In the heart of Tokyo, 48-year-old Hajime Kinoko watches as a young woman carefully binds her model's arms with ropes connected to chains suspended from the ceiling. While the scene might seem reminiscent of a BDSM club, this is actually an art workshop led by one of Japan's most renowned shibari artists, who has successfully transformed the traditional rope art from fetishist circles into mainstream artistic expression.
Kinoko, dressed in a black t-shirt and sports pants, has dedicated his career to elevating shibari—the art of rope bondage—beyond its origins. "At the time, BDSM in Japan often emphasized a dirty or degrading aspect, but I didn't find that necessary," he explained. "My goal is not to hurt anyone. I don't position myself in a hierarchical relationship." His approach focuses on beauty rather than dominance, viewing the practice as a form of artistic expression rather than mere fetishism.
The artist discovered shibari in the 2000s when he was managing a sadomasochistic bar in one of Tokyo's bustling districts. "Initially, I wasn't particularly attracted to fetishism," he admits. Introduced to the practice by a client, Kinoko learned to bind the female body and developed his own distinctive style based on aesthetic beauty. His performances quickly attracted growing audiences and brought a fresh perspective to the ancient art form.
"I envision tying not only people, but also objects or spaces as a form of painting on canvas—it's simply another type of expression," Kinoko explains. His artistic vision extends far beyond traditional human subjects, encompassing architectural spaces and environmental installations that challenge conventional boundaries between art forms.
The roots of shibari trace back several centuries to Japan's Edo period (1603-1868), when feudal lords used the martial technique called "hōjōjutsu" to restrain criminals. The erotic aesthetic didn't emerge in Japan until the early 20th century, appearing first through the illustrations of Itō Seiyū, then popularized by writer Dan Oniroku's stories and Japanese cinema. Kinoko distinguishes between kinbaku, which refers to precise and restrictive techniques like wrists tied behind the back, and shibari, a broader, freer term without a single definition.
In Tokyo's tourist district of Shibuya, Kinoko has wrapped an egg-shaped house with blue ropes, transforming the building into a living art piece. "The building was beautiful, but it was missing something. I wanted the rope to integrate naturally, like a crack that opens gently," the artist explained. The house's owner, charmed after seeing another of Kinoko's works, recalls: "It was the missing piece. Today, passersby stop to photograph it. It has become a place of interaction"—a true work of art.
Among his other notable creations, Hajime Kinoko installed massive red rope cubes suspended on the roof of an upscale shopping center in central Tokyo in 2023. He even erected a "shibari shrine" in the desert during the famous American Burning Man festival in 2017. With characteristic ambition, he muses, "Why not stretch rope networks around the Eiffel Tower?" while smiling at the possibility.
Kinoko first organized a workshop in London twenty years ago, before inviting other Japanese masters to introduce their art to European audiences. "Shibari then spread very rapidly," he recounts. However, the international success of this practice hasn't come without risks. "When I saw people tying others without knowing what they were doing, I understood that teaching was necessary. Shibari can be dangerous," the artist insists.
Reputedly a demanding master, Kinoko founded his own school, "Ichinawakai," where he trains a new generation of increasingly female students. Among them is "Sen," a 25-year-old who came specifically from France. "I discovered him in Paris during a performance. He's one of the few shibari artists who has a more artistic approach... he has emancipated himself from the original dynamics," she explains.
To qualify to teach shibari, students must complete a ten-level curriculum, master a variety of knots, and guarantee their model's safety at all times. "You need to know how to communicate, make things beautiful, and not cause harm. That's everything I try to transmit. I feel responsible," Kinoko assures. His rigorous training program ensures that the art form maintains its integrity while expanding globally.
"I want shibari to be able to transform society. There are still wars, divisions. I would like people to help each other more. And shibari is a way to create connection," Kinoko concludes, revealing his deeper philosophy about the transformative power of his art form to bridge human divides and foster understanding.
