Last day in Japan

Last day in Japan

This trip to Japan has been so deeply inspirational and one of the most memorable experiences of my life along with part 1, Mexico in January. Learning about the Japanese approach to ancient craftmanship and seeing some of the finest Masters of Craft in the world has opened my eyes to the meaning it brings to the new generation of craftsmen and women today. Everyone we have visited along the way had been so kind, we have been given gifts or keepsakes from everyone we met, whether it is a bag of oranges or a beautiful leather bag, such is the Japanese culture of temiyage. 

I am also leaving with a small piece of fabric etc from each workshop/business/organisation we have visited, which will be stitched into a new collection of shoes over the next year or so which I am really looking forward to doing.

A big thankyou goes to WCMT for sending me out here on such a wonderful quest.. But it wouldn’t have been possible without the help of my cousin Jasmine Penarroja’s kindness and patience over the past month and my apprentice Mariko Kato, invaluable translator, guide and travelling companion.

Now home to write everything up ! ..

 

Yosegi Zaiku, Hakone

Yosegi Zaiku, Hakone

It is said that the technique of making Hakone Yosegi Zaiku was invented by Ishikawa Nihei, a craftman in Hatajuku, Hakone, towards the end of the Edo era. As mountains in Hakone are blessed with various trees, Ishikawa took advantage of natural colours and shades of the woods to form geometric patterns. At the beginning, ran-Yosegi and tan I Yosegi moygou (pattern unit with basic designs) were mainly made. Today, as machines and means of processing have been improved, Yosegi Zaiku with a variety of elaborate patterns are produced. This traditional technique is highly original and cannot be found anywhere else in Japan.

This business has been designated as one of the traditional craft products with the stamp.

We met with the decendant of Ishikawa Nihei who gave us a demonstration on how he makes Yosegi Zaiku which is a really beautiful process.

Sakura !

Sakura !

To conclude our week in Tokyo we finally see the first of the cherry blossoms and watch the hanami party’s commence. We went to Marikos old shoemaking school where I made lots of new shoemaker friends and had a hanami of our own.

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Edo folding fan, Tokyo

Edo folding fan, Tokyo

Our final interview we have in Tokyo is with Ms Fukatsu who is a maker of the Edo folding fan, another long standing tradition in Japan. Also meeting us is a friend of hers, Ms Kinoshita who runs a very interesting independent website for new craftsmen and women. She very kindly gave me a new set of books she has just published about Japanese crafts.
It was actually a real breath of fresh air to meet and talk to a female master of craft as everyone we have talked to so far has been male. Although in some of our interviews we have seen women doing some of the work it has mainly been men that we have had our meetings with. Just to illustrate this point, one of the first things Ms Fukatsu talked about was the fact that her father (a master of Edo folding fan) did not want her to learn the craft and pass on his skills and instead be a mother and housewive. In defiance she has spent her life dedicated to mastering her craft and making a name for herself. She spent the day showing us her techniques and giving me a lesson on how it is done!

There are heavily patterned lavish gold designs on some folding fans but I like that Ms Fukatsu is inspired by stories and fiction and as she says, her designs are simple but the space around leaves space for the imagination.

Washi, paper making, Tokyo

Washi, paper making, Tokyo

Washi is a style of paper that was first made in Japan. Washi is commonly made using fibers from the bark of the gampi tree, the mitsumata shrub or the paper mulberry, but also can be made using bamboo, hemp, rice, and wheat.  Washi is one of the UNESCO’s Intangible cultural heritage objects and the unique strength makes its many uses so many it is hard to list them all.

Washi is generally tougher than ordinary paper made from wood pulp, and is used in many traditional arts. Origami, Shodo, and Ukiyo-e were all produced using washi. Washi was also used to make various everyday goods like clothes, household goods, and toys as well as vestments and ritual objects for Shinto priests and statues of Buddha. It was even used to make wreaths that were given to winners in the 1998 Winter Paralympics. Several kinds of washi, referred to collectively as Japanese tissue, are used in the conservation and mending of books.

Mr Tagaki explained the paper actually comes from the bark of the tree, not the tree itself, in fact only 4/5% of the tree is used. The trees grow an very quickly, around 2-3 metres a year and are harvested in December or January as it is important to do it in very cold temperatures. It requires a long process to make it into a pulp, it is steamed and peeled and hammered which has been done for centuries in Japan.

It will take a while to translate the interview but in the meantime here is a few photos to illustrate the amazing process.

Marukishi, Tokyo

Marukishi, Tokyo

Our first interview of the day was with Hideaki Kishi from Marukishi co ltd, who runs his third generation fabric merchant firm. I wanted to find out more about the success of British tweed in Japan and also to talk to someone who works as a fabric distributor, selling to department stores and bespoke tailors rather than directly to customers. It was really interesting to hear Hideaki’s Perspective on the similarities and differences between Japanese and English fashion industries and the rise of Harris tweed in Japan which is timelessly fashionable. One quite astounding point about Harris tweed in particular is that half of the worlds supply actually comes to Japan as it is so popular here. We talked about the shift of focus we have both noticed in our respective businesses, in people’s awareness and genuine need to search for a tailor or perhaps independent stores to find the suit or item of clothing that is individual and unique which hopefully will continue, so as to support the small flourishing family firms that depend on the need to find that item with a difference.

The Association for the Promotion of Traditional Craft industries and Aoyama square, Tokyo

The Association for the Promotion of Traditional Craft industries and Aoyama square, Tokyo

Traditional crafts have been developed through the extensive history of Japan as necessities of daily life differing by region, each area with its own unique features. The Japanese government recognized the value of these traditional crafts and the need to pass on to future generations the special handcraft techniques used to make them. In order to implement appropriate measures, the Act on the Promotion of Traditional Craft Industries  (Densan) act was promulgated in 1974, since which time the Minister of Economy, Trade and Industry has designated 218 items as traditional crafts. 

The Association for the Promotion of Traditional Crafts Industries was founded in 1975 with the support of the national government.

Besides conducting various programes to promote local production, the association also mana variety of programmes to raise public awareness towards traditional crafts products and to expand the demand for traditional craft in Japan and abroad.

We met with Aiko Miyamoto and Mr Fukuda from The Association for the Promotion of Traditional Craft Industries who told us about the associations work and we had a look round the exhibition centre for the METI-designated traditional crafts.

One of the major parts of their work is to qualify traditional crafts and recognise master craftsmen with the Dentou mark (Dentou means traditional)

They also do some fantastic work to promote traditional craftsmen and women and provide visitors with guides of workshops all over Japan. Their major programme events are : Permanent exhibitions of traditional craft products, special individual craft exhibitions, reference library, craft consultations, advice and contacts for repairs etc and they have membership club activities for traditional craft enthusiasts.

Urushi institute of research and restoration, Tokyo

Urushi institute of research and restoration, Tokyo

Urushi or Japanese lacquer has been found to have been used in Japan for something like 7000 years BC. This ancient craft is a method of using the sap from the lacquer tree and coating objects made from wood in laquer and decorating in fine gold. We have seen many bowls and spoons on our journey all over Japan, as urushi is famously used for enhancing the quality and decorative finish of all sorts of utilitarian objects. But in its long history Urushi has been used to make many historical artefacts and the creation of lacquerware has long been practiced only by skilled dedicated artisans.
The craft of Urushi was actually known as ‘Japan’ although nowadays people translate it as ‘lacquer’ researchers and urushi craftsmen are trying to make urushi to be known as urushi instead of Japanese lacquer.
Urushi is produced in a three-step process: first the base is prepared. Most often the base consists of wood, which has to be shaped and is a whole craft in itself, but it can also be of paper or leather. Next is the application of lacquer, which hardens as time passes, thereby sealing the base. Generally several layers of lacquer are applied. The lacquer is then decorated with a variety of methods. the maki-e technique, a powdered metal (usually gold or silver) is sprinkled on the lacquer before completely hardened. This technique was developed and popular in the Heian period but is continued unchanged today.

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We met with Tasuku Murose who is one of Kazumi Murose sons, a well known national treasure of Japan. It was actually really nice to have our meeting with the next generation down to a master craftsman, someone who now in his early 30s has decided he wants to continue the skills of his family’s history.

Before deciding to join his fathers company, Tasuku went to university; over this time, he realised he was the only person amongst his fellows who knew about the history and processes of Urushi. So he decided to take a different path and learn more about this ancient craft and then did a masters and doctorate. Now he works alongside his brother and his father.
His father concentrates on the making and repairing Tasuku and his brother help with the business, and at the same time, they are busy running workshops to let others learn about the ancient craft of urushi and bring awareness to this specialist skill. They also employ other craftsmen, some of whom we met in the workshop.
Tasuku talked about his experience growing up with most young people of his own generation aiming to work in a business in the city, choosing a career in IT rather than any learn any kind of traditional craft. Most of them probably ending up blending in to the sea of men in black suits that were packed into the train on the way here today. We talked about today’s choices for the younger generation where there seems to be a shift away from the business world and more looking to the arts for their career path, although interestingly much more Art and Design rather than traditional craft.
The number of craftsmen is certainly fluctuating; in his fathers generation, there were actually only 3 other students on the course at Tokyo Gedai University (Tokyo University of the Arts) who wanted to learn about urushi.

Tasuku then showed us some of the working processes of urushi. This picture reveals the grades of processes from the bare wood to the sanding until the finish is a smooth glassy finish that is so smooth it looks like smooth black marble and is as shiny as a mirror. You can see here that the bare wood is protected by linen as the wooden pieces are often very thin so will need protecting. Then a sand based paste is applied before polishing and applying the urushi around 7 or 8 times. This is a popular method in Wajima, one of the largest production areas of urushi in Japan.


A small piece will take around 1-2 months of work and the bigger boxes or specialised piece will take around 6 months, this is because of the drying time involved between each of the coats of urushi.

The next part of the process is to decorate items which are classically done in ornate gold designs. The gold sprinkled on is called Maki-e decoration. First you paint the pattern then before it sets you would sprinkle he gold powder and then wait 1 or 2 days for it to set. They mainly use pure gold and sometimes the work involves cutting the gold by hand and using a pair of special tweezers to individually apply each tiny by hand, one fleck at a time. Tasuku explained that that once you look close up, the the smaller gold dust is actually round which is why it looks so fine.

Nowadays urushi boxes continue to be used all over Japan for very special items or family heirlooms. In fact Japanese people put so much emphasis on special boxes or packaging, if you go into a shop they will wrap your items up in such elaborate wrapping with so much care and attention it makes you feel like the packet of tissues you brought is a special gift for yourself.

Its the smaller things you notice while being here that actually sustain the bigger things, like part of urushis survival depends on the people of Japan’s continued need for a beautiful box.

We were taken to see the workshop next and were welcomed with the strong, rich scent of urushi as we entered. Each workshop we have visited is so all encompassing. Watching the craftsmen at work and breathing in the smell of urushi is really intoxicating in a good way.

The workshop is one of the 4 largest Urushi restoration centres in Japan. They are currently working on some very important pieces which we were unable to photograph as we walked around the workshop. It was pretty magic seeing some of the workmanship which is 200-300 years old, a bit like leather, the urushi just gets mor beautiful with age. Some of the restoration work is so specialised it can take up to 2 years to complete.
One of the craftsmen showed us a bowl they have finished working on, he told us that because Urushi is made from wood which can swell with age and fluctuation in temperatures make the urushi crack so some of the work involves deciding which parts they need to fill in and some they have to leave as the wood will shrink back again. He also said how much they learn from the restoration projects they do, how they see older techniques and often use them for new creations.
He showed us a special bible stand that was created for churches all over Europe, and exported mostly to Portugal and Spain.

This is the urushi tree. The sap is collected during summertime and the tree is cut down after the season. The sap is collected by cutting the skin of urushi trees. It’s very important for the direction of the cut to be right to gather the sap. Amazingly only one cup of urushi comes from a whole tree.
Nowadays 90% of urushi comes from China but Tasuku said they would like to use Japanese urushi as and when is possible.

There are currently only two official institutions teaching urushi in Japan although there are a few small workshops like Murose’s that teach urushi techniques to raise awareness of this wonderful craft. Here are a few photos of the classes they use for teaching, they currently run around 10 courses per week with 4/5 students each class. Tasuku is also soon to be teaching about urushi at Tokyo University.

Next stop Tokyo..

Next stop Tokyo..

Our next step is to base ourselves around Tokyo for a few days, so with our first day to spare, where do two shoemakers find themselves? .. In Asakusa of course which is basically a whole street of leather and tools and workshops for the shoemaking trade!

We happen to arrive into Tokyo just as the technical college for shoemaking has its end of year exhibition so we popped in to have a look. This college is where my apprentice, Mariko began learning to make shoes so we took a picture of her next to her old machine.

I also wanted to stock up on some tools I use in m own workshop at home, which are exceptionally well made here in Japan. This picture below is to demonstrate what seems to be our theme of conversation in the workshops we have visited in Japan, the challenges of finding of tool makers which are craftsmen in themselves and becoming fe and far between. This pair of lasting pincers for example now have to be brought in from China as the last Japanese maker of them has now passed away with no one to succeed him.

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Inden, leather craft, Yamanashi

Inden, leather craft, Yamanashi

Inden is a Japanese craft made of lacquered deerskin with more than 400 years of history originating in the Yamanashi prefecture close to Mount Fuji.There are 3 types of Inden made in the company.

・Fusube-smoking one – This is a very traditional technique from Shousouin (Japanese famous warehouse storage that preserve treasures from 7-8 century in Nara-pref)
・Urushi-zuke-stencil urushi
・Sarasa-using lots of colours of paints

The techniques and patterns for making Inden were originally developed to produce certain parts of samurai armors. The production process follows three basic steps that require highly skilled artisans.

The very soft deerskin leather becomes very durable when Japanese lacquer is applied on it, making it very suitable for objects exposed to day to day usage.

Founded in 1582, INDEN-YA is the oldest company we have visited so far and it is clear there is real integrity at the heart of their business approach.
In our meeting with Mr Desawa we heard about the company’s deeply inspiring philosophy to preserving this ancient leatherwork technique. I love that they make their products to last and are passionate about repairing their work even decades down the line.
As long as their logo is visible on the product, they will repair all their products for free, with a few exceptions.

Mr Desawa specified he wants his products to last for a least 3 generations in a family. In ancient Japan people would remake or reuse objects, using an old jacket to make a new wallet for example and creating new things out of old ones is part of this company’s vision to not add to the throw away culture we now live in.

The other truly special thing about Inden-Ya is the treatment of the employees of which there Are 94 altogether, 65 of which are making. It is clear they are treated as family members and they invest a lot in teaching them ancient techniques and many of their workers stay in the company for their whole lives.

They have also been a particularly interesting to talk to because they do the whole process of making inden from beginning to end, with the exception of occasionally outsourcing their stitching. This means it is easier to Quality control – something that is clear when you pick up one of their products, the softness of the skin is unlike many leathers I work with back at home. Mr Desawa said they don’t sell online as they prefer to deal with their customers one to one and allow them to see and feel their products.


One of the techniques we had the opportunity to see in motion was the Fusube – the smoking of the leather. Mr Desawa also gave us a personal tour of the museum he has created which was wonderful to see. Having the opportunity to see this in motion would not have been possible had we not been under the support of the Winston Churchill Fellowhip Trust.


Being the leather craft of Japan, Inden has been the interview I have been looking forward to most and hearing Mr Desawa speak with such passion for the craft has been very inspiring.

One of the designs I like most is the ‘Tonbo’ (dragonfly) whose meaning is to always go forward, never back.

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