INFINITI Middle East’s Chief Luxury Ambassador and Esquire Middle East’s July/August cover star, Mohammed Al Turki, recently travelled to Japan to explore the inspirations behind the brand’s human-centric design.
The journey, captured in a new content series, took him through Tokyo, Kyoto, and beyond, offering a closer look at how INFINITI’s commitment to modern Japanese luxury is shaped by tradition, craftsmanship, and attention to detail.
The trip began in Odawara at the Enoura Observatory, where Mohammed was introduced to the concept of Utsuroi – a Japanese philosophy of seamless transition. Surrounded by clean architectural lines and natural landscapes, he saw how this concept influences INFINITI’s design, especially in how the brand’s vehicles are “shaped by the wind” and a clear connection between form, movement, and nature.
This theme continued with a ride on the Shinkansen, Japan’s bullet train. Known for its speed and precision, the experience reinforced INFINITI’s values of innovation and efficiency. In Tokyo’s Shinagawa district, Mohammed visited the Archi-Depot Museum, a space filled with architectural models by some of Japan’s most respected designers, including Kengo Kuma. Kuma’s use of bamboo is a symbol of strength and flexibility and mirrors elements of the INFINITI QX80’s grille, which is inspired by the structure of a bamboo forest.
At Pigment Tokyo, a space designed by Kuma himself, Mohammed explored natural pigments and traditional painting techniques in a hands-on workshop. The experience echoed INFINITI’s attention to material, colour, and texture, especially evident in the QX60’s moonbow-inspired finish and the QX80’s deep red interiors, influenced by traditional Japanese flower dyeing.
In Kyoto, Mohammed visited Hosoo Gallery, home to a 17th-century textile house known for weaving techniques once reserved for the Japanese imperial family. The gallery’s commitment to blending centuries-old methods with modern design closely aligns with INFINITI’s own philosophy: to respect heritage while building for the future.
The same approach was reflected at Hattori Orimono, a family-run weaving house, and at Jotaro Saito’s atelier, where the kimono was reinterpreted for a modern audience.
At Ryosokuin Temple, Mohammed experienced a private tea ceremony and garden walk, both rooted in rituals of calm and simplicity. These elements have long influenced INFINITI, even inspiring its original ownership philosophy in the 1980s. At Ninna-ji Temple, the balance of symmetry, stillness, and nature offered a quiet reminder that luxury is often found in restraint.
The culinary side of the journey included an omakase experience at Sushi Tou, a high-end lunch at WAGYUMAFIA, and a private dinner at Kikunoi, complete with a bamboo flute performance and a Maiko dance. Each meal, curated down to the finest detail, reflected INFINITI’s approach to design.
The trip ended at the Nissan Global Design Centre in Atsugi. There, Mohammed met with Alfonso Albaisa and Taisuke Nakamura to see how INFINITI transforms inspiration into innovation. From sketches to full-scale models, every element begins with one goal: to put people at the centre of the experience.