Nissaco OSAKA - JAPON @nissaco www.nissaco.jp

Nissaco is a Japanese tattoo artist whose unique vision has reshaped the way ornamental and cultural design is understood in contemporary tattooing. With over two decades of dedication, he has forged a style that blends the richness of Japanese aesthetics with modern geometric influences, creating pieces that are both timeless and innovative. His career has been marked not only by perseverance and artistic evolution but also by collaborations with world-renowned brands such as Junya Watanabe COMME des GARÇONS, Sea Shepherd, and Indian Motorcycle.

In this interview, Nissaco opens up about his beginnings, the challenges of developing a style ahead of its time, his creative philosophy, and the balance between honoring tradition while embracing modernity. A journey of discipline, passion, and innovation that continues to inspire artists and tattoo enthusiasts worldwide

1. What was your first approach to the world of tattooing, and what motivated you to make it your professional path?

My first encounter with tattoos was back in middle school. I came across a character in a Japanese manga—a rebellious boy with tattoos—and for some reason, I found myself really admiring him. When I turned 18, I decided to tattoo myself, but unfortunately it didn’t go well. To cover it up, I went to a tattoo shop, and that experience ended up changing everything. Seeing the artists working there—doing something they loved every day—left a strong impression on me. Their lifestyle looked fulfilling, and at the time, I was also looking for a way to change my own environment. That’s when I seriously started thinking about becoming a tattoo artist.

2. How did your connection with art begin? Were there people who supported your creative development, or was it a more introspective and personal process?

To be honest, I had no connection to art at all until I started tattooing at the age of 20.

I had never even drawn before, so I didn’t have any sort of creative drive back then. But once I decided to become a tattoo artist, I began studying under a mentor and with the support of senior apprentices. The training involved a lot of tedious work—like sketching and copying designs over and over—and on top of that, I had no income. I ended up going through three years of intense apprenticeship: living at the shop, working every single day without a break, and relying on support from my parents to get by. It was really tough—honestly, it felt like hell. Looking back, I think that was when I truly started engaging with what you'd call “art.” That was around 2003, if I remember correctly.

3. You have developed a very distinctive style based on black ink and ornamental, cultural designs. How would you describe your artistic approach, and what elements are essential in your creative process?

It was a very long journey to arrive at the style I have today. Over 20 years ago, I already had some ideas in my head and started experimenting little by little. But at the time, there was nothing quite like this in the tattoo market. For clients, it took a lot of courage to get a design they’d never seen in tattoo form before—especially when there were no reference samples to show. Creating something unique often means stepping outside the established categories of tattoo styles. Nowadays, with the rise of social media and the visibility of countless styles, it’s much easier to try something new. But back then, doing anything outside of specific genres wasn’t just difficult—it was almost considered taboo. That was a major barrier. To break through it, I took my time, gradually blending the things I wanted to express into my work. Around 2003, I started mixing tribal designs with traditional Japanese patterns - at first, it was about 90% tribal and 10% Japanese. Over the next decade, I slowly shifted that ratio until Japanese elements became the main focus. By around 2010, my style had started to gain recognition in Japan.

In 2013, I set my sights on reaching a global audience. I began combining Japanese patterns with the newly emerging geometric tattoo trend, using the same gradual approach I had taken in Japan. As my work gained more visibility, I began receiving more and more requests - and by around 2020, I found that nearly all of my clients were asking for the exact style I had envisioned. Looking back, it took almost 20 years for this “new” style to truly take root. Even now, though my style is established, I try to stay very mindful. If I allow myself too much creative freedom without discipline, the designs can easily drift off course or lose their depth. So with every piece, I strive to create something that stands on its own as a work of art - while still clearly reflecting my personal touch.

4. Your work has a strong connection to Japanese aesthetics but also incorporates contemporary influences. How do you manage to balance tradition and modernity in your work?

That’s a tough question—mainly because I’ve never really analyzed myself that deeply. But if I had to reflect on it, I’d say this: I believe that a true understanding of Japanese aesthetics can only come from someone who was actually born and raised in Japan.That gives me a significant advantage, and it’s why I consider a deep sensitivity to traditional aesthetics to be essential to my creative process. At the same time, while it’s important to value tradition, I also believe that being too devoted to it can sometimes hold us back. In my experience, when you cling too tightly to tradition, you risk rejecting anything new, and that can ultimately stop your own growth as an artist. To avoid letting that mindset become a barrier, I try to keep tradition in mind but execute most of my work with a contemporary approach. I think that’s how I maintain balance—by grounding the concept in tradition but expressing it through modern forms. If I had to put it in numbers, I’d say it’s about 10% tradition and 90% modernity.

5. In 2020, you opened "Tsuruyashiki," a space that remains closed to the public. What does this place represent to you, and why did you decide to keep its location private?

I opened Tsuruyashiki primarily as a personal workspace. It’s a kind of adult hideaway, filled with the art, ornaments, and traditional crafts I’ve collected - many of which I brought from my family home. It’s a space surrounded by the things I love. The reason I keep the location private is simple: I don’t need walk-in clients or even referrals from acquaintances. I have many clients who are willing to wait patiently, sometimes for a long time, and travel great distances just to get tattooed by me. To give each of them my full focus and deliver my best work, I need an environment where I can concentrate completely. Having visitors or shop staff around would break that focus, so I chose to keep the space closed to the public.

6. You’ve collaborated with renowned brands such as Junya Watanabe COMME des GARÇONS, Sea Shepherd, and Indian Motorcycle. How did these collaborations come about, and what do they mean to you as an artist?

That was a truly significant experience for me. Each of those projects came about through direct contact—someone from the brand’s headquarters reached out to me via email. For the collaborations with Indian Motorcycle and Sea Shepherd, they were tattoo-related projects that involved a small group of tattoo artists working together. The project with Junya Watanabe COMME des GARÇONS was also a direct request. I still clearly remember my hands shaking when I read the message—they mentioned they were preparing for Paris Fashion Week. As someone who had admired that brand since my student days, it felt surreal. It was the first time I ever told my parents about a work project. In a country like Japan, where there’s still a lot of stigma surrounding tattoos, that collaboration felt like the first time my work was truly recognized on a larger scale. It gave me a sense of validation, confidence, and a certain status as an artist—and to this day, I’d say it remains one of the most important milestones in my career.

7. What motivated you to expand your art into the world of fashion, and what do you seek to express through that platform?

To be honest, I never set out with the intention of expanding my art into the world of fashion. I’ve never studied fashion, and I don’t believe that simply stepping into that field on my own would allow me to compete with those who are truly dedicated to it. That being said, I’m fortunate to receive a large number of tattoo requests every year—but in reality, I can only take on about 2 to 4 percent of them annually. It’s always been my dream to tattoo everyone who wants one, but if I were to do that, I’d probably need to keep working until I’m 450 years old. As much as I’d love to make that happen, realistically, I only plan to tattoo for about ten more years. So I’ve begun to step— just slightly—into the fashion world as a way to share something with those who weren’t able to get a tattoo appointment. It’s not about trying to become part of the fashion industry, but rather about finding another way to connect with people through my art.

8. Did you ever imagine that your work would have such a significant impact, to the point of becoming a reference for many artists around the world?

I think I’m probably the most surprised by it. And I’m sure the friends I grew up with never imagined it either. In the first few years after I started tattooing, I was definitely considered one of the underperformers. I used to get criticized by my mentor on a daily basis—so much so that I honestly saw myself as one of the "dropouts" in the group. Looking back, I think my journey has become a good example for younger artists or those aspiring to enter the tattoo world—proof that consistent effort really can pay off.

9. How can someone contact you to book an appointment? Where are you currently working, and what plans do you have for the rest of the year?

I don’t check DMs on social media, so the only way to request an appointment is through the contact form on my website. While it’s possible that I may change my base within Japan in the future, I plan to continue working out of Osaka for the next few years. As for the rest of this year, I’ll be participating in a convention in Chiang Mai, working on a line of Aloha shirts, and launching a collaboration product with a Japanese tool manufacturer.

10. Finally, we leave this space open for you to share any message, reflection, or thought you’d like to pass on to our readers.

Through my job, I have come to deeply appreciate the importance of connecting with people’s hearts and lives. I appreciate that for many artists and clients, tattoos are not merely decoration—they are art that embodies one’s own story and beliefs. Because of that, I believe many tattoo artists find joy in sincerely engaging with each individual’s story and creating a unique moment just for them. That said, I personally approach tattooing more from the perspective of design rather than any sentimental value, focusing on creative expression freely. I believe this approach has allowed me to develop my style and body of work. I intend to continue working with that same mindset moving forward. If you want to get a tattoo that truly reflects your inner feelings and wishes and expresses your individuality, I encourage you to take your time to find an artist—not necessarily　me—who deeply understands and brings to life your personal vision through design. To young tattoo artists, I want to say this: in recent years, the number of tattoo artists has grown incredibly, and overall quality has risen. I know many of you may be struggling to break through. However, if you keep working hard without giving up and prepare yourself to seize your chance, I truly believe your efforts will pay off. I myself was considered a dropout and stuck in the second tier for a long time, but through continuous effort and some luck, I was able to change my environment and how I was evaluated. Now, I believe it’s your turn—the young artists—to energize and elevate the tattoo industry. Finally, I want to deeply thank everyone at DGNtattoo magazine for providing me this opportunity to share my thoughts through this interview.

— nissaco