Yamanashi Prefecture boasts one of the highest water extraction volumes in the country, and its mineral water shipments rank first in Japan. “Fuji Mineral Water,” produced at a factory located within the Fuji-Hakone-Izu National Park in Fujiyoshida City, is Japan’s first mineral water brand, established in 1929. What has been the journey of this brand up to the present day—an era in which people buy water—and what impact has it had on society?

From Founding to Growth

Fuji Mineral Water was founded in 1929 (Showa 4) as Horiuchi General Partnership by Ryohei Horiuchi, the founder of the Fujikyu Group (Fujikyu Corporation), which operates transportation services and resort developments primarily in the foothills of Mount Fuji. Under the brand name “Japan Evian,” the company began manufacturing and selling Japan’s first mineral water. Since Japan is blessed with abundant water resources, the concept of buying water was unheard of at the time, and the venture was reportedly ridiculed with comments like, “There’s no way water can be sold.” Amid these difficulties, what helped raise awareness of mineral water was the existence of a subscription club called the “Water Drinking Society,” which founder Ryohei Horiuchi helped establish. Launched at the recommendation of Shinpei Goto, a politician who was a close friend of Mr. Horiuchi at the time, this club reportedly brought in natural water from all over Japan for its members—including celebrities, politicians, and cultural figures—to enjoy. When the company began selling mineral water in bottles at a price of 3 yen for a set of 10 one-liter bottles, membership gradually grew to about 300 people, and the number of enthusiasts, primarily among the wealthy, increased. “I think there was a desire to let everyone across Japan enjoy delicious water,” say current President Hirohiko Yamamoto and Plant Manager Haruhito Moriya.

The Imperial Hotel was the first to do business with Horiuchi & Co. at that time, and Japan Evian was served as table water. Then, around the time of the post-war period of rapid economic growth, a boom in whiskey on the rocks took hold, and sales at bars surged. Furthermore, as water pollution became a growing concern, the selection of the “100 Famous Waters of Japan” began, interest in “safe and delicious water” grew, and mineral water bars appeared, leading to a gradual increase in demand.

Changing Attitudes Toward Water

As the country entered wartime, the use of “enemy languages”—terms referring to the languages of hostile or belligerent nations—was prohibited, and the product was renamed from “Japan Evian” to the Japanese name “Fuji Mineral Water.” Subsequently, in 1946 (Showa 21), following the end of the war, the brand name was changed to its current name, “Fuji Mineral Water.”

As mineral water became more widely known, another event brought the company into the spotlight. In 1965 (Showa 40), a fishing boat involved in a maritime accident in Yamagata Prefecture was found to be carrying a stockpile of water from Horiuchi & Co., labeled “lifesaving water.”

When reports emerged that this supply had enabled the crew to survive an 11-day drift and return safely, regulations were established requiring ships to stock “lifesaving water,” and its importance became widely recognized.

In fact, “Kyusei-mizu” was not an exclusive product of the company; it was a general term for long-term storage water that became mandatory for passenger ships and fishing vessels following the revision of the Ship Safety Act in the 1950s. While several manufacturers initially produced and sold it, Horiuchi Gomei Kaisha’s Kyusei-mizu—which excelled in technologies such as heat sterilization—is said to have been the pioneer in this field and held a significant market share domestically.

Building on this legacy, the company launched emergency-use preserved drinking water in polyethylene containers in 1971 (Showa 46), followed by the release of Fuji Mineral Water Emergency-Use Preserved Water in 1996 (Heisei 8).

In 1995 (Heisei 7), the company joined the Fuji-Q Group, and at that time, it changed its name to “Fuji Mineral Water Co., Ltd.” to match its brand name, a name it retains to this day.

Natural spring water from the foothills of Mount Fuji, a source of pride for Japan

This project is said to have been inspired by Shinpei Goto, who was involved in the founding of the “Water Drinking Society,” when he visited Shimo-Onsen in Yamanashi Prefecture and praised the local spring water. For many years, the water was sourced in the former town of Shimo (now Minobu Town), but the source has since been moved to Fujiyoshida City. Yamanashi Prefecture is blessed with water sources such as the Southern Alps and Mt. Daibosatsu, and the character of the water varies depending on the source. Regarding the decision to choose the foothills of Mt. Fuji, Plant Manager Moriya explains, “Mt. Fuji is attracting attention from overseas, and the area is particularly rich in water resources, making it highly suitable for water collection. It is the soft water preferred by Japanese people, and we are confident in offering it as delicious.”

The source water, collected at the foot of Mount Fuji at an altitude of approximately 1,000 meters, is rain and snowmelt that has slowly filtered through basalt layers over a period of about 40 years before emerging as a spring. It is a soft water with a slightly alkaline pH and a hardness of 38 mg/L, offering a smooth, mellow taste. The multi-layered basalt strata are rare even on a global scale, and as the natural water seeps through, it absorbs and becomes rich in the four major minerals—calcium, magnesium, potassium, and sodium.

Delicious, safe, and high-quality water

At the “Aqua Works” plant, which opened in 2016, every step of the process—from drawing the raw water to the final production—is carried out on-site. Plant Manager Moriya explains, “The most critical step in the manufacturing process is pasteurization.” He notes that groundwater contains microorganisms and mold; if left untreated, these would multiply and cause the water to spoil. Therefore, the water must be pasteurized to kill all microorganisms and mold before it can be bottled. At Fuji Mineral Water, the raw water is sterilized using Ultra-High Temperature (UHT) pasteurization, which involves heating it to 120°C for 2 to 3 seconds. While the Food Sanitation Law typically requires heating at 85°C for 30 minutes, raising the temperature allows for sterilization in a much shorter time. After pasteurization, the water is cooled from 120°C to 85°C before being bottled. The reason it is not cooled to room temperature is that the company employs a method called “hot filling,” in which the containers are sterilized simultaneously while the water is still at a high temperature.

Following production, the water undergoes further analysis by external agencies. Thanks to these rigorous quality control measures, the aforementioned emergency storage water achieves an extended shelf life of 5 years and 6 months. Plant Manager Moriya explains that the company’s ability to maintain safe and reliable quality since its founding stems from “the pride and dedication of the Fuji Mineral Water brand.”

High-quality products made possible by a mineral water brand from Yamanashi

In addition to mineral water, the company launched “Holis Wine Vinegar” in 1935 (Showa 10), which became Japan’s first wine vinegar. “Perhaps they wanted to create a product that truly embodied Yamanashi, known for its wine production and grape-growing regions,” says Mr. Yamamoto. Made from 100% locally grown grapes and aged to perfection, the vinegar is currently available in two sizes: a 1,000ml bottle favored by restaurants and other commercial establishments, and a 250ml alcohol-free version designed to be safe for households with young children. Since 1959 (Showa 34), production has been outsourced to Asaya Foods Co., Ltd., a local company that had been sourcing the raw wine mash, and the product became a long-selling favorite known affectionately as “Holis.”

Furthermore, amid the recent carbonated beverage boom, the company launched “Fuji Premium Sparkling Water” in 2015. As the name suggests, it embodies the vision of creating “a premium sparkling water that represents Japan.” Because it uses high-quality, easy-to-drink soft water, it retains a smooth texture while featuring delicate bubbles distinct from those of strongly carbonated waters. The company is particular about maintaining a gas volume of “4.2,” which represents the amount of carbon dioxide dissolved in the water. “If it’s too high or too low, we can’t achieve this mouthfeel,” says Plant Manager Moriya.

The product has achieved success, including being selected as table water at international conferences such as the 2016 G7 Hiroshima Foreign Ministers’ Meeting, and being certified under the “TOKYO & AROUND TOKYO” brand—a government-backed initiative that promotes local products from the Kanto region (Tokyo and seven prefectures) to international visitors.

Our Commitment to Bottles

Fuji Premium Sparkling Water is bottled in an original, easy-to-hold, rounded bottle featuring a pale blue hue that evokes the Japanese spirit of “Wa.” The company remains committed to its roots in “bottled water” dating back to its founding and continues to uphold that tradition today. While the bottle itself conveys a “premium” image, the company also handles returnable bottles for its commercial mineral water products, demonstrating its commitment to the environment through initiatives such as collecting, cleaning, and reusing the bottles after use.

A New Take on Mineral Water

Amid growing calls for action on the SDGs (Sustainable Development Goals) in recent years, the company launched a paper-packaged mineral water product in 2021 as part of its efforts to reduce plastic use. The inner lining of the container is made of aluminum foil, a material with excellent light-blocking properties, allowing the product to be stored at room temperature for approximately one year. This innovation reduces plastic use by approximately 74–75% while maintaining the same quality as previous products. At the 2023 G7 Hiroshima Summit, the product was selected as the official table water, symbolizing sustainability, and garnered attention from around the world. Furthermore, the company plans to replace the caps on some products with bio-caps made from sugarcane-derived materials by April 2024. “While PET bottles remain the mainstream packaging for mineral water among major domestic beverage manufacturers, and paper cartons still hold a minority position, we intend to seize this opportunity as demand grows and focus our efforts on sales promotion,” Yamamoto said with conviction.

“富士”のブランドが目指す先

When it was first established, Fuji Mineral Water was more of a luxury item than a daily beverage, initially served in high-end hotels and restaurants. While it has firmly established itself as a “premium brand” still served on special occasions, the company has also expanded its business to meet the evolving needs of the times regarding “water.” Emergency water reserves, which took their current form in response to past maritime accidents, are increasingly recognized as essential for disaster preparedness amid the recent surge in natural disasters. Furthermore, as a sustainable, circular society becomes a global goal, the company has urgently initiated efforts to reduce its environmental impact, such as moving toward label-free PET bottles and offering products in paper cartons.

Although we now live in an era where various types of water from major manufacturers line the shelves of mass retailers, Mr. Yamamoto states, “Our mission is to continue our branding efforts so that people can enjoy the ‘delicious, safe, and high-quality water’ we have cultivated for over 90 years, while maintaining a clear distinction from price competition.” “We aim to differentiate our products based on usage: bottled water, which represents our roots since our founding, for special occasions, and paper cartons for practical purposes like portability,” he says, outlining his vision for the future.
The reason the design symbolizing “Fuji” has remained virtually unchanged even with the new container is the desire to “establish a traditional brand image that transcends time.” With plans to expand export sales channels in the future, expectations are high for the further global success of this brand bearing the name of Mount Fuji, a symbol of Japan.

The post “Safe, High-Quality Natural Water” Began Here: “Fuji Mineral Water” / Fujiyoshida City, Yamanashi Prefecture first appeared on NIHONMONO.

Located in the center of the Kofu Basin, Chuo City in Yamanashi Prefecture has long been a thriving agricultural region, thanks to its abundant sunshine and mineral-rich water. Here, Yoda Farm has been dedicated exclusively to growing tomatoes for nearly half a century. With the addition of his son-in-law, Takayuki Kunugi, six years ago, the farm continues to strive daily to share the deliciousness of its tomatoes.

The taste of the tomatoes my father-in-law grew

What led Mr. Kunugi to start farming at Yoda Farm was his meeting with his wife, the daughter of the farm’s manager, Katsumi Yoda. When he visited to formally introduce himself before their marriage, he tasted the tomatoes grown by his father-in-law, Katsumi, and was deeply impressed by their deliciousness. However, Katsumi’s remark that “tomato farming ends when your physical strength runs out” made him keenly aware of the reality facing the aging agricultural industry. “I can’t let such delicious tomatoes disappear,” Kunugi resolved. He decided to resign from the agricultural cooperative where he had worked for 13 years and began farming to become the farm’s successor.

Dedicated to tomatoes, with a commitment to quality

For 60 years, Yoda Farm has specialized exclusively in growing “Momotaro Tomatoes.” These large tomatoes are characterized by their perfect balance of sweetness and acidity. While varieties like “fruit tomatoes” with intense sweetness are currently in vogue, Yoda Farm has consistently pursued the cultivation of tomatoes that offer “more than just sweetness.” Yoda Farm’s tomatoes are distinguished by their rich flavor, bursting juiciness, thin skin, and the perfect balance between the flesh and the gelatinous pulp—every detail is meticulously crafted.

Their approach to tomato cultivation—which prioritizes “quality” over mass production—reveals ingenuity cultivated over many years. While a single plant typically yields about 70 tomatoes, they limit the harvest to half that amount, creating tomatoes with a rich flavor that concentrates the umami and nutrients of two tomatoes into a single fruit. Furthermore, to grow tomatoes in conditions as close to nature as possible, they exercise extreme caution in pesticide use and actively work to create an environment that does not hinder the activity of the bumblebees responsible for pollination. Behind this approach of growing a limited selection of tomato varieties lies a commitment to “maximizing the quality of our produce by fully leveraging the experience we’ve accumulated, rather than spreading our cultivation resources across various varieties.” And this philosophy has been passed down from Katsumi to Kunugi, spanning two generations.

What do tomatoes grown using hydroponics taste like?

Yoda Farm, which has been in the family since Katsumi’s predecessor’s time, originally practiced soil cultivation, growing crops directly in the ground. However, this method has the drawback of being highly susceptible to bacteria and pests in the soil, requiring significant costs for disinfection and pesticides as a countermeasure. To produce tastier and safer tomatoes, Katsumi decided to try hydroponics, which was not yet widely adopted in Japan at the time. This method involves circulating a nutrient solution—a mixture of water and dissolved fertilizers—to the plant roots, and its major advantage is the ability to minimize the use of pesticides. However, when he first started hydroponics, there was a strong negative perception that “while the plants grow large when watered, they lack flavor.” Unlike soil, the medium cannot be allowed to dry out, so care must be taken not to overwater; however, by deliberately restricting watering during periods of intense sunlight to induce stress, he brings out the tomatoes’ natural sweetness. Inside the two plastic greenhouses, it gets quite hot in the summer. However, by continuing to let in sunlight without using air conditioning to promote photosynthesis, they produce tomatoes with a sugar content of 5 to 6 degrees Brix—tomatoes that are exceptionally sweet.

“We Want to Deliver Delicious Tomatoes”: Crowdfunding Campaign Launches

“Is there a way to share the deliciousness of these tomatoes, which my father-in-law has grown with such care, with more people?” To further expand his business channels, Mr. Kunugi set up a stall at the Aoyama Farmers’ Market in Tokyo—a venue where farmers from across the country gather—and began selling his produce directly to customers. Although the market attracts many food connoisseurs seeking fresh, delicious produce, he had only about 30 seconds to interact with each customer. “I’m confident in the quality of my tomatoes, and I generate decent sales, but I couldn’t convey the ‘passion’ behind them,” says Kunugi. Was there no way to convey the dedication poured into production? It was under these circumstances that he launched a project on the crowdfunding service “Makuake.”

Makuake is a system where creators present the passion and dedication behind their products, and people who want to support those products or services contribute funds. Yoda Farm’s project began with its first campaign in August 2019, and by the ninth campaign, the total number of supporters had exceeded 3,000, with total funding reaching approximately 24 million yen. For their processed food project on Makuake, they focused on creating “Rare Dry Tomatoes,” which are lightly dried to concentrate their umami while retaining a fresh, juicy flavor in perfect balance. They also launched a variety of other creative products, including “Tomato ‘Mi’”—a new category designed to be used as a versatile seasoning, sauce, or dressing—and “Tomato Koji Curry,” made without water. He developed the products with the help of those around him, refining them through trial and error based on advice from a friend who is a culinary researcher, and even entrusting the packaging design to a high school classmate. Among the processed food project’s offerings, “Tomato Ketchup,” “Tomato Salt Koji,” and “Barbecue Sauce”—which garnered particularly strong support—have grown into popular bestsellers on the Yoda Farm website. Recently, Kunugi happily notes that he often receives casual messages of encouragement from supporters—ranging from comments like “This is delicious” to “How are you doing?”—and feels that his relationship with existing customers has grown stronger since the success of the Makuake project.

Creating products that bring out the natural flavor of tomatoes

Another reason Mr. Kunugi decided to take on the challenge of developing new processed products was the problem of food waste, which was occurring on a massive scale. Of the approximately 10% of the annual production—amounting to 5 tons—that consisted of irregularly shaped produce, the items that could not be sold in the market were, with a heavy heart, turned into fertilizer for the fields. Even though their shape may be imperfect, their flavor potential is still very high. Precisely because he is confident in the quality, he uses absolutely no additives or other unnecessary ingredients during processing, instead devising ways to bring out the tomato’s natural flavor. In 2020, the first collaboration with a company that shared Mr. Kunugi’s passion for reducing food waste was realized. Among the products, the one that garnered the most attention was “Tomato Shio-Koji,” developed in partnership with Yamanashi Meijo—the brewery behind the sake brand “Shichiken”—which combines the brewery’s shio-koji with tomatoes. By blending it with shio-koji in an exquisite ratio, the product highlights the tomato’s natural flavor and has been well-received by supporters and many other users. Another product, “Melt-in-Your-Mouth Tomato Ketchup,” uses not only the koji used in brewing Shichiken but also wine vinegar from Asaya Foods, another local company. By allowing “non-standard” tomatoes to ripen fully and using the equivalent of about 10 tomatoes per bottle, the ketchup boasts a truly outstanding tomato flavor. While working on various collaborative products, the team reportedly always prioritizes their commitment to “making the tomato the star.”

That said, he admits that in his eagerness to come up with novel products, he often received candid feedback that his creations were “too gimmicky.” While innovation is necessary, striking a balance that truly highlights the quality of Yoda Farm’s time-honored tomatoes is essential. Looking back on that period, Mr. Kunugi reflects that he learned a great deal from the product development process.

Amid the hardships faced by farmers

Given the current global climate, Japan faces significant challenges, including a decline in production motivation due to soaring material and utility costs, as well as a dwindling number of farmers resulting from an aging population. Mr. Kunugi witnessed firsthand at the market how these factors have led to a reality where the focus is not on the “quality” of agricultural products but on “quantity,” driven by the pursuit of greater efficiency. For Yoda Farm, which has limited both its crop varieties and production volume in order to maintain high quality, this situation could be described as a headwind. In this context, moving away from the general market—where producers have no control over pricing—and instead selling directly to consumers or through crowdfunding, where they could reflect the true value of their tomatoes in the price, was undoubtedly a highly rewarding initiative. Their crowdfunding efforts even caught the attention of supermarkets within the prefecture, leading to requests for Yoda Farm’s tomatoes. By the spring of 2023, they had succeeded in establishing their own sales channels, relying almost entirely on them rather than the general distribution system.

I want to create opportunities for people to appreciate good food

Mr. Kunugi says he wants to propose more experiential projects that allow him to connect directly with customers. For his most recent Makuake project, he devised an agricultural experience ticket titled “First-Generation Yoda Farm Farmer’s Rights” as a reward. In addition to a harvesting experience where participants can actually do farm work and taste freshly picked tomatoes, the rewards include product discounts and vegetable subscription plans. In addition, he plans to build a café and processing facility, with the goal of offering services where customers can have freshly harvested tomatoes cooked and served on the spot. This marks a shift from online interaction to a new phase where people actually visit the farm in person. Mr. Kunugi’s vision of “letting people experience the reality of farm life” is becoming increasingly tangible.

The value of tomatoes that only Yoda Farm can produce

When choosing tomatoes, consumers likely have a variety of reasons—from taste and cultivation methods to price. Yet, as mentioned earlier, the reason Yoda Farm’s tomatoes continue to be chosen is that they embody the expertise cultivated over half a century and a deep commitment to “creating delicious produce.” Katsumi-san reportedly even traveled overseas in the past to study tomato cultivation. By combining the accumulated experience and skills of such artisans with the influence of communicators like Kunugi-san—who takes on innovative initiatives and challenges like crowdfunding—they are proposing new value for tomatoes.

Issues such as distribution and the shortage of farmers are by no means limited to tomatoes. To address these challenges, Kunugi says he wants to create opportunities for people to connect with the thoughts and feelings of the growers behind the vegetables they eat every day. He wants to convey through his own efforts that safe and delicious products are created only through the hard work and involvement of many different people. He also hopes to show that sustainable agriculture can be built through a new approach that incorporates flexible thinking, without being bound by traditional mass-production and distribution models.

As the value of agricultural products is reevaluated, farmers will prosper, and even higher-quality vegetables will be produced. A future awaits us where this leads to a virtuous cycle of increased domestic food self-sufficiency and a growing number of people entering the farming industry.

The post “Half a Century of Dedicated Cultivation”: A Tomato Farmer’s New Challenge—“Yoda Farm”—/Chuo City, Yamanashi Prefecture first appeared on NIHONMONO.

Kiyosato Jam began when its founder relocated to run a pension, eventually creating jams and cordials with unique recipes that resonated widely. President Yoshiki Sanoma attributes this success to “Kiyosato’s distinctive environment,” a place with a history of welcoming pioneers. What drives his ongoing product development?

Jam Making Born from Pension Management

Located in the Moegi Village area of Kiyosato, Hokuto City, Yamanashi Prefecture, at the southern foot of the Yatsugatake Mountains, is Kiyosato Jam Agricultural Corporation. Here, you’ll find jams so fresh and juicy that people say it’s “like eating the fruit itself.”

“We avoid unnecessary steps and let the ingredients’ natural flavors shine,” says Yoshiki Sanoma, President and CEO of Kiyosato Jam Agricultural Corporation.

They continue making jam with the motto of valuing “sincerity” over manufacturing efficiency. Mr. Sanoma established the “Kiyosato Jam” workshop in 2003. It began when he moved to this area in his early thirties and started producing ingredients for the pension business he launched.

Starting a Second Life in Kiyosato

Born in Gunma Prefecture, Mr. Sanoma moved to Tokyo for university and later pursued a career in fashion by attending a specialized school. After graduation, he worked as a designer under a famous fashion designer. While the work was rewarding, he gradually felt stifled by the relentless, fast-paced days of constantly chasing trends.

Longing to work amidst nature reminiscent of his hometown, he decided to pursue the then-booming pension business. While searching for properties around the Yatsugatake area, he encountered Kiyosato and resolved to establish his pension business here.

Interest in Agriculture

Reflecting on those early days, Sano-san recalls starting farming himself because he couldn’t reliably source the ingredients needed for the meals served at the pension.

He started by growing herbs and vegetables, but gradually became deeply immersed in farming. “I started farming because I had no choice but to grow my own ingredients, but it actually worked out pretty well. Since I was already interested, I studied and gradually expanded what I grew.” After much trial and error searching for crops suited to Kiyosato’s soil, he settled on blueberries.

He began cultivating them in earnest as a tourist farm. When he served homemade blueberry jam made from his harvest with meals at the pension, it received overwhelmingly positive feedback from guests. Requests for supplies also started pouring in from nearby hotels, finally prompting him to take the plunge into full-scale product development.

Kiyosato’s Welcoming Environment and the Expanding Jam Business

Mr. Sanoma began developing the processed goods market as a pillar alongside lodging. A pivotal moment arrived in 2003 when he was approached about the construction of facilities within Moegi Village, an initiative conceived by the then-mayor of Takane Town.

“The mayor at the time was an extremely enthusiastic and intelligent person. While the region traditionally focused on dairy farming and its products like milk, he dedicated himself to developing other local specialties and agriculture.”

Creating specialty products beyond milk. To fulfill this mission, Mr. Sanoma entered the jam-making business with a direct recommendation from the mayor. Successfully selected, he expanded the small-scale operation—previously only producing enough for the pension—and established “Kiyosato Jam Agricultural Corporation, Ltd.”Finally, the “Kiyosato Jam” brand, using local Yamanashi fruits, was born. Mr. Sanoma describes this entire process as “something only possible because it was Kiyosato.” “Kiyosato is a town of pioneers, so it had a culture of welcoming outsiders.” Indeed, history shows that residents from villages submerged by the 1938 construction of the Okutama Lake dam relocated to the Kiyosato area and began new settlements.Kiyosato, which developed the region through the harsh work of reclaiming barren land while enduring severe cold and hunger, likely possesses the “culture of acceptance” Sano-san mentions. It was precisely because of this culture, which treated migrants without discrimination, that such a new movement could emerge.

Back then, Takane Town was also an early adopter of “farmstay collaboration,” combining agricultural experiences with lodging. The town mayor established an organization called the Youth Academy, conducting annual study tours to European countries. They learned how to link agriculture to tourism through “agritourism” and observed vegetable and fruit production sites firsthand.”It was an extremely meaningful experience,” recalls Mr. Sanoma, who was a member of the Youth Academy at the time. Inspired by these study tours, Mr. Sanoma began implementing initiatives at his pension that combined lodging with farm activities, such as picking experiences and jam-making workshops.

The Enchanted “Kiyosato Jam”

The most popular product in the “Kiyosato Jam” line is the white peach jam. “While strawberry jam is usually the top seller, white peach is our best seller,” he explains.One reason is that by manufacturing and selling only during the peak season, they can deliver the inherent fresh, juicy flavor of the fruit. Of course, the other varieties in the lineup are also so popular they sell out within the season. The jams, made from carefully selected ingredients, come in 25 different types.

The “Kiyosato Jam,” featuring large chunks of fruit for a satisfying texture, comes with a trade-off. “Preparing the fruit takes half a day, which is inefficient,” he says with a wry smile. While typical jam production might allow for three batches a day, here they can only manage one.The daily process begins with prepping ingredients personally inspected by Sano-san in the morning. His jams have a sugar content of 37 degrees Brix, slightly lower than store-bought varieties. This allows the acidity, aroma, and the depth of flavor from the natural bitterness to shine through, resulting in a jam that highlights the ingredients’ true taste rather than just sweetness.

He uses a unique “vacuum low-temperature concentration” method, taking time to evaporate moisture without using additives like pectin or flavorings to achieve the jam’s viscosity. This process concentrates the ingredients’ flavors, resulting in a jam that is fruity and tastes like “the fruit itself.”

Mr. Sanoma described this entire process as “casting a spell.” Inside each jar of delicious-looking jam lies the magic he arrived at through continuous trial and error, packed tightly within.

A “Japanese Cordial” found only here 

Jam-making began as a side venture to the pension business. While wholesale to retailers and hotel shops was the main focus until recently, requests for product development have increased in the last few years—for jams served at hotel breakfasts and gift jams. “Thanks to the positive response, I truly feel our recognition is gradually growing,” Sano-san answers proudly.

In response, they closed their thriving pension business and now focus solely on jam production. Within this shift, a new product called “Cordial” was developed.

Cordials are relatively unfamiliar to Japanese consumers. Originating in Britain, they are flavored syrups meant to be diluted. They can be enjoyed in various ways: mixed with sparkling water for a non-alcoholic drink, or added to tea or yogurt to savor their aroma and sweetness. Currently, most cordials available in Japan are imported, with very few produced domestically.

“Of course, our best-selling product is jam. But jam-making and fruit processing naturally lead to developing various other products. Cordial is one such example. We enjoy processing and are actively developing new products.”

Since its development, it has grown into a popular product, garnering significant attention as “Japanese cordial.”

The Future of “Kiyosato Jam”

The current challenge for Kiyosato Jam Co., Ltd. is a shortage of workers. Mr. Sanoma himself is getting older, and finding the next generation to take over is proving difficult. Furthermore, many of the farms supplying the fruit are closing down because they lack successors. There’s also anxiety about whether they can continue sourcing the same fruits consistently, due to poor harvests caused by global warming. Yet, even in these tough circumstances, quitting jam-making is not an option for Mr. Sanoma.

“Even so, I still get ideas for things I want to do. I think it’s like being told, ‘You should keep working for the world.’ So, while I can still move, I want to challenge myself in various ways. Making bread that pairs well with jam is my immediate challenge.”

Kiyosato Jam offers a variety of products, including jams, cordials, and bread. At its core lies the desire to create quality goods, to contribute to Yamanashi’s agriculture and tourism, and ultimately, to serve the world. Through trial and error, developing unique methods, and crafting products with sincerity, Sano-san’s journey will likely continue to be embraced by the world.

The post Made possible by the land of Kiyosato: “Kiyosato Jam Agricultural Corporation, Ltd.” / Hokuto City, Yamanashi Prefecture first appeared on NIHONMONO.

The Aokigahara Forest, formed when lava flows from Mount Fuji’s eruption about 1,200 years ago cooled and solidified, overgrown with trees.At the workshop “Maro” in Fujikawaguchiko Town, Yamanashi Prefecture, nestled at the foot of Mount Fuji amidst expansive primeval forests, delicate glass works crafted through meticulous carving are displayed. The patterned and richly colored glass brings a soft light that blends into the lives of those who hold it.

Each piece is meticulously crafted over time.

The works of glass artist Ichichō Matsuo showcase delicate details and textures created using a technique called “cold work.”Cold work is a technique applied to chilled glass without heat, involving polishing, decoration, and carving. Edo Kiriko, where patterns are applied by cutting the glass, is one such example. The glass surface is finished with a matte, frosted texture by removing its shine through “sandblasting,” a technique that blasts sand-like abrasives onto the surface.Expressions vary by piece: some blend seamlessly to highlight the smooth, gritty feel of frosted glass, while others feature carved marks like sculptures. While coldwork is primarily a finishing technique, Matsuo’s distinctive “extra touch” is also evident in the processes leading up to this stage.

The expressive potential of glass’s unique properties

Matsuo’s works vary widely, including “guinomi” (sake cups), “shuhai” (sake bowls), and “futamono” (lidded containers). In these pieces, colored lines or floral-like patterns are created by inserting heated, rod-shaped colored glass into transparent glass and fusing them together. The colored glass rods can be straight or spiral-shaped, and when fused with the transparent glass, they create patterns that seem to float within it.

In contrast, for the “Honeycomb Pattern” series, white glass powder is applied to the colored rods during preparation to create a distinct boundary and sharp pattern against the clear glass. The term “honeycomb” refers to the hexagonal structure formed by the glass rods pushing against each other as they fuse, resulting in beautifully aligned hexagons.To create perfect hexagons, Matsuo meticulously selects materials by measuring rod thickness beforehand. He then arranges cross-sectioned rod pieces in a regular pattern, melting and solidifying them into a sheet in an electric furnace. Matsuo handles nearly every step himself, from component creation to final finishing.His meticulously crafted pieces, characterized by their texture, color, and transparency, have garnered a loyal following. His work was featured in the 2023 Tokyo glass exhibition “Containers of Light,” drawing large crowds daily.

Discovering the Feel of Glass

Matsuo first became interested in glass craft 31 years ago. Encouraged by his parents, he left his hometown of Fujikawaguchiko Town in Yamanashi Prefecture to attend a private middle-high school in Saitama Prefecture. It was there, in the school’s glass craft club, that he encountered glasswork for the first time, setting him on his current path.When he first touched glass, Matsuo recalls, “I found each change fascinating—how it melted, stretched, and curved.” He melted glass using a burner in the science lab and explored pattern-making techniques by studying books. Immersed in these fulfilling activities with his clubmates, his world was suddenly shattered when his father passed away unexpectedly during his second year of high school.

He realized he would have to make his own way from then on. He agonized over his future and what path to take after graduation. “I loved glass, and I was happy when people enjoyed the things I made,” he says, explaining his decision to pursue glass craftsmanship. Aiming to enter an art university, he spent the year after high school graduation studying drawing at a preparatory school.

Lacquer: What I Learned in College

Even while studying drawing, his passion for glass only grew. He reflected, “I was so absorbed in glass that I hadn’t paid attention to other materials.” To gain a deeper understanding of different materials first and broaden his perspective on glass craft, he deliberately applied to Kanazawa College of Art and Crafts in Ishikawa Prefecture, which didn’t have a dedicated glass department. There, Matsuo majored in the Lacquer Course within the Crafts Department.

“I sensed a similarity to glass in the ‘luster’ produced by lacquer.” Ishikawa Prefecture, home to traditional crafts like Wajima lacquerware and Yamanaka lacquerware, provided an ideal environment for studying lacquer. He visited local artisans actively working in the field and became increasingly captivated by the material’s charm.

Through studying lacquer art, he came to see lacquer as “an ‘outer material’ that decorates the surface of a work,” while glass, with its translucent nature, is “an ‘inner material’ where the view inside also becomes part of the expression.” This led him to wonder, “Couldn’t I expand expressive possibilities by utilizing glass’s color, form, and transparency, while also exploring texture and decoration?” This question became the thread leading to his current artistic style.Matsuo also notes, “I was never good at detailed work.” However, his experience with lacquer art—which demands meticulous, delicate handwork—proved invaluable for his later glass craft, especially since most glass processes rely on machinery. “By sincerely engaging with lacquer, I acquired skills without even realizing it,” he reflects on that time.

Techniques Learned in the “Glass Town”

After graduating university, he enrolled at the Toyama Glass Art Institute. For the first two years, he studied the three pillars of glass techniques in the Sculpture Department: “hot work” (techniques like glassblowing that involve melting and shaping with heat), “kiln work” (casting techniques using electric furnaces), and the aforementioned “cold work.”During the subsequent two years, while re-examining his direction as a glass artist, he felt “the sensation of glass changing form as I carved it with my hands was akin to sculpture.” His father, who worked as a woodcarver, significantly influenced this perspective.Having grown up surrounded by wood as a material, he consciously adopted cold work glass processing—where unique patterns emerge through carving, much like how patterns appear on carved wood surfaces—as his signature style.

With the goal of becoming a full-time glass artisan, he held his first solo exhibition, “Glass Treasures,” in 2006 while still a student.After graduating, he continued creating glass works while working part-time in Toyama. From 2010, he served as a teaching assistant in the Glass Course of the Craft and Fine Arts Department at Kobe Design University. During this time, he honed his skills while seeking specific advice from artist acquaintances on critiquing his work and monetization methods. In 2014, he established his studio “Maro” in his hometown of Yamanashi.

The Joy of “Shaping”

Matsuo’s works combine multiple glass craft techniques. He begins by creating parts through hot work, then uses kiln work to form the base shapes for vessels and other pieces, finally finishing the work through cold work. Generally, in techniques like glassblowing, the accidental beauty created by the artisan’s breath is valued, so few artists, like Matsuo, actively seek to intervene and refine the work.”As I continued making glass, I came to realize that ‘taking the time to ultimately complete the work in my own hands’ is the style I should value.”

While the accidental qualities of hot-work and kiln-work pieces hold their own appeal, the real fascination of carving lies in “being able to transform the shape with my own hands while expanding my vision.” Carving changes the expression, giving birth to unexpected new forms of expression. Gazing at his carefully crafted pieces, Matsuo smiles innocently, saying, “I enjoy the time spent carving.”

“I want people to store their precious things inside” – the wish embedded in his lidded vessels

Matsuo’s signature series is the “Lidded Vessels,” where soft light pools within the glass and color seeps through its transparency. This series, packed with the unique charm of glass, is named “Tamabako” (literally “jewel box”), using the word “tama” (jewel) to signify something beautiful and precious. Placed near a window or in sunlight, a gentle, soft light emerges from within.

“I feel there’s a connection between light gathering inside the glass and storing something within the lidded container. People often ask what they should put inside. I tell them, ‘Please place whatever small, precious things you hold dear,’ like an anniversary ring or an acorn a child brought home.”

She recalls a customer who once purchased one as a container for keeping ashes close by. This reminded her of her student days when creating such pieces was a theme—to make something that would make someone want to place their late father’s ashes inside. She felt a connection. “What’s ‘precious’ varies for each person, but I’d be happy if, when they glance at the lidded container I made, it helps them recall some cherished feeling.”

Finding my own voice, bit by bit

After returning to Yamanashi and establishing her studio, Matsuo describes her days as “a constant cycle of trial and error” in an environment where she had no teacher. Gradually, she refined her own style of work—pieces that blend practical usability as vessels with the beauty of craft—while incorporating feedback from those around her.

“Being alone made me realize things I’d unconsciously absorbed in my privileged environment and how I’d been trapped by preconceived notions. There were failures, but as I rethought my style, I steadily discovered what I truly wanted to do.”

There were times when poor health hindered her progress, but her resolve remained unchanged: “I want to create what I believe is good without compromise.” To adjust her pace, she reduced the frequency of her solo exhibitions, which she had held multiple times a year. In 2022, she launched a new online shop. While maintaining her own well-being and producing satisfying work, she is also exploring ways to monetize her craft using the power of the internet.Matsuo’s journey continues, driven by the goal of “sustaining this as something I love, as work, for the long term.”

I want people to discover the charm of glass

As a glass artist, Matsuo shares, “I want many people to discover the charm of glass through the pieces I create.” Speaking calmly about the “extra effort” that comes from years of accumulated experience, she says, “I know it seems wasteful, but the steady work and that extra effort are what make it ‘me.'” Holding a polished lidded vessel, her smile as she said, “I’d be happy if my creations could become part of someone else’s life going forward,” was truly memorable.

The post Carving glass—that extra effort defines who I am. Expressions that capture light and captivate. “Kobo Maro” / Fujikawaguchiko Town, Yamanashi Prefecture first appeared on NIHONMONO.

Idejōzōten, a long-established sake brewery with over 300 years of history dating back to the Edo period. Nestled at the northern foot of Mount Fuji, on the shores of Lake Kawaguchi, this brewery has continued making sake for generations. In recent years, it has embarked on a new venture: crafting its own unique whiskey. We spoke with the next-generation representative about his vision for preserving the taste of their traditional sake while embracing this new challenge, and about the future of this venerable brewery.

A Brewery by the Lake

Lake Kawaguchi, one of the Fuji Five Lakes at the foot of Mount Fuji, attracts many tourists every year. Nearby stands the long-established brewery “Ide Brewery,” which has been in operation since the mid-Edo period, over 300 years ago. We spoke with Takaoshi Ide, the 22nd-generation owner, who is currently involved in brewing and selling sake, and now also in the new venture of whisky production.

A brewery that began with soy sauce production

The origins of “Ide Brewery” date back to around 1700. Located on the northern foothills of Mount Fuji, this region boasts abundant spring and groundwater. However, the absence of rivers and the hard bedrock made digging irrigation channels difficult. Consequently, the land was unsuitable for supplying water to rice paddies and thus not ideal for growing rice, the key ingredient for sake.Conversely, soybean cultivation using rainwater flourished. Consequently, the 11th generation owner, Yogoemon Ide, opened a brewery to begin brewing soy sauce using these soybeans. Around 1850, the 16th generation owner, Yogoemon Ide, recognized the cool climate at an elevation of 850 meters and the abundant spring water flowing from Mount Fuji.He began sourcing rice from regions within Yamanashi Prefecture where rice cultivation was thriving and started brewing sake. This marked the beginning of sake production at Ide Brewery.

While it’s difficult to source all ingredients solely from rice grown in the northern foothills region, which has few paddy fields, the brewery now procures rice from various farmers nationwide, primarily within Yamanashi Prefecture. However, driven by the desire to “create sake that becomes a source of pride for local people,” they have recently expanded their offerings to include brands like the special junmai sake “Hokuroku,” made using “Tamasakae” rice from the northern foothills of Mount Fuji.However, no matter how carefully suppliers are selected, some variation in rice quality based on the year and region is unavoidable. “I believe a key technical point in sake brewing is how to minimize impact on the product and effectively deliver the brewery’s signature taste, the consistent flavor, to consumers,” said Ushun, revealing confidence in his company’s techniques.

Sake Pride of Ide Brewery

With “using Fuji Mountain spring water” as the overarching concept, Ushun states, “We strive to create pure sake that upholds that image.” The representative brand of Ide Brewery is “Kai no Kaiun” (Fortune of Kai). Around 1850, when sake brewing began, it coincided with the marriage of Princess Kazunomiya.Inspired by this, the sake developed with the wish “for fortune to open and lead to happiness” was named “Kaiun” (Good Fortune). Later, in 1985, Kaiun, beloved by people for many years, was renamed Kai no Kaiun to emphasize its regional identity as a Yamanashi brewery, and it continues to be brewed today. Its taste is smooth on the palate with a slightly dry flavor.It finishes cleanly, making it the perfect accompaniment to a meal.

Kai no Kaiun: Crisp and Unwavering

The quality of Iide Brewery’s sake is underpinned by the “Fuji Water” flowing directly beneath the brewery. This underground water, drawn from a point at approximately 1,100 meters above sea level, takes 80 years to pass through the volcanic layers of Mount Fuji. It is then naturally filtered through basalt layers and other formations, resulting in a refined, crystal-clear softness. This water is the very core of the “clean sake quality” the brewery strives for.”Refreshing and clean.” This fundamental principle remains unwavering. The pleasant sharpness of their flagship brand, “Kai no Kaiun,” harmonizes with the transparency of Fuji’s water, enhancing its appeal as a sake to enjoy with meals.

For fermentation, stable association-type yeast is used, prioritizing the straightforward expression of the ingredients’ flavors while minimizing off-flavors. Among these steps, Mr. Ushun emphasizes the “particularly crucial” practice of pasteurization immediately after pressing. Minimizing exposure to air and meticulous management to stabilize the sake are indispensable.After pasteurization, the sake is stored quietly in an environment with minimal temperature fluctuations. Meanwhile, the unpasteurized sake is kept year-round in refrigerators maintained below 0°C. This meticulous management, dedicated to preserving the delicate flavor, creates a sake of unwavering purity.

“Raw Unpasteurized Sake” You Can Only Taste Here

The shop “Sakaboushi,” attached to the brewery, offers a lineup including sake and foods made using sake lees, a byproduct of the brewing process. Additionally, since April 2010, tours of the brewery have been available to the general public.They also offer a limited-edition unpasteurized sake, “Special Junmai Nama Genshu ‘Kakoi’,” available only to visitors. During sake brewing, rice is fermented to produce alcohol. The liquid pressed from the mash (moromi), a mixture of fermented rice and sake, is called nama genshu.Most commercially distributed sake undergoes pasteurization (hi-ire) for sterilization and dilution with water to adjust alcohol content at this stage. However, Special Junmai Nama Genshu “Kakoi” skips these processes entirely. Experience the unadulterated alcohol sensation and fragrant rice flavor of “pressed and served as is.” Savor its smooth taste and the faint lingering ginjo aroma.

A New Challenge: Launching the “Fuji North Foot Distillery”

In July 2020, Ide Brewery embarked on a new challenge, beginning whisky production under the brand name “Fuji North Foot Distillery.” Globally, alcoholic beverages are broadly categorized into “brewed spirits,” made by fermenting raw materials like rice or barley, and “distilled spirits,” created by heating the fermented liquid, vaporizing it, cooling it, and condensing it back into liquid form.For whisky specifically, the distilled base spirit must undergo “aging” – long-term storage in wooden casks. For Ide Brewery, which had previously focused solely on brewing, the processes of “distillation” and “aging” were entirely new territory.

“We had knowledge and hands-on experience with fermentation, but distillation and aging were completely unknown to us. We truly started from scratch,”

“It took several years to finally establish our own unique production methods, but there’s still so much to learn,” Ushun shares, reflecting on the challenges. While his desire to make distilled spirits grew stronger, he hesitated about the significant capital investment required to start whisky production. What ultimately pushed him forward was the noticeable increase in inbound demand in recent years.Even if foreign visitors to the brewery primarily came for sake, wouldn’t they be even happier if the lineup included a whiskey originating overseas? It was this thought that led him to decide to take the plunge into whiskey production.

Whiskey made from rice by a sake brewery

“Japanese whiskey is currently popular worldwide. I believe one factor is its drinkability. While maintaining that, I want to express the unique character of Ide Brewery.”

Many of the aging barrels used for Japanese whiskey are made from Mizunara oak, which imparts an elegant, sweet aroma and a subtle sweetness to the whiskey. Beyond this “drinkability,” Ide Brewery’s whiskey incorporates an extra layer of craftsmanship. One example is using “sake yeast” for fermentation, instead of the typical whiskey yeast.Another is the use of rice, the same base ingredient as sake, instead of the more common corn, rye, or wheat. This adds a distinct sweetness derived from the rice, resulting in a whisky with a deeper, smoother mouthfeel. Behind these meticulous choices lies the desire to “create a whisky that only we can make.””A rice-based whiskey made by a sake brewery. I believe it possesses a unique character you won’t find elsewhere,” states Ushun proudly. Currently, they offer two products: the whiskey ‘Taijukai’, made with the aforementioned sake yeast and rice, and the ‘Fuji Kitakoku Distillery Highball’, which incorporates carbonated water and spring water to further enhance its “drinkability”.

“This product was created to widely announce our new venture: ‘Ide Jozoten, known for making sake, has started making whisky.’ We’re excited to see how the market responds.”

Creating an everyday sake that never gets old

Mr. Ushun, who will lead Ide Brewery as its 22nd-generation head in the future, shared his vision: “I want to continue making sake without straying from the core characteristics that define Ide Brewery’s current flavor profile: ‘refreshing clarity’ and ‘elegant purity.'” He also expressed his enthusiasm for focusing on brewing “Kai no Kaiun,” a standard sake.”While ‘special designation sake’ tends to draw attention across Japan these days, I also want to properly craft ‘ordinary sake,’ which has been deeply rooted in daily life for generations.”

Long before the “Sake Production and Quality Indication Standards” were established, “Kai no Kaiun” has been brewed without altering its flavor since 1850. It represents the unwavering identity of Ide Brewery. “It may not be flashy, but it has been cherished as a companion for ‘ordinary’ moments, like family meals at the daily dinner table. I hope it continues to be loved by people without ever growing tiresome.”There is an irreplaceable happiness in being able to be “ordinary,” in being able to live everyday life. The sentiment poured into “Kai no Kaiun” connects the history and spirit of Ide Brewery.

The Future of Ide Brewery

“Sake, representing Japanese culture, will continue to attract global attention given recent inbound demand. That’s precisely why I believe there’s ample need to keep producing ‘Kai no Kaiun,’ which connects time-honored traditions to the present. Building on this strong foundation, we aim to develop products like whiskey that meet modern needs. Times keep changing, after all.”

Ide Brewery’s sake-making journey began with soy sauce production, rooted in observing the region’s unique characteristics and blessings. Moving forward, the brewery will remain deeply connected to the community, steadfastly preserving its inherited flavors while flexibly adapting to changing times and embracing new challenges.

The post Traditional Sake and Innovative Whiskey Crafted with Fuji Spring Water: “Ide Brewery” / Minamitsuru District, Fujikawaguchiko Town, Yamanashi Prefecture first appeared on NIHONMONO.

Take-no-i Shuzo, with a history of over 160 years, created a new brand, Seiko, in 2007. This sake is brewed with the flower yeast and rice that impressed the brewer during his apprenticeship, as well as Yatsugatake subterranean water drawn from a hand-dug well, from which the company’s name is derived. The toji is proud to pass on his unwavering sake brewing skills to future generations.

A long-established sake brewery that has been in business for over 150 years

There is a long-established sake brewery in Hokuto City, Yamanashi Prefecture, that has been brewing sake since the end of the Edo period (Keio era) more than 160 years ago. The name “Take-no-i Sake Brewery” is derived from the character “Take” of Buzaemon Shimizu, the founder of the brewery, and “I” of a 10-meter hand-dug well fed by subterranean water from the Yatsugatake Mountains. It was 18 years ago (2007) that a new brand called “Seiko” was born at the family-run brewery, which had been producing the “Take-no-i” brand for generations. It has a refreshing and easy-to-drink taste. It is recommended to drink it chilled. The brand’s senior managing director and chief brewer, Koichiro Shimizu, is the driving force behind the Seikou brand.

The New “Seikou” Brand

Today, Take-no-i Sake Brewery is making its own unique sake while responding to the needs of the market by rebranding and trying out the latest brewing methods. However, until 18 years ago, when Mr. Shimizu returned to Hokuto City after completing his training, he was making low-priced sake, unlike today. At that time, beer and wine were on the rise, and the demand for sake was gradually decreasing with the times. So we started brewing a new type of sake to differentiate ourselves from the competition. The name of the new brand, “Seikou,” was chosen to symbolize the image of clear, clean water and the desire for the sake industry to “sparkle” in the world. The name “Seikou” was chosen to reflect the image of clear, clean water and the desire for the sake industry to “sparkle” in the world.

Tsurubara Yeast and Omachi, both of which impressed him during his apprenticeship

Yeast is an essential part of sake brewing. Yeast is a small microorganism, invisible to the naked eye, that is responsible for the alcoholic fermentation process, converting the sugar in the rice used to make sake into alcohol and carbon dioxide. Yeast is usually isolated from the sake’s unrefined sake, but Take-no-i Sake Brewery uses “hana-kobo” (flower yeast), which is isolated from flowers that bloom in the natural world. Mr. Shimizu originally studied floral yeast while a student at Tokyo University of Agriculture. He says that his experience in brewing sake with various types of flower yeast at the Raifuku Sake Brewery in Ibaraki Prefecture, where he trained after graduation, was the starting point for his current style.

He says, “It was the Tsurubara yeast that I felt was most suited for the sake I wanted to make. Tsurubara yeast is a yeast that has been successfully isolated from the vine by the Sake Brewing Laboratory of the Tokyo University of Agriculture’s Department of Brewing and Fermentation. Mr. Shimizu was impressed by the combination of Tsurubara yeast and Omachi when he was in training. He says, “Sake made with Omachi and Tsurubara yeast is unique in Japan. I think it has a taste that can only be produced here. These words reveal his unwavering confidence. When Mr. Shimizu took over as toji (master brewer), he focused on “Junmai Ginjo Omachi,” which uses Omachi sake rice produced in Okayama Prefecture, as the core product of the brand. Currently, the Seikou brand is differentiating itself by brewing with Tsurubara yeast and offering a variety of products using different varieties of sake rice.

The Growing Appeal of Seikou

When the Seikou brand was released, it was very well received by buyers for its innovative taste. On the other hand, he realized that flower yeast is still not generally recognized. He says, “I think there are many people who don’t know what yeast is in the first place,” and he doesn’t put much emphasis on promoting the distinctive flower yeast as the main ingredient.

We place importance on having people experience the taste by drinking it. I think that if people feel that this is what flower yeast is after drinking it, then the goodness of the yeast will gradually spread.

An unexpected gift from Yatsugatake

The quality of the water is very important in creating a clean, refreshing taste. Mr. Shimizu says that he places great importance on water, and that all of his sake is brewed with water from the Yatsugatake Mountains. Hokuto City, where the brewery is located, is rich in Yatsugatake subterranean water, which is pumped from a 10-meter hand-dug well that gives the brewery its name. The water is classified as soft, medium soft, medium hard, or hard depending on the concentration of calcium and magnesium in the underground water. In Japan, where the land is narrow and the slopes are steep and the water flows out to the sea quickly, the calcium and magnesium in the ground are absorbed in a short time, so the water is often soft with a low concentration. However, the subterranean water here in Yatsugatake is influenced by the complex geological strata, so it is not soft water, but medium-hard water. Tsurubara yeast has a relatively weak fermentation power, but the hardness of the water helps it, like a “source of energy,”” says Shimizu. He recalls how he felt when he first started brewing sake in this area, saying, “I was very happy that the ingredients I wanted to use and the characteristics of the region happened to match, and I was able to create the flavor I was aiming for. The land of Yatsugatake responded in an unexpected way to the craftsman’s repeated research to create delicious sake.

Unchanging, unwavering sake brewing

Mr. Shimizu’s commitment is not to change the taste of the brand. He is committed to “never changing the taste of the brand,” which means “never blurring. After many years of sake brewing, the quality of the rice and environmental factors of the year can cause the taste of the sake to gradually deviate from the ideal. The difficult point is how to keep it within the framework of “Take-no-i” and “Seikou”. In order to maintain a consistent flavor, he says, the “strong points” of the ingredients, such as the aroma, are sometimes suppressed. Why does he insist on “not changing the flavor of the brand” to such an extent? The reason is the “customers” who look forward to drinking his sake.

He says, “There are many sake brands with the same name that have completely different tastes, and if you look around the world, there are many sake brands that have changed in taste. Of course, different sake breweries have different ideas, but I believe that the first taste is the one that leaves the biggest impression on the drinker. So I don’t want to betray that impression.

Preserving the Taste for Future Generations

In 2017, there was a new change in the Take-no-i brand, which has been well-loved for many years. In addition to the existing product lineup, new “Tokutei Meisho-shu” (special name sake) such as “Junmai Ginjo” and “Tokubetsu Honjozo,” which can only be named after sake rice that meets strict conditions such as the rice polishing ratio and ingredients used, have been added to the lineup. Despite these changes, however, the company continues to make locally-oriented sake, such as using Hitogokochi, a sake rice grown in Hokuto City, Yamanashi Prefecture. Shimizu’s steadfast sake brewing style is still alive and well, not only in the “Seikou” brand, but also in the “Take-no-i” brand, where the taste has remained unchanged.

As for the future outlook, Shimizu is determined to improve the current products to increase public recognition, but he has no plans to change the flavor of the brand. The refreshing and easy-to-drink taste of Qinghuang will surely continue to be accepted in the future. I believe it will be loved for a long time and remain as a sake. Mr. Shimizu’s words are imbued with a sense of responsibility to the customers who look forward to his sake and a solid confidence in the sake he is brewing. With the trust and experience he has built up, the unchanging taste of Seikou will be passed on to future generations.

The post Take-no-i Sake Brewery” brews sake with a consistent taste using flower yeast and Yatsugatake subterranean water / Hokuto City, Yamanashi Prefecture first appeared on NIHONMONO.

In Ichikawa Misato Town in southwestern Yamanashi Prefecture, where the Fuji River, one of the three most rapid rivers in Japan, flows, industries such as “Wabishi” (handmade Japanese paper) and “rokugo no insho” (seal) have developed since long ago. One of these industries is “Ichikawa Hanabi,” which has fascinated fireworks master Gen Sasaki. What is the creator’s passion behind “Wabi,” a traditional technique passed down from generation to generation, which lights up the world with a new light?

Fireworks Town, Ichikawa Misato

Ichikawa Misato’s fireworks industry is said to have originated from the Takeda clan’s military “wolf smoke” technology, which was used in the Warring States period. The largest fireworks display in the prefecture, “Shinmei no Hanabi,” held every August, attracts many tourists who come to see the spectacular night sky decorated with some 20,000 shots of fireworks produced by long-established local fireworks companies. In this town of fireworks, Mr. Sasaki specializes in “Japanese fireworks,” which have long been produced only in Japan. Currently, “Western-style fireworks,” which use chemicals imported after the Meiji Restoration and produce colorful colors through a combination of flame reactions, are the mainstream, but “I was fascinated by the traditional Japanese lights that have been handed down since the Edo period,” he says.

Traditional Japanese Fireworks “Wahi

The raw materials of Wahi are only natural materials such as charcoal, gunpowder, and sulfur, all of which can be obtained in Japan. Although not flashy or showy, the delicate shades of red and orange in the charcoal’s original reddish-brown color give the fireworks an air of Japanese “iki” (style). At fireworks festivals, Japanese-style fireworks are often set off between the gorgeous Western-style fireworks. He has been working for a long-established fireworks company in Yamanashi for six years, learning everything from launching to manufacturing fireworks, but since becoming independent, he has taken on the title of “wagi-shi,” and is now involved in a wide range of activities both in Japan and abroad.

What is the purpose of making and launching fireworks?

Sasaki says he has had a yearning for a traditional Japanese occupation since he was a university student. When he came across a movie titled “Heaven’s Bookstore: Love Fire,” he was fascinated by the sight of a pyrotechnician setting off fireworks for his lover in heaven, and decided to pursue a career in the field of fireworks. After graduation, he contacted and joined a well-established fireworks company in Ichikawa Misato Town, which he found particularly attractive among the fireworks launched by fireworks companies nationwide. Leaving his hometown of Saitama Prefecture, he learned the entire process of making and launching Western-style fireworks. While devoting himself to making fireworks, he achieved a second place finish at the 2012 Omagari Fireworks, a competition held in Akita Prefecture, which is renowned as one of the three largest fireworks festivals in Japan. While he was delighted to be recognized for his advanced techniques and ideas, he also asked himself, “For what purpose do I make and shoot fireworks?

Becoming a “Japanese pyrotechnician” instead of a pyrotechnician

The Great East Japan Earthquake of 2011 triggered a conflict in his activities. He could only mourn the horrific situation in the affected areas from afar, and the helplessness of not being able to do anything as a pyrotechnician has always stuck with him. He re-learned about fireworks again and wondered if there was any way he could launch fireworks that would be meaningful to society. He learned that fireworks have been used since ancient times for prayers, such as “memorial services,” “repose of souls,” and “dedication. I learned that the origin of fireworks is that they were set off to pray for the souls of the dead, for the repose of souls, and for votive offerings. For example, the Sumida River Fireworks Festival, which has become a summer tradition in Tokyo, is said to have originated from the Ryogoku River Festival held in 1733. It began when fireworks were set off on the day of the river opening, the first day of the noryo period, as a memorial to those who died in the famine and epidemic of the Kyouho period and as a prayer for the removal of calamities. In addition, the ancient Japanese custom of paying homage to gods and Buddha, ancestors, and the bounty of nature has been passed down in the dedication fireworks. The Japanese firework was filled with such prayers for peace and gratitude. In 2014, Sasaki became an independent Japanese firework artist and started his own business.

The desire to set off fireworks not for self-satisfaction, but to bring joy to others, was the driving force that pushed me forward.

Establishment of the Japanese firework brand “MARUYA

The first thing he did after becoming independent was to launch “MARUYA,” a brand specializing in Japanese-style fireworks. Starting with “toy” handheld fireworks such as senko-hanabi (sparklers), he gradually expanded the scope of his production to include small fireworks called teien-hanabi (garden fireworks), fountain fireworks, and fireworks for launching. The company has been working on various forms of expression of Japanese firework regardless of the type of fireworks it produces.

Mr. Sasaki says, “I start by going into nature and obtaining materials such as charcoal and sulfur, which are used as raw materials. He says, “I go into nature to obtain raw materials such as charcoal and sulfur.” The selection of wood is the most important process in making wahi, which expresses the true color of charcoal fire.

The Appeal of Charcoal in Japanese-style Fire

Pine wood is the most commonly used material for making wagibi. For example, paulownia charcoal is a reddish orange color, and the color of the sparks varies depending on the characteristics of the wood. This is related to the combustion temperature: the lower the temperature, the more reddish, and the higher the temperature, the more yellowish.

The expression also varies depending on the grain size of the charcoal. In fireworks, before forming the spherical gunpowder called a “star,” the charcoal is sifted once to make it into a powder. This process is said to create a difference in the degree of burning when the tinder is ejected. Coarse-grained charcoal leaves a slow burning ember, while fine-grained charcoal extinguishes quickly. By combining powdered charcoal with other raw materials such as potassium nitrate and sulfur and devising the mixing ratio, the color and the combustion of gunpowder can be made stronger or weaker, producing subtle colors.

The Japanese firework, which requires precise balancing, is filled with the wisdom and techniques of fireworks makers from the olden days, and if you look at an old blending book, you will find that the blending patterns are so subtle that you may overlook the differences. The depth of the firework is because it uses only reddish-brown colors,” says Sasaki.

Fire of Prayer

In addition to the manufacture of Japanese fireworks, there is the “inoribi” project. It means “prayer fire,” a firework that contains prayers for the repose of souls and the repose of souls, and it travels to various places to offer prayers for the repose of souls and the repose of souls of those who have suffered from natural disasters and wars. The first such event was the “Kofu Air Raid Memorial Fireworks” held in July 2020 to pray for the repose of the coronavirus and to exorcise the evil spirits. The theme was “to feel the sound, vibration, and lights, and to offer prayers. The Japanese fire for the repose of the soul is called “Kiku-gata,” which imitates a chrysanthemum, and on the day, 10 Japanese fires were launched alternately with silence in a slow pause. As they gradually expand their activities to include fireworks for the repose of souls in Okinawa and Chiran and votive fireworks at festivals in various regions, the number of local collaborators who support their efforts is increasing.

Believing in the Power of Japanese Fireworks

In 2022, a long-desired fireworks factory will be completed in Ichikawa Misato Town. Mr. Sasaki looks back on the eight years until then as a series of hardships. When he decided to start his own business specializing in Japanese-style fires in an industry dominated by Western-style fires, many people around him were concerned about demand, and he was often told by his peers that he could not do business only with Japanese-style fires. In the face of adversity, he continued his own research, starting with the basic sparklers, and it was only when he obtained a license to manufacture fireworks that he felt he had “finally made it to the starting line.

I was convinced that WA-HI was a firework with the power to make people happy,” he said. Perhaps it was my strong belief in myself and my determination to keep going that led me to this point.

Spreading the Spirit of Japan to the World

Mr. Sasaki’s future prospects are focused on activities in accordance with two themes. First, to “convey Japanese spirituality and culture through Japanese fire,” he will hold events where people can fully enjoy Japanese culture, and use Japanese fire as a stage for such events. Currently, he gives lectures at educational institutions and cultural events, and holds workshops on making sparklers, but he is eager to expand the scale of his events. Another indispensable activity is that of “inoribi. He said, “From now on, I would like to go around the world, not only to Japan, to shoot fireworks to pray for the souls of the dead, the repose of souls, and peace.

I think the road is not that long. If you have a strong desire, you will meet various people, and that will be a good opportunity for you. That is the one thing I want to keep in mind as I move forward.

Traditional fireworks continue to be lit in the modern age

The shading of the charcoal fire, the intensity of the sparks and how they remain. My goal is to create a world view by using these expressions.
The reddish-brown fire that lights up the night sky today is made using a process that has not changed since the Edo period. How many people know about the prayers and history behind it? As a bearer of wahi and an inheritor of the culture, he says, “You can fully feel the charm of wahi not only with fireworks, but also with sparklers. I would like to express the spirituality of the Japanese people with forms of wagashi that suit the time and place,” says Mr. Sasaki, a wagashi master. The day is not far off when his challenge and unwavering faith will bear fruit.

The post Japanese pyrotechnician Gen Sasaki lights up the world with fireworks that transcend time with his “prayer” / Ichikawamisato-cho, Nishiyashiro-gun, Yamanashi Prefecture first appeared on NIHONMONO.

Among the Fuji Five Lakes, Lake Yamanaka is the closest to Mt. Fuji and is known for its scenic beauty. Ceramic artist Watanabe Kunio has his studio here. He has been making porcelain using traditional techniques, and is now one of the leading names in the world of traditional crafts. What is the origin that drives Watanabe’s sensibility, which is traditional yet unique?

Continuing on the path of crafts

Although it is generally called pottery, it can be broadly divided into “earthenware,” which is made from clay, and “porcelain,” which is made from rocks. Watanabe, who has a studio in Yamanakako Village, Minamitsuru District, Yamanashi Prefecture, produces porcelain, characterized by colorful geometric and checkered patterns. He uses traditional techniques such as “iroe,” which paints the piece after firing, and “kinsai” and “ginsai,” which decorate the piece with mud or foil made from powdered gold and silver.

Watanabe has been selected more than 20 times to participate in the Japan Traditional Crafts Exhibition, the largest public craft exhibition in Japan. He is also a full member of the Japan Crafts Council, a public interest incorporated association that organizes the Japan Traditional Crafts Exhibition and aims to preserve traditional craft techniques and promote traditional culture. In addition to solo exhibitions at department stores and galleries, his works have also been included in the collections of art museums overseas.

“Looking back, I guess I wanted to think about and create things with my hands.”

Although Watanabe is now a member of the Japan Crafts Association, it was a chance encounter that led him to pursue a career in crafts.

Starting from scratch

Watanabe, who was born in Fujiyoshida City, Yamanashi Prefecture and attended a general education school, tried to take the entrance exam for a science university, but the results were not as expected. At that time, he went to a career guidance office for advice and found a pamphlet, which led him to learn about art prep schools. “Just one pamphlet changed my life.” He decided to attend an art prep school, choosing to major in design and crafts, and learning about the world of art in a wide range, from drawing to manufacturing. He began his life as a ronin student with no experience, but he fondly recalls, “I really enjoyed drawing and making things.” While working with his hands, he also visited art museums and exhibitions to broaden his horizons, and his vague interest gradually turned to “crafts.” After four years of exam preparation, he was successfully accepted into the Department of Crafts at Tokyo University of the Arts.

Even though the “Crafts Department” is lumped together, there are many different majors, such as dyeing and weaving and lacquerware. Watanabe, who tried out a range of majors during his first and second year at university, ultimately decided on pottery. “When I put it in the kiln and fired it, something completely unexpected came out. It felt like it was something out of my reach, and I thought it was fascinating.”

Ten years of making pottery in the “home of pottery”

While in school, he wanted to pursue pottery further, so he decided to go on to the Graduate School of Fine Arts at the university, majoring in pottery. After graduating from graduate school, he was assigned to Seto Yogyo High School (now Seto Technical High School) in Seto City, Aichi Prefecture, as a ceramics teacher. Seto City is known as the land of pottery, known for its Seto ware, so it was the perfect environment for him to continue his creative activities. Many ceramic artists are active in Seto City, and it is well known that Kato Sakusuke, a master of Oribe ware, used to work here. At the recommendation of a university teacher, Watanabe went straight to greet Kato, who was a professor at Aichi Prefectural University of the Arts at the time. Thanks to this connection, Watanabe would later hold group exhibitions with other artists of the same generation who graduated from Aichi University of the Arts. “The basis of pottery is vessels. Just make vessels. That’s what Sakusuke-sensei taught me.”

Following that teaching, while working at school, he worked hard every day on his creations for exhibitions. Looking back on that time, Watanabe-san says that he was blessed with a good environment and connections with people and that “I spent 10 fulfilling years there.” After deciding to go independent, he returned to his hometown of Yamanashi and set up his current studio.

The process of creating patterns woven with colors

The colorful colors and patterns seen in Watanabe’s pottery are created using a technique that uses masking tape. He sticks masking tape, cuts out a pattern that matches the shape of the pottery, applies color, peels it off, and fires it, repeating this process about five or six times. If the color is layered thickly at once, it will peel off and shrink, so it is necessary to layer it thinly many times. It is a patient process, but he explains the appeal of it, saying, “When there are two or one more layer left, I get excited and look forward to the finished product.” In the middle stages, the color is baked at a low temperature to fix it, and in order to glassify it as the finishing touch to the “color painting” technique, the temperature is raised to about 800 degrees and it is finally baked. In this way, all the steps are carefully and painstakingly spent, and finally the exquisite colors and intricate patterns are completed.

From admiration to individuality

The trigger for his current style was his encounter with the work of ceramist Masahiro Maeda when he was a student majoring in ceramics at university. Maeda’s masking technique, which involved layering paints, and patterns with motifs of animals and plants, such as owls, revolutionized the craft world at the time, and he was shocked to see such vivid colors in pottery. As he tried out different techniques and improved his skills, he thought, “I can’t draw the patterns you see in Maeda’s works, so I’ll just do what I find fun to make,” and he came up with his own geometric patterns. Maeda once told him that his works were similar, but “as I learned my skills, people started telling me that my work was gradually becoming ‘my color’ without me even realizing it. I think that through trial and error, I was able to move away from my admiration for Maeda’s works and gradually become aware of it as my own style,” he says with a happy smile.

New “Color”

Watanabe says that up until now, “I’ve been making what I want to make.” When it comes to tableware, he makes a strong impression by making color the main focus of his work, rather than considering how it will go with food. However, recently, he says he has also started to feel attracted to the color “white.” He has begun to explore new forms of expression, such as applying patterns to a white base and using a technique called “luster color,” which changes the way the color shines depending on the angle of the light. “White is easy to apply color to and has a sense of stability. I’m slowly coming to understand its merits.”

The origin of sensibility

While he devotes himself to his work for the exhibition, Watanabe feels that he is so pressed for time that he has no time to explore himself. He suddenly remembers the time when he was a ronin student and would go to exhibitions whenever he had a day off. “I would look at the exhibitions and write down my impressions.” He thinks that the pure passion for crafts he had in his ronin days may have sharpened his sensibility. “There are so many things I want to do. That’s why I think I need to make time to work on them.” Currently, he mainly works on the potter’s wheel, but he wants to actively change his sculptures. “There was a time when I wanted to try hand-shaping and clay. I didn’t get around to it, but I feel that it’s necessary to try various things, even if it takes time.” He talks about his future prospects, saying that he wants to create things that are not bound by traditional crafts and that make use of his shaping and expressive abilities, while also looking at new possibilities.

Tableware that is not just a practical item, but a work of art

Now that 19 years have passed since he set up his studio in Lake Yamanaka, he is enthusiastic about his future direction, saying, “I want to pursue not only practicality, but also the quality of the ‘work’.” Looking back on his days as a teacher, when he earned a stable income but was extremely busy with work and his own creations, and the feelings he had when he decided to go independent, he expressed his strong determination to once again place importance on “making what I want to make.” The potential for new ‘works’ that lie hidden within himself and have yet to be created. To find this, ceramic artist Kunio Watanabe continues to hone his sensibilities today.

The post From the desire to “create” to vessels as “artworks” – Ceramic artist Kunio Watanabe first appeared on NIHONMONO.

The town of Hakushu in Hokuto City is surrounded by nature in all four seasons, with the Ojira River flowing through the town, fed by the Southern Alps and Kaikomagatake. It was living in Sweden that marked a turning point for the two designers and inspired them to establish their studio, Atelier Yokuto, here.

Products” born in our daily lives

Atelier YOKUTO, located in Hakushu, Hokuto City, Yamanashi Prefecture, is composed of Jun Furukawa, who handles everything from design to production, and Yuka Sato, who is in charge of graphic design for websites and packaging. They produce a wide range of products, including interior goods and furniture. “Our base is wood, but we hope to create products that can be used both indoors and outdoors,” says Furukawa, “by flexibly using materials suited to each purpose. The idea starts with “what we want,” and the design is refined through repeated prototyping to complete a “product. For example, a mini-sized cutting board can be used as a simple table for mountain climbing or camping, carried in a pocket or backpack, or used as a tray for cutting fruits and other items for daily use. It is one of the products that Furukawa, who loves the outdoors, came up with when he thought, “I want one of these. He says, “I first try to make things that I notice in my daily life and think are interesting. If I think it looks good, I brush it up and give it shape.

It has been nine years since they launched their brand, and 11 years since they moved to Hokuto City. They chose Hokuto City as the base of their activities because of its moderate distance from Tokyo and the familiarity of country life in Sweden, where they went to study abroad, and felt that “the climate and atmosphere are similar.

What they got in Sweden

They studied architecture at the same art university. After graduation, Mr. Furukawa worked as a carpenter at a traditional construction company before becoming independent and renting a factory in Sumida-ku, Tokyo, to produce custom-made furniture, but he felt his self-taught nature was limiting him. At the same time, his partner, Mr. Sato, had also been independent from a design firm for several years and felt stuck. Feeling the need to learn something new, the two decided to study in Sweden. Mr. Furukawa studied furniture design and Ms. Sato textiles at HDK University in Gothenburg, Sweden, for about four years. The fact that Sweden has a good education and social welfare system was reassuring to them when they were studying abroad and raising their newborn son.

Scandinavian furniture is attracting attention around the world, and Sweden is the birthplace of major furniture brand companies that have recently gained popularity in Japan. Swedish furniture is made of natural materials such as birch and oak, and is characterized by its excellent design and practicality. The comfort is that the design is smoothly incorporated into the product because of the rationality in terms of usability and the very close proximity between the designer and the production side. I saw the ideal I had envisioned for some time, and I thought again that I would cherish this relationship when I returned to Japan,” Furukawa recalls.

Ideas from traditional Japanese minka houses

In addition to the excellent design process of Swedish furniture, the brand concept was also influenced by a renewed awareness of the “goodness of Japan. The architecture and lifestyle of a foreign country made Mr. Furukawa rethink the “traditional Japanese minka” in depth. For example, the “tano-za-zukuri” style of traditional Japanese minka is usually divided by fusuma (sliding doors) or shoji (paper sliding doors), but by removing the partitions, the structure can be converted into one large space. In this way, the traditional Japanese minka is highly variable, and “I realized that the Japanese had a very rational way of living while flexibly accepting nature,” says Furukawa.

Most of the old Japanese furniture could be carried. If you put a chabudai on the floor, it becomes a living room for eating, and if you put a futon on the floor, it becomes a bedroom. Inspired by this, one of the concepts behind Atelier Yokuto’s products is that they are mobile and can be carried around.

The foldable table is easy to carry like a “chabudai,” and is also useful outdoors. Atelier JOKUTO’s products are a fusion of Scandinavian rationality and Japanese lifestyle, inspired by the traditional Japanese minka style that flexibly utilizes living space.

Newly proposed “Okamochi” in the modern age

The product they introduce is “Okamochi,” which they say “best embodies the brand concept. The traditional “Okamochi,” which was first used to carry meals during outdoor work such as rice planting and later used for delivery, has been redesigned in a modern way to store and carry daily tools. Its uses vary depending on the person using it, from serving meals at inns and hotels, including catering, to storing business tools for remote work, hair and makeup tools, sewing boxes, and more. The idea came about when he was living in Sweden and his children’s miniature cars were growing and he made them to help them learn to put them away. Mr. Furukawa recalls the time of development: “There are many boxes with handles in the world, but I was very impressed with Okamochi in Japan, where they were made to carry food.

With a focus on weight reduction, the product is made of paulownia wood, which has long been used as a lightweight material for chests of drawers and storage boxes, and aluminum for the handle. The Okamochi can be customized with a variety of options, including a shallow box and a lid that can also be used as a tray. The Okamochi is the basic module of Atelier Yokuto, and can be used in conjunction with other products. When we make small items, we design them with the idea that they will fit into this Okamochi. It’s fun to be able to use them in combination, because it opens up so many possibilities,” says Furukawa. Sato adds, “You can create unexpected combinations.

New Connections Expanded through “Monozukuri

Recently, they have been collaborating more and more with different industries. One such collaboration is with BEAU PAYSAGE, which produces unique natural wines in the Tsugane district of Hokuto City. BEAU PAYSAGE’s wines, which are made using natural farming methods and brewing with wild yeast, are distributed only to a limited number of markets and are not easily available. In addition to the quality of the wines, owner Eishi Okamoto’s philosophy of environmentally friendly, “hands-off” winemaking has won the hearts of connoisseurs in Japan and abroad, and is highly regarded. As part of BEAU PAYSAGE’s efforts, one barrel of empty wine barrels are upcycled into cutlery and other products every year, and this project has already been conducted for the fourth time. Okamoto said, “When you work alone, your ideas tend to be biased, so it is important to connect with various people.

The connection with Mr. Okamoto has further developed into a new collaboration with L’Effervescence, a French restaurant in Nishiazabu, Tokyo, on the occasion of its 10th anniversary. L’Effervescence, which incorporates traditional French techniques with Japan’s seasonal nature and culture to create cuisine with a unique aesthetic, is a restaurant that has earned three Michelin stars and is a hot topic among gastronomes. Chef Shinobu Namae’s order was for a knife rest that could hold both chopsticks and knives, using BEAU PAYSAGE wine barrels. Mr. Furukawa, who was actually involved in the design and production, said, “It is interesting and very instructive to make things while listening to people from different industries,” and then added, “I am now working in two directions: what I want to propose at Atelier Yokuto and what I want to make with someone through collaboration. This is one of the driving forces for me now,” he said, happily describing the positive impact on his work that responding to fresh ideas and needs has had.

Love the design

When the duo moved to Hokuto City, their brand had just been launched and was not well known, so they had to start from scratch and faced many difficulties not only in sales channels but also in procuring subcontractors and materials for production. Although Yamanashi seems to be rich in lumber resources, lumber mills in the prefecture handle softwoods such as cedar and cypress for building materials, but hardwood lumber suitable for furniture making is not commonly found. For this reason, they use domestic and imported timber from around Japan. In the past few years, a forestry company in Hokuto City, where the studio is located, has opened a logging market for woodworkers in the area, using wood from logs that had previously been used for chips or firewood, and logs are now available. However, the logs cannot be used in the production process in their raw, moist state, so they are made into boards at a sawmill in the city, and then trucks must be rented to and from Nagano Prefecture to dry the boards. There are many issues to be addressed in terms of efficiency and cost in the cycle from procurement of lumber to sawmilling, and Furukawa feels that it is necessary to establish a cooperative system with local competitors and lumber dealers. This movement is led by a woodworker friend of his, and is still working on the issues and expanding further.

In the production process, some parts are outsourced, but Furukawa feels that there are issues regarding the volume of production.

If we could increase the number of subcontractors, we would be able to devote more time to product development. After all, I love design.

Atelier YOKUTO’s concept of “monozukuri

I don’t want to define my style or vision too much. I hope that you can sense my intentions in the products I will create in the future.

This is typical of Furukawa, who is known for his flexible approach to manufacturing and ideas that come to him in the course of daily life. For example, the wall storage furniture, which allows users to freely create storage space by installing iron bars with hooks on the wall and hooking various sizes of boxes and shelves to them, was actually incorporated into his own residence, which Sato designed four years ago. The wall storage furniture was actually installed in Sato’s own residence, which he designed and built four years ago. “Actually using the furniture has given me new ideas,” says Furukawa, who is enjoying the new idea of freely arranging his home space with furniture.

Products that come alive when used

I am not interested in making things that already exist, so I will only give shape to things that I feel are meaningful to make that have not yet been discovered.

Mr. Furukawa’s free and flexible ideas for new products based on his own life gave us a glimpse of the future possibilities of “monozukuri.

The two call Atelier Yokuto’s products, with their combinable modules and customizability, “furniture with the user’s participation. We want to create products that allow the user’s ideas and concepts to come to life freely,” they said. They design their products not by considering the “form” of the product, but by considering “devices” that do not hinder the possibilities of how the product can be used. When a product reaches the customer and is used in a way they did not intend, they feel happy that they have “communicated with the user through the product. Atelier Yokuto’s goal is not to own things, but to design products that enrich people’s lives through their use. We are sure that we will be surprised by the unexpected hints hidden in their products.

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Tobo-kamahachi is located in a mountain forest at the foot of Mount Kaikomagatake, the northernmost peak of the Southern Alps. Mutsumi Ohashi, a potter, kneads clay, chops wood, and fires a traditional “makigama” (firewood kiln) to create his works. What is the charm of pottery that changes its appearance and texture by “firing”?

Anagama,” a kiln that has been handed down from generation to generation

In Mukawa-cho, Hokuto City, Yamanashi Prefecture, surrounded by nature with a view of the Southern Alps, red pine trees used for wood-fired kilns grow in abundance. Mr. Ohashi, a potter, uses a type of wood-fired kiln called anagama. The anagama has a single chamber for firing pottery, whereas the noborigama has multiple chambers that gradually rise in height. Anagama kilns have a longer history than climbing kilns, which were developed for more efficient mass production. Today, gas kilns and electric kilns, which are superior in terms of operation and temperature control, are widely used, but Mr. Ohashi was attracted to anagama because of the “firewood.

The Unexpected World of Ceramic Art

After moving from Sendai to Tokyo to attend university, Mr. Ohashi joined a club called the “Yakimono Ceramic Art Society. He says, “I was never interested in ceramics,” but his image of ceramics was overturned when he visited a ceramic artist working near the university. Although it was an artistic activity, the majority of the work was actually physical labor, such as chopping wood and chopping firewood with an axe. As he helped with the work himself, he recalls, “The simplicity of the work became interesting. Before he had the desire to create works of art, he decided that he wanted to chop wood and build a wood-fired kiln, which led him to begin pottery making in earnest.

Charm of the Anagama Kiln Facing the Flame

It takes about four days to fire the anagama kiln. During this time, he and his wife, whom he met at a pottery-making workshop at the university, take naps at their home adjacent to the kiln and work together. In a typical wood-fired kiln, the temperature is raised from 1,230 to 1,280 degrees Celsius, but Mr. Ohashi keeps the temperature at about 1,180 degrees Celsius. Mr. Ohashi’s clay cannot withstand higher temperatures and will melt or break. Compared to climbing kilns, which use heat more efficiently, anagama kilns are said to be more difficult to control temperatures, but Mr. Ohashi says, “I can get a more realistic idea of the chemistry of the clay. In the anagama kiln, ashes fly off and adhere to the vessels, melting together and giving them a rugged, rock-like texture. The individuality of each vessel is also affected by the way the wood is packed and arranged.
The inability to uniformly adjust the temperature and flame makes for an interesting and unpredictable expression. Every time I burn the wood, I have new questions and ideas about what to do next,” he says.

The expression of pottery produced by anagama kilns

Ohashi’s works fired in the anagama kiln include tableware, sake cups, vases for single flowers, and many other items. Ohashi’s creations, which are “easy to use in daily life rather than highly artistic,” are increasingly being sold at restaurants in Hokuto City, and are gradually gaining recognition through word of mouth among chefs and customers. His works are sold to the general public through galleries and online stores, and recently, inquiries from social networking sites have been increasing.
Most ceramic works are glazed with “yuyaku,” a glaze that gives the surface a glassy sheen, but Ohashi’s signature technique, yakishime, does not use glaze in order to bring out the natural color and texture of the clay. In contrast, some pieces use “ash glaze,” a glaze made by refining the ash produced during the yakishime process, which produces unique colors ranging from brown to gray, depending on the state of the naturally occurring ash. The fun part is that the clay changes its texture to look like stone or rock during the firing process.

Introduction of kerosene kilns

In addition to the anagama kiln, which is fired two or three times a year, a new “kerosene kiln” was introduced around 2022. He says that he decided to try a kerosene kiln, which he had never experienced before, while his exhibitions were not going as well as he had hoped due to the new Corona. Ohashi’s quest, which until then had been based on his repeated inventive attempts to change clay and firing methods in a wood-fired kiln, entered a new phase with the change of kilns.
Compared to gas or electric kilns, kerosene kilns are said to be inferior in terms of firing uniformity. To take advantage of this point, he has devised a kiln that is arranged in the same way as an anagama, so that the finished product is unevenly distributed depending on the temperature difference and the way the flame flows. Because the charcoal does not explode, the kerosene kiln, unlike the anagama kiln, produces a matte finish. The differences that show up in each kiln give each piece its own character,” he says. Ohashi, who tried using a kerosene kiln by hand, says that he realized once again the difference in the finished product that results from changing kilns.

Continue to discover new

When I am immersed in the production process, my vision inevitably narrows, and the distribution of clay and the contours of the work tend to be more to my liking,” he says. In such cases, he refers to the reactions of customers when they see his work. He says that the feedback, which comes from a different perspective than that of the creator, encourages him to broaden the scope of his work. Through regularly exhibiting at craft fairs that attract many visitors, such as the “Daigahara Shukuichi” held in Hokuto City’s Hakushu Town, he has come to be able to discern what sells and what doesn’t. “I have been a potter for more than 20 years, but I have never been able to sell my work. Even after more than 20 years as a potter, he says, “I try not to limit my tastes too much and make different discoveries. I listen to customers’ feedback and make use of it. Repeating such a process is what makes it worthwhile,” says Ohashi.

Make a vessel “the way you want it”.

Mr. Ohashi says that the more he continues to create, the more questions arise from all perspectives. Currently, he focuses on “clay” and “firing. He says, “Even if you use the same clay, depending on how you fire it, the original flavor of the clay and the color of the firing will change. That is what I want to pursue. While Yamanashi Prefecture is rich in firewood resources, not much clay is mined there.

Continuous trial and error, and beyond

If I had to face all the questions that arise one after another, it would probably take me 10 or 20 years,” smiles Ohashi. While he is passionate about anagama, he is always thinking about the possibilities of expression in pottery.
Clay becomes harder and tighter when it is fired, and is reborn in a different form,” he says. Rather than wanting to tell someone about the process, I want to know about it myself.
The expression of pottery changes depending on the kiln and firing method. We can’t take our eyes off of Mr. Ohashi’s new creations, which are the result of his insatiable quest.

The post Chopping wood and lighting a fire. The ever-changing expression of the clay at “Tobo Kamahachi”. first appeared on NIHONMONO.