The manufacturing process of Nambu ironware

We visited Iwachu Co., Ltd in Morioka city, Iwate to see the process of Nambu Ironware. Iwachu Co., Ltd was founded in 1902. It was one of the largest factories in Japan and produced iron kettles and ironware that were suited for daily use, but also produced handmade Nambu Iron kettles with the tradition that was passed on from about 400 years ago. We visited the workshop which also served as a tourist facility, ”Iwachu Tekkikan”, and watched the handiwork of the artisans.
At the workshop the process called ”fukimi” was just starting. Akira Yaegashi who is the traditional artist for Nambu ironware, was scooping the heated iron with a tool called ”toribe”. This involved melting the iron in the kiln of 1500℃, then pouring it into the cast. 2 other workers are holding onto the cast. The flames rose up from the cast, but he calmly removed the excess iron from the cast. It took about 25 seconds from the time he poured the iron into the cast, to removing the excess.
Nakata asked ”You pour the iron into the cast and immediately remove the excess. Does iron cool that fast?”
”Yes, when you pour the iron into the cast it cools down immediately. Iron melts over 1000℃ but it cools down instantly.”
Nakata got to try this process of ”fukimi”. It is the most spectacular part of Nambu ironware work, as you observe the iron changing before your very eyes.

Nambu Tetsu Ironware contains many “kogei” skills

”The way we make Nambu Tetsu Ironware can be simply called as ”casting”. However, we need the knowledge of other traditional ”kogei” such as ceramics to make the cast from sand and clay, gold carving for the process of modifying the iron base, and lacquer to process the surface. Since it includes techniques from various traditional ”kogei”, it takes time to master it. And the more you know about it, the more you will be surprised how practical people were in the past.” commented Akira Yaegashi.

Currently, the production of iron is limited in Japan, so the raw material of crude iron is imported from overseas and refined to its optimum component at their own factory before use. The crude iron contains a lot of carbon and silicon, and the merit is that it can be made into ironware that is strong and hard to break.
”The iron is not the same as the old days, but the manufacturing technology has been handed down. I think this is due to the will of the craftsmen who continued the traditional techniques.” At Iwachu Co., Ltd there are craftsmen in their 20s and 30s. The handmade Nambu Tetsu Ironware is made one by one with the design drawn by the craftsmen.

Enjoy the “change” as you use the items

”Iron kettles are not particularly difficult to handle. The more you use it the better it gets. It changes as you use it, and it reflects the lifestyle of the person using it. That is the charm.”
Akira Yaegashi told us that even the same product will look completely different when brought in for repairs.
”You will need to repair it at some point, but I am happy when they come back for repairs. It is such a pleasure that they think of repairing it so that they can keep using it.”
Handmade Nambu Ironware keeps the delicate technique and cherishes its taste. And they devote themselves to produce modern cookware such as iron pots and frying pans by modifying the technique of the Nambu Tetsu Ironware, so that many people in Japan and abroad can use it. They continue to produce it so that the people will know the charm of Nambu Tetsu Ironware from different angles.

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What is homespun?

We visited a company called Japan Home Spun. Are you familiar with what ”homespun” is?
Homespun is a hand woven tapestry using mainly thick thread that is hand spun. It was originally started in England and came to Japan during the Meiji Era. It was established as a side job for the farmers due to the necessity of military supplies.
Nihon Home Spun was established in 1955 using the traditional technique. They create products that fit the modern day needs, while inheriting the traditional technique. Their basic material is wool. They stock various types of wool since the characteristics are different depending on the origin. They are also challenging weaving silk, cotton and acrylics into their products. Dyeing the fleece before they are spun into yarn is another thing they are doing. The yarn is then woven using looms. Each step is done by hand by the craftsmen.

The feel of hand weaving

Handwoven textiles are bumpy. Colors and patterns are also irregular. That is what brings out the character of the item. However, because only limited quantities can be produced in a day, pricing is very difficult. For this reason, Kuniko Kikuchi who guided us explained that they now incorporate machine production, but they try to reproduce the hand woven texture in their products. That is done by not letting the machine do the work mechanically, but by intentionally slowing down the loom as well as using other tricks to achieve the warmth of hand woven goods, the biggest feature of their products.
The products that are made this way range from tweed fabrics to knit shawls. All of the processes are done by adjusting the balance of the threads, and very complicated weaving.

Changing of the generations as young people inherit tradition

What surprised us after visiting the factory is the amount of samples. They create samples for exhibitions almost every day. Out of hundreds of countless fabric samples, only about 40 to 50 patterns are chosen for production.
At Nihon Home Spun, they wholesale mainly to apparel manufacturers. They get their orders from the manufacturers in Japan and abroad for their wide selection of designs and for their hand woven feeling.
After viewing the factory, Nakata expressed his impression. ”When I think about weaving, I think about old ladies weaving slowly. But there are a lot of young people here.”
”Yes, we have a lot of young people here. And when we are busy, the old ladies who used to work also come in to help. I think we have linked very well with the local community, and have shifted from the older to younger generation very well.”
The horizontal network that is rooted in the local community. And the vertical network to get assistance from the older generation when they are busy. It certainly is a place where warp and weft thread are woven into a piece of culture.

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Encounter with Nambu Iron

Makoto Hirose is a metal molding artist, and a designer for Nambu ironware which is Iwate’s representative art. He studied design in Tokyo and was working as an industrial designer. But he always thought vaguely that it wasn’t quite right. During that time, he saw an iron kettle exhibited at a craft corner in a department store by chance. That was how he met Nambu iron.
”The iron kettle was very stylish, world of black and the shape was unchangeable. I immediately asked the store attendant to write an introduction letter.” After that he entered into the world of Nambu iron and worked as an apprentice for 3 years.

Continuing to create works, he won the Minister of International Trade and Industry Award

”During those days, I was wondering if I can really continue this.” said Hirose. He was learning the basics during the apprenticeship, and at night he would create his own pieces. He designed a plate and brought it to a manufacturer and got it produced. After repeating this, one of his plates won the Minister of International Trade and Industry Prize at an exhibition. Hirose looks back on those days and told us, ”That pushed me to go forward. I was able to think that this was the right thing to do.”

Design with warmth

Hirose is working as a designer for designing pots and tableware made with Nambu iron. For example, a pot that doesn’t look like a pot because the handle is hidden. He is challenging new designs that did not exist in the past. Even with the color, there are not only black but gray, the color of the metal itself, and by applying pigments, it is possible to create any color you want. When we asked what he is concerns himself with when designing, he replied, ”You cannot avoid the image of iron being cold. So when I think about the design, I think about adding warmth to the iron ware.”
It certainly is true that we have an impression of iron being cold. Also there are things that are so grounded and heavy and gives the impression of a typical ”tool”. He thinks it is important to add warmth to that.

Listening to the people who use them

His wife acts as the authority advisor when Hirose designs the iron ware. There are ”pieces” that are made to show at exhibitions, but originally, the pots and plates are ”daily products”. You have to weigh in the opinion of the people who use them since it is used daily. He never forgets the point of view of ”using” while he is thinking about the design and how it looks.
Initially, iron as a material is suitable for cooking. For example, you can grill, boil, cook with a single iron pot. You can cook delicious dishes since the heat is uniform and cooks evenly. There is also a sense of security that ironware provides because it is a natural material, and gentle to the body.
People may think that iron ware may rust easily or be hard to maintain. However, all you need to do is to wash immediately after use, and put it on fire for a few seconds to get rid of the water. It is not cumbersome at all. So we recommend cooking with iron ware, try your meal with iron ware. The food itself will be warm, and it will look warm as well. That is the dinner table that can be created.

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Traditional “kogei” from Iwate, Nambu Ironware

Oigen Chozo is where they make iron ware that is designed by Hirose, a metal molding artist whom we visited. It was established in 1852, more than 160 years ago.
There is a theory that the history of Nambu Tetsu started around the period of Oshu Fujiwara. So that goes back 900 years from now. It is said that they brought the casting artist from Konoekoku, currently Shiga prefecture. After the downfall of Oshu Fujisawa the industry also declined, but during the beginning of Muromachi period it started to revive and casting was established as a regional product during the Edo period. After that, it boosted production of mainly iron pots and Buddhist equipment under the protection of the Sendai Date Clan. Oigen Chozo was established during this period.

The thinness created by Japanese technique and “sand”

There are techniques around the world using iron as a material for creating pots by casting. But the director, Kuniko Oikawa proudly told us that ”the Japanese technique is the best.” It is because Japanese ironware can be made really thin. The sand used for casting is extremely fine.
”Many people ask us how can we get the surface pattern so fine like this. It is due to the sand. There is no where else in the world where they can make iron kettles so thin with a beautiful surface as ours. To be honest, I don’t think anyone can compete with us when it comes to iron kettles and teapots.” said Oikawa laughing. It is true that the iron pot and enamel pot from abroad is thick and heavy. Compared to that, the iron ware that is in front of us is unconventional. It gives you the impression of elegance.

Bread maker is also popular

Nambu iron brings up images of old style pots. Also popular is the iron kettle. In fact, pots and tea kettles are their top sellers. Also popular are the pots and ironware that have a modern feel designed by Hirose.
But there is another very popular item at Oigen Chozo, and that is the bread maker. It is based on the bread maker that Oikawa’s grandmother uses. Compared to stainless steel bread makers, the heat is evenly distributed, and the bread bakes up more delicious.

To continue the tradition of Nambu ironware

Oigen Chozo creates various items that are well suited to modern lifestyle, even though they are located in an area where Nambu iron has more than 900 years of history. Because of this, they pay careful attention to passing on tradition. Skills cannot be maintained if they aren’t being used. They challenge intricate and complicated designs to keep up their skills.
One of the biggest challenges is developing successors. It is important to establish awareness through branding, but having artisans who can make the products comes first. As they carry on traditions, they also make effort to nurture those who will continue to be involved in creating Nambu iron ware.

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A Gift from the Glass Lightbulb

Shotoku Glass Co., Ltd was established in 1922 originally as a manufacturing factory for light bulbs.
With advances in technology, the glass light bulb manufacturing became automated, chasing the craftsmen out of jobs.
Soon the craftsmen started to gain popularity for their “mouth-blown” glasses.
The company is renowned for Edo glass, which are fine delicate “small beer glasses” that has earned a high reputation among top-rated Japanese restaurants. Many guests usually drink beer from the small beer glass as a precursor to their meals. The small glass is often available at Japanese banquets. The company flourished by making these glasses, by taking advantage of the “mouth-blown” technique honed through light bulb manufacturing.

The Thin and Delicate “Usuhari” Series

Shotoku Glass continues to manufacture sophisticated, thin glasses mainly for drinking. They have taken their technique one step further by creating a brand called “Usuhari”, which literally means “thin glass”. The thinness of the glass rim, and the sound of the ice in the glass, helps enhance the taste of the drink.
We visited their showroom to see the glasses on display, and then went to the adjacent factory. There were a dozen craftsmen creating the Usuhari series and other glassware. Yoshifumi Saito, from the PR department showed us around, and explained “ Usuhari requires tremendous care, much more than the standard glassware.
First, the glass has to be melted at the perfect timing, as the Usuhari design is simple and the thinness needs to be uniform. Flaws in the glass would be conspicuous. “Usuhari cannot be made until all conditions are right – the condition of the kiln, the basic materials, wind, temperature. Everything needs to be perfect. As a result, there are days when Usuhari cannot be made. “And yes, of course the craftsmen’s skills. For example, if you are making a 100 g glass, you need to calculate in advance how much will be cut off to create a 100 g glass. That is how much glass you need to bring out from the kiln. Otherwise, the thickness and weight of the glass will not be uniform, and that flaw would be quite evident. “
There is perfect management and sophisticated skill behind the Usuhari brand name.

Establishing awareness for what cannot be created by machines

We went back to the showroom to learn more. At Shotoku Glass Co., original glasses can be made upon request. (quantity, budget, etc. to be discussed) Nakata was extremely interested in this. The design and shape can be special ordered as well. As all procedures at Shotoku Glass Co., is done by hand, Saito told us, ”We must make things that cannot be done by machine-manufactured glass.”
”If machine-made glass were 1000 yen, hand-made ones would be 1500 yen. The 500 yen difference must be because it is handmade. We cannot create the same glass. We need to add value that would satisfy people and convince them to pay 500 yen more.” The ”Usuhari” series is an example of this. People may think that the thin delicate pieces is suitable for automation. In actuality, the melting temperature for glass is adjusted according to the weather of the day. Only sophisticated skilled workers can draw precisely 100 grams every single time, based on their experience and senses.

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Tutankhamun’s Golden Mask is actually Enameled Ware

Enameled wares have glossy smooth texture and hefty weight, they are nostalgic and bring back memories of the past. Enameled wares are familiar as basins used in hospitals and containers for food storage. But how are they made? Enameled wares are made by covering a metal base object with glaze and baking it at high temperature to set the glaze. Its origin goes back as far as King Tutankhamun. The golden mask of Tutankhamun is glass glaze baked on metal such as silver and gold. Its method is exactly same as enameled ware. One is for decoration and the other is for practical use. As decoration, the method passed on to become cloisonné ware, and enameled ware as practical use. Manufacturing of enameled ware is a very traditional method.

Keeping Tradition Alive in Times of Decline

Noda Horo is proud of their highest quality in the enameled ware industry. For over 70 years since 1934, they have manufactured each product by hand. They are a top maker in the enameled ware industry in Japan.

In the past, enameled ware was used for many products such as pots, storage containers for rice-bran pickling, and basins. enameled ware has numerous advantages such as being sturdy and long lasting, less prone to scratching and bacteria growth, and smell not staying since the surface is smooth.
But peaking in 1971, enameled ware began being replaced by plastic and stainless steel, and gradually declined. As the number of enameled ware manufacturers which at its peak was about 90 in Japan declined, Noda Horo simply pursed the advantages of enameled ware and retained its place as the top maker.

Simple and Clean Products for Modern Lifestyle

The amazing thing about Noda Horo is that they have taken full advantage of the best assets of enameled ware as a material, and created products which match the modern lifestyle.
The “White Series” are products which can be used for “preparation”, “cooking”, and “storage” in the same container. It can be used to refrigerate or to cook on an open fire. And “Nukazuke Bijin”, or “Rice-husk Pickling Beauty” makes rice-husk pickling possible in a refrigerator so that it can be done even in a modern apartment residence.

At Noda Horo, enameled ware is still made by hand. It takes several dozens of procedures such as cutting copper plates, die cutting, bending and tightening edges, etc. to make a mold. And it takes time to acquire the delicate skills. It can only be made with the skills cultivated by craftsmen over decades.
Noda Horo has not only kept tradition alive during times of decline but produced many new iteWith this kind of standpoint, Noda Horo has gained the trust they have today as an enameled ware manufacturer.

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Pursuit of more advanced designs

To some, Fukui is known as the ”city of eyeglasses”. ”opt duo” attracts attention with its creative designs, and is home to a popular brand named ”spec espace”.

”spec espace” means the ”performance of a space”. “Wearing eyeglasses creates a space that has not existed before that.” ”opt duo” considers eyeglasses as items which create space with the frames.
Compared to standard eyeglasses, the elaborate styles add a different look to those wearing the eyeglasses, and has added to their popularity.

One and only eyeglasses created by a craftsman

The frames of the ”Celluloid” series, one of the more popular products from spec espace, are made by Masami Nishino, one of the most celebrated craftsmen in Fukui. With perfect precision, he is able to replicate the design on the celluloid frame. He creates subtle angles as can be created only by true craftsmanship. Only a skilled craftsman can create products from the very particular design. The entire process from polishing to molding is performed by hand.
To show all of that goes into creating each frame, the eyeglasses are engraved with “spec espace,” “Masami Nishino” and “teshigoto (manual work).” Design, craftsmanship, commitment… None of these can be spared in making the one and only eyeglasses.

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Industry that is the pride of Fukui

Fukui is one of the world’s three major production center for eyeglass frames. Domestically, more than 90% of eyeglass frames are produced in Fukui. In terms of metal frames, Fukui is the world’s largest producer.
The history of glass frame manufacturing in Fukui is longer than one might imagine. It dates back more than 100 years to 1905, when Gozaemon Masunaga gathered eyeglass craftsmen from Osaka and Tokyo and nurtured many skilled technicians under a guild-like system called ”choba”.
Gozaemon Masunaga is the founder of ”Masunaga Optical Manufacturing”, the company that Nakata visited. The founder trained many technicians who subsequently became independent, and started their own studios. This led to the prosperity of the eyeglass industry in Fukui.

Countless popular frames

If the name ”Masunaga” seems familiar, you are definitely a fashion connoisseur. ”Masunaga Optical Manufacturing” is a top-notch brand. It has stores in Tokyo and Nagoya, and is covered in fashion magazines. The company has expanded globally into countries such as the United States and China.

Among the products of Masunaga Optical Manufacturing, the MP series stands out in particular. The series is a product of a collaboration with Kazuo Kawasaki, an international industrial designer and professor at Osaka University Graduate School.
The MP series is worn by many of the world’s top leaders and celebrities such as Colin Powell, former U.S. Secretary of State; Donald Rumsfeld, former U.S. Secretary of Defense; Arnold Schwarzenegger, former governor of California; Sarah Palin, governor of Alaska and the first female, Republican vice presidential nominee; Hillary Rodham Clinton; and Bae Yong-joon.

Uncompromising pursuit

Kazuo Kawasaki was born in Fukui in 1949. At age 28 when he was enjoying a successful career as a designer, he was involved in a traffic accident, confining him to a wheelchair. Following his accident, he moved his activities to Fukui and met Satoru Masunaga, president of Masunaga Optical Manufacturing.
They hit it off, teamed up, and began their pursuit of making the world’s #1 eyeglasses. Suffering from a heart condition, he also acquired a medical degree at 47, and began researching design for artificial hearts. He is definitely a very unique presence as a designer. In 2000, Kawasaki won the Grand Prix in the sunglass division of SILMO Paris in France, the most prestigious award in the eyeglass industry.
His uncompromising pursuit and commitment may have helped him overcome the many adversities he faced, allowing him to develop eyeglasses which have attracted attention from around the world.

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Craftsmen who create delicate lines

Maruni furniture is high-quality furniture that is well-known, comparable to the Karimoku brand. They are headquartered in Hiroshima. They came into the spotlight in 2009 when they created the wooden ”cord-chair” with legs only 15 mm thick, in collaboration with the innovative design office ”nendo”. As you could imagine, ”cord-chair” with legs only 15 mm is very unlike the conventional chairs we are used to. This was made by wrapping thin 3 mm strips of wood around 9mm stainless steel. 3 mm wood was so thin, it was impossible to manufacture by machines, so everything was done by hand. Their craftsmen also made sure the wooden patterns all matched when wrapping around the steel. The innovative design combines and expresses the warmth of the wood, and the hard solid design. This was only possible due to the knowledge and skills accumulated within Maruni, which has been involved in the wooden chair manufacturing business since 1928. Other than this, Maruni continues to launch sturdy furniture matching the trends such as with their ”Maruni Collection” collaborating with Naoto Fukazawa of ”±0”.

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