I listened to Luna's voice on a Sunday afternoon in October. It wasn't a conventional interview: it was a descent into the deep layers of creation, where fashion ceases to be surface and becomes skin, memory, ritual.
Luna Manjetsu, founder of Taste of Moon, doesn't design clothes. She sculpts narratives that everybody can wear. Her creations are born from a radical refusal: that one of hiding fractures. Here, scars aren't disguised, they're celebrated. Every piece of recycled fibre is a symbol of rebirth, and every stitch speaks of resilience.
Her journey intertwines three geographies of the soul: her Taiwanese roots, the cinematic energy of Los Angeles, the creative rigor of Milan. But it is in transformation that Luna finds her most authentic language. Under the light of the full moon, fashion becomes metamorphosis: a suspended bridge between vulnerability and power, between fairy tale and trauma, between what we have been and what we choose to become.
Taste of Moon restores fashion to its spiritual dimension. Here, dressing is both a poetic and political act, a healing gesture that transforms pain into beauty without betraying it.
In this exclusive conversation, Luna guides us into her universe, where every collection is a ritual and every dress a secular prayer for the possibility of starting over.
1. Luna, your clothing designs are revolutionary, to me, for many reasons. Do you believe that fashion can be more than just a language for your ideas and your sensibility?
I read a lot about your passion for theatre: when did you realise that the body could become your main stage? Was there a specific moment when you felt that fabric would take the place of the body itself, merging with it and becoming your new form of expression?
Manjetsu means “full moon” in Japanese. I was born under a full moon light, and I have a very pale complexion. That's why my parents named me after Luna. Ever since, I have had a very strong connection with the moon. It's almost like I feel endless regeneration and inspiration from the moon herself.
I see myself using fashion as a weapon. Fashion is a form of art - an applied art. So, if you can say art can be a weapon, then I'm using fashion as one. It's a personal healing journey for me, and I also want to expand this healing to audiences who follow my work, giving them a possibility to connect and be inspired.
I want to inspire the younger generation not to be afraid to chase their dreams and dream big, and not to be blocked by the misbelief that we are pre-programmed by past generations. We have a duty - not just to enjoy life, but to contribute, to be the hands of God by pursuing our true life calling. We didn't descend to earth to enjoy our life purely. We need to contribute, we need to be the hands of God by pursuing your true life calling, and then you are the hands of God.
2. You often talk about fashion and your creations as “collective healing”. What is the wound - personal or universal - from which Taste of Moon was born? What prompted you to transform fashion into an act of healing rather than creation?
Fashion can have imaginative power. It can give shape to feelings and even personalities.
I used to grow up in domestic violence with a very abusive father. He used to beat my mother and myself. Whenever this situation happened, I was deeply depressed and upset. I would lock myself in my room and start cutting my t-shirts. Over time, the distressed t-shirts became wearable again. As I wore them, I immediately felt empowered. Those scars in life never take you down. You must celebrate them and embrace them. Wearing them, I felt powerful and sexy, like a phoenix reborn from the ashes.
I’ve created this brand for my mom, mostly. That’s how I see her: glorious, gracious, beautiful, resilient - a warrior of life. Nothing can beat her. Even though many things are broken, we can reassemble our pieces. Even if fragile, we still stand tall, like a princess. That’s the nobility of life. You need to live as if nothing has touched you, as if nothing had happened - like spring, which never remembers the war, yet still blossoms and grows.
I hope to heal this very big wound left behind throughout the centuries. Men have always tried to dominate women, through rich trials and systems, like the emperor system and concubines, pushing women down in every possible way. This trauma belongs to generations. If my generation heals, I can break the cycle. I can raise us to a higher consciousness, vibrate higher, and give people the power to feel seen. Many family scandals never surface to the light of day, but I have a duty to bring them into the daylight - to show what has been done to women, and that we are still here, enduring and nurturing the next generation.
3. No one is untouchable. We are all vulnerable. Life is vulnerability. What does it mean to you to want to dress vulnerability? How does it transform into strength through your clothes?
Your aesthetic seems like an invitation to remain open, even to the pain of wounds: how does this translate into your creations?
By being honest and laying yourself in front of others, not hiding every scar, you let people know what you have been through - and you’re still glowing, radiant, like a goddess. That’s a true embodiment of dressing vulnerability. You’re not ashamed of what happened or what shaped you, you continue with it, you make good use of it, and you value yourself.
4. Taste of Moon is a poetic project. Where does this name come from? What does the Moon taste like to you? Does it taste like you? Would you describe yourself, pretending that your project does not yet exist?
Taste of Moon - my name is Moon, so obviously I’m presenting my collection to the world based on my taste, curating a selection of pieces as art. The name comes from an ancient calling from the moon herself. Moon does not taste like me; it tastes like a piece of rock, magnetic and cold. People can, however, taste what’s in my head - the world as seen through the moon.
It also has a double meaning: essential and erotic. Tasting someone is like taking their atoms into your body. So, Taste of Moon embodies the identity of the brand; it’s poetic, personal, and refreshing.
5. If each of your collections is a ritual, what is the intention that guides you when you start creating? Is there a gesture you always repeat before you begin, like a mantra?
Every piece holds significant energy. I begin by praying and meditating before the mannequin, purifying the energy within. Then I channel a deity, goddess, or mystical figure that inspires me, and I feel their energy locked into the creation. Each piece is like a custom costume for Mother Nature or a goddess, telling me how she wants to look and be perceived.
If I feel blocked, I call upon Ascended Masters or angels to unblock creative flow. I also pray to Leonardo da Vinci, an Ascended Master, for guidance if I have doubts. It’s a ritual, a spiritual co-creation with these energies.
6. Your clothes seem to belong to a suspended, almost inconceivable, imaginary, fabulous time. What relationship do you have with time when you create? Do you move more in nostalgia or in imagination of the future?
My work is nostalgic. I have many references from space, galaxy, and futuristic things, but I’m more connected to ancient vibes. Many ancient objects hold power, like crystals - their energy is restored over time.
I consider myself a very ancient soul. I’ve been through many past lives and can recall them when I visit certain places; they trigger my body and emotions. I record what I’ve seen and bring it to light, sometimes with glamorous elements.
Futuristic references come from space - the universe, planets, stars. These are also ancient because they are millions of light-years away. The original white light exists in every living being and material. For me, the “future” is more like time traveling, blending different timelines to show beautiful moments from the past and imagined futures.
7. You use waste materials, recycled fibres and vintage fabrics. With your poetic artistry, these fabrics become works of art. What happens in the moment of the metamorphosis of the material? How do you experience the transformation of “waste” into rebirth?
I see it as a matter of transforming trash into a work of art. People say I have the power to turn waste into art. This process is central to my brand’s vision. I refine value within materials, elevating them instead of wasting them. This is the essence of Taste of Moon.
It’s also a reminder to use your talents fully and make the best out of what you’re given.
This transformation makes me feel powerful as a creator. Creating and connecting people through this art is like wielding a potent tool, almost like a cult leader inspiring follower.
8. “Nothing is created, nothing is wasted”. What happens during your creative process – when matter is transformed into emotion? Describe an episode that has bound you strongly to a garment you have created.
I turn pain and sorrow into creation, transforming negative emotions into something beautiful. One significant experience was on a spiritual journey to Jordan. I crossed the border from Israel to Jordan, got lost, ran out of water, and my GPS died. Almost giving up, I walked another 15 minutes, and God rewarded me: I found children collecting water from a fresh creek.
This inspired the “Desert Spring” dress - a spring water emerging from the desert, seemingly impossible but vital. It gave me hope and strength, showing that my work doesn’t go in vain. This dress also became commercially successful, allowing me to share its spiritual meaning with customers.
9. Sustainability in your case is not a trend, but a belief. What does it mean for you to create ethically in a world that moves too fast? Do you feel opposed to the fashion system or are you trying to rewrite it from within? What is sustainability to you? Do you think it is easy to talk about sustainability when even that seems to come at a high cost? What do you think about fast fashion and the dematerialisation of the identity of those who wear fast fashion garments? Do you believe that what we wear can truly represent us?
Taste of Moon began with a revolutionary spirit. I run my brand independently, without showrooms or major fashion shows, avoiding the exploitative fashion system. I see myself as an activist, showing that one can pursue artistry without perpetuating materialism or harming the planet.
Sustainability, to me, is longevity: maintaining a business without damaging the Earth, coexisting with all living beings, and creating a community that shares the same values and supports the movement.
10. Today, fashion always talks about sustainability but often turns it into marketing language. Sustainability, therefore, becomes almost a weapon. How do you defend your authenticity in a system that also “sells” ethics as aesthetics?
I focus on spirituality, something rarely addressed in fashion outside of yoga or tarot brands. My work reproduces goddesses and mystical figures, aiming to trigger deep emotions and philosophical reflection. It’s not just about clothes; it’s about a statement and healing. Authenticity comes from providing actual emotional value, which can never be copied or used as a mere marketing tool.
11. Each collection seems like a sacred fairy tale. When you create, are you writing a script or building a character? Your work seems like silent theatre: are there any direct inspirations in your work? Do you imagine stories when you believe?
Coming from a theatre background, I do a lot of costume work for productions, so the script is everything I base on. If I’m lost, I return to the script. I also draw references from theatrical figures, fairy tales, fables, folklore, and even ancient events. I imagine how these characters would dress if alive today, and I act as a private designer for them.
This adds depth and theatricality to fashion. I believe fully in these stories, and I believe my creations co-exist with these characters, which makes the pieces magical.
12. From “White Crane” to “Grandmother's Kimono”, can you define your collections as journeys? How important are your roots to you, and how important is the journey? Where do your Taiwanese origins, your years in Los Angeles and your life in Milan intersect?
White Crane is based on a Japanese fable: a man saves an injured crane, nurses it, and it transforms into a beautiful woman who weaves fabric from her feathers. This story, combined with my grandmother’s tailoring, deeply inspired me. My grandmother’s sacrifices and skill instilled values of resilience, artistry, and love.
I was born in Taipei, studied in an American school, went to drama school, and studied costume design before entering fashion. I spent two years in Los Angeles launching my first event, drawn to its creative energy and cinematic glamour. Milan is my current base. My Taiwanese roots, Hollywood experiences, and Milanese life merge in my collections, blending cultural depth, theatricality, and contemporary artistry.
13. Your aesthetic is spiritual, but also sensual. How do you manage to balance these two souls in your creations? Describe this dance for us.
I’m inspired by beauty across times, capturing the essence of femininity, centrality, and divine power. Eroticism is part of this, drawn from my experiences as a performer. I want women to feel powerful, central, and delicate simultaneously embodying the full spectrum of strength, sensuality, and spirituality.
14. If you had to describe the woman who wears Taste of Moon, what kind of light does she carry within her? Is she a warrior, a goddess, or simply a soul who has learned to embrace her vulnerability without fear?
She is all of that: a warrior, a goddess, and a fearless soul. Embracing light and vulnerability without fear makes her powerful and magnetic. Celebrities like Doja Cat, Tyla, and Blackpink embody this spirit; they are drawn to the brand and wear it as an extension of themselves.
15. Your collections are healing rituals, but the fashion system remains ruthless. How do you imagine the future of fashion? Will it be more human? And what should this system abandon definitively to be reborn?
The system is still ruthless, producing blindly every season without considering consequences. I believe fashion will become more humane, driven by independent designers.
The old system must abandon mass production without soul, preserving only craftsmanship and artisanal spirit. Selling pieces with emotional and spiritual value ensures longevity and true connection.
16. What message would you like to leave to creatives, designers, those who live by their imagination? Exposing yourself for who you really are - without bowing to what the system dictates - can be tiring, almost painful. What would you say to those who are seeking the courage to remain authentic, to break the mould, to show themselves as vulnerable without fear?
It’s tiring, painful, and stressful, but you must commit fully. Burn the bridges that distract you. Hard work and faith in your vision are essential. Show your authentic self, explain your purpose. Longevity comes from persistence, authenticity, and generosity. Never give up. God favours the brave, and fortune follows courage.
Teresa Borriello
Freelance journalist and editor based in Naples. I wrote about people, fashion, food, sustainability, and social justice - and other things. I write about what I care.
@teresaborriello