The Ōizumi Salon (Japanese: 大泉サロン) was the name given to an apartment in Minami-Ōizumi, Nerima, Tokyo that was shared by manga artists Keiko Takemiya and Moto Hagio from 1970 to 1972. The apartment was a key gathering place for individuals associated with the Year 24 Group, a grouping of female manga artists who heavily influenced shōjo manga (Japanese girls' manga) beginning in the 1970s.

Keiko Takemiya moved from Tokushima Prefecture to Tokyo in 1970 to further her career in manga, and invited Moto Hagio (who moved to Tokyo from Fukuoka Prefecture in October that same year to work for publisher Kodansha) to live with her. The two were introduced by Norie Masuyama [ja], who was acquainted with Hagio through fan mail correspondence and became a mutual friend to both women following their respective moves to the city.^[1][2]

Masuyama was a shōjo manga enthusiast who resented the genre's then-ubiquitous perception as a frivolous medium for children, and is credited with introducing Takemiya and Hagio to novels, films, and music that would come to significantly influence their manga, notably Takemiya's Kaze to Ki no Uta and Hagio's The Heart of Thomas.^{[citation needed][citation needed]} According to Takemiya, Betsucomi editor Junya Yamamoto [ja] opposed the idea of Hagio and Takemiya being roommates, calling it unprecedented for two creators to live together.^{[citation needed]}

The apartment was one of two units in a two-story duplex, and was located across from Masuyama's own home. The rent was ¥20,000 per month, which according to Hagio was a considerable amount for the time.^[3]

2人が1972年に杉並区下井草の別々のアパートにそれぞれ転居するまで、当時の若手女性漫画家たちが集う場となり、特定はできないが、彼女らが「大泉サロン」と名付けた[6]。編集者やファンも多くが出入りし、増山は毎日来ていた。1950年代に手塚治虫や当時の若手漫画家が集った「トキワ荘」（東京都豊島区）と比べられることが多い。違いはトキワ荘は別部屋のアパートであるが、大泉は名もない築30年以上の古い建物で、1階は4畳半でこたつを置いた部屋でサロンの談話部屋ともなり、小さなキッチンと風呂、2階は6畳の2人の仕事部屋と3畳の部屋があり、2人の寝室にもしていた[7]。生活用品や家具は竹宮が従来のものを持ち込み共用にして、萩尾は基本的な漫画道具と布団と衣類などで入り、部屋の仕切りも厳密に決めなかった[8]。

The Ōizumi Salon formally disbanded following the expiration of Takemiya and Hagio's lease in 1972, though many of the participating manga artists continued to maintain close relationships with each other.^[4] Hagio and Takemiya, conversely, ended their friendship and have not spoken to each other since the salon's disbandment. Neither commented directly on the matter for many decades, prompting speculation of a feud between the pair; Takemiya moved with Masuyama to Shimoigusa [ja], stating that she wished to "keep her distance" from Hagio,^[5] while Hagio stated simply that she was able to move out because her income had become more stable.^[6]

It was not until the publication of Takemiya's 2016 memoir Shōnen no Na wa Jirubēru ('The Boy's Name Is Gilbert') that she disclosed how the relationship deteriorated during the salon's second year after she developed intense anxiety and an inferiority complex over Hagio's rapidly-progressing career, in particular Junya Yamamoto's policy of reserving the most prominent location in each month's magazine for Hagio's manga.^[4] Takemiya's memoir prompted recurring speculation over Hagio's account of the Ōizumi Salon's disbandment, resulting in the publication of Hagio's 2021 memoir Ichido Kiri no Ōizumi no Hanashi ('A One-Time Story About Ōizumi'). Hagio discusses how she felt "betrayed" by Takemiya's desire to create distance in their relationship, and how the relationship was strained by general accusations that Hagio's manga plagiarized Takemiya's.

The building in Minami-Ōizumi that once housed the Ōizumi Salon has since been demolished.^[7]