Kristin Dickson-Okuda is a Los Angeles based artist and designer as well as the founder of Iko Iko, a concept space that encompasses much of her creative practice. Using textiles and other soft materials, Kristin's work is often guided by an observation or inquiry into the function of everyday objects – in turn, transforming the seemingly mundane into something spectacular. But above all, it is Kristin's natural instinct to uncover and appreciate simple details of the world around her that we find so infectious.

 

Where did you grow up, and where do you live now?

I grew up in Austin, Texas and now live in Los Angeles.

Take us back to the early days of your creative journey. Who were you then, and what were you doing?

I looked at magazines and books constantly, going to thrift stores in high school, making outfits in a really naive way. Both of my grandmothers sewed really well and we would spend a lot of time together looking at family keepsakes, quilts, clothes, notions, and photographs. My mom was also constantly creating things like clothes and home decor. We had a restaurant growing up and she also catered lightly (carved swan cantaloupes, quiches and tarts). I studied art history in college and later worked for a designer. A memorable LA job was at a very high end vintage store – they had an impressive rental gallery with some historical fashion collections from the 70s, 80s and early 90s that they had acquired over many years. It was such a personal collection and educational in all of the construction references, textile variety and cultural/design significance.

From clothing to objects, you create across many mediums. Is there an underlying theme that guides your overall practice?

I think clothing and textiles give me the most direction in how I want to make other things or apply it to a problem solving equation. Fabrics move me towards very specific ideas for a space or purpose.I lean towards transparent fabrics and fabrics with a distinct texture or ones that have a unique application that could be inverted or changed. I think a home space and a work space are always a starting point for me. How would I enhance or exchange certain moments in a room. What kind of re-inventions are possible. I think I also am subconsciously giving objects soft landings, comforting, ethereal and protective veils. Lightness is an important feeling for me

How has the influence of Japan, your husband’s native country, inspired your work?

I am so grateful for the ways of seeing Japan offers, and for Shin and his family. He’s from a smaller, aging city in Fukuoka. I spend many hours walking around and taking casual photos of my discoveries and curiosities. Mostly these images are idea starters for me—how people use fabrics, furniture styles, architecture, aprons, garbage nets, baskets, socks, chopstick rests, the list is endless. The cityscapes and styling is so different from my culture growing up. The materials and honor of craftsmanship, rituals, spiritual spaces, the nature spirit that is integrated in life and overall the specificity of design is a contrast to my culture growing up.

Can you share the story behind your beloved organza cord covers?

I was making small pillowcase inspired bags and thinking a lot about pillows and how to remodel them in unexpected ways. I had a tangle of cords under my sewing machine and made a long casing for it in some scrap organza. I gave a few to friends and then made one really long one for the mic cord for a performance by a friend. It seemed excessive but also surprisingly elegant, so that made me decide it could be intriguing to people. It was an aesthetic solution but also acknowledged the cord or whatever was within the case.

Where do you look for and find inspiration?

All around. Walking around wherever I may be. Or driving in LA. Stoplight moments. Waiting to pick up my son from school. Nature time. Books, old magazines, travel, antique stores, quilts. I love looking at ethnographic jewelry and hair adornments too. 

Do you have any daily rituals or routines at home that you return to?

Exercise is my thinking time. I like to run and also walk. In the evenings I enjoy looking through books while Shin is stretching. 

Does motherhood play a role in your work as a designer?

I do think it does for me. Time efficiency is part of the process. I don’t really work continuously on one thing in a day. I try to be quicker about getting a result. There’s a lot of stopping and starting, so I definitely hold an idea in a few forms, giving it various tries before it becomes something worthwhile. I look at the how unconsciously Issei makes things, the instantaneous creative decisions and suggestions he makes is interesting to me. He is very present and playful.

What is your most prized possession and why?

Shin made me a tall, slender shelf to put all of my small collections—miniatures, sculptures, ceramics, things by Issei. It’s a placeholder shelf and I love to look at it every morning, maybe move a few things around. 

For anyone interested in starting their own practice in a creative industry, what advice would you give?

I think research and knowing your references is quite relevant. Feel something for what you’re making and know why that’s important to what you’re making and to anyone else. Try to be different. The world is full of mediocre things and ideas. What can surprise you and why.

 

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