Tao Okamoto’s remarkable second act

Tao Okamoto has never been one to fit the mould. With her unmistakable features, signature cropped hair and commanding runway presence, the Japanese model became one of fashion’s most recognisable faces in the late 2000s, at a time when Asian representation on the international stage was still finding its footing. From opening Phillip Lim’s runway show to walking for Chanel, Okamoto belonged to a generation that challenged long-held conventions of beauty, bringing a new perspective to an industry that is often resistant to change.

But Okamoto’s ambitions would eventually take her far beyond fashion. In 2013, she made her Hollywood debut opposite Hugh Jackman in The Wolverine, opening the door to an entirely new creative world. More than a decade later, that journey reached a defining milestone. At the 2026 Cannes Film Festival, she shared the Best Actress award with Virginie Efira for their performances in Ryusuke Hamaguchi’s All of a Sudden, a poignant meditation on friendship, mortality and human connection. It was a role that felt personal, drawing on her own experiences and interests in ways she had never encountered before.

And therein lies the most interesting part of her evolution. Where modelling once demanded confidence and composure, acting has allowed Okamoto to embrace the more complicated aspects of herself. “I was fascinated by the idea that parts of myself I might otherwise try to hide could become something meaningful and powerful through a character.”

Now in her 40s and a new mother, with a remarkable new accolade to her name, Okamoto is looking at success through a different lens. In this exclusive conversation with Vogue Singapore, she reflects on the moments that shaped her, the changing landscape of Asian representation and why the most significant achievements are not always the most celebrated.

What first drew you to fashion and what do you remember most about those early years?
I was always tall for my age and I started getting teased about it at school. I thought becoming a model might help me build confidence and change the way people saw me. I made my debut at 14. I had a youthful face but was tall for my age, so I didn’t quite fit into the typical categories at the time. It took a while before I started landing jobs that felt right for me and allowed me to do the kind of work I really wanted to do.

You’ve been part of some defining moments in fashion. When you look back on that chapter of your life, which memories hold the most meaning for you today?
One of the most memorable moments in my modelling career was walking in New York Fashion Week after cutting my hair short. Phillip Lim chose me to open his show and all the other models wore wigs styled to look like my haircut. At the time, I often felt that Asian models were cast merely as an accent or a way to add diversity to a show, rather than being placed at the centre of it. So being given that role meant a lot to me. It was an empowering experience and gave me a real boost in confidence.

Having worked with some of the most influential designers and photographers in the industry, was there a particular experience that changed the way you understood fashion?
Working on the Benetton campaign with David Sims was an exciting experience. Until then, I’d never been asked to do a shoot in Japan where I had to jump around in high heels, striking edgy poses and fierce expressions. It made me realise how much I still had to learn and how much I needed to grow as a model. That shoot pushed me to my limits and helped me develop my skills tremendously. My feet were sore for several days afterwards!

Fashion is an industry that is constantly evolving. How has your relationship with it changed over the years and what continues to excite you about it?
When I started modelling, I was mainly focused on how I looked and where my career would take me. But when I walked in a Chanel Haute Couture show, I witnessed the incredible dedication and craftsmanship of the couturiers, and had the privilege of wearing creations that were one of a kind. It made me rediscover fashion as an art form. I began to understand that I wasn’t the main focus; the clothes were, along with the composition of the image itself. That shift in perspective fundamentally changed my approach to fashion and the way I saw my role as a model.

You emerged as one of the most recognisable Asian faces in international fashion during the late 2000s. At the time, were you conscious of the significance of your presence or was it something you only came to appreciate later?
Being able to step onto the stages I had dreamt of for so long, day after day, I could feel that something in my life had changed. It was exciting to start receiving offers from clients who had never shown interest in me before. Back in Japan, a lot of people were even copying my haircut and it was featured on television shows. So I think that was a time when I began to recognise my presence and the impact I was having.

You’ve witnessed a remarkable shift in the visibility of Asian talent across fashion and entertainment. What changes have felt most meaningful to you and where do you think there is still room for progress?
The growth of China’s economy created opportunities for me and many other Asian models to build incredible careers. That’s a wonderful thing, but it also made me realise how important it is to be in sync with the times in this industry. There’s a certain frustration in knowing that so much of your career can depend on shifts in the cultural landscape that are beyond your control. More recently, I’ve been happy to see Asian men gaining popularity in the Western world, thanks in part to K-pop. I’ve always felt that Asian men tended to be underrepresented and undervalued in Western culture, so it’s encouraging to see that changing. We’re also seeing remarkable progress in the film industry and other creative fields, but I hope to see more Asians in positions of power, where they can make decisions and help shape the industry from within.

After spending so many years expressing yourself through fashion and photography, what did acting offer you that felt entirely new?
In the fashion industry, I always felt that I was expected to be strong, beautiful and confident. But in my first film, I was asked to play a woman with a complicated family background, someone who had never really known what it meant to be loved and who carried a lot of emotional baggage. When I realised that I could draw on my vulnerabilities, darker emotions and unresolved wounds from the past and channel them into a performance on screen, I began to understand the real beauty of acting.

Your film debut in The Wolverine introduced you to a different creative world. Looking back, how has your confidence and understanding of yourself as an actress evolved since then?
It may have worked to my advantage that I had absolutely no acting experience at the time. I didn’t fully understand what a big deal it was to be part of that film, so I had no expectations and, therefore, no fear. Afterward, I started studying acting intensely. There were times when I wondered whether I would have been better prepared for the role if I’d had more knowledge and experience under my belt. But I’ve come to believe that the roles we encounter are always connected to where we are in life, and that there are certain things we can only bring to a role at a particular moment in time. Of course, I want to keep developing my skills, and I’ve continued to study and learn. But I believe that staying connected to my own humanity is ultimately the best way to find roles that truly resonate with me and that I’m uniquely suited to play.

What drew you to the story of All of a Sudden and what was it about Mari’s character that you connected with most deeply?
When I read the script, I felt such a strong connection to Mari that I couldn’t imagine anyone else playing her. There were so many specific points of connection: my longtime interest in philosophy, for example, or the fact that while Mari is a theatre director, I’ve directed short films myself. We also share a questioning attitude towards capitalism. I could make a much longer list, but on a fundamental level, I had an unusually clear vision of myself in this role. It was an instinctive yet undeniable connection, a feeling I hadn’t experienced with any other character before.

“I believe that staying connected to my own humanity is ultimately the best way.”

Hamaguchi’s films often find meaning in the smallest human interactions. What was your experience of working with him?
He is an incredibly meticulous director who puts a great deal of thought into preparation. I feel truly fortunate to have been given the time and space to prepare for this role so thoroughly, and to draw from such a rich and rewarding process. He also places great importance on an actor’s voice. He has a rare ability to detect even the slightest hint of inauthenticity in the way someone speaks. It’s an extraordinary quality that sets him apart as a director.

Winning Best Actress at Cannes alongside Efira marks an extraordinary moment in your career. What was going through your mind when you received that recognition?
I was completely stunned. My mind went blank. More than anything, I was happy that we were recognised as a pair and honoured together because my performance was so deeply shaped by hers. So to have our work recognised as two parts of a whole meant a great deal to me.

With All of a Sudden drawing international acclaim and growing awards-season attention, does this feel like the beginning of a new chapter?
I feel that way, too. Turning 40 was a significant milestone and there was something refreshing about feeling that a shift was taking place in my life. I don’t know if I’ll ever come across another project that I feel as passionately about as this one, but looking back, it’s incredibly rewarding to feel that everything I’ve experienced and worked towards over the years has led me to this point.

You’ve spent much of your life in the public eye, continually evolving and redefining yourself. At this point in your journey, what does success mean to you and what are you still hoping to discover about yourself?
For a long time, I placed a lot of importance on being recognised and validated by others. But with this film, I experienced something entirely new: a deep sense of fulfilment that came not from how people perceived or evaluated the work, but from knowing that I had been part of a film I was genuinely proud of. It was a feeling I’d never experienced before and it’s made me wonder whether this is what true success feels like.