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

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

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

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

The Decline and Revival of Bingata Due to the War

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

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

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

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

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

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

The Process Behind Okinawa’s Unique Bingata

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

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

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

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

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

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

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

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

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

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

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

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

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

Growing the Bingata Fan Base Through Social Media

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

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

Looking Toward the Future of Ryukyu Bingata

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

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

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

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

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

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

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

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

The rich, delicious flavors nature provides

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

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

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

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

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

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

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

Weaving and Iyogassuri: A Meeting in Her 50s

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

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

The charm of kasuri, born from time and effort

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

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

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

Shaping Curiosity, Meticulously Woven

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

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

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

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

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

Challenging Traditional Craft Exhibitions and Passing on Iyo Kasuri

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

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

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

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

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

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

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

Beekeeping in Tomiya, inspired by childhood memories

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

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

The world of beekeeping they encountered in Canada

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

An encounter in Tomiya City connects the dots

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

The Beginning: “Eight Beehives”

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

Creating Unique Honey Through Terroir-Driven Beekeeping

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

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

The “WILD FLOWER” flavor born in Tomiya

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

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

Challenging the World from Tomiya with Honey Wine (Mead)

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

Developing Mead with Tohoku Breweries

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

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

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

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

Worldwide Recognition

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

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

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

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

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

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

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

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

Shapes Made of Lacquer That Invite Touch

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

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

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

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

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

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

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

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

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

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

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

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

Plump forms of life born from everyday observations

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

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

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

Time spent with students fuels creative energy

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

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

A new world opened through collaboration

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

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

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

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

Freer, farther. Believing in the potential of lacquer.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Ikawa Distillery, Japan’s highest-altitude distilling facility, stands amidst the forests of the Southern Alps along the border of Shizuoka and Yamanashi Prefectures.Operated by Jūzan Corporation, part of the Tokushu Tokai Paper Group, which owns vast company-owned forests in this area. Why did these paper-making professionals venture into the unknown territory of whisky? Behind it lies a grand story of “forest utilization” – connecting the rich ecosystem of the Southern Alps to future generations.

Deep in the mountains, beyond the reach of radio waves, the stills turn quietly.

A 4-5 hour drive from Shizuoka Station. Passing through a gate restricting general vehicle access, the Ikawa Distillery lies further deep within. Located at the Shizuoka Prefecture entrance to the Southern Alps, the Ikawa region is deep in the mountains where even cell phone signals don’t reach.

In this place, lacking infrastructure and offering no conveniences, the production team lives secluded in the mountains, facing the stills. They can descend only once every two weeks. Their life, watching over the birth of the raw spirit deep in the forest, is truly akin to that of a monk in training.

Incidentally, Japan currently has about 150 whisky distilleries, including those in operation and those preparing to open. When Tōzan entered the industry from a different field in 2020, there were only about 40 to 50 distilleries. This means the number has roughly tripled in just five years.

Among these, Shizuoka Prefecture ranks fifth in Japan for the number of distilleries, making it a relatively active region for whisky production.

Within Shizuoka City lies the Gaiaflow Shizuoka Distillery, while the eastern part of the prefecture is dotted with distinctive distilleries such as the Kirin Distillery owned by the major beverage manufacturer Kirin Group, Distillery Water Dragon, and Fuji Kaguyahime Distillery. However, the Ikawa Distillery stands out even within the prefecture due to its unique location, origins, and management vision.

It all began with 24,000 hectares of forest

Tokushu Tokai Paper Co., Ltd. (Tokushu Tokai), the parent company of Toyama Co., Ltd. (Toyama), which operates the Ikawa Distillery, owns approximately 24,000 hectares of company-owned forest in this Southern Alps region.

This area is roughly four times the size of the land enclosed by the Yamanote Line loop in Tokyo. It is one of Japan’s largest contiguous privately owned forests and boasts an exceptionally rich and deep ecosystem, home to many endemic and rare Japanese species. Consequently, the company felt it was imperative to protect this precious natural environment for future generations.

However, maintaining and conserving this vast forest and its ecology incurs enormous costs. While timber was once floated down rivers to be caught downstream and utilized as construction materials or paper pulp, this business model stagnated for over half a century due to competition from cheaper imported wood.

“Simply protecting the forest isn’t sustainable management. We need a business that properly creates value from the mountain and generates funds for its preservation.”

Jūzan and the whisky business emerged as one answer to this long-standing challenge.

The mountain’s blessings were perfectly aligned

When exploring ways to utilize the mountains, the first focus was “water.” The Southern Alps are a vital water source supporting people’s lives, yielding extremely pure soft water completely untouched by industrial or domestic wastewater. While selling this water directly was considered, it was undeniable that this alone had limited added value.

Thus, the idea we arrived at was whisky production utilizing the company-owned forest itself.

The Ikawa district, where our company-owned forest is located, boasts an elevation of 1,200 meters and a humid climate blessed by the mountains. This results in cool temperatures and high humidity throughout the year. The low evaporation rate during barrel aging allows for the cultivation of long-aged spirits that mature slowly over time.

This climate and environment are said to closely resemble those of Scotland, the home of whisky.

Furthermore, the abundant spring water and the superior quality of materials like Mizunara oak, commonly used for whiskey barrels, provided the ideal conditions for crafting exceptional whiskey.

Cherishing the journey of growth. A story called “Dessin”

Thus began whisky production.

Driven by his passion, distillery manager and director Seto, who has tasted and compared various brands, aimed not for flashy impact, but for a clear, easy-drinking whisky that pairs well with food.

He sought to express a “subtle elegance,” akin to the pristine forests of the Southern Alps, where the refined flavors and aromas of the ingredients could be sensed beneath a clean taste.

To achieve this, he focused on the milling process, where the malted barley is crushed.

By extracting a clear wort, impurities are eliminated, leading to the sweet, transparent character sought by the Ikawa Distillery. During this process, careful attention is paid to the balance of “husk,” “grits,” and “flour” (fine powder). Meticulous adjustments are made each time to prevent an excess of flour, which can cause astringency and a heavy mouthfeel.

With their flavor concept and production methods now clearly defined, three years after distillation began, the Ikawa Distillery’s current releases are not yet fully established regular products. Instead, they are infusing their unique philosophy into a lineup that can only be created “right now,” while the brand is still young.

The first release was the “Lab Series,” featuring spirits aged under three years. This series serves as a record of their experiments to understand the “paints” (base spirits) they possess. Following this, they now offer the “Dessin Series.”

The labels feature line drawings of Fauna (ptarmigan) and Flora (alpine plants) inhabiting the Southern Alps. The deliberate absence of color signifies that the whisky is still maturing, still “unfinished.” When color is added to these sketches, and the full panorama of the Southern Alps is depicted in color, the whisky that represents Ikawa Distillery’s “masterpiece” will be born.

“We want you to savor the nature of Ikawa right now, in this moment. Enjoying the layered, unfinished passage of time is part of the true pleasure of whisky,” says Director Setoko.

The 2025 Feat That Astonished the World: Ikawa Proved the Power of “Quality”

In recent years, this supposedly “unfinished” whisky has been winning high praise at international competitions one after another, shocking the world.

At the “Bartender Spirits Awards 2025” held in the United States, the Dessin Series’ “Flora 2024” was honored as “Single Malt Whisky of the Year,” while “Fauna 2025” was named “Japanese Whisky of the Year.”

Furthermore, “Flora 2024” also won Gold Medals at the “San Francisco World Spirits Competition 2025,” considered one of the world’s three major spirits competitions, and at the “International Wine & Spirit Competition 2025” held in the UK, the home of whisky, proving its exceptional quality.

Furthermore, not only its quality but also its project initiatives have been highly praised. In September 2025, it received the “Minister of Finance Award,” one of the highest honors, at the “8th Eco-Pro Awards” held at Tokyo Big Sight. In December, it won the Sustainable Design Award at the “Good Life Awards” hosted by the Ministry of the Environment. Its forest conservation activities through whisky production are drawing attention as a role model for a sustainable society.

Pride in “Paper Making” Transformed into “Whisky”: An Unconventional Group of Craftsmen

The Ikawa Distillery also boasts an unconventional team of makers. Led by Director Setou, who oversees operations, many staff members were originally engineers who made “paper” at Tokushu Tokai Paper. Members recruited through an internal company call for applications included diverse backgrounds like automotive mechanics and alcohol production experience, but all started from scratch regarding whisky making.

Their only prior whisky-making experience was Director Setoguchi’s roughly one-year apprenticeship at Mars Shinshu Distillery in Nagano Prefecture when the project began.

Nevertheless, the meticulous process management honed in paper manufacturing, their keen observational skills that never miss a flaw, and their machine maintenance expertise all contribute to the stability of the delicate distillation process.

Reviving “Domestic Mizunara Oak Casks” with Shizuoka’s Master Carpenters

The company had begun to develop distinctive characteristics in its whisky.

The next step they considered was manufacturing whisky barrels using thinned Mizunara oak and fallen trees from their company-owned forest.

Barrels are a crucial element determining whisky’s flavor. Typically, most distilleries import used sherry or bourbon barrels from overseas. But the company thought: “If we have trees in the mountains, why not make our own barrels? Aging whisky in barrels made from wood grown in our own forests would be a significant advantage.”

They approached Mr. Sugiyama and his son, master carpenters specializing in traditional Japanese temple architecture, based in Shizuoka City.

“If we take apart a used barrel, we can understand its structure and build one ourselves.”

The barrel-making project, launched with such confident words, proved far from straightforward. Even for these master carpenters, the structure of a “barrel” that wouldn’t leak liquid was uncharted territory.

Led by the Sugiyama family, they commissioned a local sheet metal worker to make the hoops (the iron bands that tighten the barrel), while a local sawmill cut the logs. This truly “All Shizuoka” barrel-making effort, harnessing the city’s artisan network, was set in motion.

After about three years, the domestically produced Mizunara oak barrels were finally completed. They imparted a honey-like sweetness and a unique aroma reminiscent of agarwood—considered the pinnacle of aromatic woods—to the whisky. This captured the very essence of the subtle, refined “Japanese” nuance the company sought.

Though still only a few percent of the total, the raw spirit aged in barrels made from their own timber has earned high praise from experts.

For the forest a century from now. The philosophy poured into every glass.

Whiskey from the Ikawa Distillery is by no means inexpensive compared to market prices. There are clear reasons for this.

One is the production cost incurred in the remote, harsh environment. The other is that a portion of the sales proceeds is directly allocated to “conserving the Southern Alps.”

Purchasing this whisky is synonymous with investing in activities that protect the natural environment of the Southern Alps and nurture forests for the next century.

What the company creates is the very essence of the Southern Alps’ landscape and the vision of its forests a century from now.

This challenge has only just begun. It’s still in the “sketch” phase, but the rich waters, Mizunara oak, and harsh winters of the Southern Alps are transforming the raw spirit into amber.

No definitive date has been set for releasing the final version. Each batch of raw spirit has its own character, and their peak maturation points vary. Even the currently released “Flora” and “Fauna,” though unfinished, are delicious enough to be proudly enjoyed.That is precisely why, when this amber drop achieves a flavor surpassing our current whiskies—including the aromas and flavors gained through long aging—it will finally fill glasses worldwide, creating a significant cycle that protects Japan’s rich forests. To ensure these forests remain as beautiful as ever 100 years from now, the stills continue to turn quietly deep in the mountains today.

In 2026, the Igawa Distillery will collaborate with the Shizuoka Distillery, also located within Shizuoka City, to host a distillery hopping tour titled “Taste the Water and Forests of Shizuoka City: Distillery Hopping.” Though both facilities are within the city, they are quite distant from each other, making this a two-day, one-night hopping itinerary.
Guided by each distiller, this tour offers an immersive experience into the essence of whisky making—from brewing methods to collaborative efforts with the local community.

*This tour is not held during the snowy winter season. Preparations are currently underway for tours starting April 2026 and later. Please check the latest information on the website below.
https://travel.daitetsu-adv.co.jp/

The post Whiskey brewed in the depths of the Southern Alps, safeguarding forests for a century to come. The tale woven by “Juyama” / Shizuoka City, Shizuoka 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.

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

From Native Habitat to Tea-Producing Region

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

Cultivating Yabukita with Shingu’s Unique Character

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

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

Tea Cultivation Made Possible by a Small Production Area

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

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

Tea Cultivation: Inheriting Aroma, Evolving

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

Yabukita for Black Tea: The Fourth Generation’s Challenge

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

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

Shingu Tea Gaining Popularity Locally

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

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

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

Located in Yahata Higashi Ward, northern Fukuoka Prefecture, the Yū Dyeing and Weaving Studio is a workshop dedicated to Kokura-ori, a traditional craft of which Kitakyushu is proud. Studio founder Noriko Tsuki continues to create vibrant Kokura-ori textiles, dyeing threads with plants and weaving them by hand. What is the source of this creativity that captivates people both in Japan and abroad?

Thick and durable. Captivating with beautiful vertical stripes.

Kokura-ori is a simple weave created by crossing warp and weft threads one by one. Its distinctive feature, however, is the high density of warp threads—used in greater quantity, approximately three times that of the weft. This makes the weft threads less visible, allowing the vertical stripes to appear sharply defined and radiate a captivating beauty.It is a unique fabric with a smooth texture, creating a three-dimensional effect through the gradations of thread color.

During the Edo period, it was used for hakama and obi. In the Meiji era, it circulated as student uniforms.

Originating in the Edo period in the Buzen Kokura domain (present-day Kitakyushu City), Kokura-ori emerged. As this region was a cotton-producing area, samurai women began weaving textiles using cotton yarn.Its thick, durable fabric gradually led to its use for samurai hakama and obi, spreading nationwide. It gained fame when Tokugawa Ieyasu wore it as a haori during falconry, earning the praise “Kokura-ori that even a spear cannot pierce” and becoming highly valued.

During the Meiji era, the gray fabric “Shimofuri Kokura,” made by twisting black and white threads, became popular nationwide as the summer uniform for male students. However, as cheap machine-woven imitations began appearing in various regions, production in Kokura waned, overwhelmed by this trend.Furthermore, Kokura flourished as an “iron town” with its steelworks, and by the early Showa period, the last Kokura-ori factory closed, leading to the discontinuation of the fabric.

A Fateful Encounter with a Scrap of Kokura-ori at an Antique Shop

Nestled in the quiet foothills of Yahata Higashi Ward, Kitakyushu City, lies the Yusei Dyeing and Weaving Studio. Its director, textile artist Noriko Tsukiji, is the person who revived Kokura-ori. Born and raised in Kitakyushu, Tsukiji, who loved literature, became captivated by the beauty of Noh costumes while studying classical performing arts like Noh and Joruri at university.

While visiting a Nishijin-ori weaving workshop in Kyoto, Tsukiji was moved by the mastery of the artisans. Yet she realized that what she truly wanted to express was not patterns, but “color.” She boldly dropped out of university and threw herself into the world of dyeing and weaving.After mastering the fundamentals of yarn dyeing and weaving at a textile research institute in Kitakyushu, he traveled to Kumejima Island in Okinawa. There, he learned tsumugi weaving by assisting elderly women at a workshop producing Kumejima Tsumugi, a fabric passed down since the Ryukyu Kingdom era.Kumejima is considered the birthplace of tsumugi, the weave that spread nationwide from there. Kumejima tsumugi is also designated as an Important Intangible Cultural Property of Japan, making it an essential place to learn dyeing and weaving techniques. However, he struggled to create a piece he felt truly satisfied with.

One day, a shocking encounter came to Tsukiji. At an antique shop she happened to visit, she found a scrap of Kokura-ori fabric. This small piece, about 10 centimeters, showed only vertical stripes despite being woven. When the shopkeeper told the astonished Tsukiji, “This is Edo-period Kokura-ori,” she only associated Kokura-ori with the gray student uniforms of her youth.The beautiful gradient of the vertical stripes, the substantial yet silk-like texture, appeared to Tsukishiro as something incredibly fresh, hard to believe it was from about 150 years ago. “To discover that the very fabric I aspired to weave existed right in the land where I was born and raised! It was such a happy encounter,” Tsukishiro says, his eyes narrowing with satisfaction.

Reviving and Regenerating Kokura Ori 

At the time, no one around him knew about Edo-period Kokura-ori. Tsukishiro had the scraps sent to the Industrial Research Institute for weave analysis. There, he learned that while most textiles have a 1:1 warp-to-weft ratio, Kokura-ori had a 2:1 ratio, meaning it had more warp threads.She immediately tried weaving with that ratio, but couldn’t achieve the smoothness of the old scrap. Further investigation revealed that the smooth texture came from years of use.

Tsukishiro sought to create fabric with a smooth texture from the start, not through aging. By using finer threads, increasing the number of threads, and raising the density, he achieved a lustrous sheen reminiscent of silk, despite the fabric being cotton. This can be seen as Tsukishiro’s “recreation” and evolution of the historic Kokura-ori. Thus, in 1984, Kokura-ori was revived. Tsukishiro began presenting his work as Kokura-ori, paying homage to his predecessors.It was precisely the instantly recognizable, vibrant striped patterns that made it widely accepted. His first work was selected for the Japan Traditional Crafts Exhibition.

However, even after successfully restoring the technique, it took three years to fully master the design of the satisfying Kokura stripes. Driven by a desire to use color more freely, unbound by traditional color schemes, he wove the pale pink obi “Plum Blossom Season,” which won the Asahi Shimbun Award at the Western Japan Traditional Crafts Exhibition in 1991.To date, she has produced over 600 pieces. Today, Kitakyushu is recognized as a center for Kokura-ori weaving, and several new artisans have emerged.

Borrowing the power of plants to express translucent colors 

Tsuki dyes cotton threads using natural materials like plants found around her workshop. “Dyeing with plants is incredibly fascinating. For example, rosemary dyes a yellowish color before the flowers bloom, but once they bloom, it dyes a stronger olive hue. Even the same plant changes color depending on the season.”

Unlike chemical dyes, plant-based dyeing takes time and doesn’t happen instantly, making it ideal for creating gradations. You can add more thread later to achieve lighter shades, and it easily reflects whims or moods, perfectly aligning with human rhythms. “Above all,” Tsukiji says, “the soft, naturally derived colors have a translucent quality.”

Preparing thousands of warp threads before weaving

Due to its characteristic of raised vertical stripes, Kokura-ori fabric has many constraints—it cannot form check or horizontal stripe patterns. “But that also means Kokura-ori’s distinctive character remains consistent. Since only the warp thread colors show, the thread’s color is directly reflected—that’s its strength. So the key is how many ‘paints’ you possess, which is why we constantly dye threads.”

Preparing these threads in advance according to the design, known as “warping,” is also a crucial process. The warp threads are arranged on the warping machine, rotated, and combined into the necessary colors while considering factors like length and tension before being wound onto the beam. Preparing around 2,300 warp threads for a single obi involves this painstaking, mind-numbing work. It is precisely this effort that produces the delicate colors.

Textiles suited to the climate and character of Kitakyushu

When Tsukiji weaves Kokura-ori on her loom, it’s not a light “tick-tock” sound that resonates, but a loud “thud-thud!”It’s a surprisingly intense sound, hard to imagine coming from such a delicately beautiful fabric. “I weave with strong force to increase the thread density. If I weave gently, the fabric becomes fluffy and lacks firmness. If I slack off, irregularities in the weave become noticeable. So once I start weaving, I just focus intently and keep going.”

“It’s a very stubborn fabric,” Tsukiji-san says with a smile. “This region, even after the tradition once faded, has stubbornly woven this difficult fabric for 400 years. It’s inflexible and clumsy—a fabric that’s quintessentially Kitakyushu.”

Modern, refined textiles captivate the world

Hand-weaving yields limited production, so to introduce Kokura-ori to more people, Tsukiji launched the machine-woven brand “Kokura Shima Shima” in 2007, which she oversees. This allows for the creation of wider fabrics impossible with hand-weaving, enabling larger-scale works like furniture, interiors, and art.Collaborations with global creators like architect Kengo Kuma and Kunihiko Morinaga of the fashion brand ANREALAGE consistently draw the attention of highly discerning individuals.

However, Tsukiji’s core focus remains hand-weaving in the workshop. “No matter how many colors overlap, I aim for a world where colors respect each other, playing a symphony,” Tsukiji states. While he has expressed abstract worlds through Kokura weaving until now, over the past two or three years, he has been challenging himself to incorporate concreteness within them. For example, within vertical stripes, a single diagonal line like rain falling…”Inorganic vertical stripes and organic natural elements seem incompatible, but I want to bring that into the world of vertical stripes. I’m still in the prototyping phase, but I hope to complete it someday.”

Tsukiji-san restores and revives Kokura-ori while seeking new forms of expression. The world eagerly awaits what new beauty will emerge from Tsukiji-san’s meticulous, refined Kokura-ori, woven with such expansive sensibility.

The post Ogura-ori, expressing delicate colors through vertical stripes. Yusei Dyeing and Weaving Studio, Noriko Tsukishiro / Kitakyushu City, Fukuoka Prefecture first appeared on NIHONMONO.