In Hirosaki City—where it is said there were over 100 blacksmith shops during the feudal era—the Nigara family is known as a “prestigious” blacksmithing lineage that has carried on a 350-year tradition since first being commissioned by the Hirosaki Domain to forge swords. The Nigara family’s philosophy, embodied in the motto “Fine craftsmanship speaks for itself,” continues to guide their blade-making to this day.

From Sword Smithing to Farming and Fishing Tools, and On to Kitchen Knives

Japanese swords are primarily made of tamahagane, a type of steel with a higher purity than ordinary iron. While Western swords “cut by striking,” Japanese swords “slice through”—this is the key difference. Japanese kitchen knives have inherited this sword-making technique.

The Nigara Blade Forge was originally located near Hirosaki Castle. In 1949, the fifth-generation master blacksmith, Mr. Nigara Kunitoshi, transformed the family blacksmith shop into a limited liability company and moved it to its current location. At that time, in addition to farming tools such as sickles and hatchets, the forge also produced blades used on fishing vessels for Pacific salmon and trout; however, as demand for these products declined, the company began manufacturing kitchen knives around 1965.

Meanwhile, Mr. Kunitoshi is known nationwide as a swordsmith and has been designated as a Prefectural Intangible Cultural Property. Sword-making reportedly continued until the sixth-generation head, Mr. Shun Nigara.

The 6th-generation owner who laid the foundation for the “Nigara” brand

To create high-quality kitchen knives, Mr. Shun established his techniques not only through a craftsman’s intuition but also by grounding them in academic research. He studied metallurgical engineering and various theories, leaving behind a legacy of modernized knife-making techniques. When he began producing and releasing the Japanese kitchen knife brand “Yoshihisa,” infused with the techniques and spirit he had cultivated over the years, its popularity soared. He laid the foundation for the “Nigara” brand. This was born from the spirit of the Nigara family, whose motto was “Quality speaks for itself.”

Furthermore, in 1974, he established a steel division specializing in construction materials and incorporated the business as a corporation, which led to the refinement of welding techniques.

Since Shun had no heir, his nephew, Toshihisa Yoshizawa, succeeded him as the seventh-generation head of the family. “The Shun I remember was a man of few words. During the ‘Uchi-hajime’ Shinto ritual held on the second day of the New Year, he would forge knives alongside my father,” says Tsuyoshi Yoshizawa, the current president and eighth-generation head of the family.

“The act of creating things and the craft of making blades are a culture. This craft is born from tradition—it was created by our ancestors—and we cannot let it die out.”

Mr. Yoshizawa has expanded the company’s product range to include custom-made kitchen knives tailored to individual users and outdoor knives. He is also the driving force behind preserving the Nigara brand and its spirit to this day.

Judging the browning while navigating through 24 steps

“Knives are made by combining two materials: jigane and tamahagane,” says Mr. Yoshizawa. This is done to compensate for the weaknesses of each material, but he explains that it takes as many as 24 steps to complete the process.

The process begins at the First Factory, where a special powder is applied to bond the two materials together, and the blade is then placed in a 1,200-degree furnace for about 2 to 3 minutes. Once the iron turns orange, it is removed with tongs; Mr. Yoshizawa explains that judging the color of the heat at this stage is the most difficult and crucial step.

The iron is removed from the furnace and gradually shaped into a knife by hammering and stretching it with a mechanical hammer. Subtle adjustments are then made by hammering it further, followed by heating it to a high temperature and quenching it in water. To create a knife with both hardness and toughness, it is then tempered again at a high temperature.

Once this stage is complete, the next step is sharpening. “I’m not particularly dexterous, so it took me more than twice the effort of others, but it takes at least a year—though it varies by person—to get to the point where I can shape a knife to a certain degree. But it’s very rewarding,” Mr. Yoshizawa says firmly.

Light Edging to Improve Sharpness

Once the knives have taken their final shape, they move on to the sharpening process at Plant No. 2. The grinding machines used here were reportedly manufactured by the welding department of the Steel Structures Division.

First, hold the knife with your finger against the grinding wheel, starting from the end known as the “chin” and working toward the tip. While doing so, tilt the knife at an angle of about 25 degrees and sharpen it by sliding it sideways in small increments, taking care not to apply excessive force. Once both sides have been sharpened, the process moves on to “koba-zuke.” “Koba-zuke” involves sharpening the tip thinly on both sides to create a double-beveled edge, which improves the knife’s sharpness—an entire process that requires master craftsmanship. The finished knife features a pattern that stands out, resulting in a gleaming finish.

“Currently, we have a total of 30 employees across the Steel Structures Division and the Cutlery Division. While their levels of skill vary, we generally have each craftsman take sole responsibility for finishing a single knife. Of course, a senior craftsman performs the final inspection.”

A major characteristic of Nigara Cutlery Forge is that each craftsman is free to experiment with designs and other creative aspects. This freedom serves as the foundation for the “Nigara Brand.” Another defining feature of their in-house brand is the consistent quality of their products.

A facility dedicated to crafting specialized knives for cakes and pies, as well as preserving and passing on the skills of master craftsmen

“Fortunately, overseas demand from Asia, Europe, and the United States has been growing in recent years, and about 95% of our production is exported,” says Mr. Yoshizawa. “Most of these exports are thin, lightweight stainless steel knives that are known for their sharpness.”

Stainless steel knives are also made by combining two types of materials, but they are difficult to process and require nearly twice as much time to craft as iron knives. However, their main features are that they are lightweight and resistant to rust.

Furthermore, another major project has come their way: a collaboration with the French outdoor brand Opinel. This appears to be a first in Japan; the handle is designed by Opinel, while the blade is crafted by “Nigara Brand,” and the knives are part of a limited edition of just 2,500 pieces worldwide.

“Going forward, I’d like to take on the challenge of creating knives that can slice through cakes and pies cleanly,” says Yoshizawa, his dreams expanding. “Also, in the future, I hope to establish a facility dedicated to passing down the craftsmanship of master artisans, a tradition that is gradually being lost.”

The post “Nigara Cutlery Forge,” Carrying on a 350-Year Tradition of Cutlery Making / Hirosaki City, Aomori Prefecture first appeared on NIHONMONO.

Izumo Taisha is known as the shrine of matchmaking. The massive shimenawa rope displayed in its Kagura Hall is an iconic sight that draws visitors’ eyes upward. The organization responsible for crafting this grand shimenawa is the Tonbara Branch of the Izumo Taisha Kan’no-kō Society, located in Iinan Town, Shimane Prefecture. The craft of shimenawa-making, which supports this land of myth, has been passed down as a source of pride for the town.

Giant Shimenawa Ropes Crafted in a Mountain Village Workshop

Iinan Town, located in Shimane Prefecture, is surrounded by the mountains of the Chugoku Range. It is a quiet place where snow falls in winter and is blessed with clear water and fertile fields. The “Izumo Taisha Kanno-kōsha Tonbara Branch” is responsible for crafting the large shimenawa (sacred straw ropes) at the “Oshimenawa Creation Hall” in the town. Mr. Wada serves as the branch’s representative, supporting the long-standing tradition of offering these ropes in this region.

The Tradition of Making Shimenawa Passed Down in the Mountains

The Tonbara Branch of the Izumo Taisha Agricultural Promotion Society is responsible for crafting one of the largest sacred straw ropes in Japan. Its destination is the Kagura-den Hall at Izumo Taisha, which attracts worshippers from all over the country. It measures approximately 13.6 meters in length and weighs about 5 tons. Its sheer scale is so impressive that first-time visitors instinctively stop in their tracks and look up in awe. However, the place where this magnificent shimenawa is created is a workshop located in a mountain village, far removed from the hustle and bustle of the tourist area.

The Connection Between the Giant Shimenawa and Iinan Town

The connection between Iinan Town and the giant shimenawa dates back to the 1950s. At that time, a branch of Izumo Taisha was located in the area. It is said that, as a result of this connection, local residents and worshippers began crafting shimenawa to dedicate to the shrine.

Later, in 1981, when the Izumo Taisha Kagura Hall was constructed, a request was made to create a new shimenawa. The result was a massive shimenawa measuring approximately 13.6 meters in length. To create a shimenawa of a size befitting the Kagura Hall, local residents joined forces to undertake the project. Work on the shimenawa continued, moving from the auditorium of Tonbara Elementary School to the gymnasium of the junior high school. Finally, in 2015, the “Great Shimenawa Creation Hall” was completed as a dedicated facility for shimenawa production.

The “Great Shimenawa Creation Hall,” which preserves the tradition of shimenawa to this day

Essentially, shimenawa serve as a “barrier” separating the realm where deities dwell from the world in which we live. Since ancient times, they have been displayed at shrines, household altars, and home entrances, becoming deeply ingrained in Japanese daily life. At the “Oshimenawa Creation Museum,” visitors can view photographs and materials that trace the history of shimenawa and learn about the local tradition of shimenawa-making that has been passed down through the generations.

Shimenawa woven with skilled craftsmanship

As you proceed further inside, a workshop opens up before you. There, artisans are busy weaving shimenawa ropes. Some weave, others prepare the core, and still others craft small components. The work progresses as each person fulfills their specific role. The scent of dried rice straw fills the air, and the soft sound of twisted straw bundles echoes quietly. The artisans take the straw in their hands and twist it with all their strength, shaping it into a single rope.

At first glance, making shimenawa may seem like a simple task, but creating ropes of uniform thickness requires skilled craftsmanship. How much force to apply when tightening the bundles of straw, and at what angle to twist them together—these nuances are acquired through years of experience.

Making a giant shimenawa to be hung at the Kagura Hall

While the creation of standard shimenawa ropes usually takes place in the back room of the Creative Center, the atmosphere inside changes dramatically when crafting the giant shimenawa to be hung at the Kagura Hall of Izumo Taisha. To create this massive rope, which measures approximately 13.6 meters, the entire building is utilized for the production process.

The giant shimenawa is not made from a single rope. It is completed by braiding multiple thick ropes and combining them. The process of bundling straw, twisting it together, and then assembling the structure requires a great deal of time and manpower.

Rice cultivation for rope-making also takes place in Iinan Town

The production of the giant shimenawa begins in the spring, with the rice planting. The basic principle is to use materials produced locally in Iinan Town, and there are rice paddies within the town specifically designated for shimenawa. The variety of glutinous rice grown here is called “Akaho Mochi.” It is stickier than ordinary glutinous rice and is characterized by its resistance to breaking when twisted into a rope. Such sturdy rice is essential for making massive ropes like the giant shimenawa.

Unlike rice grown for consumption, the rice used for shimenawa is harvested before the grains mature. This is because the stalks, while still green and with strong fibers, produce a stronger and more beautiful rope. The harvested rice is dried, bundled, and eventually twisted into rope. Freshly made shimenawa retains a faint hint of the rice’s green hue. Over time, the color fades, eventually transforming into the familiar, subdued brown seen at shrines.

The Kagura Hall will be renovated this summer

Toward the end of the production process, there is a stage known as “grand twisting.” This involves bundling together numerous thick ropes and twisting them into a single, massive rope. Since this is difficult to accomplish with machinery alone, it requires the combined strength of many people. In Iinan Town, volunteers are recruited to participate in this stage, and local residents and other willing helpers work together to complete the rope. It is said that a total of 800 people are involved in the creation of the giant shimenawa. The massive shimenawa is completed not only by the craftsmen but also through the efforts of the townspeople.

Shimenawa Making: From Iinan Town to the Whole Country

Once the craft center was established and the production process was opened to the public, the technique gained widespread recognition. Today, the center reportedly receives orders for shimenawa from shrines and facilities across Japan, as well as from overseas.

As a result, shimenawa production continues year-round at the center, even during periods when large shimenawa are not being made. The ropes come in a variety of sizes and serve various purposes; from those displayed at shrines to those used for decorating public facilities, the ropes woven in Izumo are shipped to locations all over the country.

Sharing our local pride with all of Japan and future generations

“Making shimenawa is a source of pride for this region,” says Mr. Wada. The shimenawa-making techniques developed here in Iinan Town have now spread throughout the country, becoming an integral part of places of worship across Japan.

At the same time, Iinan Town is facing an aging population. How to pass on the art of shimenawa-making to the next generation is a major challenge. Nevertheless, even today, straw is being bundled and ropes are being twisted in this town. This traditional craft, along with the pride of the community, is being passed down to all corners of Japan, overseas, and into the future.

The post The Tradition of Shimenawa Making Passed Down in Iinan Town, the Birthplace of Japan’s Largest Shimenawa—Izumo Taisha Kan’nōkōsha Tonbara Branch / Iinan Town, Shimane Prefecture first appeared on NIHONMONO.

The creators of large-scale Nebuta floats, known as “Nebuta masters,” are the artisans who shape the face of the Aomori Nebuta Festival. Among them, Hiroo Takenami is one of only seven people ever to have been awarded the title of “Nebuta Master”—a distinction granted to creators who have contributed to the Aomori Nebuta Festival through their exceptional skills over many years. While preserving the centuries-old tradition of Nebuta as a folk festival, he is also an artist who pushes the boundaries of Nebuta as a sculptural art form.

One of Japan’s premier fire festivals, a source of pride for Aomori City 

The Aomori Nebuta Festival is a summer festival held annually in Aomori City, Aomori Prefecture, from August 2 to 7. More than 20 large Nebuta floats parade through the city streets, accompanied by dancers known as “Haneto” who perform wild dances to the chant of “Rassera,” as well as musicians playing flutes and drums. During the festival, the city attracts more than 1 million visitors.

From a Local Folk Event to a Major Festival

Although it is now one of Japan’s most iconic festivals, its origins lie in a folk tradition. Throughout Aomori Prefecture—excluding the Nanbu region—various local festivals known as “Nebuta” or “Neputa” are held. While the names and forms vary by region, they share the same roots and are believed to have evolved from Tanabata customs. While there are various theories, one suggests the influence of “nemuri-nagashi” (a ritual to dispel drowsiness that hinders farm work), and that the name evolved from “neputē” (meaning “sleepy” in the Tsugaru dialect) to “Nebuta” or “Neputa.”

As for records of the Nebuta in Aomori City, an ancient document remains indicating that Nebuta floats were paraded in Ohama (present-day Aburakawa, Aomori City) in 1730 (the 15th year of the Kyōhō era). While this is considered the first recorded appearance of “Aomori Nebuta,” it is believed that the festival had actually been held as an annual event long before that, even if it was not formally documented.

“The Nebuta festivals throughout the prefecture, including Aomori City, have been passed down for hundreds of years solely through the dedication of the townspeople. I believe it is a truly rare and precious festival,” says Mr. Takenami. Over the long course of time, even as social conditions and the shape of the town have changed, Nebuta has been passed down and has continued to evolve. Behind this must surely lie the passionate dedication of the people of this land.

In modern times, while each neighborhood created and paraded its own Nebuta floats, the trend toward commercialization led to increasingly larger floats. Although the traditions of local Nebuta remained, the focus of the festival shifted to the “Aomori Nebuta Festival,” which is organized by corporations. Regarding the float builders, while the floats were originally crafted by skilled, Nebuta-loving locals, the larger floats came to be created by specialized builders—known as Nebuta-shi—who had honed their technical skills.

“Nebuta masters,” the creators of large-scale Nebuta floats

In the past, Nebuta and Neputa floats were made of washi paper and bamboo, with candles lit inside. They came in both doll-shaped and fan-shaped varieties, with the Aomori Nebuta primarily featuring the doll-shaped design. After World War II, as national highways were widened, the floats gradually evolved into their current wide, horizontal shape, and the materials used also advanced. Today, washi paper is attached to a wire frame, and LED lights are used for illumination.

As of 2025, there are about a dozen “Nebuta masters” who create these floats, and Mr. Takenami is one of them. Mr. Takenami says he begins thinking about the theme for the following year even before the current festival ends. The themes are primarily drawn from Kabuki, history, and legends. He coordinates the theme with the sponsoring company, researches literature and historical materials, develops a concept, and then draws the original artwork. Mr. Takenami describes this process of creating the original artwork as “the most important part of a Nebuta master’s work.” “Even with the same subject or scene, the expression varies depending on the creator’s individuality. It requires sensitivity in turning a captured scene into a painting, as well as a sense of color,” he explains. He completes the pencil sketch of the original artwork by around New Year’s and prepares the details, such as the face and limbs, in advance. In May, he moves to the “Rasseland,” a workshop dedicated to Nebuta. They build a framework using square timber pillars as a base, install lighting, apply Japanese paper, and proceed to the “kakigiri” stage, where they draw the faces and outlines in ink. The kakigiri stage is also a crucial part of the process; Takemura says that drawing the facial expressions, which determine the character’s look, “makes me nervous no matter how many times I do it.” Once this is finished, they apply patterns with wax and then use a mixture of paints and dyes to color the float using brushes, paintbrushes, and spray cans to complete it.

The Nebuta master does not perform all the work alone; carpentry, paper application, and lighting installation are handled by specialists and staff, with the Nebuta master serving as the on-site supervisor during these phases. The moment when the Nebuta, completed through the efforts of so many people, is loaded onto a cart—known as “taage”—is said to be exceptionally moving. From conception to completion, it takes a full year to create a Nebuta. While Mr. Takenami is one such example, there are also masters who handle multiple floats, and being a Nebuta master demands that level of skill.

“I was born to make Nebuta floats.” A life captivated by Nebuta

Mr. Takenami is originally from the former town of Kizukuri (now Tsugaru City). That town also had its own small, community-based Nebuta Festival, and the neighborhood association where Mr. Takenami was born and raised would send a float every year. He was captivated by those Nebuta floats from a young age. “I think it started when I was three. Apparently, I was a child who talked about nothing but Nebuta, Nebuta. Eventually, my family took me to see the big Nebuta floats in Aomori. And that’s when I became completely obsessed.”

At the age of 19, he began visiting the nebutah workshop of Chiba Sakuryu (the fifth-generation master) and started helping out. “Among the many creators, Mr. Chiba’s nebutah floats looked very stylish and fresh. So, I wanted to try assisting him. When I knocked on his door, he accepted me.” From then on, he devoted himself entirely to the craft, making his debut with a large-scale Nebuta float in 1989 at the age of 30. Since then, in addition to creating floats for the Aomori Nebuta Festival every year, he has played a central role in the industry, including working on Nebuta floats for tours to Budapest in 1996, the Tokyo Dome in 1998, and Los Angeles in 2007. In 2010, he established the “Nebuta Research Institute” to facilitate year-round activities. In 2023, at the age of 63, he was certified as the seventh-generation Nebuta Master.

“The things that were as precious to me as toys when I was a child remain just as precious to me even as an adult,” says Takenami with a smile. “Perhaps my values haven’t changed since I was three or four years old.” He adds, “Now, I believe I was born to make Nebuta floats.”

The three-dimensionality and colors breathe life into the Nebuta floats

Mr. Takenami says he doesn’t particularly like to depict battle scenes. “Most of my work features guardian deities that ward off evil and drive away demons, such as Kongo Rikishi and Nio statues,” he explains. Even when he depicts figures holding swords, he says they are often held not so much as weapons but to ward off evil. This is Mr. Takenami’s unique style and artistic expression. “It’s really hard to decide on a theme every year,” as Takenami says. Since approximately 23 Nebuta floats are produced for the Aomori Nebuta Festival each year—amounting to about 230 over a decade—it’s inevitable that themes will overlap with past floats, and scenes may repeat. “In the world of creation, where everyone has idols and ideals, the challenge lies in how to express my own unique voice,” he confides.

Amidst this, Takenami’s “sense of self” lies in creating a sense of depth and three-dimensionality in the Nebuta floats. “How do I arrange and fit the characters’ body parts within a cube measuring 9 meters wide, 7 meters deep, and 5 meters high? The way they’re placed completely changes how they look, so I’m particularly meticulous about that aspect,” he explains. Furthermore, he notes that the arrangement of colors is crucial. Takenami explains that he uses a single primary color—such as his favorite red—as a core, then arranges other hues around it as if scattering them out from that point. He uses color to convey a sense of power so that, during the actual festival, the Nebuta floats appear vigorous as they sway slowly toward the spectators lining the streets from afar. “I also make a conscious effort to draw ink lines that have a strong presence,” he adds. While painting the colors is often a collaborative effort with my staff, I draw every single ink line myself. That’s because the ink lines are what give the design its distinctive character.” It can be said that the heroic grandeur of the approaching Nebuta floats is brought to life through the ingenuity and hard work of the Nebuta masters.

It’s better not to lose to yourself than to lose to others

At the 2025 Aomori Nebuta Festival, Mr. Takenami won the Nebuta Grand Prize and the Best Creator Award for the Aomori Ryoyukai’s float, “Kaiō.” “Kaiō” will be on display at the Aomori City Culture, Tourism, and Exchange Facility, Nebuta no Ie Wa-Rasse, until August 9, 2026, when it will be replaced by the next award-winning float.

The year 2025 marked the 400th anniversary of the opening of Aomori Port. With this theme in mind, the float depicted the majestic figure of Poseidon, the guardian deity of the sea, rendered in a traditional Japanese style, as a way to reflect on Aomori City’s history—a history shaped by the sea—and to express hopes for its continued prosperity. Surrounding Poseidon, dressed as a Japanese warrior, are shachi (mythical creatures with the body of a fish and the head of a tiger) and fish-bodied dragons. At the rear, dolphins—which inhabit the waters off Aomori—were placed to emphasize that the setting is the Sea of Aomori. “The contrast between the color of the waves and the yellow tones of the shachi creates a strong visual impact,” said Takenami. “Additionally, for the ink-wash sections, I deliberately drew the lines representing Poseidon’s arms and ribs to be strong and rough,” said Takenami. Upon receiving the award, he commented, “I was able to express something truly powerful and impactful—this is what Nebuta is all about.” The award was a testament to Takenami’s unique artistic vision.

The Grand Prize-winning Nebuta float is placed in the most prominent spot in Wa-Rasse’s “Nebuta Hall.” Standing in front of “Kaiō,” Mr. Takenami said, “Every time I come here, it motivates me to return to this spot again next year. I create a Nebuta float every year, and I really struggle with it every time, but that struggle is also part of the fun. It’s not like a sport where you get clear, numerical results, so rather than aiming to beat others, I set a goal for myself: not to lose to myself. I refuse to compromise on anything when it comes to what my intuition tells me I want to create. I don’t tell anyone this, but I hold that principle—not losing to myself—in high regard.”

Thinking of the future, we’re giving Nebuta a new look

When Mr. Takenami first entered this field, being a Nebuta artist was not yet established as a profession. Even if he spent a year on a single piece, he couldn’t make a living from it. However, Nebuta has continued to grow and has become something we can be proud of on the world stage. People even come to Mr. Takenami, willing to relocate just to make Nebuta. “The people who come to us are the ones who will support the future of Nebuta. To ensure Nebuta’s legacy lives on, we must establish it as a profession so that these people can make a living as Nebuta artisans. By recognizing Nebuta’s value not just as a festival prop but as a work of art, can’t we expand its possibilities?” It was this conviction that led him to establish the research institute.

However, he says the institute faced strong opposition when it was first established. Many argued, “Nebuta is not art; it is, after all, just a festival.”

Nevertheless, Mr. Takenami continued to explore new possibilities for Nebuta based on the concept of “sculptures of paper and light.” He launched “NEBUTA STYLE,” a brand featuring interior goods and apparel made using Nebuta techniques, and created decorative objects for restaurants and hotels. By embracing this role as a sculptor, he built a sustainable livelihood. Moreover, these new products help spread the appeal of Nebuta. Mr. Takenami feels that as his dreams gradually come true, the attitudes of those around him have also begun to change.

Mr. Takenami’s goal for the future is to promote Nebuta more widely around the world as a form of Japanese culture and as a work of art crafted from washi paper. “When I’ve taken Nebuta to places like the United States and Budapest, the crowd gasped in awe the moment the lanterns were lit. Everyone was truly amazed and delighted. I’d like to take it to other countries, such as Europe, where people aren’t yet familiar with Nebuta.” As he spoke, Mr. Takenami’s eyes shone brightly, as if the eyes of the young boy who had always admired Nebuta were still there.

The post Carrying on tradition while embracing creativity. Nebuta artist Hiroo Takenami / Aomori City, Aomori Prefecture first appeared on NIHONMONO.

Shizuoka City, located in central Shizuoka Prefecture, is blessed with a commercial sphere along the Tōkaidō route connecting Japan’s major cities: Tokyo, Nagoya, and Osaka. While this city is famously known as a mecca for plastic models and scale models, home to Tamiya Co., Ltd., one of the world’s leading comprehensive model manufacturers, its other facet as a longstanding “hub of traditional crafts” is surprisingly less known.

Suruga lacquerware, Suruga maki-e, and Suruga woodturning are designated as prefectural folk crafts, while Suruga bamboo filigree, Suruga hina ornaments, and Suruga hina dolls are designated as national traditional crafts.The development of such diverse crafts in this region stems from the presence of Lord Tokugawa Ieyasu and a specialized division of labor network cultivated over many years. Standing on this foundation of tradition, a workshop has proposed a new type of hina doll, “Kioku Hitoe,” designed to fit the modern family structure, attracting attention nationwide. This is “Ningyo Kobo Sakyo,” a doll workshop with over 100 years of history since its founding.

From “Play” to “Display”: The Roots of Hina Dolls

While there are various theories about the origins of hina dolls, one traces back to the Heian period and the “Hina-asobi” (doll play) enjoyed by young girls in the imperial court. “Hina” means “small and lovely,” and for the children of nobility at the time, it was an everyday play similar to what we now call “pretend play.”

A dramatic shift occurred in this “everyday play” during the early Edo period. When the Edo shogunate designated March 3rd as “Joushi no Sekku” (the formal name for Hina Matsuri), an event wishing for girls’ healthy growth and happiness, it sparked a leap in doll-making techniques. The kimonos and facial features evolved into lavish and splendid forms, leading to the hina dolls we know today.

While Kyoto is often associated as the production center for these elegant dolls, Iwatsuki Ward in Saitama City, Saitama Prefecture, actually holds Japan’s top spot for doll shipment value. Shizuoka City in Shizuoka Prefecture boasts the top position as the production center for hina accessories.

Craft Culture Rooted in Sunpu, the City Beloved by the Ruler

Sakyo has its workshop in Shizuoka City. The contributions of Lord Tokugawa Ieyasu to the city’s craft history are immeasurable.

In the early Edo period, when Lord Ieyasu retired to Sunpu Castle (present-day Aoi Ward, Shizuoka City), he summoned skilled artisans from across the nation—master carpenters, joiners, lacquerers, and metalworkers. These artisans settled in the castle town, and their techniques were passed down through generations, forming the foundation of Shizuoka’s crafts today.

Among these, the “Suruga Hina-gu” items—such as folding screens, chests (wooden boxes for storing bridal trousseaus), and sanpo (square stands for offering items)—were overwhelmingly significant. Made using the same processes as genuine furniture and furnishings, they dominated the domestic market, accounting for about 90% of production at their peak.

Furthermore, Shizuoka Prefecture held about 70% of the national market share for producing the torso (torso handles) of hina dolls, which became the foundation for the development of “Suruga Hina Dolls” as a craft.This differs from the origins of Suruga Hina-gu. Its roots are said to lie in the “Tsuchitenjin” clay figurines depicting Sugawara no Michizane, used during seasonal festivals in Shizuoka Prefecture’s Shida District (now parts of Shimada City, Fujieda City, and Yaizu City), where Tenjin worship flourished since the Edo period. These figurines were dressed in costumes. A key feature was the costumes being divided into upper and lower parts.Unlike Kyoto-made hina dolls with one-piece costumes, this design enabled the division of labor in costume production, leading to mass production and increased output.

Since 1994 (Heisei 6), when “Suruga Hina Accessories” and “Suruga Hina Dolls” were designated as National Traditional Crafts, their status as a brand has been established. However, prior to this, the production was primarily characterized as OEM, supplying individual parts to wholesalers nationwide. Consequently, despite its significant production share, the region’s recognition as a production center was relatively low.

“Shizuoka had many artisans specializing in each component,” explains Kazuhito Mochizuki, the company’s third-generation chairman. “People who made the wooden bases, applied lacquer, painted maki-e designs, crafted metal fittings. Wholesalers would go around collecting these parts and assembling them into finished dolls.”

Sakyo’s roots also lie within this artisan ecosystem; its founder was a metal fittings craftsman for furniture and mikoshi portable shrines.

“Hina doll accessories include nearly 40 types of items like chests and trunks, all requiring intricate metal fittings. However, since fittings are just parts, the work could disappear depending on the wholesaler. I thought if I became the wholesaler coordinating the entire set of hina accessories, the business would stabilize. That was the start of Sakyo.”

Thus, the first generation built his fortune as a wholesaler coordinating hina doll accessories with artisans in Shizuoka City. Yet, he always knew the main attraction of the hina display was the dolls themselves, and he eventually wanted to handle those too.

To that end, he first sent his son to apprentice under craftsmen in Iwatsuki City, Saitama Prefecture (now Iwatsuki Ward, Saitama City), a major production center for dolls.

That son was the father of the second-generation president, Kazuto. While learning hina doll making at his apprenticeship, the second-generation president began thinking, just as the first had intended, “Why not handle hina dolls themselves, not just the accessories?”

This was because, when the second-generation president joined the family business, the torso parts of hina dolls were typically sourced from Shizuoka Prefecture, where Tenjin dolls (festival dolls depicting Sugawara no Michizane) were thriving.The “head” (kashira), which forms the face of the doll, was typically sourced from various production areas like Iwatsuki, and the dolls were assembled into complete pieces at wholesalers in Tokyo. If they could assemble these components themselves, they could handle both the accessories and the dolls as a complete package.

For the second-generation owner, who had closely observed and learned from the first-generation’s work as a wholesaler, recognizing the demand for this was a natural progression.

However, ideas and inspiration alone don’t make a viable business. This is where the founder’s vision came into play: “Through apprenticeship, we could build relationships with hina doll artisans and with Iwatsuki, the major production center.”

“My father used connections from his apprenticeship to arrange direct purchases of doll heads from Iwatsuki artisans. That was crucial,” says Chairman Kazuto.

Thus, Sakyo became the first wholesaler in Shizuoka City to handle complete sets of hina doll displays.

The second-generation president’s distribution strategy—to bypass Tokyo wholesalers and deliver complete sets directly to Kansai retailers, thereby targeting market share in the Kansai region—proved pivotal. “Our proximity to Kansai (compared to Kanto) is definitely a geographical advantage,” he reasoned. This strategy, aligned with the era’s context, propelled Sakyo’s significant growth.

The Benefits of the Second Baby Boom

The era coincided with the onset of Japan’s high economic growth period. Fueled by the second baby boom, hina dolls flew off the shelves.

It was an era when seven-tier displays were mainstream, and amassing volume was the top priority. By wholesaling complete sets of hina decorations—which were often purchased separately—Sakyo significantly reduced the expenses and burden on retailers.

“Come year-end, wholesalers from the Osaka area would arrive in huge trucks to stock up,” recalls Chairman Kazuto, looking back on those days. “They’d stuff their belly bands with stacks of cash, all scrambling to get first dibs.”

The Era of Variety and Small Quantities: The Third Generation Pursued “The Hina Dolls He Wanted”

Later, when Chairman Kazuto took over the family business as the third generation, the period of high economic growth had settled down, and the lives of the people were about to change significantly.

Around this time, across all industries, the trend shifted from mass production to high-mix, low-volume production to meet consumer needs.

Chairman Kazuto reasoned, “Most buyers are my generation. So I should just make what I want.” He broke with convention by altering traditional color combinations for doll costumes, using materials like Shizuoka’s traditional Enshu cotton corduroy and pure white Nishijin-ori silk. He dedicated himself to developing “the hina dolls I personally desired,” unconstrained by old frameworks.

The times also saw the rise of nuclear families. Along with changes in housing conditions, the main product shifted from the lavishly decorated tiered displays (“dan-kazari”) to the simpler “prince and princess displays” (featuring only the male and female dolls). Giving the central male and female dolls distinct personalities proved successful, achieving differentiation.

However, becoming more compact meant fewer dolls and accessories per set, leading to lower unit prices.

Despite achieving differentiation, amid the increasingly pronounced decline in birthrates, there was a sense of crisis that unless more distinct branding was pursued, the business would eventually become unsustainable.

It was the fourth generation, currently serving as President and Representative Director, Takuya, the son, who dispelled the third generation’s sense of crisis.

Passing the Torch to the Next Generation: The Fourth Generation Discovers New Possibilities

Takaya Mochizuki, the fourth-generation head, took over the family business during his sophomore year of college.

“I originally went to university with no intention of succeeding Sakyo. But when my older brother decided not to take over, the baton was passed to me in a casual way, like ‘Well, then, it’s you.'”

With the workshop and his home separated, Takuya rarely set foot in the workshop and had little understanding of the industry’s situation. Hina dolls were not a familiar presence in his life.

“I entered the field without even knowing traditional industries were in decline. All around me were companies with no successors, saying things like ‘Maybe we should close in five years.’ That’s when I first felt a sense of urgency.”

After graduating from university, he spent two years working in sales at a real estate systems company in Tokyo to gain social experience before returning to Shizuoka. What awaited him, however, was a workplace that was incomparably more analog than his previous job.

That’s when Takaya started using social media to share information. As he was practically a novice when it came to being a craftsman, his drive was to find ways to contribute to the company without spending money. His experience working in Tokyo, where he had also been involved in digital work, proved valuable.

At the time, using Instagram for business was still rare, and he gained 10,000 followers in just four months. By consistently sharing the company’s unique approach through easy-to-understand visuals, inquiries from media outlets also began to increase.

Giving shape to cherished memories: The birth of “Kikuhitoe”

As a unique business vision for the fourth generation began to take shape, a new turning point arrived. It came from a proposal by the Creative Director at Hakuhodo’s group company, SIGNING: “Many people have sentimental attachments to children’s clothes and don’t want to throw them away, but they can’t display them either. Could we combine this problem with the concept of hina dolls?”

He himself was a father of a three-year-old, making this a challenge rooted in personal experience. Thus, after about a year and a half from the initial concept, “Kiyoku Hitoe” was born in 2024.

Its defining feature is transforming cherished children’s clothing into costumes for hina dolls. T-shirts, dresses, undershirts—any fabric can be used for the dolls after being reinforced with backing.

Memorable clothes are reborn as hina dolls. The stories woven into each and every one of these dolls are the very essence of “Kioku Hitoe’s” value.

For the doll’s costume—composed of multiple layers like the outer robe (omote-ginu), underlayers, single layer (hitoe), karagoromo, and collar—we decide together with the customer which fabrics to use and where to place each pattern.

“(We) cut into items dear to the customer’s heart, reshape them, and present them anew. Since we’re entrusted with precious memories, we always proceed with the utmost care and consideration, approaching each individual’s memories with genuine thoughtfulness.”

Prices start at around ¥150,000 for a set of male and female dolls. While not inexpensive compared to market rates, it is a fair price for a one-of-a-kind custom piece. Considering the added value, it likely holds even greater worth for the customer.

Recently, they introduced a new initiative: a plan where customers can create their own “Kiyoku Hitoe” (a single-layer memory piece).

This experiential plan goes beyond online or mail-order interactions. Customers bring cherished clothing or fabric directly to the workshop and collaborate with the company’s artisans to complete the dolls on-site.

Typically, creating a Kiyoku Hitoe takes 4 to 6 months from start to delivery. However, with this plan, the entire process—from consultation to completion—takes only about half a day.

To significantly shorten the schedule, artisans who normally handle multiple tasks simultaneously prioritize the experience plan, working as a team of 4-5 people exclusively for that day. Additionally, intricate parts and sewing that are usually outsourced are handled entirely by the artisans within the workshop.

All of this stems from a desire to avoid wasting the precious time of participants who make the effort to visit the workshop in person, and to provide an immersive, moving experience.

To halt regular production and concentrate significant artisan resources on this plan, pricing is higher than standard single-layer kimonos. However, it allows real-time consultation with skilled artisans on intricate pattern placement and color balance, enabling meticulous attention to detail within a short timeframe—truly the pinnacle of custom-made products.

The experience of personally adding touches to a hina doll that weaves memories further heightens its special feeling.

Between tradition and innovation. A father pushing his son forward.

However, new challenges like “Kiyoku Hitoe” naturally attract criticism.

The Mochizuki family remains unfazed by the stinging remarks from fellow artisans.

“People who wouldn’t buy traditional hina dolls might buy ‘Kiyoku Hitoe’ because it’s different. Even if it strays a little from convention, if it sparks renewed interest in hina displays, isn’t that a good thing?”

Creating new demand is what opens the future for traditional industries. Kazuto is convinced of this regarding Takuya’s challenge. That’s why, as a parent and as a mentor, he decided to support him no matter what criticism came.

Expanding to the next generation. From celebration to everyday art.

Having successfully launched “Kiyoku Hitoe,” Takaya’s next goal is to establish demand for “Hina Dolls” as “art.”

To do this, he must overcome Japan’s deep-rooted animism—the belief that all things possess souls or spirits. This unique spirituality persisted precisely because monotheistic religions never took root in Japan.

“Japanese people can’t just throw away dolls. Even when letting them go, it’s not a simple toss in the trash—they’re ritually burned at shrines or temples as a form of mourning.”

However, Takuya had heard from his predecessor that “during the Edo period, there were many stalls selling hina dolls around the hanamachi entertainment districts. People would buy a doll as a gift before going to meet their favorite performer.”

While surprised to learn there was demand beyond seasonal festivals, he also saw potential for hina dolls, considering the current boom in figures and their soaring global trading prices.

That’s precisely why Takuya wanted to elevate their cultural value beyond just being ceremonial items.

His benchmark is Hiroshi Nakamura, the fourth-generation master dollmaker at Nakamura Ningyo, a long-established Hakata doll shop in Fukuoka City, Fukuoka Prefecture. Nakamura is currently attracting global attention for his unique approach to expressing Hakata dolls through themes like sports and monsters.

“I think Mr. Nakamura’s work exemplifies this perfectly. I want to dispel the image that ‘dolls = scary’ and make them something you can display as art or interior decor. Ideally, I’d like to elevate them to the level of collectible art, like BE@RBRICK or LLADRO.”

He has already begun challenges toward this goal.

For the 400th anniversary of Lord Ieyasu’s death, he commissioned Osaka University of Arts, an authority in figure production, to recreate Lord Ieyasu’s face. This led to the completion of a hina doll depicting Lord Ieyasu. He also envisions using AI-synthesized faces of parents, instead of commercially available heads, to create 3D-printed dolls representing future children.

In this way, Sakyo preserves the tradition and essence of hina dolls while flexibly incorporating the trends of the times and technological advances. In the artisan town nurtured by Tokugawa Ieyasu, they have pursued innovation suited to each era for over 100 years. From parts to wholesalers, from wholesalers to manufacturing and distribution, and now to personalization.

“Hina dolls have yet to break free from their role as tools for staging Japan’s traditional celebrations. While enhancing their inherent value is important, their appeal will grow even more by presenting them as art to the world and creating pieces that earn ‘likes’ from people overseas.” Takaya’s words carried a strong determination to forge new value.

The post Hina dolls embodying the artisan spirit of Sunpu. The challenge of “Doll Workshop Sakyo,” which layers time and emotion over generations. / Shizuoka City, Shizuoka Prefecture first appeared on NIHONMONO.

Fujio Ishimoto, a textile designer at Marimekko and creator of more than 400 designs, has returned to his hometown of Ehime after 50 years of living in Northern Europe, and has chosen Dogo as his new creative home. With Mustakivi, a brand he launched with Eisaku Kurokawa, he delivers expressions rooted in the people, the region, and their daily lives.

Mustakivi” was born in their hometown, Ehime.

Mustakivi is a lifestyle brand that deals with tableware and textiles, etc. Mustakivi was coined from the Finnish words “Musta,” meaning “black,” and “Kivi,” meaning “stone. The two names are superimposed on each other.

How did the two meet? It all started when Mr. Kurokawa visited Finland on business and was attracted by the charm of Finnish design. After returning to Japan, he continued to deepen his interest, and finally met Mr. Ishimoto for the first time in 2013, when he held his first solo exhibition in Ehime.

Since its launch, Mustakivi has been collaborating with Japanese handicrafts to create vessels and fabrics that accompany daily life.

Mr. Kurokawa says, “We want to be more than just a product seller; we want to be a cultural creator and transmitter. He hopes to create such a place where people can become aware of the value of the local community through Mr. Ishimoto’s works.

Ehime and Scandinavia, two original landscapes, are the source of his creations.

The beautiful glazed designs of his pottery and fabrics such as tenugui (hand towels) and towels are based on motifs of things found in nature. Ishimoto’s designs evoke Japanese aesthetics and techniques, such as depicting nature in chic color schemes and using blurring effects. The source of his designs lies in the original landscape of his hometown, Ehime.

Ishimoto was born in 1941 in the town of Tobe, Ehime Prefecture, known for its Tobe pottery. His family was a mandarin orange farmer, and the ruins of a defunct climbing kiln and chimneys around his house, where pottery shards and kiln tools lay scattered about, became the starting point for his later creative endeavors.

I used to collect the pottery shards that were lying around and use them as playthings,” he said. There were three climbing kilns large enough for an adult to enter standing up, and I used to play in them. The memories of his childhood are still vivid.

After studying at the Tokyo National University of Fine Arts and Music, he traveled around the world, eventually ending up in Finland.

From 1974 to 2006, he worked as a designer at Marimekko, a leading Finnish design house, and created over 400 textile designs.

Marimekko has developed bold and unique textile designs and still has fans around the world more than 70 years after its establishment. Many famous designers have supported the foundation of Marimekko, and Mr. Ishimoto is certainly one of them. His designs, which make full use of a variety of techniques and styles, remain a Marimekko staple.

Ishimoto also turned his attention to ceramics in the 1980s, working in the art department of Arabia, a traditional Finnish pottery, and creating expressive ceramics incorporating natural motifs.

He began making things in his hometown of Ehime.

In 2020, Ishimoto returned to Japan for the first time in half a century, saying, “I have always wanted to go back to Japan to work. Having lived abroad for so long, he has come to see the beauty that resides in Japanese life and the original landscape of his hometown. He wanted to express these in his hometown.

Eisaku Kurokawa supported his new start in his hometown, opening the store and gallery “Mustakivi gallery&” the year after the completion of his atelier in 2021.

The atelier is equipped with an electric kiln, and Mr. Ishimoto devotes himself to creative activities such as designing and making ceramics every day. Creating is fun. It’s good for my health,” he smiles.

His parents’ home was located near the kiln opened by Josuke Sugino, the founder of Tobe pottery. It is a coincidence that Mr. Ishimoto, who was born and raised there, is now involved in pottery making.

Nature is interesting because it is not as it seems.

The source of Mr. Ishimoto’s design lies in the limitations imposed by the materials.

In both Finland and Japan, wood has brought about a great deal,” he says. In the past, people used to make their own plates by cutting trees that were close to them. That is why I think the Finnish sense of “form” is rooted in wood. In Japan, too, there are many shapes made from wood.

Nature does not always do things the way we want them to. That is why some forms are born. The same is true of ceramics. Mr. Ishimoto seems to enjoy the beauty of design that comes from a kind of limitation that does not allow his will to be fully carried out.

A spirit of respect for the four seasons, which Japan and Finland have in common

There is one more thing that Finland and Japan have in common. The four seasons. Finland also has four distinct seasons, and there is a sense of celebrating and enjoying the seasons,” says Kurokawa.

Mustakivi releases a new tenugui every three months. The tenugui, featuring motifs of flowers, fruits, landscapes, colors, and shapes, add color to the season. These tenugui are perfect for spread on the table or displayed on the wall as an item to enjoy the four seasons in your daily life.

Culture takes root in our daily life.

Kurokawa says, “I was happy when a local person saw Mr. Ishimoto’s design and said, ‘I’m so glad to hear that he is from Ehime. Through her works, which are based on the motifs of Ehime’s natural features, she is able to appreciate the beauty of her hometown anew and take pride in it. He believes that such pride will become a source of unity that unites the community.

With this in mind, he plans to open the “Ishimoto Fujio Design Museum” near Matsuyama Castle in 2026.

Kurokawa’s thoughts on the new cultural center are filled with a sense of “pure connection, valuing people-to-people relationships, and wanting to continue what only we can do in this area for a long time,” he says.

A Place to Discover Happiness in Everyday Life

While moving freely between the two fields of art and design, Mr. Ishimoto has been able to capture the small flashes of inspiration that lurk in everyday life and incorporate them into his designs. Mr. Kurokawa has carefully taken that sensibility and crystallized it into a brand. The time and memories that the two of them have shared are still quietly spreading through “Mustakivi”.

The works created from the memories of Finland, where they spent half a century, and the original landscape of Ehime, will show us new landscapes while staying close to our daily lives.

The post Japan and Finland. Mustakivi” spinning two original landscapes with cloth and ceramics, by Fujio Ishimoto and Eisaku Kurokawa / Matsuyama City, Ehime Prefecture first appeared on NIHONMONO.

Owner Toru Nihei operates select stores of antique furniture and household goods based in Mashiko Town, Haga County, Tochigi Prefecture. The “Nihira Old Furniture Store” and “pejite” stores in Mashiko Town and neighboring Moka City offer old furniture carefully handcrafted in the olden days, as well as ceramics and sundry goods made by local artists.

It is not only Mashiko pottery. Mashiko is a town where you can feel people’s handiwork and sensibility.

Mashiko Town is located in southeastern Tochigi Prefecture. The Mashiko Pottery Market, held in spring and fall, is a big event that attracts up to 400,000 visitors.

Although the image of “Mashiko-machi = Mashiko-yaki” remains strong, the Mashiko area outside of the pottery market is a tranquil region with abundant nature and Japanese satoyama scenery. There are many fashionable and unique cafes and bakeries run by individuals, as well as galleries dotted around the area that sell not only pottery, but also sundry goods and apparel made by artists whose handiwork shines through. It is an area where one can experience not only ceramics, but also nature, gourmet food, and the handiwork of many people.

In such a town, “Nihira Old Furniture Store” and “pejite” have stores.

The stores, owned and operated by Toru NIHIRA, offer a selection of antique furniture, pottery, and sundries.

Three locations in Tochigi Prefecture and another store in Aoyama, Tokyo

In Mashiko Town, there are “Nihira Old Furniture Store Mashiko” and “pejite Mashiko. In the neighboring city of Moka, there is “NIHIRA Antique Furniture Store Moka,” and “pejite” also has a store in Aoyama, Tokyo.

NIHIRA Old Furniture Store” purchases rare old furniture and miscellaneous goods made from the Meiji to early Showa periods from all over Japan, and sells them at affordable prices after washing and repairing each item and restoring it to its original condition.

On the other hand, “pejite” sells not only old furniture, but also ceramics and glassware made by Mashiko-based artists, simple yet high-quality clothing and sundries, and other items that show the “handiwork” of the craftsmen who made them, with their skills and thoughts in mind.

Although the stores are not located in an easy-to-see location, with no large signboards and a slightly secluded street, many customers come all the way from outside of the prefecture to visit the stores.

The goods lined up in the stores are not those of famous brands. The items lined up in the stores are not famous brands, nor do they have stunningly elegant designs, but the customers never stop coming in. Why do these stores continue to capture people’s hearts? We asked them how they got there.

I want to live doing what I love.

Owner Toru Nihira moved to Tokyo immediately after graduating from high school. He worked at a record store and chose a career that allowed him to experience the music he loved. However, at the age of 23, he was forced to return to his hometown due to his family’s circumstances. The reality is that there are not many job opportunities in the so-called “countryside. Mr. Nihei, too, worked at a local factory without choosing a job he “liked. However, it was difficult for him to find a job he liked, and he spent many months working and quitting repeatedly.

What grew during those depressing days was his desire to “make a living doing what I love.

At the same time, Nihei bought old furniture and tools at low prices, washed them, and repaired them as a hobby. He had been interested in interior design since he was young and was attracted to the charm of old things. Realizing that he could not continue working in a job that did not suit him, Mr. Nihei decided to start his own business.

First, he obtained an antique dealer’s license and began buying, repairing, and refurbishing furniture and tools on his own, which he then sold at Internet auctions. He then began selling them at antique markets in Tokyo. In 2009, he opened his first store, Nihei Antique Tool Store, in Moka City next to Mashiko Town.

Although Niihira has gone ahead with what he loves, he recalls, “I was full of anxiety when I opened my first store. Still, he thought, “If I could manage to eat, that would make me happy,” and continued to sell online and visit antique markets in Tokyo in parallel with the store.

As I continued to do this, I gradually became more and more interesting, and magazines began to feature my work,” he said. At that time, magazines were still very influential. Whenever a magazine featured travel or culture, more and more people would visit the store with the magazine.

In 2010, he opened a second “Nihira Antique Tool Store” in Mashiko Town. There was demand not only from individual customers, but also from store owners and others looking for unconventional interior design.

To convey what is “good,” but which no one knows about yet

Mr. Niihira has been striving to convey the good qualities of antique furniture, but there are only a limited number of people who like “antique” furniture. At “NIHIRA Furniture Store,” he also places importance on selling one-of-a-kind items that were handcrafted by people in the past and can be used for a lifetime, at an affordable price. I want to convey the feeling that just because something is old, it doesn’t mean it is old, and that one-of-a-kind items are fun,” says Nimpei.

In 2014, he opened “pejite” as a separate concept from “NIHIRA Furniture Store. In addition to selling larger and more expensive antique furniture, the store will also sell ceramics made by local Mashiko artists, handmade sundries, and clothing. At first I thought I would sell first-class products from all over Japan, but then I realized that there are still people who are not well known but are doing good work, rather than people whose work has already sold well…” He continues, “I wanted to introduce good products but no one knows about them. I wanted to introduce things that are good, but that no one knows about,” he said.

And in 2018, he opened the second “pejite” store in Aoyama, Tokyo. Until then, many people from Tokyo had been coming to Tochigi, but having a store in Tokyo made it easier for people to experience the charm of Mashiko.

Loving the old and reviving its charm

I started the business in a state of uncertainty, wondering if I would be able to make a living on my own. The old tools that he buys are managed in his workshop, which has a floor space of about 330 square meters, and each one is carefully cleaned and repaired by seven or eight craftsmen to give it a new life.

Dirt and other debris are removed cleanly, but not too cleanly.

The reproduction of the work, which cannot be reproduced in a new piece, brings to life the flavor that has deepened over the years, and shows not only the high level of skill but also the “handiwork” of modern craftsmen, which is a reflection of their respect for the craftsmen who worked on these items long ago.

This is not a passing fad. Mr. Nihei’s life has given birth to a beloved store.

I was the kind of kid who was happy to pick up things like oversize trash and fallen rocks,” says Nimpei with a laugh. When I was a child, we were poor, and I thought it would be better if I didn’t ask people to buy me toys. I was poor when I was a child, and I thought it would be better if I didn’t say, ‘Buy me a toy,’ so that may have been my roots.

The old furniture sold at Nimpei’s store is full of unspeakable charm, from its simple, warm feel and form to its detailed design that reveals the culture and fashions of the time.

Mr. Nihei’s aesthetic sense is the result of a fusion of his childhood circumstances and his innate sensibility. He also has a love and respect for old things.

It is not a passing fad that has made the store a favorite of so many people, but rather the very essence of Mr. Nimpei’s life. It is because of Mr. Nihei’s life itself.

To continue to enliven the local community

In 2023, he will open his own original tableware brand “Kyuko” store in the Shin-Marunouchi Building, right in front of Tokyo Station. The shop will focus on ceramics fired in Mashiko’s studio, making it a place where the appeal of Mashiko and its handicrafts can be further communicated.

The shop is a place where the charm of Mashiko and its handicrafts can be communicated. I hope there will be more people who want to do interesting things in this area,” said Nihei. In 2024, he plans to renovate an old private house and turn it into a store that will be available for rent.

Having grown his business to the point where he has multiple stores in and out of the prefecture, Nihei may appear to be a successful businessman. However, at the root of his success is a deep respect and love for the land where he grew up, the historical Japanese old things, and the handiwork of people who put in a lot of time and effort.

He is standing in a future that would not have been possible without his action and desire to leave stability behind and “make a living doing what I love.

The power of “like” is strong.

I am sure that he will continue to run as fast as he can toward what he loves.

The post Mr. Toru NIHIRA, owner of “NIHIRA Old Furniture Store,” which conveys “good things” from the past to the present and brings out the charm of craftsmanship / Mashiko-machi, Haga-gun, Tochigi Prefecture first appeared on NIHONMONO.

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

Fireworks Town, Ichikawa Misato

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

Traditional Japanese Fireworks “Wahi

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

What is the purpose of making and launching fireworks?

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

Becoming a “Japanese pyrotechnician” instead of a pyrotechnician

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

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

Establishment of the Japanese firework brand “MARUYA

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

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

The Appeal of Charcoal in Japanese-style Fire

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

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

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

Fire of Prayer

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

Believing in the Power of Japanese Fireworks

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

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

Spreading the Spirit of Japan to the World

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

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

Traditional fireworks continue to be lit in the modern age

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

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

Iwate Prefecture boasts Japan’s largest charcoal production. In Iwate Prefecture, about a quarter of the charcoal produced is from the town of Hirono in the northern part of the prefecture. One of the charcoal makers in Hoku Sangyo, a longtime charcoal producer in the town of Hirono, is Sachiko Ichijo, a charcoal maker who has won awards at the Iwate Prefecture Charcoal Fair.

Charcoal Production in Hirono Town Developed in Connection with Steel Manufacturing

One of the reasons why charcoal production is thriving in Hirono Town is the abundance of native hardwood trees, the material used to make charcoal. Moreover, the mountains where the hardwood trees grow are gentle, making it easy to cut and transport the charcoal.

Another reason is the connection with iron manufacturing. The Ono area of Hirono Town prospered during the feudal era because of its iron manufacturing industry, known as “tatara-zeki” (tatara iron manufacturing). Tatara-tekketsu is a traditional Japanese iron manufacturing method in which iron sand and charcoal are placed in a clay furnace and burned while air is blown through the furnace to produce iron. Charcoal was indispensable to iron manufacturing because iron sand was transformed into iron oxide by combustion, which was then reduced to iron by combining with carbon, a component of charcoal.

In the Meiji period (1868-1912), Western-style blast furnaces began to be used to make iron, and tatara iron manufacturing declined, but charcoal production continued in the Ono area as the demand for charcoal as a household fuel increased. In addition, many farmers in other areas of Iwate Prefecture also made charcoal during the off-season, and the opening of the Tohoku Line made it easier to ship charcoal to the Tokyo market, and the prefecture encouraged charcoal production. In 1912, the prefecture became Japan’s largest charcoal producer.

The raw material is oak trees 20 to 30 years old.

Charcoal is carbonized by heating wood in the absence of oxygen to remove oxygen, hydrogen, and impurities, leaving only carbon. White charcoal is represented by binchotan, which is made mainly from ubame oak trees. On the other hand, black charcoal is made in Iwate, and the wood used to make it is oak, which grows abundantly in the prefecture. The trees are 20 to 30 years old, and one of the reasons for this is that “when calculating backwards from the thickness of the finished charcoal, a tree with a diameter of 20 cm is suitable,” he says.

Since many of our customers are restaurants, such as Robata-yaki restaurants and Yakitori restaurants, they require charcoal to have a long-lasting flame. Hard and dense oak holds fire well when made into charcoal, which is another reason why we use oak as a raw material,” explains Akira Sasaki, president of Hoku Sangyo, located in Yono-cho. The company was formerly known as “Sasaki Lumber Store” founded in 1952, and started its charcoal-making business a few years later. Currently, the company has 16 kilns producing “Iwate Charcoal,” which is a registered product under the Geographical Indication (GI) protection system, as well as charcoal, powdered charcoal, wood vinegar solution, and other products.

Good Charcoal” Means “Good Fire Life

Sachiko Ichijo began making charcoal three years ago. Until then, she had been in charge of cutting and packing finished charcoal into bags and boxes, but she became interested in the charcoal-making process and decided that she wanted to try it herself, rather than just watching and listening to the process.

He learned charcoal making from a senior craftsman. First, he cut the oak logs to the standard length and thickness, stood them inside the kiln, lit the fire at the entrance, and let them dry for four days. The entrance to the kiln is then closed, and the amount of oxygen in the kiln is adjusted by moving the ventilation openings and smoke openings to carbonize the wood. Once completely carbonized, the kiln is closed at all entrances to shut off the oxygen and allowed to cool for about a week before the kiln is complete. The time from ignition to digestion varies depending on the dryness of the logs and the climate, but it takes about two to three weeks. In other words, it takes three to four weeks to complete the process.

Aiming for “hard,” “heavy,” and “low-pasteurization” charcoal

The most difficult part is to line up the logs in a straight line with no gaps between them in order to keep the inside of the kiln in an acidic state,” says Mr. Kikuchi. But the most important part is to block the entrance to the kiln and move the ventilation openings and smoke openings while carbonizing the charcoal,” says Ichijo. This is where the quality of the charcoal is determined. For Ichijo, good charcoal is “hard and heavy,” or “dense,” which is also a requirement for “charcoal that burns well. If the burning (carbonization) speed is too fast, it will result in low-density, scraggly charcoal, so he adjusts the carbonization speed by measuring the temperature at the smoke opening.

He says, “Before the charcoal is digested, the smoke outlet is opened wide to raise the temperature inside the kiln and increase the carbonization rate. The lower the value, the lower the impurities and the higher the carbon purity (carbonization), in other words, the higher the quality of charcoal. Iwate Charcoal, which has been approved for registration under the Geographical Indication (GI) protection system, is defined as having a purity of 8% or less, and this value is used as the standard for the fair. The bottom part of the finished charcoal is highly refined, so in the case of “Iwate Charcoal” it is cut off before shipping, but Hokubu Sangyo does not cut off the bottom part but inspects it according to its own standards and ships it as “Nara Charcoal.

Senior charcoal makers say that you can tell the state of carbonization and the timing of refining by the smoke and smell, but I have not reached that level yet, so I don’t know. So now I start refining when the temperature at the smoke outlet reaches 320°C. But I hope to be able to tell someday. But someday I would like to be able to understand it. That’s why every day is a learning experience, and that’s why every day is interesting,” Ichijo says with a smile.

Appearance is also an object of evaluation at the fair.

In the course of repeated charcoal making, Ichijo finds charcoal that he thinks is “well done,” and saves it to exhibit at a charcoal show. In addition to the aforementioned “hardness, heaviness,” and “degree of refinement,” Ichijo also considers “appearance” to be a requirement for “good charcoal,” so he selects charcoal with clean bark. As a result, at the 2022 Iwate Charcoal Fair, the company received the Minister of Agriculture, Forestry and Fisheries Award in the black charcoal cut charcoal category and the Director-General of the Forestry Agency Award in the black charcoal long charcoal category. The cut charcoal was approximately 6.5 cm long and the long charcoal was approximately 30 cm long.

I don’t want to end the charcoal-making technique and culture.

According to Mr. Sasaki, there is so much demand for charcoal in Japan right now that the company’s production cannot keep up. The company has been receiving an increasing number of orders for charcoal for use in camping at Corona Disaster and later for use in restaurants such as yakitori (grilled chicken) restaurants.

Even under such circumstances, we always try to produce charcoal of consistent quality. Also, we want to respond to any order. For example, some customers want charcoal that is softer and easier to crush than our Iwate Charcoal or Nara Charcoal, so we sometimes have to search inside the kiln to deliver it to them,” Sasaki says proudly.
Mr. Ichijo, on the other hand, says, “When you make charcoal, you also get ash for incense burners and braziers, and ‘wood vinegar,’ which is made by cooling the smoke, so there is no waste. I don’t want to let this charcoal-making technique and culture die out, so I want to continue making charcoal for 10 years, or even 20 years,” he says. Mr. Ichijo concentrates on each and every task, day in and day out, with only one thing in mind: making “good charcoal. Ichijo’s attitude will surely lead to the emergence of the next generation of young people who aspire to become charcoal makers.

The post Aiming for charcoal with “good fire retention,” which has three key qualities: hardness, fineness, and appearance. Sachiko Ichijo, Hokubu Sangyo / Yono-cho, Iwate Prefecture first appeared on NIHONMONO.

Matsuida-cho, Annaka City is located in the western part of Gunma Prefecture. Mt. Myogi, known as one of the three most scenic spots in Japan, rises above the town, and the beautiful scenery created by its rugged rock surface is a well-known symbol of the town. At the foot of the mountain, surrounded by magnificent nature, stands Usui Silk Manufacturing Co. The Usui River, a tributary of the Tone River, flows nearby. This clean and abundant water supports the production of high-quality raw silk.

An instrumental spinning mill still in operation

The Tomioka Silk Mill, a symbol of modern Japanese industry, was registered as a World Heritage Site in 2014. The same machinery is still in operation at Usui Silk Manufacturing, which continues to produce raw silk from cocoons.

Usui Silk was established in 1959 by farmers in the surrounding area as the Usui Silk Farmers Cooperative Association. Since then, the company has been in operation for more than 60 years. In recent years, due to the decrease in the number of members of the agricultural cooperative, the company received investments from the prefecture, Annaka City, and Tomioka City, and became a joint-stock corporation in 2017, which it continues to do to this day.

At its peak, there were more than 1,800 yarn manufacturing companies in Japan. Since then, the number has continued to shrink, and the number of active instrument mills in operation in Japan today has dwindled to only two. One of them is Usui Silk.

The term “silk spinning” refers to a series of operations to produce raw silk from cocoons produced by silkworm farmers. About 70% of cocoons produced not only in Gunma Prefecture but also in other parts of the country are brought to Usui Silk Mills. In other words, Usui Silk is the largest silk mill in Japan, boasting the largest amount of raw silk production in the country.

Domestic Raw Silk Production in Critical Condition

The current state of the silk industry, however, is not good. According to data from the Ministry of Agriculture, Forestry, and Fisheries, domestic raw silk production, which exceeded 6,000 tons in 1989, dropped to only 9 tons in 2023. Looking at raw silk imports, 175 tons of raw silk was imported in 2023. In other words, domestically produced raw silk accounted for less than 5% of the total amount of raw silk circulated in Japan.

The reason for the significant decrease in the scale of the industry can be attributed to the decline in market competitiveness due to inexpensive imports from China, Brazil, India, and other countries, as well as to the decrease in demand for silk products due to the spread of synthetic fibers. Adding to this situation is the decrease in the number of sericultural farmers.

Sericultural silk used to be practiced in many areas south of the Tohoku region, but now only small-scale production areas remain, mainly in the Kanto and Tohoku regions, and the number of sericultural farmers is very small. Moreover, the number of silkworm farmers is aging, and the shortage of successors has become a serious problem throughout the country. Gunma Prefecture accounts for approximately 40% of the nation’s production of cocoons.

Focusing on domestically produced raw silk

Usui Silk is committed to “pure domestic production. Even if cocoons and raw silk imported from overseas are used, as long as the silk products are processed in Japan, they can be called “domestically produced”. However, the raw silk produced by Usui Silk is different from mere domestic silk. The share of raw silk produced from domestically produced cocoons is said to be less than 1%. This high-quality pure domestic raw silk is mainly shipped and sold for use in kimonos.

The Process of Raw Silk

Mr. Toshiyuki Ando, the representative of the company, showed us around the factory. He said that cocoons received from silkworm farmers are dried with hot air immediately after receiving the cocoons to prevent the chrysalis inside from hatching, and then stored in a cocoon warehouse.

Selection of cocoons

In order to produce high-quality raw silk, cocoons are sorted to remove cocoons made by two silkworms, dirty cocoons, and cocoons with deformities. The cocoons that have been stripped are processed into threads and silk cords. Incidentally, the chrysalis inside the cocoons is used for fertilizer and Chinese herbal medicine, and “silk has nothing to throw away.

Boiled cocoons

After selecting cocoons, cocoons are boiled in hot water or steam to soften them in order to improve the loosening of the threads. Over the course of about 20 minutes, the cocoons pass through six different rooms, including hot, cold, and steam.

Reeling (Soshishi)

The process of taking the thread ends from the boiled cocoons and twisting several threads together to achieve the desired thickness. This is the core process of a silk mill. The cocoons are carried in hot water, shaken out with a small broomstick, and then set in an automatic reeling machine, which pulls out a single, invisibly delicate strand from the tangled threads. When the raw silk becomes too thin, the machine senses the fineness and automatically adds cocoons, and the raw silk continues to be reeled at a constant thickness. When the thread breaks, the staff manually reconnects it in a skillful manner.

Agedashi (turning back cocoons)

The raw silk is wound onto a small frame by an automatic reeling machine, and then rewound onto a large frame with a circumference of 150 cm while being dried. This is done to make it easier to handle later.

Finishing

The finished domestic raw silk is bundled and twisted to make it ready to be handled. Several more are bundled, packed in boxes, and shipped.

Automatic reeling machine is the fruit of Japanese technology

The automatic yarn reeling machine used is said to be a machine manufactured by Nissan, an automobile manufacturer, in the 1980s. In the past, automobile manufacturers such as Toyota and Nissan were world leaders in the manufacture of machinery for the textile industry, and the high level of technology developed at that time has been passed on to today’s automobile industry. Automatic yarn reeling machines are now so valuable that they cannot be replaced or even have their parts replaced. The staff members maintain the machines themselves and continue to use them with great care.

Why did Usui Silk Manufacturing survive?

Why has Usui Silk continued to operate despite the drastic decrease in the number of silk mills in Japan? The reason is that in Gunma Prefecture, there are only a few sericultural farmers left, and the groundwork has been laid to continue to protect the breeding of silkworms. Another reason is that we handle Gunma’s original breed of silkworms, which are not affected by market prices. Another advantage of Usui Silk is its ability to produce a wide variety of yarns in small lots. The company is able to produce raw silk of various thicknesses and respond to customers’ requests in detail. This would not be possible without high-performance machines and good technicians.

I believe that continuing to produce good yarn is the key to keeping the business going,” he said. If this place were to disappear, the sericultural farmers would also go out of business, so we take our responsibility seriously,” says Mr. Ando.

What Future Should Usui Silk Manufacturing Aim for?

However, “Looking five to 10 years from now, we will not be able to survive by just producing raw silk,” says Mr. Ando, who feels a sense of crisis and is searching for a new pillar of revenue. In recent years, the company has been focusing on developing original products using raw silk, selling familiar silk products such as underwear, socks, and body towels, as well as skin care products using silk protein extracted from raw silk.

By continuing to provide high-quality silk products, Usui Silk has become a valuable player in Japan’s declining sericulture industry. In the future, Usui Seisaku will continue to develop products to meet needs in Japan and abroad, strengthen its brand by utilizing traditional technology, and collaborate with other fields to pioneer the future of the traditional industry of silk spinning with new technology and flexible ideas.

The post Preserving and passing on Japan’s silk industry and silk culture. Usui Seishi, the largest silk mill in Japan / Annaka City, Gunma Prefecture first appeared on NIHONMONO.

In Kiryu City, Gunma Prefecture, which has long flourished as a textile town, there is Kasamori Corporation, a long-established embroidery workshop founded in 1877. In this historic town of high quality fabrics and textiles, Kasamori supports the world’s fashion designers with its embroidery, and continues to take on new challenges, such as its own brand “OOO” (Triple OOO).

Original products created from the fusion of skilled craftsmen and technology

Kiryu City, located in the southeastern part of Gunma Prefecture on the border with Tochigi Prefecture, is known as “the East Kiryu for Kiryu, the West for Shijin” and has a history of prosperity as a textile town since the Nara period (710-794).
Kasamori Co., Ltd. was founded as a weaver of obi belts in this textile town, where the main industry is the traditional craft of Kiryu weaving. With the changing times, the company introduced a Jacquard embroidery machine in 1962 and changed its business from weaving to embroidery. The company has produced a number of high-quality products based on the high technology created by the fusion of skilled craftsmanship cultivated in the textile industry and the technology of embroidery machines using laser cutting and other techniques.
The company’s fourth generation chairman, Yasutoshi Kasahara, is determined to take on challenges with an eye to the future, rather than taking a defensive stance typical of long-established businesses.

Transformation of business from Japanese to Western-style clothing, in line with the changing times

As the times changed, Kasamori’s business was forced to shift from Japanese to Western-style clothing.
The Obi business requires a lot of purchasing, and it is like buying thread and selling it. On the other hand, embroidery requires only a small amount of money to purchase, but it is possible to compete on the basis of technical skill. My father told me at the time that even if sales were small, profits would remain,” Kasahara explained.
When he first started his embroidery business, he embroidered one-point embroidery on socks, and gradually began to work on Japanese and Western-style clothing as well. Slowly but surely, he established his original embroidery technique, and in 2006, he developed his own technique, “Kasamori lace” chain embroidery.
After that, when the company exhibited at exhibitions in Tokyo and Paris, its clothing accessories and embroidered products using its advanced technology attracted much attention, and the company began to receive inquiries from designers and apparel makers in Japan and abroad.
Embroidery supporting the world’s fashion designers behind the scenes

In the 1960s, Kasamori switched to the embroidery business, and at the same time Japanese fashion designers began to appear in Paris.
Issey Miyake, Kenzo Takada, Yohji Yamamoto, Rei Kawakubo, and many others were leading the Japanese fashion industry with their collections in Paris. At that time, while we were working in mass production, we were also working with fashion designers such as Issey Miyake and Rei Kawakubo, who were gaining worldwide attention.”
Kasamori’s embroidery, which is precision machine embroidery but has the warmth of handmade embroidery, has attracted designers and apparel makers from Japan and abroad. Kasamori’s embroidery, with its precision machine embroidery and handmade warmth, attracted the attention of designers and apparel makers in Japan and abroad, and the company’s technology solved various problems and was valued as a high-quality clothing accessory and embroidery product.
The trust thus fostered has never wavered, and the company continues to do business with popular brands to this day.

He always says, “If you need help with embroidery, call me.”

Kasahara says, “At that time, I always told designers who were looking for advanced techniques, starting with collections, to contact me if they had any problems with embroidery. Then, when they wanted to make something difficult, they would ask me for advice.
When we delivered the product, she was very pleased that it was exactly as she had imagined.”
Kasamori is highly skilled in machine embroidery using a variety of techniques. Kasamori’s greatest strength lies in the fact that the addition of embroidery’s unique diagonal variation to the vertical and horizontal thread movement cultivated in textiles has changed the degree of freedom of thread movement and expanded the possibilities of his work.
More than anyone else, Kasahara enjoys and is amused by the way the direction of the thread and the way the thread is stitched to the embroidery design, and by the way embroidery expression changes depending on the movement of the thread.

Launching your own brand, with your own price

Mr. Kasahara says that when he was actively participating in exhibitions in Paris, he had a memorable business meeting with a world-famous brand with whom he went to the headquarters to talk.
He told me that high brands go out of their way to raise the value of the brand itself by charging high prices and doing lots of promotions in order to increase profits.
Hearing this story, Mr. Kasahara thought that he would not be able to survive in the future if he did not put his own price on what he made. Mr. Kasahara thought that if he did not put his own price on what he made, he would not be able to survive in the future, and he began to think about having his own brand.
After a long period of trial and error, he decided to create his own brand in earnest in 2008. In 2010, he launched his own brand, “OOO,” which he had longed for.

「A new concept of “embroidery freed from cloth

Yoichi Katakura, the current brand manager of “OOO,” was entrusted by Mr. Kasahara with the mission of establishing his own brand after joining Kasamori Corporation in 2005.
I was honestly at a loss when Mr. Kasahara told me that he wanted to create a new value of embroidery that would excite both the creator and the buyer through embroidery. We didn’t know where to start, so we just tried to find our strengths and started by looking for something that would differentiate us from other companies.
Kasamori originally had experience making accessories for a domestic fashion brand on an OEM basis. Mr. Katakura thought that by combining their technical ability to handle difficult embroidery with accessories, they could bring out their strengths.
The idea of “embroidery free from cloth” came to him, and while making various products, he settled on accessories made with thread, which were well received by customers.

Patented spherical accessories

In order to create a completely new option of “thread accessories” for daily wear, Katakura aimed to create something that would make people wonder “how far you can go with just thread.
I wanted to create something made of thread, but that didn’t feel like thread. In order to betray it in a good way, or to eliminate the cheapness unique to thread, if the necessary thread was not sold, we made it ourselves from the thread, and developed the technology while involving local craftsmen.
We decide what we want to make first, and if we don’t have what we need, we take on the challenge from the point of making it. This is the very essence of “OOO,” which creates accessories with free thinking and without being bound by preconceived ideas, and the three tenets of “ideas, materials, and techniques.
The “three-dimensional embroidery” was completed through a fusion of precise programming and craftsmen’s handiwork in order to make jewelry that is closer to real jewelry using only thread. This technique of creating a sphere using only thread is patented by “OOO” and is a major strength of the company.

Technical capabilities to turn the “impossible” into the “possible

Kasamori Lace, in which chain embroidery machines are used to embroider on water-soluble non-woven fabric, and then the non-woven fabric is washed away with hot water, leaving only the threads, is a technique that was arrived at after repeated attempts. It is an original creation only possible with the experience and sensibility of a craftsman who can adjust a sewing machine programmed according to the pattern, even taking into account the temperature and humidity of the day.
When Mr. Katakura wanted to make an accessory like a pearl necklace using only silk thread at “OOO,” he was repeatedly told, “It is absolutely impossible. Nevertheless, he continued to think of ways to make the “impossible” and created a patented manufacturing method that only “OOO” could do. This is where Kasamori’s experience of turning “impossible” into “possible” came in, as he turned to the embroidery business and used his skills to increase profits.
Not only preserving tradition, but also taking on the challenge of creating new value is what will open up the future. Kasahara-san’s vision of co-creating with local craftsmen to create exciting products is the driving force behind Kasamori’s embroidery, and the company will continue to innovate to create original and appealing products like “OOO” for the entire region.

The post Supporting World Fashion from the City of Textiles, Kasamori Corporation’s New Challenge / Kiryu City, Gunma Prefecture first appeared on NIHONMONO.