Designing A Life Between Cultures: How Filipina Designer in Japan Marjorie Resuello Kobayashi Turned Vintage Kimonos Into Stories of Reinvention

Words by Mye Mulingtapang

Photos courtesy of Stuart C. Wilson and Marjorie Kobayashi

In her studio in Japan, Filipina Designer in Japan Marjorie Resuello Kobayashi studies vintage kimonos not simply as textiles, but as stories waiting to be transformed into contemporary fashion. A wedding, a celebration, a family story—each kimono once belonged to someone, somewhere, at a specific moment in time. Her work is not just about fashion. It is about transformation—of fabric, of identity, and of life itself.

Years ago, she was not a designer. She was an academic and a development professional, living a completely different life with a completely different future in mind. Fashion was not part of the plan. But life abroad often changes plans, and sometimes the life you build is very different from the life you once imagined.

Like many professionals, Marjorie’s early life followed a clear and structured path. She pursued higher education, worked in development and governance, and built a career rooted in education and public service. It was a life built on research, teaching, and long-term academic goals—a stable and respectable path that many people would continue for the rest of their lives.

At that time, creativity existed quietly in the background, not as a career but as an interest—something personal rather than professional. The idea of becoming a fashion designer was not something she planned, and certainly not something she expected to pursue while living abroad.

But sometimes, reinvention does not begin with a decision. It begins with change—new countries, new environments, new identities.

Moving to Japan meant starting again in many ways. Living in another country forces a person to rebuild routines, friendships, communication, and sometimes even confidence. There are small daily challenges that people rarely talk about—understanding social rules, navigating language, learning how to belong in a place where you will always be slightly different.

Being a woman in a foreign country added another layer of challenge. Many of the people she worked with had years of experience and were already established in their fields, and there were moments when she felt intimidated and pressured to prove herself more. But instead of allowing that pressure to stop her, she used it as motivation to grow—showing up consistently, continuing to learn, and staying grounded in her purpose.

“Instead of letting that hold me back, I chose to grow from it by showing up consistently, continuing to learn, and staying grounded in my purpose.”

For many migrants, identity becomes layered. You are the person you were in your home country, the person you become abroad, and the person you are still trying to understand. Living abroad is not only about geography. It is about transformation.

Over time, Japan did not just become the place where she lived. It became the place where she began to change.

Her journey into fashion began not with ambition, but with curiosity and purpose. Her academic work and her fashion work were not separate worlds, but interconnected ones.

What she taught about sustainability, communication, and innovation, she also expressed through design. Fashion became another way of communicating ideas, culture, and sustainability.

“My career in academia and fashion are not separate; they are deeply interconnected.”

Like many people who start something new later in life, there were moments when she doubted herself. Stepping into a new field meant starting again, learning again, and entering spaces where she was no longer the expert. But she learned to focus on small steps instead of fear.

“You don’t need to have everything figured out; you just need to begin.”

Her interest in sustainability eventually led her to vintage kimonos—beautiful garments often stored away and no longer worn, yet too meaningful to discard. She began experimenting, transforming old kimonos into modern clothing—jackets, dresses, coats, and contemporary pieces that preserved the beauty of the original textile while giving it a new life. What began as experimentation slowly became a creative direction, and eventually, a business now known as Cool Kimono Crafts.

In many ways, her work reflects the modern woman—rooted in tradition but constantly evolving. She believes modern women honor where they come from but are not confined by it. They continue to redefine what is possible while carrying their identity with them.

“We honour where we come from, but we are not confined by it; we continue to redefine what is possible.”

Building a creative business in a foreign country is not easy. Women often carry many roles at the same time—professional, partner, entrepreneur, daughter, and many others. Over time, she learned that balance is not about doing everything perfectly, but about understanding priorities in different seasons of life and accepting support from family and loved ones.

Her understanding of success also changed over time. When she was younger, success meant degrees, recognitions, and career milestones. Now, success means something different.

“Now, success means creating something meaningful, making an impact, and staying aligned with my values.”

Her story resonates especially during Women’s Month because many women experience reinvention at different stages of their lives. Some change careers. Some move countries. Some start businesses. Some start again after setbacks. Some discover new passions later in life.

If she could give advice to Filipina women who want to reinvent themselves abroad, her message is simple but powerful: start small, be consistent, and do not be afraid.

“Don’t be afraid to start small. Every big journey begins with one step.”

She also believes that Filipina women bring something unique wherever they go in the world—resilience, adaptability, and a strong sense of community. Filipina women do not only work for themselves; they work for their families, support others, and build meaningful relationships wherever they go.

And for women who feel they are starting late, starting over, or starting from zero, she has a message that reflects her own journey.

“To start is already a powerful step. Your timing is your own, and every experience you’ve had is preparing you for what’s next.”

When Marjorie talks about inspiration, she does not mention designers, celebrities, or fashion icons. She talks about her mother.

Long before fashion shows, collections, and international platforms, there was a small tailoring shop run by her grandparents. It was there that her mother taught herself how to sew—not for a career, not for recognition, but to help support their large family. Even after having five children, her mother continued to learn, work, and create, driven by necessity, love, and determination rather than ambition.

Watching her mother taught Marjorie that creativity is not always about art or fashion; sometimes it is about survival, responsibility, and love. Sewing was not just a skill—it was a way to provide, to support, and to keep a family moving forward.

Years later, as Marjorie began working with textiles, patterns, and garments, she realized that her journey had quietly started much earlier than she thought. It started in that tailoring shop, watching her mother learn something new, work with her hands, and build something for the family without expecting recognition.

Today, when Marjorie presents her designs on international platforms, she does not see only her own work. She sees her mother’s hands, her determination, and the quiet sacrifices that made everything possible.

In many ways, the story of her brand did not begin in Japan or in fashion.

It began in a small tailoring shop, with a mother who decided to learn how to sew for her family.

“My mother taught me that learning something new can change your life—and sometimes the lives of the people around you.”

Today, in her studio in Japan, surrounded by fabrics that once belonged to another time, Marjorie Resuello Kobayashi continues to transform old garments into new designs. But more than that, she represents something larger than fashion. She represents reinvention, migration, cultural identity, and the quiet courage to build a life that was never originally planned.

Some people follow the life they planned.

Others build the life they discover along the way. Her story belongs to the second group. And like the kimonos she transforms, her life proves that something beautiful can always begin again.