
The first person in the world to recognize rope as an “art form” is Kinoko, Japan’s leading rope specialist. His work goes beyond tying people—he also ties trees, rocks, and even entire natural or architectural spaces. Renowned for his distinctive artistry, his creations have gained high acclaim in cities around the globe, including Paris, London, Sydney, Melbourne, Bangkok, Taipei, and Shanghai. Kinoko believes that “rope is like a tin-can telephone, linking you to the other person.” How did these works, which embody so many different kinds of “connection,” come to be? We spoke with him to find out.
Profile
Vol.116 Hajime Kinoko
Modern Artist, Kinbakushi (Rope Master), Rope Artist, Photographer
Born October 22, 1977. In 2001, after discovering that his then-girlfriend enjoyed rope bondage, he began studying on his own under the mentorship of Yumeko. He later continued his training, taking lessons from Haruki Yukimura and Kannagi, whom he considers his esteemed teachers.
He reinterprets rope bondage beyond mere eroticism—sometimes with a pop flair or elevating it to art. He’s especially known for tying not just people but also elements of nature (trees, rocks, etc.) and entire spaces, earning him acclaim for his distinctive approach. In recent years, he has been actively showcasing art through photography and video, handling every aspect of tying, shooting, and directing.
Along with domestic performances, he has appeared and conducted workshops in around 30 locations worldwide—including Paris, London, Rome, Berlin, Sydney, Melbourne, Vancouver, New York, Los Angeles, Taipei, and Shanghai—and his recognition overseas continues to grow. He is regarded as one of Japan’s foremost rope specialists.
Hajime Kinoko Shibari and Rope Bondage Official Home Page
https://shibari.jp/
Instagram
https://www.instagram.com/hajime_shibari/
Pursuing “Connection” ― The Origin and Philosophy of an Artist

Technique and Expression ― Japanese Aesthetics and a Unique Style

Tree of Life 2018 ED.5 pigment print・crystal paper Photo by Hajime Kinoko Rope by Hajime Kinoko
My encounter with rope happened purely by chance. One day, a senior colleague told me, “Hey, go manage this fetish bar in Roppongi (a place where people with various fetishes gather).” I ended up dating a woman who identified as M there. Then, one day, an older woman suddenly came into the bar. She said, “If you’re running a fetish bar, you at least need to know rope bondage. Learn it!” That’s how I started learning tying techniques. Later on, I found out that my senior colleague had sent that woman, Yumeko-shi, to teach me. She later became my mentor. It was like receiving an intensive SM education (laughs).
More “Chef” Than “Artist” ― A Style That Stays Close to the Other Person

White 2018 ED.5 pigment print・crystal paper Photo by Hajime Kinoko Rope by Hajime Kinoko
I’m not really aiming to destroy tradition; rather, I want to preserve it. I’ve heard a story where someone was excommunicated from the tea ceremony world for an expression like “smashing the tea bowl,” but in my case, I don’t put myself at the center. I focus on group-oriented expressions that help things flow around me. “Connection” is truly about staying close to the other person. That is my philosophy. My signature “-Red-” series also revolves around this theme of “connection.” The red rope used in my pieces symbolizes things like blood and the fateful red thread that ties us together. That’s why I feel I’m closer to a “chef” than an “artist.” An artist often makes whatever they want and looks for people to agree with it, while I prefer to stay close to the other person, listening to their requests and then incorporating 80–90% of my own ideas—what I want to do and what I think looks cool—while adapting it to that individual.An Installation by Hajime Kinoko Appears at the Sand Court in Miyashita Park!The piece in Shibuya’s MIYASHITA PARK originally came from the theme of collaborating on Taro Okamoto’s work “Myth of Tomorrow.” That piece features a nuclear bomb in the center, people lined up covered in blood, and these little bugs representing “My Little Stars.” However, along the way, that plan fell through. So instead, I decided to express hope. Japanese rope bondage has a special quality in the eyes of the world. Japanese erotic expression often has very intricate, even obsessive settings. The scenery glimpsed through a gap in a sliding door, the steam rising on a cold day, the slightest tremor… This meticulous attention to detail is what raises rope bondage to the realm of art. All Japanese arts contain a concept of “shingyōsō” (new forms). In calligraphy, you progress from kaisho (block style) as the “form,” gyōsho</> (semi-cursive) as the “phase,” and sōsho (cursive) as the “final form.” Each stage is a new expression. It’s the same with architecture, tea ceremony, and ikebana (flower arrangement). You have to learn the standard forms and master the basics before you can freely break them. So, first comes the form. You can’t break form if you don’t know it. For that reason, I have created rope-bondage dojos around the world, establishing a standard. Like ikebana or kendo, I introduced a grading system for kinbaku. Beginners start at 10th kyu, advancing until they reach 1st kyu and then moving on to the dan ranks. You learn 91 fundamental techniques from video materials and master them one by one. Only then can you open the door to free expression. So far, I’ve taught in 30 countries and regions around the world.
Connecting People ― Performances and Beyond

Rope Artist Hajime Kinoko
Through my conversation with Mr. Hajime Kinoko, I have once again realized that rope, seemingly such a simple tool, embodies a profound philosophy and limitless potential. His comment that “rope is like a tin-can telephone” carries a powerful message about linking people and hearts, and I found his life’s work and philosophy deeply inspiring. While valuing Japan’s traditional aesthetics, Mr. Kinoko boldly ventures into new forms of expression, conveying universal values that transcend the boundaries of art. The interview took place in a casual izakaya setting, and Mr. Kinoko’s friendly demeanor created a warm atmosphere that seamlessly drew me into deeper discussions. The “philosophy of connection” that arises from something as simple as rope seems to represent human relationships and society as a whole. I hope to see him continue to flourish worldwide.
October 2024, at art space kimura ASK? Interview & Editing: DK Sugiyama Project Manager: Chiho Ando Text: Eri Shibata (Deputy Editor-in-Chief, “My Philosophy”) Photography: Erina Hamaya