Oji Holdings traces its roots to the “Paper Manufacturing Company,” established in 1873 through the efforts of Eiichi Shibusawa—an industrialist often referred to as the “Father of Japanese Capitalism” who founded Japan’s first bank and laid the groundwork for a wide range of industries, including railways, insurance, and paper manufacturing—and boasts a history spanning 150 years. The company owns approximately 190,000 hectares of company-owned forests—among the largest in the private sector in Japan. For the past 100 years, it has been planting trees and nurturing forests in Kuriyama Town, Hokkaido, and continues to engage in forestry with a vision toward harvests 100 years from now.

A 150-year legacy of determination to see things through, inherited from Eiichi Shibusawa

Located in central Hokkaido, Kuriyama Town in Yubari District is a town where forests cover about half of its total area. It once flourished alongside the heyday of the Yubari Coal Mine, and is also famous for the fact that Hideki Kuriyama, former manager of the Nippon Ham Fighters, established a youth baseball field here named “Kurinoki Farm” after himself, and has been fostering community ties for over 20 years. In the mountainous region of this town, a vast forest stretches out amidst a snowy landscape as far as the eye can see. This is a company-owned forest held by Oji Holdings (hereinafter Oji HD). Tracing its history back, it leads to 1873, when Meiji-era industrialist Eiichi Shibusawa was deeply involved in establishing a paper manufacturing company. At that time in Japan, washi (traditional Japanese paper) was the mainstream, and Western-style paper—which could be mass-produced using Western techniques—did not yet exist. Producing it with their own hands was an indispensable challenge for supporting publishing and newspapers to widely disseminate information, and for advancing the nation’s modernization. Although the company faced a difficult start with continuous losses, Shibusawa did not give up. That “never-give-up” spirit has become the unshakable foundation of the company, which has continued for 150 years.

We grow our own ingredients

When the company was founded, rags were the raw material for paper. Later, as civilization advanced and demand for paper continued to grow, the company developed a manufacturing process to produce paper from wood in 1889. Since the 1930s, the company has been committed to forest cultivation to ensure a stable supply of raw materials for the future. Today, the company’s forests in Japan cover approximately 190,000 hectares—roughly the same as the total area of Osaka Prefecture—making it the largest such operation among private companies in the country. The company focuses on planting, cultivating, and harvesting trees that have traditionally grown wild in each region—such as Japanese white spruce and larch in Hokkaido, and Japanese cedar and cypress on Honshu. Tetsuhiko Ogasawara and Yu Sato of Oji Forest & Landscape are responsible for managing this forest in Kuriyama Town, Hokkaido.

Business enriches the forest

The reason the company continues to maintain its forests is simple: “Those who use wood have a duty to plant trees.” This single principle has given rise to an endeavor that nurtures forests, protects water sources, and benefits agriculture downstream. As the forests thrive, the water becomes clearer, and these benefits extend to agriculture and the sea (fishing) downstream. Although these effects cannot be proven with hard numbers, “I believe they do exist”—that is their genuine conviction. The fact that a rich natural environment awaits at the end of their business endeavors has been quietly proven by the passage of 150 years.

In a winter forest where temperatures drop to minus 20 degrees, the harvest is in full swing

In the company’s company-owned forests in Hokkaido, the harsh winter is actually the peak season for harvesting. It is precisely during Hokkaido’s winter—when temperatures drop below freezing and deep snow accumulates—that the conditions are ideal for harvesting high-quality timber. There is a practical reason for this, one unique to the northern climate.

Winter forests produce the finest timber

In winter, trees enter a dormant state and their internal moisture content decreases. While cutting a tree in summer causes sap to gush out, a winter tree retains a tight grain structure, dries quickly, and yields high-quality timber that lasts longer. Furthermore, sub-freezing temperatures freeze the ground, and accumulated snow acts as a cushion, allowing heavy machinery weighing dozens of tons to drive in without damaging the soil. Since frozen ground also makes it easier to slide and transport logs, winter is the ideal season for forestry. “Since trees store moisture, it’s better to harvest them in winter when they’re dormant and dry.” Mr. Sato and his colleagues speak naturally about this wisdom unique to the northern regions.

The expert’s eye—something machines can’t replicate

They are, so to speak, modern-day “lumberjacks.” Operating heavy machinery deep within snow-covered forests, they have a complete grasp of the area’s water flow and the balance of its vegetation. “You mustn’t cut here. If you cut here, the water will dry up.” As if speaking these words, they make decisions based on their senses—honed by years of experience—and determine which trees to harvest today while envisioning what the forest will look like a hundred years from now. Although the introduction of state-of-the-art machinery has dramatically improved safety and efficiency, in the end, it is their keen eye that determines the forest’s future.

From log to finished product in one minute: A “waste-free” cycle driven by industry

What were once sites where workers risked their lives walking up slopes with chainsaws in hand have now become highly mechanized. As safety has improved and it has become easier for younger generations to enter the field, signs of change are beginning to emerge in the previously severe labor shortage.

The Harvester’s Job: Turning Trees into Logs in Just One Minute

The harvester—a piece of heavy machinery that handles everything from felling to delimbing and log extraction—symbolizes this mechanization. Its onboard computer instantly assesses the tree’s curvature and diameter the moment it grips the trunk, calculating the optimal number of cuts to maximize value. With a sound of snow being kicked up, the tree is trimmed to the specified length in less than a minute. This is an essential innovation for working safely with a minimal crew, and even the tips of the remaining branches are utilized as biomass fuel, ensuring that forest resources are used to the fullest.

The demand for paper is growing worldwide

In this way, the timber harvested from the forest is used as building materials and furniture, while lower-quality wood unsuitable for lumber is turned into wood chips and transformed into various products, including paper, corrugated cardboard, and biomass fuel. With the advance of digitalization, it is certainly true that the role of paper is changing. However, while demand for information media such as newspapers is shrinking, this segment has never accounted for a significant portion of Oji Holdings’ sales to begin with. Rather, demand for everyday uses rooted in daily life—such as “wrapping” and “wiping”—continues to grow globally, and the two executives say, “Far from disappearing, demand for corrugated cardboard and hygiene paper is actually increasing.” The expansion of online shopping is further driving this demand. They produce paper, recycle it, and turn it back into corrugated cardboard. “There aren’t many companies that handle the entire process to that extent,” the two agree. Their system, which completes the entire cycle—from raw material cultivation and procurement to manufacturing and recycling—in-house, is a business model that is rare even on a global scale. Currently, they are also engaged in research to produce plastics and pharmaceuticals from wood, aiming to transform forest resources into future growth industries.

A Relay for the Next 100 Years. A Baton That Never Ends

Currently, many forests in Japan are left untended. The main reason is that efforts to keep forests healthy do not immediately translate into profits. The fact that companies like Oji Holdings continue to take a serious, business-oriented approach to forestry is helping to underpin the entire Japanese forestry industry.

Forests as a business protect Japan

Planting a single sapling won’t change society overnight. However, continuing to plant on a scale that allows for sustainable operations has the power to change the future. Nurturing trees, harvesting them responsibly, and keeping the economy moving will ultimately lead to leaving a healthy environment for the next generation. “We hope to pass these forests on to the next generation, so they can continue to build even better forests,” say the two, their words quiet yet powerful. A firm resolve lies behind their words. Behind this lies the reality facing Japan’s forests. Unmanaged forests eventually become overgrown, water sources are lost, and the risk of landslides increases. However, in reality, due to a shortage of workers and an aging population, many forests are left unmanaged and neglected. Trees are a renewable resource that humans can create through their own will. Furthermore, manufacturers around the world are accelerating efforts to shift from petroleum-based manufacturing to biomass, including wood. Oji Holdings’ continued commitment to forestry as a business is, in essence, a commitment to protecting Japan’s natural environment itself.

The trees we plant today will be there for our grandchildren

The trees planted today won’t be harvested until far in the future—in our grandchildren’s generation. For Japanese cedar and cypress, it takes 40 to 50 years; for Hokkaido fir and larch, 60 to 70 years. It will be our grandchildren’s generation that harvests the saplings we’ve planted. “We’re harvesting what our predecessors planted, and we want to entrust what we plant now to the next generation 100 years from now,” the two say. Their words convey a determination to persist single-mindedly in work that will not be completed within their own lifetimes. “Our mission is to nurture the forests, research the various materials they can provide, and deliver them to society.” As these words suggest, the vision that Eiichi Shibusawa envisioned 150 years ago is still alive today. They are carrying on this never-ending “100-year relay” as a business. Through this endeavor, they are passing on Japan’s prized abundance of water and greenery to the future, just as it is.

The post Working Toward a Forest for the Next 100 Years, Today and Every Day. “Oji Holdings” / Kuriyama Town, Yubari District, Hokkaido 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.

The encounter between Okinawa’s lush soil and the coffee plant, and the bonds formed with fellow coffee lovers. ADA Farm creates special coffee beans packed with a passionate story, carefully cultivated over more than a decade. This richly flavored coffee, distinctive to Okinawa, has become a rare treasure that attracts keen interest from roasters and collectors around the world.

Japan’s First Specialty Coffee, Grown in Lush Forests

Located in the Yanbaru Forest in northern Okinawa Prefecture, “ADA Farm” is the first farm in Japan to receive specialty coffee certification. This designation is awarded only to beans that achieve an extremely high score of 80 or higher out of 100 in a cupping (tasting evaluation). During the evaluation, quality is assessed against strict criteria across 10 categories, including “clean cup,” “distinct acidity,” and “sweetness.”

Despite being situated in an environment that is far from ideal for cultivation, the fact that the beans’ flavor and aroma potential have reached global standards is the culmination of CEO Taijiro Tokuda’s relentless passion. This remarkable achievement has now become a source of great hope for the entire Okinawan coffee industry.

“Mr. Tokuda is constantly evolving. Even after gaining global recognition, he continues to take on new challenges, and that is reflected in the quality of his beans,” says Yoshiyuki Nakamura. Nakamura won the 2017 Japan Coffee Roasting Championship (JCRC) and subsequently represented Japan at the 2019 World Coffee Roasting Championship (WCRC) in Italy, where he took second place in his debut appearance. He runs “Mame Pole Pole” in Okinawa City, Okinawa Prefecture, and is one of Japan’s leading roasters who loves ADA Farm’s beans.

Mr. Tokuda explains why he started growing coffee in Okinawa: “First, there was wonderful farmland here, and rich soil. Then, I encountered coffee as a plant. Furthermore, I met fellow coffee lovers in Okinawa. It was all a matter of fate, and before I knew it, I had come this far.”

With Okinawan soil and coffee

The ideal region for coffee cultivation is the tropical zone known as the “Coffee Belt,” which stretches between the Tropics of Cancer and Capricorn, centered on the equator. While Brazil, Ethiopia, and Indonesia are among the most well-known coffee-producing regions, Okinawa lies just outside the northernmost edge of this belt. With typhoons, cold winter temperatures, and acidic soil, it is by no means a “comfortable” environment for coffee.

However, rather than forcibly altering the environment through soil improvement, Mr. Tokuda chose a farming method that makes full use of the blessings and natural cycles provided by the mountains. Specifically, it is a groundbreaking farming method that preserves the surrounding virgin forests, cultivates crops within them, and avoids disrupting the natural forest cycle.

The climate of each year is directly imprinted on the beans’ character. For example, if there is plenty of rain in the summer, healthy fruit grows robustly; conversely, in years marked by drought or extreme temperature fluctuations, the beans’ vitality becomes concentrated.

Mr. Tokuda says, “The beans tell the story of what kind of year it was in Okinawa.” Drinking ADA Farm coffee is synonymous with reliving the sound of Okinawa’s rain and the warmth of its sunshine from that particular year. It is not merely a beverage, but a one-of-a-kind cup filled with a “record” of Okinawa’s nature.

We wait for them to ripen, then carefully hand-pick each berry one by one

The flowering season for coffee at ADA Farm typically runs from April to July. It takes 7 to 8 months from flowering for the fruit to grow and fully ripen, with the harvest season lasting from December to April. Because coffee flowers have a long blooming period, the harvest window is correspondingly broad; however, coffee generally blooms more readily in climates with distinct wet and dry seasons. In Okinawa, however, the climate is often unstable, which can prevent the coffee plants from triggering flowering, resulting in a longer harvest period. Since coffee beans require not only the growth of the pulp but also the development of the seed, we carefully monitor the condition of the seeds to determine the optimal moment for harvest. It is said that the appearance and condition of the fruit when fully ripe vary depending on the weather leading up to harvest and individual differences among the coffee trees. During harvest, we verify the ripeness with our own eyes, check the texture, taste the fruit, and hand-pick it. This meticulous care is what leads to the quality of ADA Farm’s coffee.

“I’m not doing anything special,” says Tokuda, yet he nurtures each and every coffee cherry with meticulous care.

Processing refers to the steps of extracting the seeds (coffee beans) from the harvested cherries and drying them. Coffee beans harvested at their peak are carefully assessed for their unique characteristics, then hulled, dried, and fermented. The processing methods at ADA Farm are never the same.

“They’re the same beans until harvest,” says Tokuda. “But through processing, we can bring out a surprisingly diverse range of flavors. That’s why I want to hand them over to the roaster in a state where their potential has been maximized.” His goal is not to define the beans’ character as a farmer, but rather to expand the range of possibilities each bean holds through the ‘translation of flavor’ that is processing.

Furthermore, the varieties they cultivate also have their own distinct characteristics. “New World No. 1,” which bears red fruit, is characterized by a vibrant aroma and bright, high-quality acidity. On the other hand, “New World No. 2,” with its yellow fruit, stands out for its robust sweetness, toasty notes, and rich body.

The post “ADA Farm”: World-Renowned Okinawan Coffee Grown in the Yanbaru Forest / Kunigami Village, Okinawa Prefecture first appeared on NIHONMONO.

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

Why Ehime Prefecture Is Truly the Citrus Capital 

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

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

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

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

From a mere luxury item to a subculture

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

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

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

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

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

To bring the appeal of citrus fruits closer to you

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A unique sweetness nurtured by “Five Suns”

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

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

Strict standards and taste testing by artisans

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

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

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

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

All-weather multi-drip cultivation that withstands climate change

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

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

A groundbreaking technology with the potential to enable sustainable agriculture

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

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

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

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

Expanding Our Product Line to Support the Brand

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

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

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

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

“Pachi Pachi” Craft Gin Made with Maana Mandarin Oranges

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

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

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

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

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

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

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

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

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

Matching experienced farmers with new farmers

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

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

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

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

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

With its vivid and bold colors and patterns, Ryukyu Bingata is a dyeing technique passed down in Okinawa since ancient times. Bingata was originally crafted and presented as garments for the royal family of the Ryukyu Kingdom. Toma Chinen, the 10th-generation head of the Chinen Bingata Research Institute in Naha, engages with Bingata every day while infusing it with a fresh perspective.

One of the three leading families of Bingata, which used to present Bingata textiles to the royal family

Bingata is a traditional craft unique to Okinawa and the only form of dyeing practiced there. In ancient times, it was produced exclusively as clothing for the royal family of the Ryukyu Kingdom, but today it is widely enjoyed in the form of kimonos, obi sashes, and accessories. Originally, it was written in hiragana as “bingata,” but it is said that during the Showa period, it came to be written in kanji as “Bingata.”

During the Ryukyu Dynasty, which lasted until about 120 years ago, Bingata was crafted as a tribute to the royal family by the three Bingata master families: the Shirogane family, the Takushi family, and the Chinen family.

The Decline and Revival of Bingata Due to the War

However, with the abolition of the feudal domains and the establishment of prefectures, as well as the invasion of Satsuma, the monarchy was dismantled, and the work that had been passed down through generations for some 450 years came to an end. Although they could no longer sustain it as a livelihood, some families continued to produce Bingata after the Meiji era, determined not to let the technique die out. The Chinen family, while making a living through other work, continued to carefully preserve their Bingata tools and materials. As time passed, during Okinawa’s postwar reconstruction in the Showa era, Fuyuma’s grandfather, Sadao, learned the Chinen-style Bingata from a relative who had kept the tradition alive and revived it as a family business.

Artisans began producing Bingata for Ryukyu dance costumes and souvenirs, reviving it as an Okinawan craft. Around 1972, orders began coming in from the mainland for use as Japanese-style clothing, bringing new vitality to the Bingata industry. Consequently, in 1984, “Ryukyu Bingata” was designated as a Traditional Craft by the Minister of Economy, Trade and Industry.

The 10th-generation successor to the historic Ryukyu Bingata tradition

The Chinen Bingata Research Institute is located in a workshop near Naha Airport. The current head of the institute, Fuyuma Chinen, studied graphic design in Kyoto and worked as a designer in Osaka before moving to Milan, Italy, to further his studies in art. There, surrounded daily by works of art and historic buildings that have stood the test of time, he realized, “I want to create things that endure rather than being consumed. I want to express my own world.” The Benibana craft, the family business he had always intended to inherit one day, perfectly aligned with the vision he had arrived at.

With that resolve in his heart, he returned to Okinawa, and his days of dedicating himself to Benibana at the Chinen Benibana Research Institute began. Returning home at the age of 22 was sooner than she had anticipated, but considering that honing her skills was her top priority, it was the best choice. However, shortly thereafter, her grandfather, who had been running the workshop, passed away suddenly, and within just a few months of joining the workshop, she found herself having to take over its management. Looking back, she recalls those years as a time when she was truly struggling.

Chinen has received numerous awards, including the Newcomer Award from the Japan Traditional Crafts Exhibition and the Japan Crafts Association in 2021. She currently serves as a director of the Ryukyu Bingata Promotion and Preservation Consortium and as vice director of the Ryukyu Bingata Business Cooperative.

The Process Behind Okinawa’s Unique Bingata

Bingata is created using stencils carved with the designed patterns. The stencil is placed on the fabric, and resist paste is applied over it. After drying, pigment is applied in layers to the areas not covered by the paste. Next, resist paste is applied to the dyed areas, and finally, the base color is applied to the remaining areas. To set the colors, the fabric is steamed, rinsed, and dried to complete the process. While this is a general overview, there are actually more than 10 distinct steps involved in the process.

There are no strict rules regarding the fabric material, but silk and cotton are commonly used. Because there are no restrictions, a wide variety of dyeing techniques can be employed.

This beautiful indigo-colored pattern is called “Amefibana.” In the Okinawan language, this means “rain flower,” and the design features morning glories. The blue background is dyed with Ryukyu indigo. Ryukyu indigo is characterized by a deeper, more intense blue hue than the indigo found on the mainland.

The background color is created using natural dyes derived from plants, while the pattern itself uses pigments; the vivid pigments are used to express the boldness of Bingata. Since the dye is water-soluble and penetrates deep into the fabric, it blends seamlessly with the base material, while the pigment adheres to the surface as particles, allowing for vivid colors. The contrast in colors, which leverages the distinct properties of each, is a key focus.

Chinen explains, “The pigment comes to the forefront, while the softer dye recedes slightly into the background. This creates a dynamic three-dimensional effect, resulting in a work with great depth.” She uses a variety of pigments and blends the colors specifically for each design.

When she returned to Okinawa and began working with Bingata in earnest, she was strongly motivated to create her own original designs that differed from her grandfather’s. While she did experiment with various approaches, she says that as she continued her daily work, she increasingly came to appreciate the ease of dyeing the traditional patterns passed down through generations and the beauty they exhibit when colored.

Since many people still love the classic patterns that have been popular for generations, she continues to create these historic designs. In addition, she consciously incorporates modern patterns that appeal to younger people, aiming to produce products that will be cherished for a long time as the times change.

This involves a process called “katazuke,” where a stencil is placed on the fabric and resist paste is applied with a spatula. The paste acts as a mask to prevent the dye from penetrating the areas covered, ensuring the pattern remains intact. The artisan scoops up the paste, spreads it evenly, gently peels off the stencil, and places the next one adjacent to ensure the pattern connects seamlessly. If the process is too slow, the paste dries too quickly and clogs the fabric, or the stencil may tear, leaving holes in the design. Chinen’s movements are fluid and smooth. She explains that when she first returned to Okinawa, she could only complete one roll of fabric per day, but now she can produce as many as 15 rolls a day.

The resist paste, made by hand from glutinous rice and rice bran, is mixed with blue pigment. Apparently, this enhances the color intensity when the fabric is dyed later.

“Color application,” the process of layering fine colors, is performed by holding two brushes simultaneously. Pigment is applied with a dipping brush, and then a rubbing brush is used to work the coarser pigment into the fabric to help it penetrate more easily. In the next step, to emphasize the design, color is applied further while blending with the brush to create a sense of depth.

There are several types of brushes, and the one used varies depending on the fabric. Many of the tools are handmade.

Every year, I take on the “Oboro-gata,” a major project that requires twice the effort

This kimono, named “Island of Falling Flowers,” is made using a technique called “oborogata,” in which two stencils with different patterns are layered and dyed together. Since this process takes twice as much time and requires a high level of skill, few artisans attempt it. Although it’s labor-intensive, Ms. Chinen loves this oborogata technique and often works with it. The fabric used is a thin silk known as “kakujou-nuno,” produced in the nearby town of Haebaru.

Growing the Bingata Fan Base Through Social Media

She also actively pursues collaborations with other industries, working on projects that combine Okinawan specialties—such as transferring Bingata patterns onto local pottery or incorporating Bingata designs into Awamori bottle labels. She believes this creates opportunities for people who aren’t interested in dyeing to discover the art, and vice versa.
Currently, Mr. Chinen is actively posting on social media. He shares content designed to spark interest in Bingata, such as videos showcasing the production process. He reportedly handles not only the posting but also all video editing himself.

Perhaps as a result, the number of visitors to the workshop continues to grow, and it seems that our social media posts are reaching younger generations across the country who were previously unfamiliar with Bingata.
I also frequently visit the kimono shops on the mainland that carry our products. While interacting with customers there, I’m able to directly hear about their preferences—which differ from those in my hometown of Okinawa—tailored to each specific region. I often bring these insights back to incorporate into my work.
Currently, about 10 people work at the Chinen Bingata Research Institute, ranging from seasoned artisans to young people who have come with the goal of becoming Bingata artisans, and they all work briskly at their respective stations.

Looking Toward the Future of Ryukyu Bingata

“It’s not about it being culture or tradition—it’s not something special. We’re continuing it as a profession. I believe that’s how it becomes part of our history and culture,” says Chinen. His words convey a sense of determination to look ahead to the future of Ryukyu Bingata and carry that responsibility.
“If it isn’t fun, you can’t keep it up, and because there are challenges, you don’t get bored and can take on new ones. I want to show my staff that I’m taking on these challenges myself, and I want to keep pushing myself to create a form of Bingata that fits the modern era,” he says with sincere conviction.
As he continues to pass down the craft to ensure Ryukyu Bingata’s ongoing development, he will likely continue to take on challenges with a light yet stoic spirit, brightly leading the way for the Ryukyu Bingata community.

The post Toma Chinen of the Chinen Bingata Research Institute, who creates works with an eye toward the future of Ryukyu Bingata / Naha City, Okinawa Prefecture first appeared on NIHONMONO.

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

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

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

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

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

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

The rich, delicious flavors nature provides

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

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

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

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

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

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

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

Weaving and Iyogassuri: A Meeting in Her 50s

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

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

The charm of kasuri, born from time and effort

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

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

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

Shaping Curiosity, Meticulously Woven

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

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

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

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

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

Challenging Traditional Craft Exhibitions and Passing on Iyo Kasuri

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

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

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

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

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

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

MONKEY MAJIK, one of Japan’s premier rock bands, continues to shine in the music scene. Their vocalist and guitarist, Maynard Plant, and drummer, TAX, are now dedicated to beekeeping. They harvest honey in Tomiya City, Miyagi Prefecture, where they’ve lived for over 20 years. They sell their raw honey at a shop called “EIGHT CROWNS” inside the city’s central tourist exchange station, “Tomiya-do.”What led these musicians to become beekeepers…?

Beekeeping in Tomiya, inspired by childhood memories

Tomiya City, Miyagi Prefecture, is a town of over 50,000 people adjacent to northern Sendai City, once prosperous as a post town. In recent years, it has gained attention as a “child-rearing friendly town,” attracting young families. Living in Tomiya for over 20 years are MONKEY MAJIK’s Maynard Plant and drummer TAX, aka Takuya Kikuchi.

These two founded the honey company “EIGHT CROWNS” in 2018.

The world of beekeeping they encountered in Canada

The background to this lies in Maynard’s childhood in Canada. As a teenager, he sometimes helped his uncle, who was a beekeeper. He learned firsthand about nurturing the tiny lives of tens of thousands of honeybees, how their pollination allowed crops to bear fruit, and how people then enjoyed that bounty. It was a time of experiencing the cycle of nature and the role each living thing plays. That memory stayed with him, becoming a desire to “try it myself someday.”

An encounter in Tomiya City connects the dots

Amidst this, Maynard, who was serving as a navigator on an NHK local program, met Tomiya City Mayor Hirotoshi Wako. Mayor Wako was interested in “urban beekeeping” conducted on building rooftops and was practicing it on the roof of Tomiya City Hall. Sensing something fateful in this, Maynard decided, “Tomiya is a town promoting beekeeping, so I should try it too!” and began beekeeping with TAX.

The Beginning: “Eight Beehives”

They started by placing seven Western honeybee hives and one Japanese honeybee hive—eight hives total—in the lush green area called “Nanatsumori” in central Miyagi Prefecture.The “EIGHT” in the company name EIGHT CROWNS comes from this. Maynard explains that “CROWNS” was chosen because he wanted a word showing respect for the queen bee, adding with a laugh, “Later, I realized ‘EIGHT’ is the Japanese word for the number eight (hachi), so it was perfect.”

Creating Unique Honey Through Terroir-Driven Beekeeping

Rather than migratory beekeeping, which moves hives in search of flowers, Maynard and TAX wanted to harvest honey from their own terroir. They planted Japanese honeysuckle (Lonicera japonica) as a nectar source. Known for its distinctive blue-purple flowers, Japanese honeysuckle is considered one of the best nectar plants for honeybees. Collecting its nectar produces a golden, fruity honey. Characterized by a light sweetness, it pairs well with tea, yogurt, and cheese.While the honey yield is never large, their sole focus is on quality.

While they may expand their collection sites, they have no plans to move their hives. The flavor of the honey subtly changes each year due to the climate and natural environment. They find value in these differences, seeing them as the unique terroir of this land, offering distinct tastes to enjoy.　

The “WILD FLOWER” flavor born in Tomiya

Given Tomiya’s location, collecting monofloral honey from a single type of flower is difficult. Instead, they harvest nectar from mountain cherry, acacia, wisteria, and others, packaging it as “WILD FLOWER.” Meanwhile, they source and sell monofloral honeys from beekeepers across Japan who share their scale and dedication.

Using this single-flower honey (acacia), the company focuses on producing Infused Honey, where ingredients like habanero peppers, lemon, and saffron are steeped in honey. Beyond its versatility in cooking, it’s gaining attention overseas for its potential health benefits, such as boosting metabolism and enhancing immunity.

Challenging the World from Tomiya with Honey Wine (Mead)

Furthermore, they brew “mead” from WILD FLOWER. Mead is an alcoholic beverage made by fermenting honey, water, and yeast. It is said to be the world’s oldest alcoholic beverage, even appearing in mythology.

Developing Mead with Tohoku Breweries

The impetus for mead brewing came when TAX, during MONKEY MAJIK’s Canadian tour, saw an in-flight magazine feature on mead and proposed, “We should definitely try this.” After returning to Japan, Maynard and TAX sampled meads worldwide and decided to commission brewing with a sake brewery in the same Tohoku region.Only about 20-30 companies in Japan brew mead, and this company is the sole producer in the Tohoku region. The rarity lies in the very environment capable of producing mead. Leveraging fermentation techniques honed in sake brewing, they craft mead that preserves the honey’s natural aroma and flavor. The range extends from sweet to dry styles. Maynard and TAX tasted it and found it delicious, which was the deciding factor in entrusting them with the brewing.

A dry, fruity cup born from sake yeast × raw honey

EIGHT CROWNS’ mead uses sake yeast as an ingredient. Combining watered-down raw honey with sake yeast results in a slightly tart, dry finish. After much experimentation, the president of Mine no Yuki Shuzo settled on this yeast, producing a mead that’s fruity like Muscat grapes and easy to drink.

Maynard laughs, saying of his mead, “I never imagined it could taste this good! I’m incredibly satisfied.” Just as grapes determine wine’s flavor, honey dictates mead’s taste. It goes without saying that EIGHT CROWNS’ exceptional honey creates exceptional mead.

Worldwide Recognition

EIGHT CROWNS’ mead, named “WILDFLOWER TRADITIONAL MEAD,” won a gold medal at the 2023 BTI World Mead Challenge, a globally recognized American mead competition. It boasts an exquisite balance of acidity and sweetness, with a clarity reminiscent of sake. Though Maynard was initially hesitant about brewing mead,his pursuit bore fruit, driven by the desire to “pair it perfectly with various dishes and deliver the natural bounty gathered by bees directly to the table.”

His goal is to create “the world’s best mead” and connect beekeepers globally.

When asked about his future dreams, Maynard shared: “First, I want to build my own meadery.” He also aims to create a mead that surpasses even their highly acclaimed current offerings to become the “world’s best,” and to revitalize the local community through mead.

He also smiled as he shared his vision as a beekeeper: to become a “hub” connecting beekeepers not just in Japan, but around the world.

EIGHT CROWN honey is unheated and minimally filtered, preserving abundant natural vitamins, minerals, and enzymes. This is because they want to deliver the flavor and nutrients of the nectar gathered by bees from flowers with as little loss as possible. This also connects to expressing Tomiya’s terroir.

Born in a small town in nature-rich Miyagi Prefecture, this honey and mead, recognized worldwide, should bring richness and vitality to everyday life. We invite you to experience the “finest honey and mead” born in Tomiya with all five senses.

The post The goal is to create the world’s best mead in both name and substance. Maynard Plant, Representative of “EIGHT CROWNS” / Tomiya City, Miyagi Prefecture first appeared on NIHONMONO.

Curves softly illuminated by light. Their texture evokes the moment a flower blooms or fabric layered with supple grace, making you want to reach out and touch them. Lacquer artist Fumie Sasai explores “shapes you can’t help but want to touch,” creating unseen forms while conversing daily with lacquer.

Shapes Made of Lacquer That Invite Touch

In her home and studio in Mukō City, Kyoto Prefecture, the lacquer drying cabinet, the “lacquer room,” holds pieces with a mysterious presence. Soft, airy swells, or forms as plump and juicy as ripe fruit. Their surfaces catch the light with a moist luster, tempting you to bring your fingertips closer.

Sasai’s three-dimensional lacquer works are not completed with a single coat. By layering lacquer and polishing after each application, she refines subtle irregularities to create an even, uniform surface. Furthermore, lacquer only hardens in spaces with controlled temperature and humidity, requiring time for drying. Only through this repeated process, layered many times over, do these smooth textures and soft forms emerge.

“I decide the coating and form while imagining the sensation when touched,” explains Sasai’s creative approach. As he coats, polishes, and coats again, the lacquer’s thickness builds into volume, and the precision of the polishing creates smoothness. The forms nurtured bit by bit carry the layered time Sasai spent engaging with the lacquer, confirming its state with his fingertips.

He chose “works that won’t lose their form”

Sasai was born and raised in Yao City, Osaka Prefecture. Growing up in a working-class neighborhood with a father who was a company employee and a mother who was a homemaker, his family had no particular connection to the arts. He became drawn to the path of art in high school and went on to study at an art university in Kyoto.

“I painted in high school, but as I continued, I started thinking maybe I was better suited to creating forms within my hands rather than working on a flat surface. What about becoming a ceramicist? I jumped into an art university with the mindset of ‘Let’s just try it first.'”

Upon entering university, he first experienced dyeing, ceramics, and lacquerware. Among these, lacquer captured Sasai’s heart. “With ceramics, the pieces shrink when fired, which I found a bit sad,” he explains. Conversely, lacquer gains fullness and substance with each layer applied. He was drawn to how its expression changes with each application, allowing him to slowly decide the form while observing these transformations.

Forging a path no one has walked before, with my own hands

Having chosen lacquerware, Sasai initially envisioned a future crafting vessels in a workshop. Yet as she worked, she transcended the boundaries of vessel-making, pursuing forms that were true to her own sensibilities. Following her heart led her to lacquer objects—a medium where she could freely explore the shapes she loved.

At that time, the world of lacquer art was still dominated by practitioners working as “craftsmen” making vessels and Buddhist altarware. Precisely because of this, he reasoned that by deliberately pivoting into the realm of art, he could forge a new path where no one had ventured before. This realization became the major catalyst for steering his course toward becoming an artist and beginning to explore his own unique form of expression.

Dialogue with nature and people close at hand became the source of creation

Since encountering lacquer, Sasai has consistently engaged with “form.” This journey has also been one of continually seeking how to entrust the sensations arising in his heart to lacquer. His work reveals a core strength that enjoys time-consuming processes and steadfastly upholds his aesthetic sensibility.

Plump forms of life born from everyday observations

One of Sasai’s representative series is “Bilabdo.” Its rounded, soft forms evoke the appearance of infants and children—the period when humans receive the most affection—and inevitably bring a smile to the viewer’s face. These plump contours succinctly express Sasai’s theme of “forms you want to touch.”

Another representative series, “Sky Fish,” beautifully harmonizes the characteristic plump curves and overlapping ridges found in Sasai’s work.

These works share a common thread: they convey Sasai’s curiosity, focused on small, everyday observations and the nature close at hand. The freshness of a child’s skin, the suppleness of a fish swimming on the water’s surface. The charm of Sasai’s work lies in how these forms of life are expressed through the unique, deep texture of lacquer.

Time spent with students fuels creative energy

Alongside his own artistic practice, Sasai has served as a professor at Kyoto City University of Arts, teaching students the creation of three-dimensional lacquer works. He finds the time spent interacting with the younger generation at the university to be a significant stimulus for himself. “If I had devoted myself solely to creating, I might have hit a wall. Interacting with the students provides balance and gives me energy.”

Dialogue with the younger generation broadens his perspective, enriching Sasai’s creative process.

A new world opened through collaboration

“Collaborations” with artists from different fields have also been a major catalyst for expanding Sasai’s expressive range. Encountering materials and approaches entirely different from lacquer has given birth to new possibilities.

A prime example is the collaborative work “Boat of the Sun” with bamboo craftsman Tanabe Chikunsa IV.While Sasai used blue lacquer to express the sun floating on the sea surface with a sharp, circular form, Tanabe wove bundles of bamboo into the blue ring, capturing the moment sunlight spreads across the ocean. The fusion of lacquer’s sharp lines and bamboo’s softness creates a new charm in craftsmanship.

The collaborative work “Glass Fish” with kirikane glass artist Akane Yamamoto is another piece where the two artists’ individualities merge.”Kirikane glass” is a technique original to Yamamoto Akane, where patterns are drawn using thin, thread-like strips of gold leaf, which are then sealed within molten glass. Inspired by the glass eyes Yamamoto creates, Sasai gave birth to a vivid blue fish that seems to leap across the water’s surface.

“Through collaborations with various craftspeople, I’ve seen worlds I never could have reached working alone. Of course, it benefits me personally, and I can pass it on to my students, so I believe it’s creating double or triple the positive impact.” These collaborations with diverse artists also became an opportunity for Sasai to unravel the unconscious assumptions she had unknowingly formed about “how lacquer should be.”

Freer, farther. Believing in the potential of lacquer.

Sasai’s works have been exhibited in museums, solo shows, and various themed exhibitions. Additionally, her pieces are permanently displayed as part of the artwork collection at The Ritz-Carlton Kyoto. It’s a special space where visitors can encounter her creations during their stay or dining experience.

In recent years, his new challenges showcased in the 2024 solo exhibition “Gentle Breeze, Sudden Thunder” were recognized, earning him the Minister of Education, Culture, Sports, Science and Technology New Artist Award in the Fine Arts category at the 75th Arts Selection Awards. Furthermore, he will realize his first solo exhibition in the United States in the summer of 2025, significantly expanding his creative horizons.

“I truly believe Japanese crafts possess exceptional quality. That’s precisely why increasing opportunities for more people to see them should spark greater interest overseas. In fact, international visitors do come to see my work, and I believe the potential is immense.”

In 2026, an exhibition introducing Japanese lacquer art is scheduled at the Victoria and Albert Museum in London, UK, and Sasai’s work has been selected for display. As an individual artist, she stands at the gateway to introducing Japanese craft to the world. Her determination and hope for the future were palpable in her words.

What new encounters will come next, and what new expressions will emerge? The works born from these encounters will surely stir our hearts once again.

The post What I seek is “a form that invites touch.” Lacquer artist Fumie Sasai, who shapes the tactile essence of life / Mukō City, Kyoto Prefecture first appeared on NIHONMONO.