Swarovski unveils a new Chamber of Wonder: 'Crystallizing Identity' by Japanese artist Chiharu Shiota

Celebrating diverse artistic expressions, heritage, and innovation for decades, Swarovski is at the forefront of the cultural zeitgeist. The Swarovski Kristallwelten in Austria is a testament to the legacy brand’s ideology: To regard crystal not merely as a material, but as an inspiration. Inside the world of crystals, the Chambers of Wonder forge meaningful dialogues between artists and designers. Continuing the spirit of creative ingenuity, Swarovski Kristallwelten unveils a new Chamber of Wonder, Crystallizing Identity, created by renowned Japanese artist Chiharu Shiota. The thought-provoking exhibition marks a significant milestone in Swarovski’s 30-year legacy of artistic collaborations.

Born in Osaka and based in Berlin, Shiota draws inspiration from her experiences to expand into universal human concerns such as life, death, and relationships. Known for her immensely engulfing threaded installations, the artist uses material memory to redefine the concept of consciousness and interconnectedness. In Crystallizing Identity, Shiota interprets the Japanese legend of the ‘red thread’, according to which those destined to meet remain linked throughout their lives by invisible red threads. Her concept comes to life through a network of red woollen threads interwoven with delicate crystal beads. The threads eventually converge, pooling into a pair of feet, arms, and the hand of the artist crafted by Swarovski Manufaktur. In an exclusive interview, the artist takes us through her inspiration behind the installation and experience of collaborating with Swarovski.

Harper’s Bazaar: How did the collaboration with Swarovski come into being? Tell us about your experience of working with the brand. 

Chiharu Shiota: I was thrilled to be invited to create a new Wunderkammer for the Swarovski Kristallwelten. I visited the exhibition space to have a deeper conversation about the project. Everyone has been very kind and motivated. 

The collection at Chambers of Wonders already houses famous artists like Salvador Dalí, Yayoi Kusama, and James Turrell, so I’m excited to be part of it. I have never worked with crystals before, but I think they are extremely powerful, being both fragile and strong at the same time. 

HB: What was the concept behind Crystallizing Identity?

CS: For me, red has always represented blood, and with it, family, tradition, and who we are. In my work Crystallizing Identity, I explored these ideas more deeply. When I was living in Japan, I didn’t realise how much my culture influenced me. I think of it like salt in water. When I moved to Germany, it was like the water dried up, and suddenly, my Japanese identity became clear to me. My beliefs were shaped by the people I’ve met, and by the people they’ve met, and so on. This is like my art: You can’t follow just one thread. There is no clear beginning or end. 

HB: Your creations involve interlacing wool yarn for monumental installations. How was it working with crystals for the first time?

CS: This was the first time I used crystals in my art. I usually work with old, used, everyday objects like shoes, suitcases, beds, and chairs—things that feel familiar. The objects that surround us accumulate our memories. When I see an old chair or a shoe, I feel a presence, even though no one is there. 

The beauty of the crystals was challenging because I didn’t want the work to be just beautiful. I wanted to create something deeper, with more meaning and emotion. In the end, I’m happy with the balance I found. I combined the crystals with darker pearls, and this contrast gave the work more depth, which I like.

HB: Human interactions, emotions, lived experiences, and memories, collectively, played a prominent role in your artistic journey. How has art, in return, impacted your understanding of human emotions? 

CS: Through creating art, I’ve learned that emotions are not always easy to explain with words, but they can be deeply felt through materials and space. Art has made me more open, understanding, and connected to others. It is not just a way to express feelings, but also a way to understand them more deeply.

HB: How has Berlin shaped your artistic identity and body of work? 

CS: When I moved to Berlin, I felt very free to create. Several artists came to the city and showed their work in abandoned buildings. There was still a lot of construction, and the city was always changing and full of movement. I think many of my works have been inspired by Berlin, because my art usually comes from my feelings and experiences. A lot of the materials that I use are collected in Berlin, and ideas are influenced by the city. I would be a different artist if I lived somewhere else.

HB: How do you want visitors to interact with the installation at the Chambers of Wonder? 

CS: My installations are not about explaining something in words. I want the space to feel emotional and powerful. Some visitors may feel a sense of calm, while others will be moved. But I don’t have any set expectations. They should feel free to feel whatever feelings come up. I want to create a space different from ordinary life. Everyone brings their memories and emotions, so each person may experience the space in a different way.

HB: What are your views on artistic collaborations in the fashion industry?

CS: Fashion and art have many similarities. They express identity, emotion, and culture. When artists and fashion designers work together, they can create something new that touches people in different ways. For collaborations to succeed, both sides must respect each other's vision and ideas. There needs to be trust, openness, and a shared goal.

All images: Swarovski

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