Inside the Collection: Yuichi Kurita on Supporting Artists and Creatives

For Yuichi Kurita, collecting art is less about acquisition than it is about composition. Rooted in a background in fashion—where vintage garments and printed textiles first sparked his visual curiosity—his approach to art has evolved into something deeply personal and spatial. Rather than pursuing works for their market value or pedigree, Yuichi Kurita gravitates toward pieces that contribute to a broader environment, one shaped by instinct, mood, and a desire for balance.

Over time, what began with collecting rare clothing and photographic prints expanded into a wider engagement with contemporary art, particularly through close proximity to artists emerging from Tokyo’s street and creative scenes. Today, his spaces reflect a seamless interplay between artworks, furniture, and objects—an atmosphere that feels lived-in rather than staged, intuitive rather than prescribed.

Yuichi Kurita resists the traditional label of “collector,” instead positioning himself as someone who builds environments—spaces that invite a sense of calm and connection. This philosophy extends into his work with T&Y Projects, where he creates settings that present art not in isolation, but as part of everyday life.

In this conversation, Yuichi Kurita reflects on instinct, influence, and the evolving role of collectors within Tokyo’s dynamic cultural landscape.

Yuichi Kurita: From Fashion to Art

WHITEWALL: How did your relationship with art first begin, and what led you to start collecting works yourself?

YUICHI KURITA: I used to work in fashion, so I was always seeing printed art on clothes. I like vintage clothes in general, and there are often nice designs on them. So fashion is actually what brought me into the art world.

In fashion, especially vintage, there is this idea of collecting rare pieces. I used to do that, and then I slowly started buying photo prints, and later art pieces.

WW: What was your first piece? Do you still have it?

YK: I think my first art piece, besides clothes, was a painting by Hanai Yusuke. I’m a big fan, so of course I still have it.

“I just like to create an environment where I feel at peace,” 

-Yuichi Kurita.

WW: From there, how did your collection grow? 

YK: Through my work in fashion, I was always surrounded by many artists from the street scene, and they started doing exhibitions more often. So I would go to support them, and that’s when I started collecting more.

WW: You’ve mentioned that you don’t always feel comfortable with the label “art collector,” because you simply acquire works that help shape your ideal environment. How would you describe your relationship to collecting today?

YK: I understand that once you start buying art, you’re categorized as an art collector. But more than that, I just like to create an environment where I feel at peace. I compose this environment by mixing furniture, photographs, and artworks. So I wouldn’t say I collect art; I simply choose pieces that help shape a space I feel good in.

WW: Your viewing room presents artworks alongside vintage furniture, almost like a lived-in model room. What interests you about showing art in a domestic or everyday context? 

YK: Regardless of genre, I’m interested in creating a space that reflects what I like. 

Creating Harmony Through Objects, Furniture, and Art

WW: You’ve compared choosing artworks to styling fashion—mixing high and low, vintage and contemporary. How does that sensibility guide your decisions when collecting? 

YK: I personally think that fashion is connected to art. Since I like vintage clothes, I also enjoy digging and discovering artists. A good outfit doesn’t need to include a high-fashion piece, right? So it’s not about thinking, “I have to get this piece from a top-selling artist.” Regardless of how well-known the artist is, as I said, I choose pieces by thinking about how they will fit into the environment I’m creating.

WW: Your collection spans different kinds of practices, from fine art to artists emerging from street or skate culture. What mediums or movements do you find yourself drawn to at the moment?

YK: I think lately I like quiet pieces, works that don’t dominate the space too much.

WW: What’s a work in your home that inspires you each day?

YK: At home as well, I’m surrounded by things I like, so it’s not really about any specific piece. What inspires me is the overall environment; it’s the combination of different objects, artworks, and furniture that creates an atmosphere I enjoy living in.

WW: What excites you most about the younger generation of artists in Japan working today?

YK: I’m surrounded by many artists, some of whom have become successful, so I really admire the determination and passion that young artists have. 

The reality is that being talented isn’t always enough; just because you’re good doesn’t necessarily mean you’ll succeed. But seeing people keep fighting for their dreams is something I find very beautiful. 

In any case, it’s important to keep going, meet people, and stay engaged with the scene by going out and seeing exhibitions.

“Fashion is connected to art,” 

-Yuichi Kurita.

WW: What is the most recent artwork you encountered that made a strong impression on you?

YK: I had the chance to visit the studio of Jonas Wood in Los Angeles a few months ago, where I was able to see some works that are now being exhibited at Gagosian.

I’m a big fan of his work, so it was a very memorable experience.

WW: Is there a recent exhibition you saw that you’re still thinking about?

YK: The furniture exhibitions at Gallery Sign in Tokyo always move me.

The Responsibility of Supporting Artists

WW: Through T&Y Projects, you’ve created platforms that support emerging artists and help audiences engage with contemporary art. What motivated you to establish the foundation?

YK: As I mentioned before, I don’t see myself as someone who simply collects artworks. 

I’m more interested in creating an environment where different elements—furniture, objects, and artworks—come together in a harmonious way. 

For example, if I have beautiful furniture, I start thinking about how artworks could complement it. White walls shouldn’t stay empty; they can become part of the environment.

I wanted to create a place where people could walk in and think, “I’d love to live in a place like this.” It was a way of presenting art differently, not just as something hanging on a white wall. 

That was really the starting point of T&Y Projects, almost like an extension of my home, a space where I could freely bring together the works I like and create my own environment.

“I’m more interested in creating an environment where different elements…come together in a harmonious way,” 

-Yuichi Kurita.

WW: What responsibility, if any, do collectors have in shaping the future of the art ecosystem?

YK: Compared to other parts of the world, and even within Asia, the number of collectors in Japan is still relatively small. Yet there are many talented artists here who deserve greater support and visibility. In that sense, collectors have an important role to play in sustaining the ecosystem around them.

It’s also about education and passing that curiosity on to the next generation—taking our children to museums, exposing them to art, and encouraging their curiosity and sensitivity toward art and culture. I think that’s just as important for the future of the art world.

WW: What advice would you give someone who is just starting to collect art today?

YK: I don’t really have any specific advice. I would just say: Acquire what you like.

WW: When encountering a work for the first time, what signals tell you it’s something worth living with?

YK: There are works that attract you at first sight, and others that take more time to convince you; the more you look at them, the more you appreciate them. There are also works that simply match your mood at a given moment.

When I’m feeling happy, I want to be surrounded by bright and radiant works. On the other hand, when I’m feeling less well, I’m drawn to darker, quieter pieces. So rather than relying only on an immediate reaction, I tend to choose works depending on my mood.

Tokyo as a Living Creative Landscape

WW: Many younger collectors in Tokyo are building collections that move fluidly between fine art, design, street culture, and fashion. Do you see this as a defining characteristic of the city’s new generation of patrons?

YK: I don’t think this is necessarily unique to Tokyo. There are many collectors who still keep art, design, and fashion quite separate, unlike me. Personally, I’ve always enjoyed mixing cultures and different periods. In fashion, for example, I like combining a piece from the 1970s with something from the 1990s.

I approach art in a similar way, pairing contemporary or pop artworks with design pieces from different eras. For me, it’s all part of the same visual culture.

That said, Tokyo is a very culturally rich city. Fashion, design, street culture, and contemporary art naturally coexist here, and people are constantly exposed to many different influences. I think that environment encourages people to move freely between these worlds.

WW: When visitors come to Tokyo today—whether for fairs, exhibitions, or gallery weekends—what are the artists, spaces, or neighborhoods you feel best represent the city’s current creative energy?

YK: Rather than recommending specific artists or spaces, I would encourage visitors to simply walk around the city and pay attention to the architecture. Tokyo is full of remarkable buildings designed by great architects. One of the things that makes the city so interesting is the level of architectural freedom you find here, which is sometimes harder to see in other places.

Because the city is constantly evolving, different styles and structures coexist in a very organic way. You can walk through a neighborhood and suddenly encounter a very experimental building next to something much more traditional. I think this mix is a big part of Tokyo’s creative energy.