, or feel a quiet emotional connection.

Currently on view at Whitestone Gallery Ginza is the two-person exhibition “Real Women – Through the Passage of Time,” featuring works by Miki Katoh and itabamoe. Both artists explore the theme of women, yet each does so from a different perspective and through contrasting approaches. The exhibition invites viewers to reflect on the passage of time and the diversity of womanhood.

Real Women - Through the Passage of Time