This brass spoon has a thin, straight handle with an impressive rounded spoon. This spoon is from “Lue,” a brand of brass cutlery and miscellaneous goods, represented by Ms. Rikika Kikuchi. The simple design with no unnecessary decorations gives the spoon a warmth that only handmade products can provide.

What matters is not who made it.

Lue’s studio is located in the peaceful countryside of Setouchi Oku-cho, about 40 minutes by car east of central Okayama City. The building was converted from the barn of his wife’s parents’ house, with the workshop on the first floor and the gallery store on the second floor.

Mr. Kikuchi was born to a father who was a brass accessory artist, and began helping him when he was in high school. In 2006, he decided to specialize in brass cutlery and started his own brand, Lue. The name “Lue” came from a nickname he had as a child. My name is Ruka Kikuchi. My father, who was a Christian, named me after a Christian believer, Luke. When I was a child, I was called ‘Rue-kun,’ and it was based on that”.

Beautiful and functional spoons inspired by his father

The first product to emerge was the “teaspoon. This standard product, which he continues to make today, is also strongly influenced by his father. When he consulted with his father about making a spoon, the one he made for him as a sort of sample was very close to the current form. What particularly caught Mr. Kikuchi’s attention was that the hammered marks applied by striking the handle were added not for design but for ease of holding. He was strongly attracted to the fact that there was no need to waste work, yet it was beautiful to look at and functional.

He also likes the property of brass, an alloy of copper and zinc, which oxidizes and mellows in color as it is used. The color changes depending on how it is used and cared for, making it a one-of-a-kind item that he can become attached to.

We are happy to have them continue to use our products for a long time.

What Mr. Kikuchi values is that his products can be used for many years to come. This also includes the folk art concept. He prefaces his comment by saying, “Mingei people may not think so,” but he continues, “Mingei in Okayama is about making good things, in the same form, and at a low cost, so that they can continue to be made for a long time. I feel that it is based on such a craftsman-like idea. In terms of continuing to make the same form, I wonder if “Lue” items have an image similar to that of folk art,” he says.

This leads to the fact that he works under the brand name “Lue,” rather than as an artist with his own name in the foreground. Although he started out as a one-man workshop, he now operates with two production staff and one person in charge of sales and administrative work. I would be happy if people continue to use these spoons long after we are gone, regardless of who made them,” he says. I myself am not concerned about the name “Lue” remaining on the spoon. If there are people who enjoy using them, that makes me happy.

Involvement with others creates new products.

In addition to original products, “Lue” also produces a number of items made to order for stores and companies. One example is the “Pizza Scoop” made for the Kyoto restaurant “monk” for pizza sharing, and the “Kuromoji” for Japanese confectionery, which was created for the “LEXUS NEW TAKUMI PROJECT” of the automobile manufacturer Toyota. These items have been made into standard items for “Lue” so that they will be loved by many people for a long time and continue to be sold.

Attitude of not sticking only to handwork

Furthermore, since 2013, in addition to “handcrafted” products, which are made entirely by hand, the company has also been offering products in the “industrial” line. As the name suggests, these are industrial products.

He started out by visiting factories and looking for places where he could cooperate with others. He recalls that he started by visiting factories and looking for places that would cooperate with him. The “Industrial” line is produced by machine at a factory in Tsubame City, Niigata Prefecture, a production center for metalworking products, based on a prototype that Mr. Kikuchi made by hand. The products have a uniform shape, thinness, and brilliance that cannot be achieved by handwork. Machine production also helps to keep prices low.

To take advantage of being an industrial product, the concept of this line was “stackable. The first product was “Spork,” a spoon and fork for outdoor use and for children. The result is an item that is easy to carry without being bulky when stacked. Even though it is an industrial product, the prototype is handcrafted, giving it a warmth that only “Lue” can provide. Of course, the unique color of brass can be enjoyed as it ages. What should be done to create functional and long-lasting items? He chooses the best method without sticking only to handcrafting. This is the essence of Kikuchi’s craftsmanship.

The next step is to enjoy yourself.

In terms of handcraft production, a couple of years ago, he shifted his focus to allow his staff to do all of the work. This has changed the way Mr. Kikuchi approaches his work. Instead of treating the work as work, he is now able to “challenge himself to work in a half-playful way that he also enjoys.

For example, in 2022, he collaborated with Yukihito Kanai, who does “Amami mud dyeing” at Kanai Kogei, a dyeing studio on Amami Oshima Island in Kagoshima Prefecture, and Tenshin juba, a ceramic artist who mainly produces slipware at Tsukumo Kiln in Kobe City, Hyogo Prefecture. For the time being, it is positioned as an experimental experiment, but we look forward to the eventual development of this project with the involvement of writers, photographers, and other colleagues from different industries.

Another thing he would like to do is to make brass objects. I can’t make something good even if I force myself to make it, so I’m still putting it gently to bed,” says Kikuchi. It is like Kikuchi to wait for the right moment, without pushing too hard or being in a hurry. Like brass, the activities of “Lue” are changing little by little, gaining deeper and deeper luster. When Mr. Kikuchi encounters an enjoyable job that tickles his fancy, he is sure to surprise us with the new charm of brass.

The post Brass cutlery that can be used for a long time. Ms. Ruka Kikuchi of “Lue first appeared on NIHONMONO.

Vermicula is a cast-iron pot and pan born in Nagoya, Aichi Prefecture, Japan. The highly airtight cast-iron pots and pans have spawned a trend toward “waterless cooking” and have gained support not only from cooking enthusiasts but also from ordinary households. Aichi Dobby Corporation, which manufactures Vermicula, was originally a subcontract factory. We take a closer look at the appeal of this top-of-the-line pot born from an idea.

The “best pot” born in Aichi Prefecture, a manufacturing kingdom

Aichi Prefecture is known for its thriving manufacturing industry. According to the 2021 Economic Census, Aichi Prefecture accounted for about 14.6% of the nation’s manufactured goods shipments in 2020, ranking first in Japan for 44 consecutive years. The development of the transportation machinery industry, including automobiles, has been supported by manufacturers that produce each component, so-called subcontractors. And ideas that emerge from highly skilled local factories sometimes surprise the world. Aichi Dobby,” located in Nagoya City, Aichi Prefecture, is one such company. Their “Vermicula” cast-iron pots and pans were born out of a desire to “create the world’s best product from a local factory,” and have since become a huge hit product distributed worldwide. We interviewed Mr. Tomoharu Hijikata, Vice President and Representative Director of Aichi Dobby, the creator of Vermicula, about how the product was born.

From a Subcontractor to a Major Manufacturer

Aichi Dobie is a casting manufacturer founded in 1936 in Nagoya, Aichi Prefecture. The company used to manufacture “dobby looms,” a type of loom, but after Kunihiro Hijikata’s elder brother and president took over the family factory in 2001, the company began manufacturing hydraulic parts, precision components used in ships and crane trucks, as the Japanese textile industry declined.

At that time, Kunihiro became a casting craftsman and Tomoharu became a precision machinist, and the company’s technical skills improved, resulting in good management. The company’s performance as a subcontracting business was strong, but at the same time, the company was facing a sense of crisis: “We cannot grow the company in the future by subcontracting alone,” he said.

We, as a manufacturing company, are only happy when people say, ‘Thank you for making good products. But I thought it would be difficult to feel that joy if we only subcontracted. We wanted to make things that we thought up ourselves and deliver them directly to our customers to make them happy,” said Hijikata. So, we decided to create “something that only we can do and that is the best in the world” using our casting technology.

Products that “make customers happy

However, it was difficult for a small town factory to make a large capital investment. The company started making products using casting and precision machining technologies, but initially had difficulty coming up with ideas. One day, he stopped by a bookstore and learned that a Dutch oven, a pot with a lid made of thick cast iron, was gaining popularity as a “magic pot. I was skeptical, but I was still impressed. Although he was skeptical, he purchased a cast-iron enameled pot made overseas that was on sale at the time. When he tasted the dishes he actually made, he was surprised at the difference in taste. The food tasted warm, as if it were something different from the food cooked in the pots and pans he used daily.

Mr. Hijikata immediately began researching, “Is cast iron enamel the best pot in the world? He immediately began to investigate. However, he found that “aluminum and stainless steel pots that are airtight and can cook without water” were regarded as superior to cast-iron pots and pans. Cast iron enamel was regarded as the best for cooking because it combines the “good heat conduction” of iron, the carbon contained in cast iron, and the “heat retention and far-infrared ray effect” of enamel. However, cast metal inevitably has gaps in the casting process, making it less sealed. Because of the low sealing property, cooking without water to bring out the maximum flavor of the ingredients is not possible. As a result, aluminum and stainless steel, which are more hermetically sealed, were more highly regarded.

Mr. Hijikata thought, “Then, if I can combine my brother’s casting technology with my own precision machining technology to create a cast-iron enameled pot that is hermetically sealed and can cook without water, this will be the best in the world. This was the impetus for the development of Vermicula.

Struggling with cast iron and enamel

Even though it is a cast-iron enameled pot, it is highly airtight. It can be used for cooking without water, and the umami of the ingredients can be locked in the food as it is. Creating a one-of-a-kind, one-of-a-kind pot. The goal was in sight, but it would take some twists and turns until completion. At first, I thought I could do it in about three months,” Hijikata recalls, “but first of all, Japan didn’t have the technology to enamel castings. It was very difficult,” recalls Hijikata.

To begin with, enameling is the process of applying a glassy glaze to the surface of a metal material such as iron or aluminum and baking it at a high temperature. Casting enamel requires enamel to be applied to cast metal and baked at 800 degrees Celsius, but the cast metal begins to melt at around 720 degrees Celsius, causing its structure to lose its shape and air bubbles to appear. In other words, when enamel is baked, the surface of the enamel becomes uneven with air bubbles, and baking itself was difficult.

Vermicula, a material encountered by chance

The casting used to develop the pots and pans was not just melted iron, but was a mixture of more than 10 different substances that caused a chemical reaction. Through trial and error, they found that changing the mixture made it easier to enamel. Finally, they succeeded in baking enamel on cast metal, but now the problem of sealing stood in the way. Cast pots and pans are extremely thin (3 mm), and the heat applied during the enameling process inevitably distorts the precision-engineered pots and pans to make them airtight, causing the seal to fail.

It was at this time that Hijikata-san’s brother received an order for subcontracting business from a new client. It was there that he came across a special material for castings called “compacted vermicula. When Hijikata-san saw the shavings from the precision machining process, he had a flash of inspiration: “I don’t have any proof, but maybe this is what it could be. By redeveloping the material based on compacted vermicula, which has high strength and excellent heat conduction, it became possible to enamel thin pots and pans. This process made it possible to produce a highly airtight cast enameled pot, which had been longed for. He named the completed pot “Vermicula. If we had not received the order by chance, it might have been difficult to make it happen. We were lucky,” laughs Hijikata.

The success of “anhydrous curry” led to further success.

The completed “world’s best pot,” Vermicula, went on sale in February 2010 and quickly established itself as a cooking pot, gaining recognition through word of mouth among cookery researchers and social networking sites. What triggered the hit? When we ask Hijikata-san, he says, “I think it was the anhydrous curry. Waterless curry is a type of curry that uses only the water from the ingredients. The umami of the vegetables is condensed to the last drop, and a mellow aroma spreads in your mouth. The phrase, “Curry can be made without water,” had an impact on the public and was more than enough to get consumers interested in the recipe.

An e-mail from a fan made us realize

In 2019, the company opened “Vermicula Village” along the canal, a short walk from the factory. It will include a restaurant where visitors can enjoy a menu prepared using actual Vermicula pots, pans, and rice cookers (rice pots), a bakery that sells bread baked in special pots, cooking classes, and a store, all with Hijikata’s wish that “we want people to experience the taste that we are proud to say is the best in the world. The bakery, cooking school, shop, and other facilities are all designed in line with Hijikata and his team’s wish for their customers to “experience the world’s best taste. Furthermore, in 2021, they will open “Vermicula House” in Daikanyama, Tokyo. It is now a major brand with fans all over the world.

However, due to the rising cost of fuel and raw materials, the company was forced to raise the price of each product by approximately 10% in June 2022. It was a painful decision, but the price of steel, which makes up the bulk of the raw materials, had ballooned, and the company had no choice but to reflect this in its selling prices. Hijikata-san, who reads all the e-mails he receives from customers, saw earnest messages from fans saying, “I can’t buy any more if the prices are this high,” and “Corporate efforts are also important. It made me wonder if we had really made an effort,” said Hijikata. This e-mail prompted the entire company to make a thorough cost-cutting effort. Then, in April 2023, the company made the decision to drastically reduce prices. Some products are now cheaper than before the price increase. Mr. Hijikata proudly states, “It’s a lot of work, but I want lots of people to use our products.

To become the world’s best-loved brand

Currently, Aichi Dobbies does not accept subcontracts. The reason for this is to focus the employees’ attention on Vermicula. The company started out making the world’s best pots and pans with the idea, “We are a small company, but we want to create an overwhelming product that the world has never seen before. Mr. Hijikata said, “It was hard work, and we are still having a hard time. But I have more and more friends and reliable staff. I enjoy doing this,” he says.

His future goal is to make Vermicula the world’s most “loved” brand of cookware. Enamel gradually peels off and becomes damaged with use, but Vermicula accepts recoating, extending the life of the product. The world’s best pots and pans for a lifetime of use. Mr. Hijikata’s dream, “We wanted to create something that we could deliver directly to our customers and make them happy with our own ideas,” has grown into an even bigger vision with the popularity of Vermicula.

The post From a Small Town Factory to a Global Brand: Behind the Scenes of Vermicula’s Breakthrough first appeared on NIHONMONO.

Seikichi Hasegawa is the son of his father, Shunko Hasegawa Ikkosai, a tea ceremony metalworker in Nagoya, and is the fourth generation to succeed him. At first glance, his metalwork tea ceremony utensils may seem simple, but the intricate detail and design give them a striking beauty. In addition to making tea utensils, he also works on elaborate reproductions of “disposable industrial products. We asked him about the true meaning behind his unique creations.

Born into a family of traditional tea ceremony metal workers in Aichi Prefecture

In a quiet residential area in Showa Ward, Nagoya City, a gate with a Japanese flavor suddenly catches the eye. Beyond the gate stands a Japanese-style house where Seikichi Hasegawa, who is heir to a family of tea ceremony metalworkers, carries out his work. Mr. Hasegawa’s family was a Tsubajishi for the Owari Tokugawa family, who succeeded the feudal lord of Nagoya in the Edo period, and his name has been Ikkosai for generations. During the Edo period, he used to make tsubas for sword accessories, but after the Meiji Restoration (1868-1912), sword manufacturing went into decline due to the ban on sword belts. The family then began to make metal tea ceremony utensils by utilizing their skills in processing tsubas, and these skills have been passed down through the generations to the fourth generation, Mr. Hasegawa.

In the Edo period (1603-1867), the Owari Tokugawa family popularized the culture of enjoying tea in Nagoya. This culture is still alive in Nagoya today. As a result, there are many people who enjoy tea and many wagashi (Japanese confectionery) shops. As a result, the local culture has deeply influenced the Hasegawa family’s business.

What are metalwork tea ceremony utensils?

By the way, when we think of tea ceremony utensils, many people probably first think of matcha bowls made of pottery such as Bizen and Hagi. Metalworkers work on pouring hot and cold water into tea containers and confectionery vessels used to decorate tea cakes. In other words, they play a supporting role in tea ceremony utensils. Considering this, Mr. Hasegawa says of his metalworking tea utensils, “I think it suits me to produce them in a more subdued manner, taking a step or two back, in harmony with the pottery.

However, as he immersed himself in this world, Hasegawa also realized that “making only tea utensils was not enough to fully express the skills he had honed and to develop himself and his house,” and he decided to take advantage of the skills he had cultivated to create artworks.

After studying in London, he returned to Japan to take over the family business.

It was probably his experience as an exchange student that led him to think of taking over the family business. After graduating from high school, he went to London to study sculpture for two years.

He says, “Although metalworking and tea ceremony utensils are different genres, I learned a lot in London that I am still using today. Indeed, Hasegawa’s works have a stateless atmosphere that is somehow exotic, even though they are tea ceremony utensils.

After returning to Japan, Hasegawa learned his skills under his father, but when it comes to his own works, he says, “I want them to reflect the times in which they were made. Living in the current era, he has seen, heard, and thought about many things, and his life has unconsciously influenced his work.

The style of Hasegawa’s work is one of his charms. He has mastered the techniques handed down from generation to generation, but he is not bound by traditional Japanese design, and has had contact with a variety of objects, including foreign jewelry and church decorations, and has flexibly fused his sensibilities.

Metal for “disposable industrial products.”

Mr. Hasegawa, who actively incorporates techniques that are not part of the traditional metalworking format, next turned his attention to “disposable industrial products. These are not tea utensils, but so-called works of art. For example, cans, paper bags, and bubble cushioning materials, also known as “petit pouch,” are elaborately reproduced in metal. Because these materials are so far removed from metal, they require a great deal of skill to reproduce elaborately, making them worthwhile to make.

In the world of tea ceremony utensils, flowers, plants, and living creatures are often used as motifs, and their organic forms and lives are often incorporated into the artwork, but for the artwork, he dared to choose inorganic objects as the subject matter. He explained the reason for this: “I reproduce disposable industrial products through metalworking. The more time and effort I put into it, the less meaningless it seems, but I quite like that feeling. I quite like that feeling,” he says, smiling wryly.

Tea utensils on display at an exhibition

He would not release an artwork based on the motif of “disposable industrial products” to the world if he felt that it was not a work of art. With this in mind, Mr. Hasegawa quietly continued the detailed and painstaking work, which seemed daunting. When he looked at the completed work objectively, he felt it was safe to present it to the world as a work of art. When he mixed it with tea utensils and exhibited it at an exhibition, he was pleased with the response from visitors.

Although the work had no use like tea utensils and was simply a piece of art, people were interested in it, saying, “That’s a unique piece,” and they were amused, saying, “What are you making? The appeal of the works reached not only those who were interested in the world of tea ceremony and tea utensils, but also those who had never had contact with the world of tea before, and many comments were received.

With this opportunity, Mr. Hasegawa decided to continue the “disposable industrial products” series in parallel with the tea ceremony utensils, increasing the number of variations of his works. Later, he expanded his scope as a goldsmith by exhibiting his work in exhibitions with the theme of “superb craftsmanship” that transcended the boundaries of tea ceremony utensils.

Having Two Axes Makes Me Feel Easier

The fact that he now works not only in the family business but also in artwork has eased Hasegawa’s mind. Tea utensils are designed with a slight pull back while considering the push and pull with pottery. On the other hand, the “disposable industrial product” series allows him to create as much as he wants. Even though they are the same metalworking, these two completely different directions make the production of each more enjoyable.

While meeting and talking with clients and visiting private exhibitions are also important parts of his job, Hasegawa says that working quietly in his workshop is more to his liking. During the daytime hours when natural light is available, he works at a brisk tempo, tapping and shaping metal, while at night he listens to the radio and devotes himself to detailed work with localized light. Day and night, he faces metal with sincerity and sometimes a sense of fun.

The post Seikichi Hasegawa, a tea ceremony metalworker with a unique style first appeared on NIHONMONO.

Tateyama Town in Toyama Prefecture, where the Tateyama Mountain range of the Northern Alps rises high above the city and a peaceful rural landscape spreads out. Born and raised in this town as the youngest daughter of a family of potters, we interviewed Ms. Yui Shakunaga, who creates one-of-a-kind pieces using copper, brass, tin, and other materials, about her thoughts behind her work.

Fascinated by the tarnished look of antique spoons, he started his career in metal modeling.

Hers father is Yukio Saketsunaga, a representative artist of Etchu Seto ware with a history of over 430 years, and his sister and brother are both ceramic artists. Born into a family of traditional potters, Mr. Wei studied metal crafts at university and worked as a prototype maker at MIKIMOTO, a jeweler. After leaving the company, he worked at the Kanazawa Utatsuyama Craft Workshop before becoming an independent metal modeling artist.

I first became interested in metals when I was in the early grades of elementary school. One of my father’s friends had a rather unusual uncle. He was a collector of medieval European spoons. He told me that the beauty of metal is amazing, and that the charm of metal is that it gets scratched and changes color,” says Wei. The site of his great-grandfather’s tile factory, where he used to play every day as a child, and how the exposed steel-frame buildings blended in with the rusting nature, also left a strong impression on his mind.

At MIKIMOTO, a jewelry company, Ms. Wei was involved in the production of prototypes using metal and mastered the art of metal engraving. When she was making the base for the gemstone, she said, “I thought this base was beautiful. Even without the diamonds, it is beautiful on its own. I wondered why I felt it played a supporting role. I felt that it could be expressed with metal alone. It was this feeling that led Mr. Wei to metal modeling after he retired from the company. He laughs, “Manufacturing is a tough job, and my parents wanted me to continue working at a stable company, but I came back to this side of the industry after all.

The studio in his hometown of Tateyama was once the site of his great-grandfather’s tile factory. A steel-frame tile yard was renovated and used as his studio. The neighboring area, also a former factory site, is empty of residents, allowing Wei to devote himself to his work regardless of the time of day. The sound of Wei tapping the copper plates with a hammer echoes through the studio to this day.

Brass and copper objects with a sense of softness and fragility

YUI creates objects and vessels made by bending and shaping metal plates using the tan-kin technique. Although metal has an image of being hard and heavy, Wei’s works are so delicate and flexible that they seem to move softly at first glance.

Hers debut work was the “Enkan Lidded Tableware”. When he was wondering what to make after becoming independent, he decided to make a lid rest for tea ceremony utensils, which he learned at the Utatsuyama Craft Workshop in Kanazawa. Inspired by his own name, “Yui,” which was given to him by his parents, meaning “to connect,” he connected and twisted many brass rings to form a circle. The loveliness of the shape and the luster of the texture leave a lasting impression.

The object, formed three-dimensionally by drilling countless holes in a copper plate about 1 mm thick, is as light as the wind with its supple curves. Heated over a burner to soften them, they were twisted as desired to express free movement. The lace-patterned vase is also somewhat mysterious and breathtakingly beautiful. The vase looks like a piece of dyed bamboo instead of metal.

She says, “If you create something with the latent image of metal being hard and heavy, it will really look like that, but I keep working on it while capturing the supple part. That is why I am happy when people say it looks like light bamboo,” says Wei.

Copper colored in its natural state by sulfidation reaction

The coloring technique is also distinctive. Tin is applied to the surface of a thin copper sheet and melted, creating a gradation of black to white using a technique called sulfurization coloring. Sulfurization causes only the copper to react and turn black, while the tin does not react and remains white.

Depending on the timing of when the sulfurization reaction is stopped, the color can change from a bright copper color to a deep hue. Mr. Wei values the hue of the material as an extension of nature.

Tin is applied like a glaze.

The reason he uses tin is because when he combines it with copper, an unexpectedly beautiful hue is created.

YUI says, “When I worked for a jeweler, precious metals were polished to a shine, but I wanted to bring out the characteristics of the metal and give my pieces a tasteful look.

Copper is softer than other metals, so it is easier to give shape to one’s thoughts. There was a time when I was practicing to draw tin evenly and thoroughly on the surface of copper, but it just didn’t seem right. I tried melting the tin as it naturally flowed and sulfurizing it to create a coloring, which produced an interesting look.

I have a longing for glaze because I was familiar with ceramics,” he said. Tin is too soft to handle at room temperature, and when it is put on fire, it melts and does not move the way I want it to. So I thought, “Let’s try to make the tin stay where it will naturally settle when it is placed on the copper. I felt that this was a little like the process of “letting nature take its course,” as in the case of ceramics, where the glaze is melted by the flames in the kiln.

The idea of circulation, as if becoming one with nature, is used in the work.

YUI’s goal is to create works that blend in with their surroundings when placed in nature. Although it is possible to draw the eye with color, I want to create something that is an extension of nature,” says Wei. Although often described as “plain,” even the gradation from black to white is a color that is truly versatile.

The unevenness created during the burning process is also left as is. YUI says that accepting the happenings she encounters during the production process is also her way of expressing herself.

When I first started out in this field, I used the standards I had acquired at university and at work as a guide, but I was also constrained by them,” she says. She was so concerned with dimensions and neatness that he could not accept any distortion.

But while maintaining this base, she has created new techniques and combinations of materials, and has come to see everything as “proof that it was made by my own hands.

YUI’s three-dimensional works and vessels, which seem to reflect his heart, are also used at Chef Eiji Taniguchi’s auberge “Revo,” which offers a unique dining experience in the pristine natural environment of Toga Village in Toyama Prefecture. Chef Taniguchi pursues true local production for local consumption and sublimates Toyama ingredients into avant-garde regional cuisine with endless ideas. He has created his ideal dining space with original tableware, cutlery, and interior design fully ordered from artists and craftsmen. He received two stars in the “Michelin Guide Hokuriku 2021” and was awarded “Chef of the Year” for the second time in “Gault et Millau 2022. Wei’s work, which is inspired by the cycles of nature, is an integral part of Chef Taniguchi’s worldview.

In addition to “Revo,” the giant lace-patterned objet d’art also shines dully and beautifully in the chocolate and pastry store on the 45th floor of the world-famous luxury hotel “The Ritz-Carlton, Tokyo. Wei’s attention as a metal sculptor is only increasing.

Every time I have a solo show or an exhibition, I always have a clear idea of what I want to try next. The joy of having someone who shares my senses is unique. It is also fun to look down and see when my work resonates with people and when it does not. I am happy if I can push forward in the direction I want to go and expand my world through my work.

The suppleness of metal, its fragility as it decays in nature, and its fragility and transience. Finding beauty in these qualities, Wei will continue to express herself freely and lightly with her unique sensibility and techniques.

The post Metal sculptor expressing the theme of nature Yui Syakunaga first appeared on NIHONMONO.

Cast metal is manufactured by pouring molten metal into a mold. Cooking utensils made of cast metal inevitably have the image of being thick and heavy. Whether it is a frying pan or a pot, women in particular often find it difficult to handle due to its weight, and often feel stressed when washing it. Sanjo Special Foundry, located in Sanjo City, Niigata Prefecture, is a foundry that specializes in the manufacture of thin and light products.

A Turning Point from Machine Parts Manufacturing

Sanjo City, located roughly in the center of Niigata Prefecture, along with the neighboring city of Tsubame, developed from the production of Japanese nails in the Edo period, and the skills of blacksmiths who smelt metals to create products have traditionally been cultivated. The area is known for its manufacturing of cutlery, metal, and Western tableware. Sanjo Special Foundry was established in 1961. Sanjo Special Foundry also inherited the local culture and began its factory history by manufacturing machine parts and other casting products. For many years, the company’s main business has been the manufacture of parts for various machines, including automobile parts, which require strength and precision, and its strength lies in manufacturing lightweight, easy-to-handle parts. In the world of castings, where prices are determined by weight, the reputation of lightweight parts was not very satisfactory. A turning point was needed.

New Light Found in Cooking Utensils

The turning point came in 2010. A kitchenware brand asked him to produce cast cooking utensils on an OEM basis. The company was asked to create a lightweight, durable, and ultra-thin frying pan, and it did so by combining the technological expertise and pride of its craftsmen. The result was a product that met expectations.

The frying pan turned out so well that we decided to try our own product, a light and easy-to-handle enameled cast iron frying pan,” said Teruyoshi Uchiyama, CEO of the company. We decided to try our hand at cast metal enameled pans, which are light and easy to handle,” said Teruyoshi Uchiyama, CEO of the company. In his own life, he has seen his family members using cast iron pots and pans struggling with their weight. That is what prompted him to take on the challenge.

A subcontractor company launching its own brand like this is a hurdle we will have to overcome someday in our own growth,” he said. The strength of this company is its technology for achieving thinness, the resulting lightness, and its ability to make products with good thermal conductivity.”

Utilizing this know-how, the company launched its own brand in 2014. The brand name is UNILLOY, a combination of “unique” and “alloy. The design team was led by Komin Yamada. Yamada is widely known for his product designs, which have won prestigious product design awards in Japan and abroad, and his work is in the collection of the Museum of Modern Art in New York. For about two years until the completion of the product, the craftsmen took pride in their challenge to create the best product in the world. More than 200 prototypes were made, starting with the enameled cast iron pot. In 2015, they won the “Red Dot Award: Product Design 2015,” a design award held in Germany, from among about 5,000 entries from 56 countries around the world, In 2015, Uniloy cast iron enameled pots and pans won the top prize at the Red Dot Award: Product Design 2015, a design award held in Germany, from among some 5,000 entries from 56 countries around the world.

Craftsmanship that has created a lightness that defies common sense

In order to achieve lightness, it was necessary to create a thin design, which is unthinkable with ordinary cast metal. In the process of pouring liquid metal melted at high temperature into a mold (casting), the mold is narrow because of the thin design, and the speed of pouring is slowed down, resulting in rapid cooling of the metal in the process. This causes problems such as solidification before the material reaches the end of the mold. The biggest obstacle was to cast the entire mold while maintaining the thin structure, and the trial production was extremely difficult. However, the high technology and pride of the factory and craftsmen enabled them to meet the thinness requirement.

It is difficult to make thin products. At first, when we made 100 pieces, 80 of them were defective,” said Uchiyama.

For example, most frying pans on the market are 4 to 5 mm thick, but Uniloy’s frying pan is only 2.5 mm thick, which is the thickness with the best heat conductivity and high heat storage capacity. It is ideal for cooking meat and fish, with its savory surface and juicy interior.

Because they are thin and light, they are easy to handle and can be used every day. Enameled pots and pans take advantage of the one-piece molding process that is one of the features of cast metal, enabling a seamless and beautiful design from the pot body to the handle. The key point of this product is not only its durability, but also its ergonomics and ease of use, making it less stressful to use. The most popular product is the matte black enameled pot, and the frying pan is the best-selling one.

Never stopping the challenge of new products

Sanjo Tokushu Kogyosho’s “Uniroy,” which is packed with technical expertise, dares not to apply for a patent. This is because they are confident of their unrivaled technical capabilities without obtaining a patent. The company has no hesitation in developing new products that take advantage of this technological strength.

In addition to frying pans and enameled pans, the company currently offers a wide range of products characterized by lightness and ease of use, including cast iron gear for use in camping (camping tool brand “SSCamp! The recent camping boom has also helped to attract the attention of camping enthusiasts.

Mr. Uchiyama is enthusiastic, “I hope that the value of cast metal will be known around the world through the development of products that make the most of our technology. Mr. Uchiyama is enthusiastic.

Women are also active in the Sanjo Special Foundry factory. It is hot in summer and cold in winter. It can be said that it is a dangerous and harsh workplace where high-temperature metals are handled. Even so, each and every one of the craftsmen work hard every day with pride, believing that their mission is to enhance the value and attractiveness of cast metal and to spread the word about it. The pride in preserving local traditions and the joy of being a part of a new page in history are what make their work so rewarding.

The kitchen items, which are the crystallization of the casting technique born of tradition and innovation, are thin and light, but they are also filled with the passion of the craftsmen.

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FUKIDO” has a workshop in Tsubame City, Niigata Prefecture, a sacred place for metalworking, and produces simple copper products useful in daily life.
While preserving the traditional techniques of hammering and forging that have been handed down from generation to generation
, the company keeps abreast of current trends and continues to produce copper products with a high level of functional beauty suited to modern lifestyles.

Traditional Techniques Inherited in Niigata

Tsubame City, located roughly in the center of Niigata Prefecture, is where the manufacturing techniques of Tsubame hammered copperware, a traditional craft that is said to have begun in the Edo period, have been handed down from generation to generation. Copper is mined at the Mase Copper Mine, which was developed in the Yahiko Mountains to the northwest of Tsubame City, and the technique is said to have been originally introduced from Sendai. The basic process is to dull a sheet of copper by burning it and then hammering it with a hammer or mallet to form a shape. There are many types of hammers, and the tools are changed depending on where and how the hammer is used.

The workshop “FUKIDO” is run by a father and son.

A pleasant clanging sound echoes outside the workshop. It is the rhythmic sound of hammering metal. Hiroshi Fujii, the second generation owner of Tsubame Hammering Copperware FUKIDO, which was founded in 1945, has been listening to this sound since he was a child. Inside the workshop, huge kettles and old hammered copperware products are displayed. These were made by my predecessors,” he says. They are very important to keep.” It has been almost 50 years since he started working with his father. His son, Ken, is also hammering at the same time.

What are the tools of professional work?

Sometimes he uses tools inherited from his predecessors, and sometimes he makes new tools by himself. He hammers at the same pace on the tatami mats, feeling the fine vibrations. The distortion caused by the deformation of copper is utilized to raise, smooth, and adjust the surface. We tap to tighten the metal. Striking makes it harder by removing the molecules,” says Hiroshi in his own unique way, as only a craftsman can. He says that by pounding, the copper becomes more durable and can be used for a long time as a daily necessities.

Tools that develop a distinctive flavor the more they are used.

The more a piece of hammered copperware is used, the more its luster increases. The more they are used, the more they acquire a color that is unique to the person using them and the environment in which they are used. In other words, it is a tool that you can enjoy growing in your own way. Of course, it also has clear advantages as a cooking utensil. Copper’s excellent thermal conductivity is about twice that of aluminum, five times that of iron, and 25 times that of stainless steel. Heat passes easily throughout the entire cooking surface, making cooking smooth. It is also highly corrosion resistant and has sterilizing properties. The finished products are all simple, but the dull luster and sparkling shine created by the countless uneven surfaces that have been hammered into them are beautiful and exude an indescribable elegance. They are no longer just daily necessities, but also have value as arts and crafts.

What are popular items?

Especially popular items at FUKIDO are kettles, teapots, and pots. The good thermal conductivity of these items helps to improve the efficiency of cooking, and they are representative of items that should be included in the first place. Ken, the third generation of the company, has been working together to produce drip pots, servers, and other coffee-related products, and is also working to provide items that can be casually incorporated into everyday life. Even though they are traditional crafts, they also strive to create products that are easily accepted by people’s changing lifestyles over time.

Although they are father and son, they are both craftsmen, and their specialties differ from each other, but what their works have in common is that they are tools that can be used with love for a long time. Copper products have an image of being difficult to handle, but the tin coating on the surface makes them easy to care for and prevents discoloration. Even if they break or need maintenance after long use, they can be repaired by craftsmen according to their condition and can be used again. If one acquires a good tin, it is a wonderful tool that can be passed down to one’s children and grandchildren. In this sense, traditional craftsmanship may be the ultimate in sustainability.

What will be handed down to the next generation

The workshop is currently managed by the second generation, Hiroshi, and the third generation, Ken, but both Hiroshi and Ken had been working for outside companies for a while. Both the person who decides to take over as a traditional craftsman and the person who decides to pass on the craft to the next generation must be prepared to do the same.

At first I didn’t like the idea of taking over the family business,” he says. But now I’m enjoying it. I have my grandfather and my father, and I feel that I can make an effort to eat in this business for the rest of my life. That’s what I have now.” Ken says. It would certainly be nice to have a successor, but the world of craftsmanship is tough, and it takes a certain amount of determination on the part of the successor,” says Hiroshi.

We hope that you will try our copperware and feel the solidity and beauty of our craftsmen’s soulful work, as well as the spirit of craftsmanship that is passed down in the family.

We strive to create products that pursue the beauty of use as well as shapes that have been handed down from generation to generation. We hope you will enjoy the charm of our soft and simple shaped copperware that grows warmer with each use. We would be happy if you would use the products of “FUKIDO”, which are born from the skills of our artisans, as tools for your daily life.

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What is Tsubame’s historic “hammered copperware”?

Tsubame City in Niigata Prefecture has been producing hammered copperware for 200 years since the late Edo period. Currently, Tsubame City is the only production center in Japan for this craft. The technique, named after the three-dimensional shape created by annealing a copper plate and hammering it into shape, has been passed down through the ages in this region, benefiting from the nearby copper mines. Hammering copperware is characterized by its robustness and smooth surface, reminiscent of ceramics, which is created by hammering several hundred thousand times before a single product is completed. The texture of the copper increases with care over the years, making it even more endearing. In 1981, it was designated as a traditional craft of Niigata Prefecture. However, there are currently only about 10 workshops that carry on this tradition, including private corporations.

One of them is Shimakura-do, which has been carrying on the tradition for two generations, father and son. The first generation, Itami Shimakura, started his career at Tamagawa-do, a long-established manufacturer of hammered copperware, in 1952. He honed his skills and became independent in 1967. Masayuki Shimakura, the second generation, succeeded him in the Heisei era. Masayuki grew up watching his father as a craftsman and thought that he would follow in his father’s footsteps as a traditional craftsman in the future. Now he sits alone in his workshop and wields a hammer daily. He says, “Everything in this job is done by myself. It suits me.” Masayuki is a true craftsman at heart.

Shimakura Masayuki’s passion for hammered copperware

In the recently opened gallery of Shimakura-do, Masayuki’s works such as kettles, teapots, coffee pots, pots, sake cups, and tea utensils are on display, each of which emits a soft, dull glow from the uneven surface of its gold, blue, or silver-colored …… copper. The elegant and elegant beauty of hammered copperware is its characteristic, not overly flamboyant. Masayuki’s policy is to make what he thinks “would be nice to have,” although some designs are inherited from his predecessors. This is Masayuki’s policy. The products he painstakingly creates one by one are not just traditional handicrafts, but practical products that are a part of modern life. At the same time, they are all one-of-a-kind. They have a flavor and depth that cannot be expressed by mass production by machine.

Masayuki’s craftsmanship begins with “when creating a new product, I first make the tools myself to match the product I want to make. In the workshop at the back of the gallery, there are machines for metalworking and welding, and the walls are crammed with hammers, hammers, and nails. Without the right tools, the ideal form cannot be achieved. Everything is necessary to realize the perfect form envisioned in the mind. As the forming process called “hammering” begins, a high pitched “kankon-kankon” sound rhythmically echoes through the workshop. Using a variety of hammers and wooden hammers, the rest of the work is done by hammering the copper plate.

The fascination of hammered copperware, which changes depending on the quality of the copper and the user.

Copper has a number of advantages as a household item and cooking utensil. First, it is hygienic because of its sterilizing properties. It purifies water, which enhances the flavor of boiled water and teapots. It also has a higher thermal conductivity than other metals (twice that of aluminum, five times that of iron, and 25 times that of stainless steel), so when a pot is heated, the heat is evenly distributed throughout. This means that the quality of the water changes and yet cooks quickly, making tea, coffee, and food taste better. Another important feature of copper is its longevity, as copper is highly resistant to corrosion, as evidenced by the fact that copperware from thousands of years ago is still in existence. If the utensil is well cared for and lovingly wiped dry, it can enjoy a long-lasting change in texture over time. Masayuki says, “The color changes depending on the feelings of each person who uses it. This is precisely the fun of continuing to use a household item that will last a lifetime. Just as traditional techniques are passed down from generation to generation, products can also be passed down from generation to generation.

あわせて読みたい

The history of traditional crafts spun by parents and children, simple and beautiful Tsubame hamm… FUKIDO” has a workshop in Tsubame City, Niigata Prefecture, a sacred place for metalworking, and produces simple copper products useful in daily life. While …

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SUWADA’s nipper-type nail clippers,” well-reputed from all quarters.

Nail clippers are one of the daily household tools that everyone uses on a daily basis.In Sanjo City, Niigata Prefecture, there is a company that has been refining its craftsmanship for more than 70 years since the end of World War II, specializing in the comfort and ease of use of nail clippers for the sole purpose of cutting fingernails and toenails.The company is Suwada Seisakusho Co.Suwada’s world-famous products, which have won numerous awards both in Japan and abroad under the brand name “SUWADA,” are characterized by their nipper shape.Conventional folding-type nail clippers, known as clipper-type nail clippers, have a short blade opening of only 2 to 3 mm when in use, so it is often difficult to cut ingrown or deformed nails as desired.The nipper type, however, has a wide blade opening and a flexible angle of approach to the area to be cut, making it easy to cut nails of any shape.They are highly evaluated by nail artists and medical and nursing care professionals.

Suwada Seisakusho was founded in 1926.The company’s origins date back to 1926, when it began manufacturing “kuikiri” tools used by carpenters to meet the demand for housing reconstruction after the Great Kanto Earthquake.The manufacturing technology and shape of the tool evolved into today’s modern nail clippers, which have two blades that fit together from both sides to cut the object.Since its founding, Suwada Seisakusho has been synonymous with technical prowess, and the technology of the “aiba” blade has created a sharpness that sets the company apart from the rest.The blade is polished by hand with sandpaper, and adjustments are made while polishing it down to the micron level.This delicate process, the most difficult and time-consuming of the entire process, has been handed down from generation to generation by skilled craftsmen.The sharpness of the blade produced in this way has won the overwhelming support of professionals.

The “SUWADA’s nipper-type nail clippers” are the reason for this feature.

All manufacturing processes at Suwada Seisakusho are supported by the craftsmanship of skilled craftsmen, from the selection of materials, forging, parts processing, polishing, and mating of blades.Even a single nail clipper requires 50 to 60 processes before completion.Some products require more than 100 processes before they are finally finished.There is no compromise on quality and beauty.Currently, production continues at a pace of 8,000 pieces per month, but they are so popular that they can barely keep up with orders and have no room left in their inventory.Suwada Seisakusho makes genuine and long-life products.I don’t think there is any other company that pushes nail clippers this far.”Rui Saito, sales manager, is proud to say so.Since they are blades, they can lose their sharpness or their springiness over time.Suwada Seisakusho handles maintenance for all of its products.Craftsmen resharpen the blade, adjust the movement, and replace the spring, making it possible to continue using the product for a long time as a truly long-life item.

Suwada Seisakusho continues to grow

In 2020, the company opened a stylish open factory as an “open factory.The interior is all black, but there is a reason for this that is unique to Suwada Seisakusho.In the forging process, craftsmen judge the quality of work by the color of the material heated by fire.For this reason, work has traditionally been done in a dark place so that it is easy to see.By opening up the actual manufacturing process to the public through factory tours, the philosophy of craftsmanship and understanding of the products have deepened, and at the same time, the motivation of the craftspeople has increased.Today, the factory also has a store, restaurant, and café, and is one of the area’s most famous tourist attractions.It will soon be 100 years since the company was founded.The nipper-shaped nail clippers, which have been refined through a thorough commitment to “creating the real thing,” appear to have already reached their ultimate perfection, but “there are still many areas for improvement,” Saito says.Saito has also begun to take on the challenge of entering the new field of tools for use in the kitchen and dining room: the “sommelier knife” and “wine opener,” which won the 2020 Good Design Award, have been recognized not only for their sophisticated design and functionality, but also for their “food” aspect, which has not been directly linked to the “food” field until now.They were also a catalyst for the company’s emergence in the field of “food,” a field to which it had not been directly linked until then.In addition to these products, Suwada Seisakusho’s new initiatives, such as expanding its cutlery lineup, have been attracting a great deal of attention.Suwada’s uncompromising attitude in its constant pursuit of better products must be the craftsmanship that the world appreciates.

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A workshop in Yao City, Osaka Prefecture, established in 1924.
The company mainly manufactures kitchen utensils and cookware using copper and aluminum as raw materials,
The practical and beautiful utensils made with techniques passed down from generation to generation are loved by professional chefs,
The practical and beautiful utensils made with techniques passed down from generation to generation are loved by professional chefs.

The best pot-making workshop known to those in the know.

Good craftsmen make things that sound good. At the workshop of HIMENOSAKU Ltd. in Yao City, Osaka Prefecture, where few people know about it. in Yao City, Osaka Prefecture, the pleasant, musical sound of craftsman Toshikazu Himeno hitting the pots and pans echoes in your ears.

When I was a child, I really didn’t like the sound of banging pots and pans every day. After I actually took over the business, it was noisy and hard work, and on top of that, even if I made it, it would not sell well (laughs). I became determined to make pots and pans, wondering why I couldn’t make them well and why they didn’t sell. I have been thinking about how to hit the pots evenly and cleanly, the tools, how they sit, and how much force to put into them.

Handmade pots and pans loved by top chefs

At the age of 30, Mr. Himeno took over the pot-making factory established by his grandfather about 100 years ago in 1924. The Gyohira pots he makes are a favorite of professional chefs. They are characterized by their high thermal conductivity and even heat distribution. The heat is evenly transferred to the food, preventing it from getting burnt.

The high purity of aluminum is tightened by tapping and hammering, which makes the material stronger. In addition, the spreading of the pot’s skin increases heat conductivity, allowing the food to cook quickly and evenly. The heat of a typical kyohira pot is 2 mm, but ours is 3 mm, which is sturdier, retains heat better, and gives the pot a more stable feel.

Outstanding Skills and Experiences

The tsuchime, a characteristic of gyohei pots, is a pattern created by striking the material with a hammer to increase the strength of the metal. The shape is formed with each strike. In other words, it is a technique that relies on the craftsman’s sense, which cannot be re-hammered. The hammered patterns on the pots and pans created by Mr. Himeno’s rhythmic hammering are as beautiful as art.

A work that combines ease of use and functionality

The thermal conductivity of aluminum is said to be three times better than that of iron, and it is non-stick compared to iron or stainless steel. It also weighs only one-third as much as stainless steel, making it easy for women to handle. The oxide film that forms when exposed to air protects the inside from rust and corrosion, making it durable, and the smooth surface makes it easy to wash off and hygienic by preventing the growth of bacteria. It is truly a perfect product. In addition to gyohira pots, there are various other types of pots, such as oyako pots, tiered pots, and octagonal pots, and it is recommended to use different types depending on the purpose of cooking.

Currently, there are no more than 10 handmade nabe stores in Japan. Half of the orders are made to order. The pots are made to order according to the size, material, handle, etc., to suit the customer’s needs and preferences.

Once, I was asked to make a pot of gold, and when I got a quote, the price exceeded 10 million yen and it didn’t come to fruition (laughs). We have received many orders, but the most unusual was a large rugby ball displayed at the Kintetsu Higashi Hanazono Station building in front of the Hanazono Rugby Stadium. It was very big, so it was very difficult.

Creating products that will last a lifetime with their users

Toshikazu Himeno, the third generation of the company, has a desire that has not changed since he started producing HIMENOSAKU,

That is the idea of “products that can last a lifetime with their users. The life span of pots and pans sold on the market is two to three years. Even if they can be used for a long time, the maximum is 5 to 10 years. In this age of mass consumption and disposable products, this may be an old-fashioned idea, but I would like to continue to stamp “HIMENOSAKU” on my products every day without losing this idea. His pot-making skills, which are said to last for more than 50 years, are said to be the best in Japan. But the path of a craftsman has no end in sight.

I have never been satisfied with my work,” he says. I’ve never been satisfied, but maybe that’s why I never get tired of making pots and pans.

The idea of “products that can last a lifetime with the user” may be an antiquated concept in this age of mass consumption and disposable products, but we would like to continue to stamp “HIMENOSAKU. We will continue to stamp the “HIMENOSAKU” mark on our products every day.

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A traditional Nambu ironware workshop that has been in existence for about 400 years since the Edo period.
One of its features is its beautiful, lean form and deep rust color.
Its high design and coloring blend well with modern life and give
a noble impression.

Female craftsmen carrying on a 400-year tradition

Suzuki Morihisa Kobo, located in Morioka City, Iwate Prefecture, has a 400-year history of supporting Nambu ironware since the Edo period. The company was founded in 1625 and continues to produce Nambu ironware using traditional techniques. The Suzuki family has served the Nanbu domain as foundry workers for generations, and now there are 15 generations in the family.

The person we interviewed this time is Ms. Shiko Kumagai, who succeeded the name of Morihisa Suzuki, the 15th generation. She is attracting attention as the first female craftsman among the successive generations. Before becoming a foundry worker, Shieko studied metal engraving. However, after her father passed away, she decided to follow in his footsteps. Her experience as a metal engraver has led to the delicate, graceful patterns of her current works. Among his works, tetsubin (iron kettles) are especially popular. On the day of our visit, we had a chance to see each of his newly finished tetsubin one by one.

Stylish Nambu tetsubin that can be displayed as interior decorations

The traditional “Hinomaru” tetsubin was designed in the Meiji era. Compared to modern kettles and kyusu (teapots), ordinary Nambu tetsubin have a sturdier and heavier impression. However, Ms. Shieko Kumagai’s work has a feminine originality, while retaining the sense of massiveness that is unique to Nambu ironware. The unusual vertical stripes and handball patterns of her designs are surprisingly light. Although they are traditional handicrafts, Shieko’s Nambu ironware is also loved as interior decorations that add color to modern life.

Next, we were taken to the workshop, which is connected to the gallery. We passed through a dimly lit passageway to the workshop, a machiya-style building that has remained unchanged since its construction in 1885. Currently, Shiko Suzuki, her son Seiro, the 16th generation successor, and his young apprentices are working at the Suzuki Morihisa Workshop.

The entire process of making Nambu ironware, from designing the tetsubin, to making the molds, to pouring the iron, is carried out in this workshop. The techniques passed down from generation to generation make it possible to create both delicate and massive tetsubin.

Traditional craftsmanship begins with the overall form.

At the workshop, Nakata was allowed to experience the process of “pattern pressing,” in which traditional Japanese patterns are applied to the molds. Using arare sticks of different sizes, he pressed the patterns onto the molds. Nakata’s sighs could be heard as he was unable to apply the patterns evenly. But Shieko says, “On the contrary, that’s what makes it interesting.

The conversation gradually turns to the perspective of “craftsmanship. While working, Nakata asked, “For example, now that you have given me this pattern, do you start making something from the pattern or from the overall form? Or do you start from the overall form? Nakata asked. Nakata said that he started from the form when he created a work for the REVALUE NIPPON PROJECT in which he participated.

Shieko said that she often starts from the form as well. It is true that many of the tetsubin we saw at the gallery have attractive shapes. A comfortable form is born in each era and each time. We look forward to seeing more of Shieko’s work as she continues to explore new possibilities for Nambu ironware while preserving the 400-year tradition.

While firmly preserving the traditions passed down in my family from generation to generation, I produce Nambu ironware that is both practical and playful, with a design that is in tune with the times. We hope that you will take one of our products in your hands and enjoy the benefits of living with Nambu ironware.

The post Nambu ironware with a design that fits in with the modern age: Shieko Kumagai, 15th generation of Suzuki Morihisa Kobo / Morioka City, Iwate Prefecture first appeared on NIHONMONO.