FEATURE | BO Tokyo Pop-up
With the recent appointment of Damir Doma as Creative Director, bo marks its Japan pop-up debut, showcasing its Autumn/Winter ‘26 collection alongside a dedicated spatial installation, ‘MAKING HOME’, which explores traditional Chinese materials and Eastern aesthetics.
To mark the occasion, eye_C interviewed Damir, discussing how the designer is bringing their philosophy to an established brand, what ‘home’ means to them, and the influence of traditional materials and practices.
eye_C: Since joining bo as creative director, how did you approach bringing your own design philosophy into the brand with an established identity rooted in Eastern aesthetics?
DD: I began by listening and looking at what was already there. Broadcast has a strong connection to art, nature, and Eastern culture, and I didn't want to erase that. My role is to make the identity more focused and contemporary. My own approach has always been about proportion, material, reduction and the relationship between clothing and the body. At bo, I bring those principles into a more everyday wardrobe. It is a dialogue between two sensibilities, not one replacing the other.
eye_C: The Autumn/Winter ‘26 collection explores ‘home’ as a place of comfort and belonging. What does ‘home’ mean to you personally, and how did that influence your approach to this collection?
DD: For me, home is less a particular place than a feeling. I have lived and worked in different countries, so belonging isn't tied to one address. It is about familiarity, freedom and being able to be yourself. I wanted the clothes to carry something of that feeling: cocooning shapes, softness, room to move, layers that feel protective without being restrictive. I like the tension between shelter and openness. A garment can give you a sense of home as you move through the world.
eye_C: The collection embraces natural imperfections and traditional craftsmanship. In an industry increasingly driven by speed and technology, what makes these qualities important to you?
DD: Imperfection introduces life. When everything is optimised and identical, objects can lose their character. I am not interested in imperfection as a decorative effect, but in the traces of material, process and the human hand. Craftsmanship also asks us to slow down and pay attention. That does not mean rejecting technology; I think both can coexist. What matters is knowing when precision is necessary and when a little irregularity makes something more beautiful and more human.
eye_C: Through the Cotton Weaving Trilogy, bo explores traditional cotton-making practices in Japan and China. What have you discovered through these encounters, and how have they influenced your creative perspective?
DD: What attracts me to this project is the idea that a humble material can contain so much culture and intelligence. Cotton connects the body, the home and daily rituals, while weaving connects generations of knowledge. I see the trilogy as a process of exchange and learning, not a search for exotic motifs to borrow. It encourages us to look more closely at how things are made and what gives them value. I would rather speak about this as an ongoing exploration than pretend it has already delivered one final lesson.
eye_C: As the brand debuts in Japan, what are you most curious to discover about the Japanese audience, and how do you see the brand evolving from here?
DD: I am most curious about the response to the clothes themselves: how people touch the fabrics, understand the proportions and combine the pieces with their own wardrobes. Japanese customers often have a very developed eye for detail, so their reactions will be valuable. I hope this is the beginning of a conversation rather than simply a temporary retail moment. For the future, I want bo to grow through a clear, consistent language: clothes with ease and character, supported by a genuine cultural point of view.
eye_C: For its first pop-up in Japan, bo presents the collection in a space inspired by the theme ‘MAKING HOME’, incorporating materials and objects such as bamboo, cotton textiles, ceramics, and furniture. How do you see the relationship between clothing and these materials?
DD: I don't see clothing as separate from the spaces we inhabit. Both involve texture, proportion, comfort, and how the body feels. In Omotesando, the bamboo rails held by natural stones, the textiles, ceramics, screens and furniture create a domestic atmosphere rather than a conventional shop display. They are simple elements, but each has a presence and a material honesty. The clothes belong within that world.
eye_C: For Japanese visitors discovering bo for the first time, what impression or feeling do you hope they will take away from this experience?
DD: I hope visitors feel invited to spend time, look closely and discover something personal. More than a polished luxury statement, I want the space to feel warm, thoughtful and lived in.
Pop-Up Details:
Dates: October 24th to November 22nd.
Address: VENUE YUNXI Building 1F, 4-9-3 Jingumae, Shibuya-ku, Tokyo
Opening Hours: 11:00–19:00
Photography by catalyst.
Text: Ali George Hinkins
