Vkeiinterview - Blog Posts

“People used to say we were heretical or something.”

“Rock is freedom.”

“Maybe Malice Mizer is pure rock in the sense that it breaks definitions.”

— So, you guys really got criticized a lot, huh?

Közi: Oh yeah, it was intense.

Mana: I often heard rumors like, “He hasn’t played guitar recently? Isn’t that kind of dangerous?”

Közi: And I’d be like, what exactly is so dangerous about that?

Mana: Rock is supposed to be about freedom, right? I mean, as long as it's for the sake of expression, I think it's fine to do anything. So the fact that people even think that’s “dangerous” I find that mentality itself kind of dangerous.

Közi: Exactly. So in that sense, what people call “rock” sometimes isn’t rock at all. Even if there’s something out there saying “this is what rock is,” I think real rock is about breaking that definition. That’s why I think Malice Mizer might actually be pure rock.

— Yeah, definitely in spirit.

Mana: Seriously, the feedback from live show surveys used to be so harsh. Like, “He doesn’t even play guitar anymore, he’s just happy wearing dresses, right?” I got told stuff like that. A lot.

— Whoa, that’s really rude.

Közi: Yeah, and when people who thought like that left, we didn’t try to stop them. But it was sad to be judged on just that one thing.

Mana: But who knows, maybe that same person who left back then is re-evaluating things now (lol).

Közi: Honestly, people tend to have such a narrow view of things , not just with music, but with everything.

— But at the time, you were desperately trying to express something through music. Still very much musicians then (lol). So, was the concept Mana had in mind back then already the foundation for Malice Mizer?

Közi: Yeah, it was. And that concept hasn’t really changed, even now. The name “Malice Mizer” comes from the idea of “malice and misery” , expressing the malice that lies deep within humans, theatricality, and the unpredictability of life.

Back then, we hadn’t developed the kind of staging we do now. We were closer to a traditional band, really. The music had classical influences, and we had twin guitars. Gradually we added in more theatrical elements. Even now, we’re still experimental , but back then, it was all trial and error.

— Were there any other bands at the time expressing themselves in such a comprehensive, theatrical way?

Mana: Well, we were part of the visual kei scene, sure, but I don’t think there were any others doing it quite like us. Probably not. There’s often this idea of “this is what a band should be,” but we really wanted to break that and create something new.

— So that was your youth…

Mana: Then I moved to Tokyo and became a madam (laughs).

— And that’s when you met Közi, during your “madam era.”

Közi: Yeah, Mana already had a well-defined style. I just kind of slipped into it. I thought, “Hey maybe we can create something really intricate together.”

— Did you listen to demo tapes back then?

Közi: Yeah. I also saw a video of Mana’s old band in Osaka. He was playing guitar like a rock , totally still (laughs).

Mana: Back then, it was all about the playing. I was still pretty inexperienced. I didn’t have any concept of staging or performance , it was just about the sound.

ESP Jeune Fille J:F-450

The model name is French for “young girl.” Its striking see-through blue finish matched beautifully with the elegant dresses it was paired with. From the logo on the headstock to the detailed position markers, every element reflects thoughtful design.

ESP Aka-Uzu-kun AW-550

With a see-through red finish that evokes the passion of youthful blood, this model features intricate inlays that seem to wrap around the body, and a swirling motif that gives it a sense of refined elegance. The name “Aka-Uzu-kun” carries a distinctly Japanese charm.

GIGS 1998

It comes back around. That way we discover and grow together. We are also a mirror, and so are the people who come to watch. When you send out a signal, it doesn’t become one way.

The live tour "Ville de merveilles - Transparent Spiral" by MALICE MIZER at the end of last year had many surprising aspects. Among them fans who had previously associated them with a medieval image were amazed by the futuristic stage set and costumes, as well as the band's new side and the wide range of their concepts.

In this page we focus on the first half of the live show featuring a photo session with the debut of the futuristic costumes and move on to discussions about their vision of the near future from the live performance.

From the opening the two songs featuring synchronized dance by all the members were eye catching. Gackt, Mana and Közi stepped in a regular pattern while Kami and Yu~ki played the percussion wildly behind them.

Kami and Yu~ki joked, “We can do anything so it’s okay.”

It was a moment that reaffirmed that they are a group that can use any means of expression. First let’s discuss the concept behind each of their costumes.

Mana: “It was designed with the awareness of a near future era with something easy to move in.”

Közi: “Surreal and inorganic. I added a slit on the side to make it easier to move.”

Yu~ki: “I tried to incorporate my previous image with the top hat and tailcoat while adding a more inorganic feel.”

Kami: “...I forgot.”

Gackt: “I wanted to make sure it didn’t reflect too much light and liked the color scheme so i chose that material. I aimed for something androgynous that isn’t distinctly male or female and that’s how it turned out.”

Next, we’ll introduce their individual visions of the near future, not just as a band.

Gackt: “When asked what I would be like in 10 years i always give the same answer. It’s too bright to see. Some people might see it as positive others negative but in any case it’s too bright to see.”

Mana: “It’s a fine line between rosy and worst case scenarios.”

Közi: “I’ll swim. While scattering salt in the sulfur.”

Kami: “I’ll spread my wings. The end.”

Yu~ki: “I haven’t thought about it. I want to feel my current self and the thoughts of people so i want to live without worrying about it.”

Now, let’s talk about the concept of the stage. Mana explains:

“The stage set was a little different from the initial design. 'Ville de merveilles' means a mysterious city. To put it concretely, it’s a futuristic and mysterious city. The transparent spiral is a keyword. You remember the mark that was projected onto the stage at the opening, right? There’s a mystery hidden in that, but I can’t tell you its meaning. Actually there is an 'aha' moment.”

Malice Mizer has a grand theme centered around the question, "What does it mean to be human?" The band's very name, which translates to "Malice and Misery," originates from the depths of the human psyche. Their activities as a band can be likened to a journey undertaken alongside their audience in pursuit of answers to this question. Without keeping this context in mind, it would be difficult to truly grasp Malice Mizer's essence.

The theme comes first. To explore and partially highlight this theme, the core of their expressions is always rooted in a concept. For example until shortly before their major debut, they adopted the concept of "Voyage," based on their unique vampire inspired narrative. They released an album titled Voyage and conducted live performances that brought this concept vividly to life.

After their major debut, as is well known, they embraced the concept of "merveilles." Under this concept they released works and performed live, eventually reaching a point where they concluded that chapter of the concept.

The CD releases and live performances up to this point can be seen as keys to understanding and contemplating "merveilles" while approaching the grander theme of what it means to be human. CDs can be regarded as fragments of "merveilles" designed to appeal to the auditory senses while live performances are fragments that appeal to both visual and auditory senses. Even after the release of the album merveilles they continued to release reworked singles of songs from the album. This effort to emphasize fragments of their concept underscores the seriousness of their commitment.

It follows that the live video being released this time featuring tracks from merveilles as well as songs performed exclusively at live events is a natural extension of their concept. Everything they do is grounded in a unified concept.

Although they are sincere in their expression, their live performances are not merely rigid exercises in conceptual work. First time attendees are often stunned by the remarkable balance of artistry and entertainment which reaches levels far beyond what one might expect from any other band's performances. Similar to experiencing the works of progressive rock bands of the past, one does not need to dwell on the concept to thoroughly enjoy the show. "Enchanting noblemen are singing and dancing how wonderful!" That is enough to captivate. However the more you watch the more you find yourself drawn into pondering the concept as if a trap has been set. This depth of enjoyment is one of the secrets to Malice Mizer's popularity which this video release will likely help elucidate.

That said, this video should not be regarded as merely a fragment of a single concept but rather as a record positioned after the conclusion and resolution of a chapter. It serves as an opportunity to reflect on the trail of these men, sincere to the point of being breathtaking, and their artistic pursuit. A fitting end before embarking on a new voyage.

September 1998, Mitsuru Hirose merveilles Shūen to Kisū (merveilles: The End and the Return)

ARENA 37°C (アリーナサーティーセブン) Vol.181 1997年10月

KAMI: When you go on tour i think the tour finale is the culmination of how much you’ve grown during the process. For now, i want to make this tour something great and take it on as a challenge. Touring is such a valuable learning experience and i'm always thinking about how best to express myself as i go through it.

- Previously, Mana mentioned that recent stage performances are completely different from those a year ago. Does the way you present yourselves change as the venues grow larger?

MANA: It’s completely different. For example, when performing at a large hall like Shibuya Public Hall versus a live house there’s a significant difference in the distance between us and the audience. Back in the day we used to incorporate theatrical elements but in larger halls, those details can’t really be seen. That’s why we adjust our presentation and stage direction to suit the venue.

- At your recent performance at Akasaka BLITZ, I felt that while your image evokes dreams and illusions, there seems to be a stark reality behind that. Is that intentional?"

MANA: Yeah, you’ve touched on something pretty important. I think we give off a very fantastical image but at the core we’re actually expressing raw, visceral human emotions. If people can pick up on that contrast, I think that’s ideal.

- Alright, Gackt we’ll wrap up with you. Could you tell us about the significance of the upcoming 'Deuxième Anniversaire ~ The Magnificent Revival' performance on the 10th?"

Gackt: The 10th is a very meaningful day for Malice Mizer. As the name suggests, it’s a resurrection, a rebirth of sorts. It’s also an opportunity for those who have never seen Malice Mizer before to witness us. It might sound misleading, but Malice Mizer is Malice Mizer no matter the occasion. I often say that we are ever-changing but even if the way we express ourselves changes, the core remains the same. We are changing, yet unchanged. I want people to feel that duality. Additionally, the meaning of the 'Blank Moments' in the 'Pays de Merveilies ~ Blank Moments'... I personally felt those blank moments during the 'Voyage ~ Vérité' tour. I want to express that."

- Could you elaborate on that?"

Gackt: On July 20th, during the BLITZ performance, my dog, who had been my only family for over 20 years, collapsed just before the live. While I was performing, they were undergoing surgery. By the time I rushed over after the show, they had already passed away. I don’t know if that was the reason, but everything that day was utterly chaotic. I revisited the metaphorical 'door of blank moments,' and i came to realize that everything starts from that point. That’s why i want to present something meaningful every single day. During the first half of the tour, i was in a slump, but in the second half i want to get even a step closer to the ideal version of myself. I want to remain positive in all aspects, convey that to people and hope they can feel it.

ARENA 37°C (アリーナサーティーセブン) Vol.181 1997年10月

Even for those who pride themselves on being Malice Mizer experts there might still be a lot you don’t know... So we’ve come up with these questions.

This survey painstakingly created overnight by this magazine’s Malice Mizer correspondent was so well received by the members that they even said, “What an interesting set of questions!” (lol). Now what kind of answers did the members of Malice Mizer give?

Gackt (vo)

Q. Favorite food:

Anything spicy.

Q. Least favorite food:

All sweet foods in general.

Q. Favorite drink:

Volvic (water), vodka, wine.

Q. Least favorite drink:

Sweet drinks that feel sugary in the throat.

Q. Favorite scent:

A faintly sweet shampoo fragrance.

Q. Least favorite scent:

The body odor of someone with armpit odor.

Q. Favorite scenery:

The sea at night.

Q. You are allowed to cry only three times in your life. The first time is when you are born. What are the other two occasions?

When I meet someone I can truly love, and when I lose that person I love.

Q. If you could use a time machine, where would you go, to what era, and what would you do (past or future is OK)?

I would go back to the past to atone for all of humanity’s sins by erasing the existence of humans from this world by exterminating the creatures that would become human ancestors.

Q. If you were a hitman, what weapon would you use and why?

Since I’m still an active hitman, I’d prefer not to talk about work...

Q. You have an unlimited budget. If you were to direct a movie, what kind of film would you make?

A story about my birth 457 years ago and all the women I’ve met since then.

Q. What is the ultimate “moment” for you?

When I’m naked and sharing love.

Kami (ds)

Q. Favorite food:

Meat-based dishes.

Q. Least favorite food:

Tofu and potatoes.

Q. Favorite drink:

Melon milk.

Q. Least favorite drink:

Sake, whiskey, etc.

Q. Favorite scent:

Sweet scents.

Q. Least favorite scent:

Anything generally considered a bad smell.

Q. Favorite scenery:

Not night views, but the view from a high place during the day, looking down.

Q. You are allowed to cry only three times in your life. The first time is when you are born. What are the other two occasions?

When someone important to me dies and tears of deep emotion.

Q. If you could use a time machine, where would you go, to what era, and what would you do (past or future is OK)?

Since this is hypothetical, I can’t answer.

Q. If you were a hitman, what weapon would you use and why?

A ray gun that goes “pew pew...”

Q. You have an unlimited budget. If you were to direct a movie, what kind of film would you make?

A movie about a person who rises to power in the Warring States period, with an actual castle built for the production.

Q. What is the ultimate “moment” for you?

Probably when I’ve given my best at a live performance.

MALICE MIZER

● Special Supplement ●

Personal Imagination

Mana

"When I receive letters from fans, it makes me feel saved. I live each day in fear, trembling as I go about my life."

The symbolic mark that represents the keyword "transparent spiral" could indeed be seen on stage. Now that I think about it, hasn't Malice already incorporated similarly enigmatic and symbolic elements in the past? I feel like that might be the case.

"It’s true that we’ve lightly dabbled in that before," said Mana.

The mystery, left as a mystery being able to enjoy asking, "What could it possibly mean?" feels like a test of the audience's sensibilities. The abundant mysteries in their expressions are a significant part of their charm and exploring them is an enjoyable experience.

It isn’t necessarily anything overly occult or niche. The ability to enjoy a sense of mystery is something many people naturally possess. That’s precisely why they’ve managed to gather so many fans and captivate them. After all even someone with no prior knowledge simply seeing their photos would undoubtedly find them quite mysterious. One could even say they are overwhelmingly enigmatic.

At that point whether someone leaves it at “Oh, so there are people like this” or becomes curious enough to dive into their expressions saying “I want to hear and see more,” depends on the individual’s disposition. The fact that so many people are willing to explore further is what’s driving their growing popularity. In other words, it’s proof that the number of people capable of enjoying a sense of mystery is immeasurable.

However, I’d like to delve a bit deeper into the keyword “transparent spiral.” A spiral… a spiral staircase, perhaps?

"I think many people might say 'spiral staircase,' but that’s not it," said Közi.

Then perhaps it relates to genetics, DNA…?

"Oh, that’s sharp of you. It’s somewhat along those lines, like something intertwined. But I think it’s better to leave it up to individual interpretation from here on out," said Mana. He then added the following:

"The concept for incorporating dance into the opening stage revolves around the theme of a spiral that aligns with the first song, Je te veux."

This song, Je te veux, is a new track included on the album merveilles, set to release on March 18. The music was composed by Közi. According to him:

"It has a kind of ’80s new romantic vibe (lol)."

It’s a danceable song, but by listening to it and reading the lyrics, one might catch a glimpse of the concept of the spiral.

Ah, I mustn’t forget, Mana’s mention of the opening dance. Közi had previously said:

"We decided to make it like something MAX-level (a reference to a Japanese dance group), so we practiced a ton."

But what exactly is Mana’s concept?

"An image of a B-grade idol from space in the 1980s. Probably not something most people know about (lol)."

Speaking of which, around 1981, there was talk about idols said to have come from space...

"The song started to take on a different feeling, and the way we approached it also changed.

With the existence of wind, and so on i feel that I am sensing a sense of closeness or maybe i should call it a difficulty in perceiving it in myself."

By the way, with the arena performance now complete and 'Le ciel' being released as a single, the merveilles series is finally coming to an end, right? However, when I think about the final scene expressed at the Yokohama Arena performance and the atmosphere at the ending of this song, I can’t help but wonder… is it really over? There’s a part of me that can’t help but feel doubtful. So, what’s the truth about that?"

Mana: "Who knows? There might be something new starting from here… but it’s not yet the time to talk about that, so I can’t say. Well, it’s certainly true that i can’t say it’s over in an absolute sense."

Interviewer: "Exactly. The way the sound cuts off at the end of the song feels like it has some deep meaning hidden behind it. Why did it end that way?"

Gackt: "Well, why do you think it is? In fact, I’m curious to hear how you felt."

Interviewer: "Hmm… i felt a certain loneliness. It gave me a sense of being left behind, in a way."

Mana: "I see."

Gackt: "To put it another way, that feeling comes from Sugie san’s own sensitivity and past experiences, which made you feel that way. And that’s okay; everyone can feel it in their own way. And in another moment if you listen again, it might leave you with a different impression. On the other hand, what we aim to present is music that creates different stories and landscapes within each listener over time."

"I feel like we're searching for something beyond that."

In the end, it's about the greatest pleasure in this world— the joy, anger, sorrow, and all emotions.

Music itself comes from the flow of religion, right? Religion itself started from human sin, and I think it was built to overcome it and bring it to zero. Regardless of whether one believes in religion or not the desire to overcome sin is something that every human being has, right? What we do isn’t religious activity, but if there are expressions that seem religious, we won’t deliberately deny them. It’s a matter of how different people interpret it.

In live shows and albums, the emotions of joy, anger, sorrow, and pleasure of humans are included. If someone perceives something religious within that, it's a matter of their sensitivity. We don’t deny or affirm it.

Let's change the approach of the question regarding the term "religious." What if Malice Mizer’s fans, in the future, became the type of people who believe only in Malice Mizer, who have no other support but Malice Mizer?

"There are so many people and so much music, so it's hard to imagine a situation where it's only Malice Mizer. I don’t feel that way on stage," said Gackt.

Mana continued: "I rely on the audience more than they rely on me. I live every day in fear, and when I get letters from the fans, I feel saved."

Hmm? "Fearful..."?

"Yes, that's right. I can't say it directly, but there are hints. Please watch my segment in the TV special about Malice Mizer (those who recorded the video) and also look at the various drawings I make; it’s hidden there."

Mana has once again given a mystery, but Közi also agrees: "Like Mana-chan, I find healing in fan letters every day. Since our major debut, the pace of life has become incredibly fast." It seems that all the members get some form of power from fan letters.

Can the passionate feelings of the fans also be felt from the stage?

"On stage, I enter an unrealistic world, so sometimes when I look at the audience, my mood drops, so I don't consciously focus on it," said Kami.

Yu~ki added: "In the end, I feel like we’re searching for something beyond the greatest pleasure or feeling, something that encompasses all emotions— joy, anger, sorrow, and pleasure. It's like we're trying to find it together."

Gackt continued: "I think the meaning of standing on stage is different for each person, but for us, and for those who come to see us, we are mirrors. When we send out waves, they don’t just go one way, they come back. In that way, both sides discover and grow. Looking in the mirror means that I’m looking at myself. Sometimes, I see a better version of myself, someone who can do even more."

They send out waves from the stage, and the audience receives them.

MALICE MIZER

"Bara no Konrei"

The Promise Made at Midnight

An Exclusive Look at MALICE MIZER’s Debut and First Lead Role in a Movie

TEXT: KIMIKO KKM MASUBUCHI

An exquisite, beautiful, and aesthetic world set in medieval Europe. Anyone who has even once glimpsed the world of Malice Mizer would have sensed that a moment would come when they would make their screen debut. I, too, am one of those people. And finally that moment has arrived and in a spectacular way as both their debut and their first lead role.

The movie, The Promise Made at Midnight: The Wedding of Roses, explores themes captured in its tagline: “The forbidden decadence of pleasure not meant to be seen or touched.” It is a gothic fantasy of humans and vampires, searching for eternal love and beauty. This film is intertwined with the world Malice Mizer has developed over years of musical activity with the soundtrack featuring songs primarily from the album Merveilles. This feature flowing through the entire film is an essential element that gives it a distinctive character. The film’s style reminiscent of films from a bygone era reflects the reverence for their music.

One of the most surprising aspects is the casting. The characters are tailored to each band member’s unique persona so their passionate performances feel natural even to those familiar with Malice Mizer. While musicians appearing in movies do not always add depth to their musical activities this work offers both longtime fans and newcomers a way to see Malice Mizer in a new light as a continuation of their journey.

TEXT: YUKI SUGIE

An endless dream. Endless loneliness, endless sorrow. This is a story of “eternity,” portrayed in deep contrasts between midnight black and blood red beginning in silence and unfolding dramatically.

One of the most striking elements of The Promise Made at Midnight is its use of a talkie-style classical technique and the bold casting of Malice Mizer. Director Takehara captivated by their unique presence and charisma, wrote the screenplay himself. This project, a massive collaborative work between Takehara’s vision and Malice Mizer, a group that has pursued a distinct aesthetic rooted in tragic beauty has produced something truly one of a kind.

Kozi’s presence embodies the conflicts and challenges of reimagining a vampire archetype, capturing the role with precision. Mana, with his enigmatic mannerisms holds a crucial key to the film’s complex storyline. Yu~ki with his remarkable performance as a vampire seems almost born for this role. Whether as actors or actresses, their presence will certainly draw viewers into a surreal, hypnotic world.

This world is one that only Malice Mizer could bring to life. Eventually, the night gives way to dawn, and the story reaches a pivotal moment. What will bring salvation, and what will be the source of tragedy? What was “fate,” and what was inevitable? I hope you find the answers to these questions in your own heart.

Malice Mizer

"Let’s Play with Wax Figures!!!"

February 24, 2000 – Tokyo Tower Wax Museum

Mana sama dressed in a new black outfit from Moi-même-Moitié (the brand by none other than Mana-sama himself) and i ventured to the Tokyo Tower Wax Museum. The last time i visited here was in elementary school. I vaguely recall being terrified of the "Western Torture Room." Well guess what, it’s still here! This room set up to prevent people from forgetting the horrors humans once inflicted on each other is full of grotesque displays. The background music is ominous enhancing the sense of dread. Ten minutes in here and you’d go mad! As i felt my spirits sinking i glanced over at Mana-sama, who was completely unfazed. I asked, "Doesn’t this make you feel sick?" Mana sama replied calmly, "Not at all." "I've been interested in things like this since i was young and i used to read books like The Encyclopedia of Torture." (Mana)… The Encyclopedia of Torture! There really are all kinds of books in this world.

Aside from the torture chamber the museum is packed with wax figures of rock musicians and movie stars. When i suggested, "Maybe it would be fun to take some rock inspired photos," Mana sama even tried to climb over the railing to pose with the figure of Deep Purple (a British hard rock band active mainly in the 1970s). Suddenly… BEEP! An alarm went off! Mana sama also took photos with Julia Roberts from Pretty Woman and Arnold Schwarzenegger as the Terminator. For “unreleased” photos he posed with Venus and Bacchus. Mana sama you naughty thing! …Or so i thought but Mana sama was quick to say, "Make sure to mention that I wasn’t actually touching her chest!" to avoid any misunderstanding.

Yukari Ōba

Yukari Ōba is the exclusive fashion designer for MALICE MIZER. All of their costumes are her work.

People with titles like "planner," "editor," or "writer" often like to separate their jobs into small roles. As a result, some people end up with two or three titles and end up saying how busy they are. Among them i think the profession of designer is currently being broken down into the most minute distinctions. It’s not just about people who create design sketches, cut fabrics, or shape the garments—there are specialists in hats, accessories, knitwear, and so on. I can understand if someone with a foot fetish only wants to make things related to feet, but recently, something’s been bothering me. It starts with the question of whether it's okay to refer to Ōba-san simply as a "costume designer."

She’s responsible for the image of MALICE MIZER after their revival. Under the name of costumes, accessories, and hairstyling, she handles everything from patchwork to welding (pay attention to KAMI's hands this time) to even the stage props. Can we really call her a "designer" or "costume person" in just one second?

However, as I was agonizing over this, Ōba-san spoke enthusiastically, saying, "This part was really difficult, look at it! Oh, and here too..." She talked joyfully about how she changed the fabrics little by little and factored in lighting effects. She said with a laugh, "People often tell me, 'No one will notice you went that far,' but I love doing it." Through her words, I understood one thing: Ōba-san doesn't care what she's called, as long as she can create costumes. It’s her passion. That's why such lively, remarkable costumes are born from her work.

Mana

Mana had told me, "I imagine the feathers gently falling off!" (laughs). It wasn’t meant to change that much, but after making it, I thought, "I want to make it cuter," partly because too much of the legs were showing. I used a fabric called washer organza for the feathers, and also incorporated it into the underskirt, creating a tutu-like effect with about four layers to add volume. The pom-poms were something Mana brought in, saying, "I want to attach these somewhere," and when he attached them herself, she said, "It's cute!" (laughs). Actually, he also made the wig and chains with his own hands.

The butterflies on the wings aren’t real, of course (laughs), but I dyed each one individually. Even in places where it seems casual, there’s a lot of effort behind it (laughs). The fabric for the costume was something Mana requested, saying he wanted a luxurious material that looks like beads. I brought various options and he was especially fond of this one fabric because it’s very light. He even said, "It feels like I’m wearing nothing, this is perfect!" (laughs). It was a hit (laughs). As for the accessories, he said he wanted something with the feel of a wedding fountain with light shining inside it (laughs). I remade it several times to create something that bounces back when touched.

We also tore up light blue feathers and embedded them. We worked hard on even the smallest details that might seem like nothing at first glance (laughs). To make sure the guitar strap doesn’t get tangled, I discreetly made the wings detachable with Velcro (laughs).

Közi

Közi is someone who likes to plan everything from the start. When I first saw the design, I thought of a fiery phoenix, so I decided to make it based on that image. The fabric is the same as Mana's but in a different color. He said, "I've worn something like this before." This time, he wanted something that resembled a jumpsuit. Even though it has no elasticity, I went ahead and made it, but when he wore it, he said, "It's tight..." (laughs). Even though it was restrictive, he’s someone who enters the role through appearance.

The feathers on the chest were dyed with a gradient because I wanted to add that effect, but balancing it was tricky. While adjusting during the fitting, I mixed in red, which is his signature color. This jumpsuit also has Velcro to make it easier for the guitar strap to pass through. The accessories ended up looking very different from the design sketches because when we attached them to the sleeves, it made playing the guitar difficult (laughs). So, when we finished one sleeve, we decided to wrap it around his neck, creating a more luxurious design. The wings on his back are made from aurora film, which changes color depending on the light, appearing red or gold. The material is aluminum, making it very heavy, but the overall cohesiveness of the costume is strong, so he managed to play with it as it was. As for the strawberry hat, we added three-dimensionality using feathers, doubling its size at Közi’s request.

By the way, when he wears the costume, he’s 196 cm tall, from his shoes to the top of his head (laughs). All the members end up being around that height, right? So we make the inseam 100 cm. People always ask, "Who on earth is going to wear these?" (laughs).

Yu~ki

He had an image of a "beast" in mind, and even Yu~ki himself said, "This is quite an adventure." The skirt was actually his first try—a dress made of enamel, something we figured out together during the fitting process. It’s a double-layered design, with the back being longer and slits cut into it, creating this eerie look. The bones are designed to resemble human bones, adding shadow to enhance the effect. The back is made of two layers of umbrella-like fabric, with a sheer fabric sandwiched in between to create a shadow effect. At first glance, it looks like a single layer, but there's a lot of depth (laughs). In terms of time, his costume was the fastest to make because once Yu~ki decides on a design, he sticks to it.

Yu~ki, from the start, based his look on the initial image and always strives to get as close to it as possible. The hardest part was dealing with the enamel fabric's texture. Although we wanted it to look big, enamel has this shiny, slick look, so we used a technique like gathering to create a pinched effect, making it appear more three-dimensional, even under lights. This time, it's sleeveless, but the tattoos he recently got give it a good balance. However, it seems it takes quite a long time to paint his arms, which is a challenge (laughs).

Kami

For Bel Air, it seems that the design he envisioned was difficult to realize. This time, I adjusted the shape of the collar slightly upwards to make it easier to take off. Since taking off the costume was a concern, I incorporated his favorite Rurubar lace in two layers and embroidered it with CD sequins to give off a subtle shimmer, ensuring that the fans could see the light reflecting off it. The sequins were also added to the wings, inspired by his recent thematic focus. They create a fantastical effect, with a gradient from blue to purple as the light shines on them. The wings are the largest element, but they’re lightweight, which allowed Kami to say, "I want to perform while wearing them" (laughs).

For the headpiece, i dyed a cup and embedded black feathers as an accent giving it a mysterious shape that he can just throw on. Lately, he’s been wanting to wear a pink wig that he bought himself, but it’s a bit too intense, so I’m thinking of adding some mesh to tone it down (laughs). The overall concept was inspired by looking at an insect encyclopedia, specifically butterflies. Additionally as Kami insisted from the beginning, there’s a tail attached (laughs).

Gackt

This time, all the members wanted to have wings, so that served as the basis for the design. The members had very detailed requests, particularly Gackt, who was inspired by his favorite movie, The Crow. He wanted the outfit to highlight his beautiful body lines, so while the design is simple, it also needed to allow for movement. Ideally, I would have preferred a stretchy material, but I was determined to use cotton velvet, which has a dark and moody atmosphere, while also creating the effect of gold shining through the darkness.

The cotton velvet, combined with cut velvet, made sitting difficult for Gackt, but when the light hits it, the gold stands out clearly against the black backdrop. The wings, which he was very particular about, were designed in three layers. When closed, they fold up slightly, but when fully opened, they span 4 meters. For live performances, Gackt uses strings to control them, allowing the wings to spread open. The construction is sturdy, with hidden mechanisms for the strings, making the wings quite heavy. The wings were made using about four different patterns, and sequins were added so that when the light hits them, they appear three-dimensional. We used an incredible amount of feathers for the wings as well.

The end

MALICE MIZER

After leaving the audience in suspense, Kami took the microphone and in a surprise twist the members reappeared, intensifying the final moments. In response to the huge cheers the encore saw the five members take the stage in military uniforms, waving a naval ensign. It’s rare to see a band that can pull off such a wide variety of costumes... I couldn’t help but think how much fun they must be having as I was completely overwhelmed by their high energy stage presence and performance.

The following day, on the 11th, they performed on a stage titled The Door of the Blank Moment. The show began explosively, with special effects firing off immediately at the start, and the band, dressed in glossy enamel costumes, launched into an aggressive and high-energy performance, reminiscent of the later half of a set. I was once again stunned, realizing that this was yet another way to kick off a show. I had heard that the two days would be completely different... but I didn’t expect them to be this different.

The second song, ILLUMINATI, began with a shout of "Come at me!" and during the song, Gackt shoved Mana onto a sofa? The sight of Mana and Közi's suspiciously close interactions elicited screams, leaving everyone fixated on their movements.

While Yu~ki didn’t display any flashy movements, his intricate rhythms and occasional melodies shone through. In the fourth song, Le Ciel, he descended from the stage set to perform front and center. Every little movement from them was captivating, and during the middle of the set, each member had their own moment to shine, pulling the audience into their individual worlds.

Just like the previous day, Gackt’s highly charged MC led the show into its second half. Sweet, yet somehow melancholic melodies... these enchanting songs brought color to the latter part of the concert.

The encore that day was especially memorable. The members appeared one by one, dressed as the characters from the video Bel Air, each stepping out in their respective roles. It was a surreal sensation, as if the fictional story in the video and the real-life story unfolding on stage were blending together. The five of them gathered on stage in those costumes and, as a parting gift to the audience, performed the final number, of course, Bel Air.

Their stage was a world filled with countless elements: beautiful things, grotesque things, pure things, mysterious things, frightening things, nostalgic things, new things... an endless variety of wonders. It was a world that transcended conventional concepts and couldn’t be confined within the usual boundaries of a live performance. For those two days, we were able to fully immerse ourselves in their unique world.

I did a little translation of Yu~ki's interview. Feel free to correct me in my mistakes.

Interviewer: This outfit is your personal clothing, right? Is it for a party?

Yu~ki: It’s casual clothing for going out. My pants are showing a bit (laughs), it’s a little too much (laughs).

Interviewer: Are you planning to attend a Christmas party like this?

Yu~ki: Yes, I am.

Interviewer: So, what comes to mind when you think of Christmas?

Yu~ki: Nothing much really. I’m happy because I get to eat cake, that’s about it. ...Though, it’s like, "you can eat cake anytime!" (laughs).

Interviewer: The lights are beautiful, right?

Yu~ki: Yes, they’re definitely beautiful.

Interviewer: Or maybe it’s about getting a lot of presents?

Yu~ki: I guess presents do arrive.

Interviewer: Do you have any positive impressions of Christmas?

Yu~ki: Well, not really. I don’t have any plans for this year either. It’ll probably be over before I even notice (laughs). The cold wind blows, the leaves fall, it’s a lonely season that makes you miss people. And since I look like Dracula in this outfit, maybe I should just go around sucking blood (laughs). But, yeah, it does kind of make you feel excited in a way.

Interviewer: It feels like we’re making you say that... (laughs). What’s a memorable Christmas for you?

Yu~ki: There was someone whose birthday was close to Christmas, so we had a party with a bunch of close friends. We exchanged gifts but it was all guys.

Interviewer: What about sweet memories with a girl?

Yu~ki: Memories with a girl... I can’t say there aren’t any.

Interviewer: Come on!

Yu~ki: I mean, I do have some, but they’re not sweet at all (laughs). Actually, now that I think about it, there really aren’t any interesting stories (laughs).

Interviewer: Until when did you believe in Santa Claus?

Yu~ki: Probably until I entered elementary school. My parents would always leave presents by my pillow, and maybe I pretended to believe for their sake. I’ve always been the type to look at things realistically from a young age (laughs).

Interviewer: That’s not very cute! So, what’s your ideal way to spend Christmas?

Yu~ki: Cake. ...Well, I don’t really care, to be honest (laughs). As long as it’s fun, that’s good enough, right? But is it normal for people to have plans for Christmas?

Interviewer: Even though your fans usually call out, "Yu~ki ♥," on Christmas...

Yu~ki: I hope everyone listens to a CD and eats cake alone. ...That’s what I’ll be doing! While thinking of my fans!!

Malice Mizer Magazines

(Part 2/6)

All the photo credits to voulerie on tumblr