Yusuke Kawata of “Omishima Minna no Winery” moved to Omishima in Ehime Prefecture on his own to grow grapes and make wine. Having traveled across the country from north to south to study winemaking at various wineries, Kawata’s goal on Omishima is to create wines whose flavors capture the island’s unique charm.

I moved to Omishima after sensing its potential as a wine-producing region

Mr. Kawata, who was interested in winemaking, attended a university in Yamanashi Prefecture—a major hub for Japanese wine—and spent his college years visiting renowned wineries across the country to gain practical experience. Shortly before graduating, he had the opportunity to participate in the “Project to Revitalize Omishima,” launched by architect Toyo Ito, which sparked his interest in winemaking on Omishima.

Ito, who has won numerous architectural awards both in Japan and abroad and enjoys worldwide acclaim, is also a figure who has actively engaged in regional revitalization beyond the realm of architecture. His vision—to utilize the island’s landscape and resources to foster new industries and attract people—resonated deeply with Kawata.

High-quality grapes are an essential prerequisite for winemaking. Kawata realized that Oshima’s climate closely resembles that of Katsunuma in Yamanashi Prefecture—Japan’s premier wine-producing region—and, convinced that this land would surely yield excellent grapes, he decided to embark on winemaking with Mr. Ito and his team.

“The scenery of the Seto Inland Sea is truly magnificent. It’s very similar to Shizuoka, where I was born and raised—the sea is close by, it feels wonderful, and the people who live here are kind. I wanted to try growing grapes and making wine here.” In 2015, Kawata moved to Omishima on his own. He leased abandoned farmland—which had become a challenge for the island—planted grapevines, and began cultivating grapes.

The constant trial and error is challenging, but it’s also fun

Although he has a deep knowledge of wine, grape growing was a first-time challenge for Mr. Kawata. He began by consulting local farmers who knew the land intimately to select high-quality vineyards suitable for grape cultivation. “The soil on Omishima is sandy loam formed from weathered granite, which drains well and is ideal for growing grapes. However, it also has poor water retention, so we have to take that into account. “I’m working on this while learning various techniques from local farmers, such as adding compost to activate the soil’s microorganisms,” says Kawata. His commitment to using locally sourced fertilizers stems from his desire to preserve the unique character of the land. He also values grape cultivation that is deeply rooted in this region, going so far as to handcraft the materials for his trellises with the help of a local shipyard.

We grow a variety of grape varieties, including the popular Chardonnay, Muscat Bailey A—the first variety developed in Japan—and Albariño, which originates from coastal regions of Spain and Portugal where the climate is similar to that of the Seto Inland Sea. “I chose Chardonnay because it’s grown all over Japan, so I thought it would be easier to discern the terroir. Koshu is also a famous variety, but I felt I might be too constrained by its name, so I’m not growing it at the moment. I’m experimenting with various varieties—looking for ones that are disease-resistant, high-yielding, and well-suited to the island—but it’s going to take quite some time to find the right answer,” he says. Both cultivation methods and variety selection are a constant process of trial and error.

Wines raised on the island, crafted at a small winery by the sea

The grapevines planted in 2015 bore fruit for the first time in 2016, but unfortunately, the entire crop was devoured by wild boars, so the following year, 2017, marked the long-awaited first harvest. The harvested grapes were vinified at a winery outside the prefecture, resulting in the birth of Omishima’s first-ever wine—a truly historic milestone. Furthermore, in 2019, a winery was established on the grounds of “Omishima Ikoi no Ie,” an accommodation facility renovated from a former elementary school. This made it possible to produce wine that is 100% Omishima-grown in both name and reality.

Despite various design constraints, Mr. Kawata poured everything he had learned into the winery, striving to incorporate as many of his personal preferences as possible. One such feature is the gravity flow system, which utilizes the elevation difference to move raw materials to tanks and aging vessels. He explains that this method places less strain on the grapes than using pumps, allowing their natural flavors to shine through. For the tanks, after carefully weighing the pros and cons of options such as enamel, resin, and concrete, they ultimately opted for custom-made stainless steel tanks from Slovenia. They also introduced French oak barrels, both five-year-old and three-year-old. While new barrels impart a strong woody aroma, the flavor becomes milder with use, deepening the harmony with the wine. Selecting the right barrels based on their age-specific characteristics is another of Mr. Kawata’s key commitments.

First, a wine that more people will enjoy

Mr. Kawata aims to create “truly Japanese” wine. “Rather than striving to meet Western standards, I want to cherish the flavors that emerge from Japan’s climate and soil, using grapes grown right here in Japan. I believe there is genuine value in the ‘truly Japanese’ wine that results from this approach. The lightness that was once described as ‘like water’ is, when you look at it another way, a gentleness that complements any dish. It’s unpretentious and comes alive at the dinner table. That, I feel, is what a ‘Japanese-style’ wine is all about,” he says.

A pleasant life on Omishima, surrounded by grapes and wine

It has been 10 years since Mr. Kawata moved to Omishima. While there have been significant changes in grape cultivation and winemaking, he says these past 10 years have also been a whirlwind of changes for him personally.

“I came to Omishima alone, but then I met my wife, we got married, and we had a child. It’s been a decade in which the meaning of my life shifted from ‘coming here to grow grapes and make wine’ to ‘living here.’ Even though I sometimes feel a bit of inconvenience regarding infrastructure and such, every day is fulfilling, and I am truly satisfied with my life on Omishima,” he says.

The island’s current population is approximately 5,000. While the original resident population is on the decline, the number of people moving to the island from elsewhere is reportedly increasing. The reasons for moving vary from person to person, but many cite a desire to live in the Seto Inland Sea, a wish to contribute to the island’s revitalization—such as through the Regional Revitalization Corps—or a decision to settle here after falling in love with the place during a visit. Even without moving permanently, some people maintain a dual-residence lifestyle, keeping their primary address and job elsewhere. “I wonder if the number of people leaving the island will eventually be overtaken by the number of people moving in?” Kawata says with a laugh.

Wines from a small island in the Seto Inland Sea

While Omishima has many charms, it also faces its share of challenges. Adapting to the climate changes caused by global warming in recent years is a serious issue. In particular, the summer of 2024 brought life-threatening heat, forcing both people and the grapes to struggle just to survive.

Furthermore, according to Mr. Kawata, neither the grapes nor the wine have yet reached a satisfactory level in terms of quality or technique. “I haven’t yet established what ‘the taste of Omishima’ means to me,” he says. “So, my first priority is to clarify that. My goal is to create a wine that expresses the atmosphere of Omishima—a wine that is approachable and full of depth, one that allows you to feel the sea and the wind of Omishima.”

His immediate goals are to produce wines with a flavor he finds satisfying and to get the islanders—who aren’t accustomed to drinking wine—to try their wines. Beyond that, winning an award at the Japan Wine Competition is his primary objective, and eventually, he hopes to compete in international competitions. Mr. Kawata’s dreams continue to expand.

The post Our goal is to create wines that capture the essence and atmosphere of the Seto Inland Sea. “Omishima Minna no Winery” / Imabari City, Ehime Prefecture first appeared on NIHONMONO.

The “NPO Citrus Sommelier Ehime” was founded with the mission of “bringing Ehime’s citrus fruits into subculture.” In 2020, a group of young citrus farmers led by Shinji Ninomiya, the organization’s chairman, launched the “Citrus Sommelier Licensing System” based on the idea that “it would be interesting to have citrus sommeliers, just like there are wine and vegetable sommeliers.” Since then, this system has served as a catalyst, drawing more and more people into the world of citrus—a world that captivates the more you learn about it.

Why Ehime Prefecture Is Truly the Citrus Capital 

Ehime Prefecture is known as the “Citrus Kingdom,” boasting the highest citrus harvest volume and the widest variety of citrus fruits in Japan—so much so that citrus is the first thing that comes to mind when people think of the prefecture. With unique varieties such as Benimadonna, Kanpei, and Beniprincess, and thanks to a succession of harvests throughout the year, citrus fruits are available in the market nearly year-round, which is why the prefecture is called the Citrus Kingdom.

Citrus cultivation takes place throughout the prefecture, with particularly high production volumes along the entire coastline. Furthermore, Uwajima City, located in the Nanyo region, is the center of citrus cultivation and is also known as the birthplace of mandarin orange cultivation in Ehime Prefecture, where the cultivation of Satsuma mandarins first began. The terraced fields spreading across the steep slopes of the rias coastline are a defining feature of Uwajima City’s landscape.

The Citrus Sommelier Certification Program from Uwajima, a Major Citrus-Producing Region

In Uwajima City, a region renowned for citrus cultivation, Shinji Ninomiya launched the “Citrus Sommelier Licensing System” while running his own citrus farm. Born and raised in Uwajima, Ninomiya comes from a family of citrus farmers dating back to his grandfather’s generation; however, he had no intention of taking over the family business and was working in the apparel industry in Kyoto. However, when his grandfather passed away in his mid-20s, it prompted him to seriously consider taking over the family business. “From the late 1990s to the early 2000s, around the time I was deciding whether to take over the family business, the citrus industry was in a slump, weighed down by the economic downturn. ‘A few years had passed since I took over the family business, and just as I was starting to feel comfortable with farming, I was talking with local farmers of my generation about what interesting things we could do to revitalize the citrus industry and the region. At that time, we got excited about the idea of, “Wouldn’t it be interesting if there were citrus sommeliers, just like there are for wine or vegetables?” That moment became the catalyst for launching the Citrus Sommelier Licensing System,’ says Ninomiya. From there, centered around local citrus farmers, professionals from various fields and citrus enthusiasts who shared our vision came together to establish the NPO Citrus Sommelier Ehime, with the aim of conveying the deliciousness and joy of citrus. They launched the Citrus Sommelier Licensing System.

From a mere luxury item to a subculture

“Citrus fruits come in many varieties, each with its own unique character,” says Ninomiya. “From their beautiful colors and charming shapes to their flavors and aromas, the sound they make when peeled, and the personalities of the growers and the characteristics of their regions—the stories behind them are diverse. That’s where I sensed a subcultural element.” Precisely because these are the citrus fruits Ehime takes pride in, he wants people to be able to choose the ones that taste good and suit their preferences. “I want people to become interested in citrus by learning about the variety of flavors, and I want them to freely share their love for citrus.” These sentiments lie behind the creation of the “Citrus Sommelier Licensing System.”

We train professionals who can fully appreciate citrus fruits through intensive courses in theory and practical skills

The Citrus Sommelier License can be obtained by completing a two-day course and passing the exam. The course consists of a theoretical component, where participants learn the basics of citrus fruits using a textbook, and a practical component involving tasting. The textbook used for the theoretical portion is the “Citrus Textbook,” which Mr. Ninomiya and his team reportedly created through trial and error. It is the industry’s first citrus guidebook. Starting with a definition of “what a mikan is,” it covers everything from the ambiguous relationship between mikans and other citrus fruits, to explanations of citrus classification and varieties, how to eat them, farming methods, sales and distribution, and history. It is said to be enjoyable not only as a textbook but also as a read.

In the practical sessions, we use fresh fruit and juice to hone our ability to assess citrus quality, capture flavors through tasting, and develop the expressive skills needed to convey the appeal of citrus. While there are various methods for assessing quality, the stem provides a wealth of information. By examining color, shape, and size, we can determine sugar content, acidity, flavor intensity, and moisture levels. Sweetness can range from refreshing to thick and heavy, and aromas can vary from vibrant to mellow. Furthermore, participants learn to analyze and appreciate the elements that make up the flavor—such as the balance between acidity and sweetness and the aroma profile—moving beyond a simple judgment of “delicious” or “not delicious.” The ultimate goal is to discover ways to express the appeal of citrus fruits based on what they have learned.

“It would have been quicker if we had simply adapted the content of wine or vegetable sommelier courses, but because we wanted to incorporate what we ourselves felt as citrus farmers, it took time to finalize the course content. The response from those around us has been generally positive, and other producing regions are cooperating as well. Perhaps what was needed was a catalyst to revitalize the stagnant citrus industry,” he says.

To bring the appeal of citrus fruits closer to you

Alongside managing the Citrus Sommelier Licensing Program, Ninomiya and his team are also selling fresh fruit and pure juices through their online store. Their motivation stems from a desire to share the deliciousness and appeal of citrus in a more accessible way. Differences in varieties, and variations in flavor based on region and cultivation methods. As citrus sommeliers involved in production, the team members have spent their days working closely with citrus fruits, putting their unique characteristics and depth into words. The method they chose to share this knowledge with consumers is juice made by simply squeezing the fruit.

They use only citrus fruits grown by the citrus sommeliers themselves. Some juices highlight the distinct character of a single variety, while others blend multiple varieties to bring out a broader range of flavors. The diversity of citrus can be sensed through the way the sweetness develops, the lingering aftertaste, and the differences in aroma. By learning about the background—including differences in growing regions and producers—citrus becomes a deeper and more fascinating subject. Conveying the appeal of citrus through these experiences and increasing the number of people who enjoy it is also part of the citrus sommelier’s mission.

A citrus fruit that feels like my own child, yet is also a part of myself

While initiatives to promote citrus fruits are gaining momentum, the reality is that domestic demand for citrus continues to decline. Furthermore, the environment surrounding citrus cultivation is becoming increasingly challenging year by year. Factors include a loss of flavor intensity due to reduced temperature fluctuations caused by global warming, the need for large amounts of fertilizer as rising temperatures stimulate tree growth, and longer periods of disease and pest outbreaks. There are also challenges to maintaining the industry, such as labor shortages, the lack of successors, and the difficulty of mechanizing operations.

However, Mr. Ninomiya says there is still much that can be done. “Going forward, it’s important to adapt to these changes. This includes exploring cultivation methods that suppress growth and switching to varieties suited to the climate. When people say my citrus is delicious, it feels like they’re affirming me personally. I suppose I project myself onto the citrus. That’s why I want to do my very best with what I can do.” 

I hope that as many citrus sommeliers as possible will go out into the world and make their mark

The Citrus Sommelier Certification Course, held two to three times a year, is so popular that spots fill up in as little as five minutes after registration opens. Although there have been requests to hold the course in various regions, the plan is to continue at this pace for the time being. Incidentally, the pass rate is around 65–70%, and those who pass are awarded a certification. Since the Citrus Sommelier License program began in 2020, over 200 Citrus Sommeliers had been certified as of March 2026, and they are active throughout the country as “professionals who enjoy citrus.” Mr. Ninomiya feels that the community of citrus enthusiasts has been growing as a result of these ongoing efforts. His future goals are to further expand this community and pass on this initiative to the next generation. This unique initiative, characteristic of Ehime—the “Citrus Kingdom”—is steadily yielding results.

The post A citrus sommelier who elevates citrus from a food item to a form of entertainment. Shinji Ninomiya of the NPO Citrus Sommelier Ehime / Uwajima City, Ehime Prefecture first appeared on NIHONMONO.

Ehime is one of Japan’s leading citrus-producing regions. Among its areas, the Maana district of Yawatahama City is known as the home of the premium Satsuma mandarin brand, “Maana Mandarin oranges.” How did they elevate Satsuma mandarins to the status of a premium citrus fruit? Behind this success lies the tireless effort of the “Maana Citrus Cooperative Sorting Committee,” which has worked to protect and nurture the region through the refinement of cultivation techniques and the enhancement of the brand image.

Overlooking the Uwa Sea, one of the prefecture’s leading mandarin orange-growing regions

The Maajiro and Anai districts of Yawatahama City overlook the Sada Peninsula in Ehime Prefecture, located at the westernmost tip of Shikoku. “Maana” is the collective name for these two districts. It’s a 25-minute drive from the city center. As you drive along the coastline, you’ll soon come upon steep terraced fields. While this may be a common sight for locals, the interplay between the sea and the terraced fields creates a beauty reminiscent of Japan’s traditional landscape.

Maana Mandarin oranges are grown on these terraced fields overlooking the Uwa Sea. Known as a premium variety among Satsuma mandarins, they are highly regarded, particularly in the Tokyo metropolitan area.

The Maana Citrus Cooperative Sorting Association (hereinafter referred to as “Maana Cooperative”), which handles everything from production to shipping, consists of 155 producers and JA staff, led by Cooperative Director Hiramasa Nakai. Most of the producers are natives of the Maana district. The community and the members of the Cooperative work together as one to produce high-quality Maana Mandarin oranges.

Branding Maana’s Satsuma mandarins as “Maana Mandarin oranges”

The history of mandarin orange cultivation in Maana began in 1900 (Meiji 33) with 300 saplings planted from Tachima in Yoshida-cho, Uwajima City—the birthplace of Satsuma mandarins in Ehime Prefecture.

With its rias coastline and terrain characterized by few flat areas and many slopes, this region was unsuitable for general farming. However, its warm climate, abundant sunshine, and good drainage made it an ideal environment for fruit cultivation. Our forebears cultivated the mountains, built terraced fields, and worked tirelessly to establish mandarin cultivation.

The region’s name became known nationwide in 1964 (Showa 39), when it became the first mandarin orange-producing area in Japan to receive the “Emperor’s Cup.” The Emperor’s Cup is the highest honor awarded to particularly outstanding agricultural, forestry, and fisheries producers from across the country. Taking this as an opportunity, the region committed to cultivating even higher-quality mandarin oranges and worked together to build the “Maana Mandarin oranges” brand, including registering it as a trademark.

A unique sweetness nurtured by “Five Suns”

“The Five Suns,” which harness the natural terrain and traditional wisdom. This is said to be the secret behind the sweet, juicy flavor of Maana Mandarin oranges.

In addition to the three “suns” that have remained unchanged since the Meiji era—sunlight, the glimmer of the sea, and the reflection off the stone walls of the terraced fields—recent years have seen the addition of sunlight reflected from white agricultural mulch sheets laid to regulate soil temperature, retain moisture, and prevent fertilizer runoff during heavy rains, as well as reflections from the paved paths within the orchard. By skillfully utilizing these five sources of light to promote photosynthesis, the sugar content of the fruit is maximized.

Strict standards and taste testing by artisans

Shipments of Maana Mandarin oranges begin in late October, with the peak season running from November to December.

The harvested mandarins are transported to a sorting facility, where they undergo a rigorous selection process. State-of-the-art cameras and light sensors are used to measure sugar content, acidity, size, and shape, and the fruit is then graded accordingly.

Finally, a taste test is conducted by experienced professionals. “I consider this the most important criterion,” says Mr. Nakai.

Only fruits that pass these strict selection criteria receive the red seal of approval as Maana Mandarin oranges. The thin skin enveloping the flesh melts in your mouth, and the juicy pulp bursts with flavor—so much so that they are often referred to as “mandarin juice you can drink.”

All-weather multi-drip cultivation that withstands climate change

The Maana District has long been renowned for producing high-quality mandarin oranges thanks to its naturally arid climate, but in recent years, due to a succession of abnormal weather patterns, there has been an increase in years where the flavor of the fruit varies significantly. In particular, when the area is hit by heavy rainfall in the fall, the fruit fails to reach its full sugar content, leading to a decline in quality.

To address this issue, growers have adopted “mulch drip cultivation” (commonly known as “Marudori cultivation”). This method involves laying white mulch over the orchards to block rainwater, ensuring high quality is maintained regardless of climate fluctuations.

A groundbreaking technology with the potential to enable sustainable agriculture

Mulch cultivation is a method in which white mulch is laid over the orchard, with drip tubes placed underneath to provide appropriate irrigation. By monitoring soil moisture levels with specialized sensors, this method increases fruit sugar content while minimizing stress on the trees, and simultaneously reduces acidity.

Stress cultivation is an essential method for increasing fruit sugar content, but conventional methods place a heavy burden on the trees, raising concerns about alternate bearing—where a poor harvest follows a bountiful one—and a shortened tree lifespan.

In contrast, Marudori cultivation is said to “produce high-sugar mandarins by applying mild stress to the fruit while reducing the burden on the trees.” In fact, while the average yield per farm in the Manana district is 4 tons, growers successfully practicing Marudori cultivation consistently record yields of 6 to 8 tons annually. There is also minimal variation in quality, ensuring stable production.

“We minimize fluctuations between good and bad years, ensuring production volume while pursuing flavor. Marudori cultivation makes that possible,” says Nakai, his voice brimming with confidence. He notes that the number of growers adopting Marudori cultivation is increasing year by year.

Expanding Our Product Line to Support the Brand

The Maana Cooperative is also actively developing processed products to deliver the delicious taste of Maana Mandarin oranges year-round.

“We use even fruit that meets shipping standards as raw material for processing, crafting it into the finest mandarin orange juice,” says Sadao Abe, the cooperative’s executive director.

Their flagship product is pure juice. While it is popular for its rich sweetness and aroma that capture the natural flavor of the fruit, behind the scenes lies a story of hard work: it took a long time to develop, and a special production method was created through countless rounds of trial and error.

“People often ask, ‘Why is Maana Mandarin oranges juice so dark in color?’” says Nakai. “This is actually the result of repeated trial and error during development, ensuring that when our product is displayed on store shelves, customers can tell the difference from other mandarin juices at a glance.” By blending juices extracted using different methods, they achieve a product with greater depth of flavor.

“Pachi Pachi” Craft Gin Made with Maana Mandarin Oranges

In recent years, craft gins produced by small-scale distilleries have become popular, and Manaa Cooperative has also taken on the challenge of commercializing a craft gin made with Maana Mandarin oranges. The result is “Hachi°Hachi° (Pachi-Pachi),” developed jointly by “Shunka Bussan,” the official distributor of Mana mandarins, and local sake brewery “Kondo Shuzo.”

It is made by distilling and blending eight botanicals related to the Maana Mandarin oranges—including the fruit, flowers, and new shoots, as well as the fruits of the Japanese holly used in windbreak hedges—separately by ingredient.

The origin of the unique name “Hachi°Hachi° (Pachi Pachi)” comes from the sound made when harvesting mandarins.

In the Maana district, fruit is picked twice to avoid damaging it with scissors. The first cut leaves a slightly longer branch, and the second cut is made closer to the base. The name of this carefully crafted gin was inspired by the distinctive sound unique to the Maana district, where mandarin oranges are harvested with such care.

This ambitious creation, which captures the refreshing aroma and sweetness characteristic of mandarin oranges, won the Silver Award in the Western Spirits (Gin) category at the “Tokyo Whisky & Spirits Competition 2022.”

To preserve the landscape of the terraced fields and ensure that the region’s history as a production area continues for generations to come

Although agriculture in mountainous and hilly regions is generally on the decline nationwide due to factors such as an aging workforce and a shortage of successors, the Maana district has shown exceptional resilience.

The cultivation area managed by the Maana Cooperative was approximately 290 hectares 20 years ago, compared to about 250 hectares today (2025). Through initiatives such as brand development through the cooperative and the introduction of new technologies, the decline in cultivated area over the past 20 years has been limited to just 40 hectares. Furthermore, the rate of decline in the number of farming households appears to be lower than in other regions, with 155 farming households currently supporting the production area.

“I believe that brand development has fostered a spirit among producers, inspiring each of them to take pride in their work,” says Mr. Nakai.

Matching experienced farmers with new farmers

Currently, the Maana District welcomes one to two agricultural trainees each year with the goal of increasing the number of new farmers. Rather than relying on the government, the two believe that the key to shaping the future of the Maana District lies in how the cooperative can actively welcome new farmers.

They are implementing an initiative to recruit producers in their 60s and older who are considering succession planning and match them with trainees. The ideal process involves two years of training under a veteran producer, followed by the eventual succession of that orchard. “Going forward, we want to improve our infrastructure—such as warehouses and orchard roads—to enhance our capacity to accept trainees,” says Mr. Abe.

“By working together in unity—producers and local residents alike—we want to revitalize the mandarin orange industry while competing and learning from other producing regions.”

Nakai’s words were imbued with the pride of a mandarin orange farmer.

The post Preserving the terraced fields of our hometown and carrying on the legacy of Maana Mandarin orange. “Maana Citrus Cooperative Sorting Association” / Yawatahama City, Ehime Prefecture first appeared on NIHONMONO.

A refined, sophisticated flavor with a clean sweetness and subtle bitterness

Located in the southern part of Ehime Prefecture, Ainan Town is a major production center for Kawachi Bangan, which boasts the highest production volume in Japan. Known by several names, including Ainan Gold, Uwa Gold, and Miseikan, the Kawachi Bangan is sometimes called the “Japanese grapefruit” because its appearance and flavor resemble those of a grapefruit. It is a popular citrus fruit that is sweet without being cloying, featuring a pleasant tartness and a subtle bitterness, as well as a refreshing juiciness. Toshiyuki Yoshimoto, the owner of Yoshimoto Farm, works alongside his family to cultivate nine varieties of citrus, centered around the Kawachi Bangkan, including Amapei, Benimadonna, Setoka, Iyokan, Dekopon, and Satsuma mandarin.

The first-generation founder, who defied opposition from those around him to take on the unprecedented challenge of growing citrus fruits on flat land

In the Nanyo region of Ehime Prefecture—the heartland of citrus cultivation—most orchards consist of terraced fields built on steep slopes, but Mr. Yoshimoto’s orchard is located on flat, level ground. During World War II, people even joked that this land was so vast and flat it could be turned into an airfield. Seeing this, a man who grew mandarins in Yoshida Town—a leading citrus-growing area in Ehime Prefecture—suggested, “Why don’t you try planting mandarins here?” That suggestion became the origin of Yoshimoto Farm. “When my grandfather first set out to grow citrus, this was actually a sweet potato field. Apparently, people around him opposed the idea, asking, ‘Why plant citrus in a potato field?’ but he pushed through with it, and it worked out. That’s why we’re here today. It rains a lot here, and it’s warm. Since strong northwest winds blow, we first planted a windbreak. While it’s said that Satsuma mandarins dislike rain, we’ve come to realize that any type of citrus can be grown here if the soil is properly prepared. “To create soil that retains moisture well and drains efficiently—so that delicious citrus can grow—organic matter and microorganisms are essential,” says Mr. Yoshimoto.

Healthy, fertile soil created with the help of soil microorganisms and other living organisms

It’s said that what makes a citrus fruit delicious isn’t simply a matter of high or low sugar content; rather, the balance between sugar and acidity, along with the depth of flavor derived from minerals in the soil, is crucial. To achieve this, we need to encourage the growth of microorganisms that produce minerals in the soil. “We’ve been steadily improving the soil by adding organic fertilizers like compost and straw mulch. “Nowadays, there are compost centers where you can buy compost, but back in the day, we used to get livestock manure from livestock farmers, mix it with thatch and rice straw, and let it ferment—so it smelled absolutely terrible. As the soil becomes richer, earthworms start to multiply. Then moles come, followed by wild boars. If you see holes in the ground or traces of digging, that’s a sign the soil is in good condition. But if you spray herbicides, the microorganisms are drastically reduced.” Mr. Yoshimoto, who inherited the orchard his grandfather cleared from his father, has been adding compost for over 20 years, carefully preserving and nurturing the orchard’s soil.

The rich, delicious flavors nature provides

The Kawachi Bankan is a fascinating citrus fruit whose taste varies completely depending on when it is harvested. The Kawachi Bankan available in March, at the start of the harvest season, is juicy, fresh, and contains seeds. Strangely enough, around June—as the harvest season reaches its midpoint—the seeds disappear, and you can enjoy its ripe flavor and firm, plump texture until the end of the season around August. “The taste and texture change depending on the season, but each period has its own unique characteristics, and I take pride in producing fruit that people genuinely find delicious. At first, the taste was no different from mandarins grown elsewhere, but once I could tell the difference myself, my confidence grew. About ten years ago, customers started telling me, ‘These are delicious,’ and the number of repeat customers has been increasing.” Mr. Yoshimoto’s eyes shine as he speaks.

“It feels as though nature skillfully provides us with exactly what we crave in each season. In the cold winter, the warm-looking orange Satsuma mandarins are at their best, while in the hot summer, the refreshingly cool-looking yellow Kawachi Bangan oranges become delicious. Even when I’m worn out by the heat, eating a Kawachi Bangan with its juicy, crisp flavor gives me a boost of energy. It’s one of the citrus fruits you simply can’t do without in summer. Nowadays, we can get all kinds of fruits and vegetables year-round, but I wonder if the lack of a sense of the seasons is a good thing or a bad thing. I think seasonal produce has a lower environmental impact during production, and above all, it tastes better.”
At Yoshimoto Farm, they cultivate a well-balanced selection of citrus varieties, allowing them to harvest seasonal citrus throughout the year through a “variety relay.”

There is no end to the pursuit of growing delicious mandarins. It is a daily cycle of continuous effort.

Of course, there are challenges involved in creating fertile soil while minimizing the use of herbicides and chemical fertilizers. Just because we don’t want to use herbicides doesn’t mean we can let the orchard become overrun with weeds. Citrus cultivation that prioritizes soil quality is also a battle against weeds. However, weeding—which used to be done by hand—is evolving with the times, such as through the use of self-propelled mowers that automatically mow the orchard 24 hours a day, thereby saving labor. Incidentally, the introduction of these self-propelled mowers was only possible because the orchard is flat. It is a cultivation method that takes advantage of the terrain.
Summer watering is also a critical task that affects the growth and quality of the citrus fruit. While they irrigate using water pumped up from a source 3 km below or water drawn from the mountains, these supplies are limited. To make up for any shortfall, they draw water from the river or, starting around August when rice paddies no longer require water, utilize irrigation water, ensuring they water the orchards with the appropriate amount at the right time.

We use absolutely no herbicides; instead, we cut the grass by hand and return the clippings directly to the soil. Through years of this painstaking work, the fields have developed into a fluffy soil that retains moisture well while still draining effectively. As the roots spread healthily, the fruit trees absorb the necessary nutrients thoroughly, naturally increasing the sugar content of the fruit. Furthermore, creating an environment that utilizes grass helps prevent the proliferation of pests such as stink bugs. By tailoring the soil to the specific characteristics of each citrus variety, a balanced acidity enhances the sweetness, resulting in flavorful mandarins that leave you wanting more after just one bite. In recognition of these years of trial and error and the farm’s unwavering commitment to soil cultivation, Yoshimoto Farm received the Minister of Agriculture, Forestry and Fisheries Award in 2003.
“I’ve grown these mandarins with the conviction that I must protect this mandarin-growing region and revitalize it. I’m truly delighted that this has been recognized and that I’ve been able to receive such a wonderful award,” says Yoshimoto. “Since we’ve worked so hard to produce delicious mandarins up to this point, I want to pass on that expertise and know-how. I believe doing so will revitalize Ainan Town and give farmers a sense of purpose,” says Mr. Yoshimoto. The citrus fruits from Yoshimoto Farm, which are highly praised as “once you try them, you’ll want more,” continue to gain new fans with each passing year.

The post Kawachi Bangan from “Yoshimoto Farm”—rich and full-bodied flavor cultivated in fertile soil / Ainan Town, Ehime Prefecture first appeared on NIHONMONO.

Iyogassuri, one of Japan’s three great kasuri weaves and a traditional craft of Ehime. Kuniko Murakami, an Iyogassuri artist who began weaving around age 54. Her challenge to participate in traditional craft exhibitions and her approach to Iyogassuri truly embody the philosophy that “to live is to weave.”

Weaving and Iyogassuri: A Meeting in Her 50s

　Born in 1948, Ms. Murakami works as an Iyo Gasuri artist. Surprisingly, she only began weaving after turning 50. She had long worked as an art flower instructor, but wrist injuries made creating pieces difficult, leading her to leave that path. She then distanced herself from “teaching others” and began searching for a new form of expression she could genuinely enjoy herself.

　While trying new crafts like pottery and woodcarving, weaving captivated her most. “As a child, there was a kasuri factory along my school route. They worked right there on the embankment along the Ishite River, stretching threads.” That scene became a primal landscape within her.Memories of secretly watching the indigo-dyed thread weavers at work, and the childlike sense of wonder it sparked, stirred something deep within him years later. Fortunately, the motions of weaving suited his impaired hand movements, making it a craft he could continue. He enrolled in the dyeing and weaving classes at Iori Kogei, led by contemporary Iyo Kasuri artist Nobutoshi Shirakata, studying there for five years.

The charm of kasuri, born from time and effort

　In the Iyo region, including Matsuyama, cotton was once cultivated. Within this culture where cotton was woven into daily life, “Iyo Gasuri” developed.

　Kasuri is a woven fabric characterized by a blurred, faint appearance along the outlines of its woven patterns. This is achieved by partially tying off warp or weft threads to create areas that resist dye absorption, then applying indigo dye. The resulting contrast between white and indigo creates the unique, beautiful texture characteristic of kasuri.Iyo Kasuri is counted among the “Three Great Kasuri of Japan,” alongside Kurume Kasuri (Fukuoka Prefecture) and Bingo Kasuri (Hiroshima Prefecture). However, it is noted for its composition centered around the “Yokokasuri” pattern, where the kasuri threads are used primarily on the weft threads.

　”When setting up 17 meters of thread per bolt, the weft threads alone can require tying over 1,000 points,” explains Mr. Murakami. Consequently, while tying the warp threads takes about a month, tying the weft threads takes two to three months, making it an extremely labor-intensive process.Horizontal kasuri allows for delicate, regular pattern expression because the design unfolds continuously in the horizontal direction. However, this requires advanced skill and considerable time. This characteristic is closely linked to Iyo kasuri’s simple, approachable design aesthetic, creating its appeal as a practical, everyday fabric.

Shaping Curiosity, Meticulously Woven

　Murakami-san’s early Iyo-kasuri designs often featured floral motifs. However, as she continued creating, she began incorporating elements that moved her in daily life. As she says, “I finish each piece while gazing at it repeatedly,” her works vividly reflect her curiosity. In recent years, motifs related to Earth and space—such as the fault lines at Dogo Park and the asteroid probe Hayabusa2—have emerged as new themes.

　Once the design is complete, the process moves to meticulously calculating and designing the position and amount of thread ties to ensure the pattern is woven precisely. “I strive to avoid any misalignment during finishing. While some say misalignment is part of the charm of kasuri, I find it sad when something I calculated doesn’t turn out exactly as planned. I suppose that’s just my personality,” Mr. Murakami says with a smile.

The workshop is at home, where daily life breathes with handcraft

　Murakami operates without a dedicated workshop, handling every step of the process alone at home. Weaving accounts for only about 20-30% of the total work; most time is spent on dyeing and preparing the threads. She conceives designs in her bedroom and dyes fabrics using fermented indigo in her garage.Maintaining the indigo in optimal condition is crucial, requiring constant monitoring of humidity, temperature, and the pH level of the dye bath to indicate its acidity or alkalinity. The dyeing process is repeated about 40 times, taking roughly a month to complete. Afterward, she takes time to unravel the yarn and shape it.

　Then, weaving progresses on the loom placed in the living room. Surprisingly, this loom was handmade by the couple themselves. After closely observing a loom at the Iyo Kasuri Hall, Ms. Murakami drew the design plans, and her husband built it to fit her height.

Challenging Traditional Craft Exhibitions and Passing on Iyo Kasuri

　Working on multiple processes simultaneously, Ms. Murakami completes only 2 to 3 Iyo Kasuri pieces per year. She says her heart races with excitement when a piece woven over such a long time is finally finished.

　In 2011, her Iyo Tsumugi woven kimono “Time of Fragrant Winds” won the Sanyo Shimbun Award at the 45th Japan Traditional Crafts Dyeing and Weaving Exhibition. Since then, she has actively exhibited her completed works at dyeing exhibitions and the Japan Traditional Crafts Exhibition. Challenging the Japan Traditional Crafts Exhibition, which tours nationwide, is a valuable opportunity to spread awareness of Iyo Kasuri. Continuing to take on these challenges is what connects to its preservation.

　In 2021, she was certified as a full member of the Japan Craft Association. In 2025, Iyo Kasuri was designated as an Intangible Cultural Property of Ehime Prefecture, and Ms. Murakami was recognized as a holder of this technique. She will continue to engage in her craft while promoting Iyo Kasuri as a cultural asset.

“Housewives work on it between kitchen chores and cleaning,” Mr. Murakami says calmly. “Alone, bit by bit, enjoying it. It’s a blessing to have something to pour myself into at this age.”

　Starting in her 50s, she arrived at Iyo Kasuri while seeking “something she could truly enjoy.” For Ms. Murakami, the process of engaging with thread in daily life and gradually completing her work is life itself. “How many fine pieces I can leave behind is also a challenge,” she says. Her words reveal a steadfast spirit of inquiry and a clear determination to carry the inherited skills of traditional craftsmanship forward into the future.

The post Iyo Kasuri woven in a home workshop. Connecting traditional craft to the future. Iyo Kasuri artist Kimiko Murakami / Matsuyama City, Ehime Prefecture first appeared on NIHONMONO.

Pearls have traditionally been valued in the market for their “perfect roundness.” Nami Yamashita, who crafts her own cultivated pearls into jewelry and sells them under her original brand “L’ de pearl,” creates unique value by discerning the individual character of each pearl and bringing out its charm, rather than focusing solely on market value.

Yamashita Pearl: Three Generations of Pearl Cultivation in a Nationally Renowned Production Area

Founded in 1963, Yamashita Pearl Co., Ltd. is a long-established pearl farming business in Uwajima City, one of Japan’s premier pearl production areas, where the family has cultivated pearls for four generations. Nami Yamashita, the fourth-generation head, initially had no clear intention of joining the family business. After graduating from university, she took a job at a general company in Hiroshima Prefecture. However, around that time, the novel coronavirus began spreading, making it impossible not only to go to work but even to return to her hometown.Amidst this, casual remarks from her boss and business partners—things like “Having a family business is really something, isn’t it?”—became the catalyst. She began thinking about returning home to help with the family business. Around the same time, her younger brother, Yuhei, who had been working as a salaryman outside the prefecture, also returned to Uwajima. This led the family to join forces and dedicate themselves to pearl farming.

One day, Nami was asked by a friend, “Where can I buy pearls from Yamashita Pearls?” That casual question made her realize she didn’t know where or how the pearls they cultivated were being sold after being processed into jewelry by manufacturers.”We want to deliver the pearls we cultivate with our own hands.” Driven by this desire, they resolved to handle everything from accessory processing to sales themselves. Then, in 2023, while continuing to assist with pearl farming, they launched their own jewelry brand, “L’ de pearl,” using their company’s pearls. They create and sell accessories that showcase the inherent beauty of pearls, free from conventional values.

We want to convey the true beauty of pearls, something only producers can understand

Pearls are natural gems nurtured over time within the Akoya oyster. No two pearls share the same color, shape, or luster. Yet, pearls have long been judged by a standard that prioritizes perfect roundness above all else. No matter how beautiful their sheen or luster, or how uniquely shaped, pearls that don’t meet this ideal are not recognized as valuable in the market.Through her work in pearl cultivation, Nami grew to feel sympathy for these pearls, which in a sense have been treated unfairly. Her desire for others to recognize their charm led to the founding of “L’ de pearl”.

The name “L’ de pearl” originates from the German word “erde,” meaning “earth, land, or specific territory.” It was chosen to embody the belief that the pearls, nurtured robustly and beautifully in the waters of Uwajima—blessed with ideal conditions for pearl cultivation—carry within them the life force of the Akoya oyster and the deep affection of the people who carefully cultivate them.

Her grandfather, the first generation, was a pioneer of pearl cultivation in this region.

The Yamashita family began pearl farming here about 65 years ago, dating back to Nami’s great-grandfather and grandfather. Pearl farming originated in the Ise-Shima region of Mie Prefecture and gradually spread nationwide, including to Uwajima City.Pearl farmers from Mie Prefecture ventured into the Uwa Sea. Starting with mother-of-pearl harvesting work, Nami’s grandfather later learned pearl farming techniques, becoming part of the first generation of pearl farmers in this area.

In recent years, the Uwa Sea area, including Uwajima City, has seen a decline in production compared to its peak due to issues like mass deaths of Akoya oysters, an aging workforce, and a lack of successors. However, new business developments are also advancing, such as pursuing even higher quality and implementing brand strategies.

Amid these environmental changes, Yuhei Yamashita is now the pillar supporting the Yamashita family’s pearl farming.

Currently at the center of the Yamashita family’s pearl farming operations, Yuhei says, “Even with the same mother oyster, the same nucleus, the same sea, and the same cultivation methods, differences emerge depending on the producer. In the past, techniques and know-how were kept secret, but that trend is fading now.I’m a rookie in my fourth year of pearl farming. With the fearlessness of a newcomer, I’m eagerly asking questions everywhere,” he says with a laugh. It is precisely because they are diligently cultivating pearls through their own trial and error that they can sensitively perceive the unique beauty of each individual pearl.

Rich hues and beautiful luster created solely by nature’s power

Generally, pearls are valued for being perfectly round, free of blemishes or dimples, and possessing a strong luster. However, such pearls account for less than 1-2% of the tens of thousands harvested annually. Therefore, “L’ de pearl” actively uses pearls with unique individuality, even if they lack conventional market value, transforming them into jewelry.While occasionally using near-round pearls, the collection primarily features uniquely shaped pearls like baroque, drop, and feathered varieties. Furthermore, only the processing necessary to preserve the pearl’s quality is applied, allowing the wearer to enjoy the rich, natural hues with their subtle variations.Because these distinctive pearls are designs in themselves, we consciously use small, delicate components to highlight their beauty. This reflects Nami’s vision: “Precisely because these aren’t pearls that easily grow into conventional beauty, I want them to be pieces cherished and passed down across generations.”

To convey this vision directly, she has carefully crafted her sales approach. While primarily sold through her online shop, she also participates in pop-up stores and events. Her semi-custom service, where customers select their favorite pearl from a variety of colors, shapes, and sizes to be made into jewelry, is particularly popular.

While driven by a desire to bring recognition to previously undervalued pearls, Nami maintains the pride of a professional from a long-established pearl farming business, working with pearls daily. She insists on uncompromising standards for the deep luster, sheen, and color beauty characteristic of Akoya pearls, even if their shape is irregular.”Seeing customers select each pearl individually—whether for themselves as a one-of-a-kind treasure or as a gift for someone special—brings me joy. It’s a moment of pure happiness,” says Nami. She continuously experiments with designs and pricing to make pearls accessible not just for formal occasions, but also for everyday wear.

Transforming a pearl, one of a kind in the world, into someone’s special radiance

“There are countless pearl accessories in the world. That’s precisely why defining our unique selling point is challenging,” Nami reflects. “But I believe our greatest strength lies in using pearls we’ve cultivated ourselves. Because of this, we deeply understand the inherent beauty of pearls and know how to bring it out.” Guided by this philosophy, she began with online sales via social media, gradually expanding her reach through pop-up events, temporary sales at rental spaces, and limited-time pop-up stores.

Amid these efforts, the brand has also expanded, launching the “NAMIOTO COLLECTION.” This line features deeply blue pearls selected from the diverse array of pearls they cultivate, the name blending Nami’s name with the Japanese word for ocean waves.

This shift has also impacted the pearl farming operations. Yuhei shares, “I used to be desperate to cultivate perfectly round, white pearls with excellent nacre. But after my sister started making jewelry, I realized I didn’t have to be so fixated on existing standards of value. Knowing they could be utilized in new ways made me feel more at ease. At the same time, it also fueled my desire to cultivate even better pearls.”As times change, so do the nature of fishing and people’s values. In this era of diversity, L’de pearl’s accessories may well become cherished by many, regardless of age or gender.

The post Preserving nature’s irreplaceable beauty. Yamashita Pearl Co., Ltd. L’ de pearl Uwajima City, Ehime Prefecture first appeared on NIHONMONO.

Shingu Tea, produced in the mountainous area of Shingu Town, Shikokuchuo City, Ehime Prefecture, is known for its refreshing taste that doesn’t tire the palate, drawing out the excellent aroma inherent in the Yabukita variety. What is the appeal of Shingu Tea, nurtured by the region and its history, as envisioned by the third-generation owner, Toshiya Waki, and the fourth-generation owner, Junki Waki, of Waki Tea Factory?

From Native Habitat to Tea-Producing Region

Shingu Town has long been known as a natural habitat for the native “Yamacha” tea plant, rooted in the land (mountains). During the Edo period, it was a tea-producing area cherished by travelers on the Tosa Highway, a key route for the sankin-kotai system, as a place to pause for a cup of tea and rest. However, the journey of “Shingu Tea” as a full-fledged tea production began in the Showa period.The founder of “Shingu Tea,” Mr. Kugoro Waki, was one of the farmers producing the high-quality leaf tobacco that thrived in the area at the time. Amidst the post-war agricultural restructuring, he was required to introduce new crops. He began full-scale production of cultivated tea using the “Yabukita” variety, distinct from the native Yamacha. This laid the foundation for Shingu Tea.

Cultivating Yabukita with Shingu’s Unique Character

In 1954 (Showa 29), founder Kugoro Waki was among the first to introduce the Yabukita variety, which had just been selected in Shizuoka Prefecture.”My grandfather was incredibly dedicated to research,” says his grandson, current president and third-generation head, Toshiyuki Waki. Even the then-difficult task of propagating seedlings by cuttings was successfully achieved ahead of other regions. Shortly after switching from tobacco to Yabukita tea cultivation, Shingu tea was already nationally renowned for its exceptional aroma.

This speaks to Shingu’s climate being exceptionally suited for tea cultivation. The high altitude and significant day-night temperature variation, combined with a climate prone to fog, provided ideal conditions for tea leaves to grow slowly while avoiding strong sunlight, drawing out their umami. Furthermore, the soil, rich in mineral-laden green mud schist, supports the growth of the tea plants.Moreover, in the surrounding areas, including the Shiozuka Plateau, abundant thatch (kaya) was available for use as fertilizer. Incorporating this thatch into the soil also contributed to enhancing the tea’s flavor, aroma, and overall quality. Thus, tea cultivation using the Yabukita variety spread throughout the region, and by 1970 (Showa 45), it had become a tea-producing area boasting tea gardens covering 45 hectares.

Tea Cultivation Made Possible by a Small Production Area

Numerous small-scale tea farmers are scattered throughout Shingu Town. At Waki Tea Factory, they process, roast, and pack the tea leaves picked by these farmers in-house. Functioning as a “village processing facility,” they have established a style of supporting the production area hand-in-hand with the producers.

Furthermore, while Shingu tea was once produced using conventional methods involving chemical fertilizers and pesticides, the shift to pesticide-free cultivation began in the late 1970s. Shingu Town experiences harsh winter cold, resulting in fewer overwintering pests. Additionally, the area utilizes “natural predator control” through spiders and bees inhabiting the surroundings, enabling cultivation without reliance on pesticides.Large tea plantations make it difficult to manage natural enemies effectively and complicate pesticide usage adjustments. In contrast, small-scale production areas like Shingu allow for easier adaptation to the specific conditions of each tea garden and facilitate cooperation among farmers. The experience and techniques developed through the village’s collective commitment to pesticide-free cultivation are now applied to current farming practices.

Tea Cultivation: Inheriting Aroma, Evolving

What kind of tea is Shingu Tea? “Yabukita” is Japan’s most widely cultivated tea variety, beloved for its refreshing taste and pleasant aroma. Among Yabukita teas, Shingu Tea stands out for its uniquely strong aroma and clear flavor. It tends to develop less pronounced astringency, allowing its umami to spread gently, making it perfectly described as “a tea you never tire of drinking.”Grown with organic fertilizers made from mountain plants, the founding principle of “preserving the fragrance” remains steadfast to this day.

Yabukita for Black Tea: The Fourth Generation’s Challenge

The fourth-generation owner, his son Junki Waki, has traveled to tea-producing regions across Japan to learn and absorb techniques suited to Shingu. He holds qualifications as a Japanese Tea Instructor and an Assistant Instructor for the Hand-Rolled Tea Promotion Association. In today’s tea industry, where varieties have increased and processing techniques tailored to preferences have advanced, he is dedicated to cultivating Shingu Tea into a nationally renowned product.

Traditionally, “Yabukita” was considered unsuitable for black or oolong teas. However, Shingu tea’s clear flavor and strong aroma surprisingly pair well with black tea, revealing a new charm as a Japanese-style black tea with a gentle sweetness.”As more varieties for black tea emerge, I want to deliberately expand the possibilities even with ‘Yabukita,'” says Junki. In fact, this black tea is currently their best-selling product and is gaining attention as a new pillar for Waki Seicha. Furthermore, beyond roasted tea and oolong tea, new developments for Shingu tea are advancing with flavored teas using citrus, ginger, and herbs.

Shingu Tea Gaining Popularity Locally

In Shingu Town, the entire village supports the tea-growing region while continuing initiatives that connect with the community through Shingu Tea.Tea finished at Waki Seicha is also served at “Roadside Station Kirinomori,” nationally known for its “Kirinomori Daifuku” sweets. The facility includes a tea workshop where visitors can experience hand-rolling tea themselves, and a museum teaching the history and appeal of Shingu Tea. Through activities like tea tasting sessions led by Japanese tea instructors, it offers a space where visitors can enjoy Shingu Tea with all five senses.

“Many people have never truly tasted delicious tea. That’s precisely why I want them to try it at least once,” says Junki. While also working as a Japanese Tea Instructor himself, he focuses his efforts on creating opportunities to convey, through experience, “what makes tea delicious.” Carefully nurtured traditional tea cultivation and the close-knit connections unique to a small production area. Cherishing both, Shingu Tea is now expanding new possibilities alongside the community.

The post The fragrant Shingu tea, preserved by a small tea-growing region nestled in the mountains. Waki Tea Factory / Shikokuchuo City, Ehime Prefecture first appeared on NIHONMONO.

The Amataki-Ondan Terraced Rice Fields in the Ondan district of Kawauchi, Toon City, Ehime Prefecture, designated as a “Connecting Terraced Rice Field Heritage.”The “Hotaru Mai” rice grown here has received high acclaim, including consecutive Gold Awards in the 22nd (2020) and 23rd (2021) editions of the “International Rice Taste Analysis and Appraisal Competition – International Comprehensive Division.”

Farming to preserve the terraced field landscape

My family home is a farm in Toon City that cultivates rice and shikimi (an evergreen tree used in Buddhist ceremonies). In my youth, I strongly yearned for the city and had no intention of taking over the family business. After graduating from university, I ended up working for the local Toon City government. While working in the Agriculture and Forestry Promotion Division, I became deeply involved in community activities, including the maintenance of terraced rice fields. There, I faced the reality of agriculture declining year by year and the loss of the landscape of the past.Onda is a small village of about 40 households. Its farmland totals just over 10 hectares. After the war, the entire Kawauchi area had about 80 hectares, but currently only about 50 hectares are cultivated. Driven by the desire to “preserve the terraced rice field landscape,” he took early retirement at age 58 and began seriously pursuing rice farming.

Shortly after starting rice cultivation, he had agricultural cooperative staff measure the taste score of his rice. Unexpectedly, it scored a high 88 points. This high score from his first harvest gave him great confidence that the terraced fields of Amataki and Onda were indeed a place capable of producing delicious rice.

Clear Streams and Terraced Fields Nurtured by Forests and Valleys

The Onda terraces possessed all the conditions necessary for growing delicious rice. Located at an elevation of 250 meters, they experience significant temperature differences between day and night and enjoy excellent sunlight. Furthermore, the soil has good water retention properties, making it well-suited for rice cultivation. Above all, the area boasts exceptional water quality.

Right beside the farm lies a small waterfall called Amataki, once a sacred site for rain-praying rituals. Other abundant water features dot the landscape, such as Shirai Falls, Karakai Falls, and Kubo no Fuchi. Nestled in mountains surrounded by broadleaf forests, these sources provide the paddies with pure mountain water rich in nutrients and minerals.A testament to the purity of these streams is Amataki Hotaru no Sato (Firefly Village), located near the terraced rice fields. On summer nights, countless fireflies dance here, offering a profound sense of nature’s abundance.　

The Birth of Hotaru Mai Rice

Despite benefiting from a rich natural environment, rice cultivation in terraced fields is not highly efficient due to burdens like grass cutting and damage from harmful birds and animals. To continue, it was necessary to enhance the rice’s value and establish it as a brand. Named “Hotaru Mai” (Firefly Rice), meaning “rice shaped by the landscape,” it was first entered in 2013 into Japan’s largest international rice competition, the “Rice Taste Analysis and Appraisal Contest.”This competition evaluates rice’s deliciousness from two perspectives: numerical analysis of moisture, protein, amylose, etc., using specialized machinery; and sensory evaluation of taste perceptions like umami, sweetness, and richness when eaten. “It was sweet. At first, it was nothing,” he recalls of that time. Afterwards, he traveled to the competition’s venue, visited farmers nationwide, and learned techniques through dialogue with many producers.

Transitioning to reduced-pesticide and organic cultivation, leading to a gold medal

“Hoda Ryu Rice” began with conventional farming using pesticides and chemical fertilizers. Through repeated exchanges with farmers nationwide, interest in reduced-pesticide and organic farming gradually grew.Through extensive analysis—including cultivation methods that suppress nitrogen in fertilizers and soil preparation using organic mineral fertilizers—he aimed for delicious rice with low protein content and excellent stickiness. Rice with less protein allows starch to blend well with water, resulting in fluffy, soft grains with a pleasant texture. “I was good at collecting and analyzing data. I absorbed the subtle differences unique to each farmer and refined them in my own way.”

After several years of organic farming, in 2020 and 2021, the “Niko Maru” variety from Sakamoto Natural Farm’s “Hotaru” rice won the Gold Prize in the International Comprehensive Division at the “Rice Taste Analysis and Appraisal Contest.” Following the taste value assessment at the contest, a taste index evaluation measuring the “sticky layer” is conducted.The sticky layer refers to the viscous layer formed on the surface of rice grains when starch dissolves during cooking. Rice with a robust sticky layer exhibits greater luster, stickiness, mouthfeel, and perceived sweetness. “The taste value increased after switching to organic farming and eliminating chemical fertilizers. It didn’t suddenly blossom after going organic; it was gradual. We’ve gotten closer to the flavor we pursued.”

“Hoda Ryu Rice” is rice meticulously crafted for taste, safety, and quality. Quality control extends all the way to the consumer.The rice is milled in a climate-controlled milling room using cold milling and stored year-round in refrigerated warehouses maintained below 14°C (57°F). This prevents condensation from forming during winter due to temperature differences between the interior and outside air. Furthermore, even the rice bran used as fertilizer, which is prone to insect infestation under normal conditions, is carefully stored under temperature control.

JINEN (Nature): Where Nature and People Coexist

Currently, “Hoda Ryu Rice” cultivates four varieties across six brands, divided into two types: “Rice with 80% Reduced Pesticides (compared to Eco Ehime standards)” and “Pesticide-Free Rice · JINEN (Nature)”. Both are grown without chemical fertilizers, using only organic fertilizers that return to the fields, such as straw, rice bran, and rice husk charcoal.

The unique brand “JINEN (Nature)” embodies the desire to cultivate rice alongside all life forms inhabiting this land, including microorganisms and flowers blooming along the field borders. “Rice should grow naturally. Instead of forcibly adding unnecessary fertilizers, we gently supplement only what is lacking. That is our authentic approach to rice farming. We want to produce rice worthy of this landscape,” they explain.

One variety within JINEN, “Ondasennen Rice,” is cultivated using natural farming methods. It employs “single-seedling cultivation,” relying solely on self-harvested seeds and completely avoiding fertilizers and chemicals. Every step is done by hand, truly nurtured by the power of people and nature alone.Due to its mountainous cultivation, the yield is extremely low, about 4 to 5 bales per tan (approx. 1000m²). While modern farming typically yields 8 to 10 bales per tan on flat land, this significantly lower harvest forms the foundation of Sakamoto’s rice-growing cycle.

Rice Farming in Terraced Fields: Restoring Pride to Rural Communities and Connecting to the Future

The reality is that almost no new farmers are starting rice cultivation. Utilizing old, narrowly structured terraced fields as farmland presents many challenges, including the maintenance of irrigation channels. What began as rice farming driven by the desire to “protect this landscape” has now expanded beyond a personal challenge into a hope for the entire region.

Sakamoto Natural Farm Hoda Ryu established the “Hotaru Club,” a rice ownership program, creating a system where people can engage with rice farming from the very beginning. Participation is possible even with small tasks like weeding, allowing people to be involved in rice farming as a side job without needing initial investment or farmland. Participants, especially parents with children, are particularly conscious of creating “a future where children can safely eat rice without worry.”Learning, growing, and eating. Through this experience, they feel that having an environment where rice can be grown is a step toward protecting children’s futures.

“The most important thing is restoring pride to the rural community. We need to be able to take pride in the fact that we are the ones creating this landscape.” To that end, they spare no effort in enhancing the value of the rice grown here.In the “Amadake Onda Terraces,” an environment ideal for growing delicious rice, maximizing the potential of this land’s natural resources holds the possibility of developing a globally competitive rice brand. “It might be the generation after mine that makes it happen. Passing this legacy forward is my dream now.”

In December 2025, the group, previously operating as a production and sales association, incorporated as a company, establishing “Hoda Ryu Co., Ltd.” This move allows the company to aim for business expansion, focusing on broadening sales channels with an eye toward exports, processing agricultural products, and even engaging in satoyama conservation activities. It marks the step into a phase dedicated to passing on the region’s resources to the next generation.

The post 棚田の美しい風景を作る米、「坂本自然農場 穂田琉」／愛媛県東温市 first appeared on NIHONMONO.

It has been about 250 years since Tobe ware was first produced in Tobe Town, Iyo County, Ehime Prefecture, adjacent to Matsuyama City. Kazuya Yamamoto of Wajogama creates pottery in a free style that combines practicality and originality with the traditional regional craft of Tobe-yaki.

Tobe Pottery has been close to me since I was a child.

There are currently about 80 Tobe pottery studios, each of which produces its own unique pieces in accordance with the Tobe pottery production standards. The individuality and texture of each piece reflects the creator’s personality, which is another unique aspect of Tobe Pottery. The Wasagama kiln is located in the town of Masaki in Iyo County, which is the same as the town of Tobe, and was established in 1998 by Yamamoto’s father, Shunichi, when he was 18 years old.

He says, “I started the kiln not because I liked Tobe pottery, but because it was the first clay I came in contact with. I have tried other clay, but the one that still feels good in my hands is Tobe clay,” Yamamoto said. For Mr. Yamamoto, Tobe pottery has been a part of his life ever since he can remember. As a child, he and his son learned the basics of pottery making under the tutelage of Mr. Fukuoka at the Fukko Kiln in Tobe Town. Later, when his father, Shunichi, quit his job and purchased a kiln at home, Tobe Pottery became more familiar to him. At the age of 20, he began helping out at the “Wasagama Kiln” and became a full-fledged ceramic artist.

Etude Patterns in Black and White

Mr. Yamamoto’s representative work is a flowing “etude pattern. When he first began his career as a potter, he often painted traditional patterns. Sometimes for fun, he would draw free patterns that differed from the traditional patterns that were the starting point of his etude patterns. I started drawing free-form patterns that were different from traditional patterns,” he says. In 2007, he won the Grand Prize at the Ehime Ceramic Art Exhibition. With the concept of black and white, his unique “Washo” series of design art was born, opening the way for his work.

Molded by rokuro making and tatara making. Although the motifs are not specific, he draws freehand through his own filter, depicting scenes he saw as a child, such as the local sea and waves. The core of his work is “a pleasant sensation when drawing.” He is not bound by traditional patterns such as arabesques and whirlpools, but rather trusts his own sense of style and draws freely.

His use of color is also characteristic. While white porcelain and indigo or blue are often associated with Tobe ware, Yamamoto’s etude patterns are unified with black gosu, which has a strong black coloring. This creates a contemporary and tightened look. The glaze is applied thinly. Unlike the heavy weight of Tobe ware, the practical aim is to make it as light as possible as a tool to be used in the hand, and the effect is to clearly show the border between black and white, a characteristic of Yamamoto’s design.

There are whiter clay than Tobe ware all over the country, and I was tempted to think what kind of expression I could achieve if I added black to it. But I wanted to use Abobe clay. I am familiar with it, but I also want to protect it in the world of Tobe pottery, which is open to new expressions. This is how Yamamoto’s work is born, with its beautiful contrast between the soft bluish white porcelain and deep black with cobalt tints, a characteristic of Tobe ware.

Combining practicality and originality

In 2017, the “tension” product, a set of cup & plate, sauce container & plate, was selected for the “LEXUS NEW TAKUMI PROJECT 2017. He says he likes to think about and create not only vessels but also practical things. The driving force behind his creations is the idea of “making something that fits the scene,” with an emphasis on practicality. He is conscious of adding new elements of his own to tools that can be used in everyday life. As soon as an idea is born, he starts working on it, and the number of works he has produced is too large to keep track of.

Sometimes he feels that simply following standard shapes is not enough for his products. One of his goals is to explore forms and uses that he has conceived from scratch, rather than using products that already exist.

His style is also broad. They range from designs that make it easy to incorporate Tobe ware into daily life to the “UNLEASH” series, which incorporates Yamamoto’s skills in three-dimensional molding of skulls, dragons, and other shapes. Many of the works are born from requests, and all kinds of requests arrive, including lighting fixtures, calligraphy tools, urns, and reproductions of memorable dolls. The requests feel like a challenge and inspire him to create.

The Freedom of Tobe Pottery and What It Should Preserve

Yamamoto says that Tobe Pottery is a free environment where tradition and innovation coexist. There are many opportunities for young people to learn in Tomochi, including the “Tomochi Ceramic Art School,” and the entire community is making efforts to nurture them. Because the world of Tobe pottery accepts free expression, there is a “foundation of freedom” in the use of Tobe clay, and each piece is handmade and hand-painted.

The company is also looking to the future as a long-lasting traditional craft, not only in terms of training the makers and successors, but also in terms of sustainability as a ceramic stone production center. The senior potters of Tobe Pottery are still searching for new ideas and continuing to create new works. I want to continue making pottery even when I am 80 years old,” Yamamoto says.

It is not easy to get people to choose expensive traditional crafts for their everyday tools,” he says. That is why we need to communicate the values of each brand.

Tobe ware, which has accumulated 250 years of history, not only preserves the past, but also continues to create forms and designs that are in tune with the lifestyle of the times. While the traditions are still there, they evolve to suit the sensibilities and lifestyles of the users. This progress will never cease.

The post A New World of Tobe Pottery Spun by Etude Patterns in Black and White. Kazuya Yamamoto of Wasagama Kiln / Matsumae Town, Iyo County, Ehime Prefecture first appeared on NIHONMONO.

Kannon Sui,” selected as one of the 100 best waters in Japan, springs in the Akanma district of Uwa-machi, Seiyo City, Ehime Prefecture. In this area, where the original Japanese landscape still remains, washi designer Yukari Sato is pursuing new possibilities for washi by taking advantage of the blessings of pure water. By combining traditional handmade washi techniques with digital technology, she has created unprecedented three-dimensional washi works.

From the 350-year-old production center of Ozu washi

Mr. Sato hails from Igasaki, Uchiko-cho, Ehime Prefecture, known as the birthplace of Ozu washi, a traditional handmade paper. Ozu washi is said to have been established in the Genroku era (1688-1704) by the Ozu clan, which invited Echizen washi craftsmen to establish the technique while enjoying the benefits of the clear Oda River. By the end of the Meiji period (1868-1912), there were more than 400 craftsmen, but with the spread of western paper, the number of craftsmen has been reduced to a few in recent years, making it a challenge to pass on the traditional industry.

After graduating from high school, Ms. Sato left her hometown and worked as a model in London. While busy with her work, she was informed by her father that the local handmade washi industry was in a difficult situation.

I knew I wanted to work with washi eventually, so after returning to Japan, I studied design at the Kuwasawa Design School in Tokyo. During my sophomore year, my father’s construction company decided to start a project with the Ehime Prefectural Institute of Industrial Technology to produce washi for construction, and I was asked to participate as a designer.

Feeling a positive response to the challenge of product development while traveling back and forth between Tokyo and Uchiko, Sato returned to his hometown in 2010. In 2010, he returned to his hometown and began to produce washi in earnest in his hometown.

Delicate and light. The Birth of “Breathable Washi

The project launched by Mr. Sato’s father and others resulted in washi made by attaching zeolite, a mineral, to kozo (paper mulberry), the raw material for washi. It is called “breathing Washi” because of its high humidity control and deodorizing functions. Mr. Sato found a way to utilize the characteristics of this paper in interior decoration and created mobiles to hang in living spaces. The idea originated during his time in London. He often saw buildings in London with high ceilings and interiors that took advantage of the blank spaces. The idea of having interiors like mobiles in Japan took shape.

First, a wooden frame is made by weaving twisted Japanese paper threads like lace around a wooden form with studs, and then gluing it together. Zeolite kozo (paper mulberry) is then manually strained into the frame to create the shading of the kozo fibers. This is an original technique that follows the traditional papermaking method while taking advantage of the suppleness and beauty of zeolite washi.

Looking around the workshop, where a huge water tank for making paper is placed, one sees mobiles hanging from the ceiling. The mobiles swaying in the wind are delicately beautiful and have a lightness that overturns the conventional image of washi.

A workshop in a mountain village blessed with famous water

In 2012, Sato moved from Uchiko Town to Akema, Uwa-machi, Seiyo City, where Kannon Sui, selected as one of the 100 best waters in Japan, springs, and opened the Rikuu washi studio on the site of his grandparents’ house.

It is said that the Kannon Sui is said to have been produced by rain that fell on the Shikoku Karst during the Edo period, becoming underground water that welled up from a cave, bringing a blessing of 8,000 tons of water every day to the Akema area where the workshop is located. The water is said to be ideal for handmade washi because it contains few impurities, and it is said that paper making used to be prosperous in this area.

He built a workshop in his garden and created an environment for making washi by drawing Kannon water. Sato’s works fit in well with the home he inherited from his grandparents. Zeolite washi, which is slightly translucent and even fragile, does not feel oppressive, even when used in large objects such as an impulse stand, and creates a light and airy feeling in the space.

3D digital technology opens up new possibilities for washi

Washi paper is being phased out in today’s living environment. However, its delicate beauty, softness, and warmth should remain close to the hearts of Japanese people throughout the ages. With the support of her husband, Tenshi Terada, who is a 3D modeler, Sato is taking on the challenge of creating products that actively incorporate new technologies, such as digital fabrication, as a way to convey the appeal of washi to the modern age.

The workshop is decorated with mobiles, lighting, and interior accessories, some of which are co-created with Ms. Terada. 3D digital technology is used to create three-dimensional washi paper products. 3D modeling is used to create the parts, and the three-dimensional objects are then made using techniques developed through experience.

Mr. Terada is also involved in a project to use a 3D printer to produce Awa Ningyo Joruri (puppet theater) in Tokushima Prefecture, which is designated as an important intangible cultural asset by the Japanese government, and has a deep understanding of the fusion of traditional crafts and digital technology.

He has a deep understanding of the fusion of traditional crafts and digital technology. “Until now, most three-dimensional washi works have been organic in shape and have a massive image, but by utilizing 3D digital technology, it is possible to create lighter, more modern designs,” he said. The range of expression of washi has expanded,” they say in unison.

Mr. Sato comes up with the idea for the design, and Mr. Terada performs the simulation on the computer. The studio is equipped with a 3D printer, laser cutting machines, and other digital fabrication equipment, and a series of processes, from modeling to handmade paper, are completed in the lab.

The difficulty level of handmade washi increases when it comes to three-dimensional paper, especially when it comes to curved surfaces, but he certainly feels that there is room for further exploration, such as devising new ways of placing zeolite Kozo fibers on the paper. Mr. Sato and the washi craftsman with whom he works spent about five years developing a unique technique for coating washi in a mousse-like texture.

Washi paper shows various expressions by adding undulations and twists.

Rikuu’s signature product is “Hineri,” a washi paper lighting system that utilizes digital technology to create joint parts that connect wooden frames using 3D modeling to create a complex design with a real twist.

Sato, who has been exposed to the world of interior design, design, and fashion overseas, brings out new charms in washi with his unique sensibility.

Digital technology as a new tool

Some people may worry that incorporating digital technology into traditional crafts will take away from the traditional techniques. However, we see digital technology as one of the tools of the modern age. We imagine a manufacturing process that incorporates the latest technology into the handcrafted production process and takes advantage of the strengths of each,” says Sato.

His innovative designs, which open up new possibilities for the expression of washi, have been highly acclaimed both in Japan and abroad, and orders from hotels and luxury brands are pouring in one after another. He has been involved in a wide range of client work, including lighting for RIMOWA’s Omotesando store, decorations for Louis Vuitton stores in Japan and abroad, and artwork for the InterContinental Yokohama Pier 8.

New products utilizing local materials

While working to integrate with digital technology, the company is also actively engaged in returning to its roots. One such effort is the revival of handmade washi using local kozo paper. In recent years, the company has increasingly relied on Southeast Asia and other overseas sources for raw materials, but the Onikita Senkanshi Preservation Society, with which the company cooperates in the production of its works, is now trying once again to collect locally grown and propagated kozo, which they call “Iyo kozo,” and use it as a raw material. By using unbleached paper in accordance with the old-fashioned production method, the original characteristics of the kozo are preserved, giving the paper a simple color, silky luster, and unique texture.

At the same time, Mr. Sato also paid attention to Iyo Raw Silk, a precious domestic silk produced in the neighboring town of Nomura, Seiyo City. As a result of his search for effective use of cocoons, which are out of the standard cocoons used to make Iyo silk, a product called the “White Camellia Aroma Diffuser” was born, using Iyo cocoons and Iyo kozo (paper mulberry).

A 3D printer is used to create a mesh base in the shape of a camellia, and Iyo Kozo is used to make the base.
The center of the diffuser, into which the aroma oil is soaked, is made of cocoons, the source of Iyo raw silk.

To connect traditional crafts to the future

While maintaining respect for the ancient techniques and materials used to make Japanese paper, Mr. Sato’s challenge is to fuse them with cutting-edge digital technology.
He hopes to continue to expand the possibilities of washi by mixing various materials and preserving the traditions while continuing to innovate.

The post Fusing tradition and digital technology to bring new life to handmade washi. Yukari Sato, Rikuu / Seiyo City, Ehime Prefecture first appeared on NIHONMONO.