Tsuki Lets the Hair Change

Hair rarely stays exactly where it is placed. It shifts with weather, sleep, water, touch, hormones, mood, and time. For hair stylist Tsuki, that change is not something to correct out of the image, but something to pay attention to.

His work begins with a deep sensitivity to texture: the bend of a strand, the weight of a shape. The way hair can make a person feel more like themselves without being forced into perfection. That sensibility runs through his editorial work, his love of printed matter, and ON-SESSION, the New York salon he opened with his wife and fellow hairstylist Ritsuko Hotaka.

In conversation with Submission, Tsuki reflects on the rural beginnings that shaped his eye, the magazines that opened a world to him, and why the most beautiful hair is often the kind still in motion.

PHOTOGRAPHY TRAVIS BASS @travisthebass
INTERVIEW JANE SERENSKA @sweetbbjane

Hi Tsuki, thanks for chatting with us! How long has ON-SESSION been open now? How many stylists work there?

We opened January 1st 2024, When we first opened, we had 4 stylists; now, we have 10 stylists and 2 nail artists.

Coming from a fashion background, how do you balance taking clientele at the salon and working on set or on a show?

Since our salon is located on the second floor of a building, we do not receive walk-in customers; we require that all clients make an appointment prior to their visit. However, my schedule for on-set work is constantly in flux, I would frequently find myself having to ask my clients to reschedule their appointments. As I consider this to be discourteous, I no longer engage in direct salon work. I focus now lies in serving as a Creative Director, an educator, and in spatial management.

I read in another interview that where you grew up in Japan was very rural and there wasn’t a hair salon near you which is how you got started cutting your own and friends’ hair. Do you remember some of these early haircuts? What were some of your early influences that informed your personal style as you honed your craft?

Yes, as you say, I grew up in the rural—a place where there was essentially nothing. Back then, my male friends would get their hair cut to mimic the hairstyles of popular Japanese singers or soccer players, while the girls sported the trendy "high-layer" cuts of the time. Furthermore, Japanese fashion magazines of that era invariably featured pages dedicated to street snaps; living out in the rural, I would avidly follow the stylish young people of Tokyo.

"While there are many ways to acquire technical skills, I believe it is far more important to be so passionate about hair that you can truly enjoy the process of your own growth."

I see that nail services are offered at ON-SESSION. Did you always want to specialize in hairstyling? Was there ever a moment in your path where you considered a career as a makeup or nail artist? How did you come to include nail artists at the salon?

Initially, we had no plans to hire a nail artist; however, the space we leased happened to include a small side room. Upon considering how best to utilize this room—and realizing that a nail artist could perform simply by setting up a table—we ultimately decided to hire one.

How did you meet your wife and business partner, fellow hair stylist Ritsuko Hotaka? Has it ever been challenging to share a career path with your partner or has it been an asset to have a partner in both  life and work?

My wife, Ritsuko, is the same age as I am; like me, she grew up in the rural and harbored a deep admiration for the fashion scene in Tokyo. In our early twenties, we trained at a top-tier hair salon in Omotesando (like 5th avenue in Tokyo. We met through a mutual friend. Later, after moving to New York, I focused my efforts on-set work, while she continued to build her career as a professional stylist in the salon environment. Given her exceptional skills in cutting, coloring, and perming, there she is better than me, while I'm a specialist for hair styling.

I sometimes enlist her help in preparing wigs for my shoots. Because we share the same upbringing and background - including our early years of apprenticeship - my wife and I are able to see eye-to-eye on everything from our private lives to hair styling and salon management. Above all, the fact that we hold such deep respect for one another's work is something we cherish deeply.

I love your passion for magazines and physical media. What’s your magazine collection like now? How do you like to keep them organized? What prompts you to refer to your archive for inspiration?

As a 44-year-old, my aesthetic sensibilities were nurtured by magazines. These publications are expertly curated, featuring content designed to completely captivate the reader. Furthermore—from the typography to the very texture of the paper—I view their graphic design as something akin to fine art, making each individual issue a work of art in its own right. I currently own a collection of approximately 100 fashion magazines dating from the 1990s and early 2000s, alongside about 150 photography books spanning various genres. I keep them organized by category, referring to them whenever I am in need of inspiration. I recently realized that the aging paper in these vintage magazines—now slightly yellowed with time—possesses a wonderfully appealing texture; consequently, I purchased some 50-year-old paper of my own and have been enjoying experimenting by printing my own artwork onto it. It is clear to me that, above all else, I truly love print media.

Your book, TEXTURE, published in 2017 with Printed Matter is an exploration and celebration of the many changeable qualities that hair can have when heat, water, product, and different styling methods are used. It’s a beautiful book! What inspired you to begin this project?

Thank you so much.

The catalyst for creating that was the COVID-19 lockdown. During that period—when I couldn't do the work I loved or even touch people's hair—I began experimenting with wigs and extensions without any specific plan in mind. As I started taking photos of the beautiful textures I was occasionally able to achieve, I realized just how particular I am about the texture of hair. Becoming completely absorbed in it made me forget the fear that, due to the coronavirus, I might no longer be able to continue this work. I am truly grateful for beautiful hair.

Are there other hair books you love? Or specific eras of magazines youreturn to frequently?

The books I particularly like are "works on paper by  Lorna Simpson"
"REDHEADS by Meyerowitz”
“78-87 London youth by Derek Ridgers”
“BIRDS by Tim Flach”
“In BEAUTY magazine”

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Having assistants is vital in fashion and can be fundamental for a salon. Do you have an apprenticeship program at the salon?

In recent years—perhaps due to the increasingly diverse ways in which technical skills can be acquired—I have the impression that fewer people are choosing to work as salon assistants. Currently, our salon does not employ any assistants. While it typically takes several years of rigorous training to develop into a full-fledged stylist, during my time working in Japan, I frequently observed individuals leaving the salon shortly after mastering their technical skills; consequently, to be honest, I no longer feel it is a productive use of resources to train staff entirely from scratch. Instead, my wife and I now focus our efforts on providing instruction to our working stylists to help them refine any areas where their technical skills may still be lacking.

Do you remember advice you received early on that still influences your work?

I spent five years in Tokyo and another five in New York training as an assistant. While a solid curriculum is certainly important, one must possess a truly exceptional level of passion to withstand the rigors of such high-level education and sustain a commitment to continuous learning.

I have witnessed countless moments when people far more talented and capable than me gave up along the way. While there are many ways to acquire technical skills, I believe it is far more important to be so passionate about hair that you can truly enjoy the process of your own growth. I am convinced that if you can achieve that—and that alone—you will be able to overcome any hardship.

It is also important to know what kind of style you yourself like.

How do you incorporate sustainability into your work at the salon or in fashion? Whether in the systems that help keep things running or in how you think about the client’s grow out for any given style, how do you envision the future for hair styling?

One thing I think about a lot is creating hair that still feels good as it changes over time. I’m less interested in styles that only look perfect for one day and more interested in shapes and textures that continue to evolve naturally with the person.

At the salon, that can mean designing cuts that grow out beautifully and don’t require constant maintenance. I think sustainability can also exist in the relationship between the client and their hair — not always forcing people to fight against their natural texture or endlessly consume products to maintain an unrealistic finish.

In fashion, things move very fast, but I’m often inspired by older magazines and images because they have a sense of longevity. I think the future of hair is becoming less about chasing perfection and more about individuality, texture, and creating something that lasts emotionally, not just visually. I also think there’s value in slowing things down a little — using fewer but better products, being more intentional with references, and creating work that people want to return to instead of instantly replacing.

Any projects you’re looking forward to at the moment? What’s next for on-session?

Japan is home to a wealth of wonderful products, yet I believe it is often difficult for people living in the United States to discover them. I aspire to sell these nice products in the U.S., and I also intend to create my own hair product brand. As for the salon, my goal is to elevate it through enhanced service and uncompromising quality.

@TSUKIHAIR