–What do you think are the differences in eco-awareness between Japan and other countries?

Comi：”Cycle” mainly uses eco materials such as polyester fabrics made from fiberized plastic bottles, fabrics made from discarded clothing threads, and naturally dyed fabrics. I believe that the culture and development of such eco-friendly fabrics are advanced in Japan by far. We have been producing fabrics in China and Korea, but the culture of eco-friendly fabrics has not yet taken root there. The linen used in our latest collection were dried completely in the sun. The fabrics are hand-dyed by artisans. Instead of using dryer, they placed fabrics in the sunlight to dry them. Because they are handmade, they are a little uneven, but that is what makes them so good. The fact that the fabrics are made the old-fashioned way, without wasting electricity, matches the brand’s philosophy. So we decided to use them, although the price is a little higher. The brand name “Cycle” is not only about environmental cycles such as recycling, but also about human connections and relationships. The mission of this brand may be to give people opportunities to learn more about environmental issues through it, to spread the good word about Japanese craftsmen, and to create many chances and good chains of connections.

–I heard that some of your products are sewn in your atelier. Are you actually producing more of your products in Japanese factories?

Comi：Until recently, our products had been mass-produced in China and Korea. Although we tend to think producing items in these places are cheaper, recently they have become more expensive, probably because the number of factories has decreased due to the shortage of labor caused by COVID-19 pandemic. This naturally led me to think of make our products in Japan. The best thing about it is that if something happens, I can get in touch with the factory right away and go see them. From overseas, it can take up to two weeks for a package to arrive, but in Japan, it takes only one or two days and can be tracked. Not only is communication easier, but there are no troubles anymore. Now I buy fabrics, print them, and then sew about one-third of them in my atelier. The remake denims we recently launched at a pop-up were made entirely at the atelier and delivered to the store. It is a gradual process, but I feel that we are getting closer to being a completely made-in-Japan brand, and that is what we would like to aim for.

“Cycle,” a brand of products dyed with natural materials

I became interested in dyeing when I saw a video on SNS of someone dyeing clothes their child no longer wore with avocado seeds. I decided to try it myself first and started dyeing in my kitchen at home using avocado seeds, onion peels, and coffee bean grounds after grinding. The places dyed with avocado seeds, to my surprise, turn pink. It was a fun discovery that all of these things that would otherwise be thrown away could be used for dyeing if they were racked up. Then I ordered indigo to try indigo dyeing, and I tried mud dyeing as well. I started dyeing in my kitchen at home, and as I began to expand my brand, I met a person who had developed his own indigo silk screen and mud silk screen, and new types of design were born. Indigo can be grown in planters at home and used directly for dyeing. It is a fun eco practice that can be completed entirely at home and enjoyed in style.

Silk scarves produced by silkworms

I became interested in the silkworm industry after watching a documentary film about Akihiko Izukura, a natural dyer. The film depicts the process of making the giant spheres of thread that Izukura creates with 10,000 silkworms. Usually, silk was woven by hand, but Izukura is the creator of a technique that utilizes the characteristics of silkworms to turn the threads spat by worms directly into cloth. When 10,000 silkworms are placed on a large sphere, they all spit out threads to protect the sphere as they rise to the top. When the silkworms reach the top, the weight of the worms causes the sphere to rotate, and the silkworms on the bottom move back up, spitting out their threads again. This process is called circular motion, and Izukura’s project is to let the silkworms live out their entire lives in full conformity with nature. The spheres created by the silkworms are dyed using only materials found in nature, such as plants, trees, rainwater, and the sun. When I entered the sphere, I felt like life is spinning and could not stop getting goose bumps. I have a bag and a scarf, and the scarf warms me gradually when I cover my stomach when I don’t feel well in the stomach. That is how I realize that what we wear and what we eat are supported by life.

Shiga, a town full of nature where Comi was born and raised

I recently renovated a shed on my parents’ property and turned it into a vacation home. So I have more opportunities than ever to return to my parents’ house. For me, Shiga is a healing place with abundant nature, warm people, and many animals. When I am in Tokyo, my mind is always on full speed. I am always in a hurry and being chased. I am so busy that I cannot even think about my feelings. But when I return to Shiga with my family, the first thing I notice is that my children look completely different from usual. It is truly a liberation of the soul! I can really see the small changes in their expressions, such as how they are smiling and having fun when I let them play in a place rich in nature. I can also feel the same kinds of changes in myself. I can see how I am feeling, what I actually like, and what I am thinking. It simplifies my mind. I am sure that because the adults are able to free themselves, the children are able to sense this and free themselves as well. I was born and raised in Shiga, started my brand in New York, and now live in Tokyo, but I feel most at home when I come back to Shiga. It is an irreplaceable place where I feel at home.

Comi
Comi started “Cycle by myob” in 2020 after spinning off from “M.Y.O.B NYC”. “Cycle” focuses on reused fabrics, recycling, environmental pollution, and human connections and ties, and hopes to create an opportunity by addressing environmental issues in a unique way through fashion.
Instagram：@comi_myob、@cycle_by_myob

Translation Shinichiro Sato(TOKION)

The post Japan Brand Trivia Vol.8: Disseminating Sustainability of Made-in-Japan Products through “Cycle” appeared first on TOKION - Cutting edge culture and fashion information.

Along with criteria like product design, functionality, standards, and trends, the “Made in Japan” label has become an important consideration for selecting a product. In this series, Japan’s Brand Trivia, various creators introduce innovative made-in-Japan products that align with our concept of social mindfulness. This time, we invited Alice Kazama and Masayo Manzai, the creators of eit swim, a Japanese swimwear brand offering functionality for enjoying marine sports with designs that one could incorporate into their outfits. Through swimwear, they want to share the excellence of Japanese craftsmanship and what we should preserve for us to live. 

–At eit swim, you make made-in-Japan swimwear. What values and qualities do you see in Japanese products through making such swimwear? 

Alice Kazama (Kazama): Partially due to covid, I now have more opportunities to rediscover the positives of basic needs, Japanese things, and different places. In terms of craftsmanship, culture, and customs, things that have been passed down from generation to generation are environmentally friendly. I realized the appeal of Japan lies in going back to the basics, or rather, the coexistence of simplicity and beauty and the distinctness of natural methods and materials. I’m often impressed by the artisanal attention to detail we encounter in our interactions with different factories. Thanks to that, I believe we have elaborate, uncompromised craftsmanship and can create products we’re 100% happy with. 

Masayo Manzai (Manzai): My desire to support good-quality Japanese things has grown stronger. It might be a small thing, but I try to choose Japanese products whenever possible. Many factories are excellent at making fine, elaborate things, but they can’t continue doing it for various reasons. More than ever, I think about what we can do to preserve the good parts of Japan. 

–What’s the difference between craftsmanship in Japan and abroad? What’s interesting about it? 

Kazama: There’s a meticulousness to Japanese craftsmanship that makes me go, “Wow, so much was taken into account to make this.” Each region and country are different, but in comparison, I get the impression that their products are made slightly rougher. But I think that’s what makes them great. 

Manzai: I feel that in terms of taste too. I’ve encountered many brands from abroad because I make swimwear, and I feel like Japanese brands show attentiveness in how their swimwear is both stylish and functional. Of course, brands from abroad are high quality and made for utility, but I feel that they prioritize the appearance a bit more. The matching quality of stylish appearances and functionality is Japanese perfection. 

Made-in-Japan swimwear that connects the city and sea 

We founded eit swim with the desire to wear stylish swimwear that doesn’t budge even if we were being active in the outdoors like playing marine sports. Rather than just creating swimsuits, we want to share about the natural environment and the value of Japanese craftsmanship through this medium. We hope people could go back to basics regarding their lifestyle and way of thinking. We started using uniquely Japanese techniques and traditions for our latest collection, and made indigo-dyed products. Indigo dyes are said to be the oldest Japanese method of dyeing. We visited Leki Nagahara-san of in Between Blues in Kaiyo-cho, Tokushima, where indigo dyeing is abundant, and dyed the garments ourselves. After that, we washed away the dye in the sea right in front of the studio. We could do it because indigo is a natural dye; if we used a chemical one, it would’ve contaminated the ocean. Not only is Leki Nagahara-san a master of indigo dyeing, but he’s also a knowledgeable surfer who shares the natural beauty of his region. As we listened to him talk about indigo dyes and the region’s history and culture, it became dark outside. We washed the dye away in the sea under the moonlight after sunset. It was magical, and it’s a beautiful memory. 

Utensils that make life better 

We’re based in Rural town near the sea right now, so we usually cook and eat at home. We’re surrounded by so much nature. There are a lot of farmers, and most of the ingredients we purchase are locally produced. We started to be more mindful about the ingredients we choose, like locally grown food and organic vegetables. With that, we also naturally started paying attention to utensils. I purchased the two plates on the right side of the photo a year ago when I went to a Bizen ware artist in Rokujizo, Nagara-machi, to try making ceramics. They have and do everything; keeping the soil in good condition, gathering firewood, and having a potter’s wheel and kiln. Only 1% of potters in Japan have these things in one place. I love the natural color of clay, which was made possible by not using a glaze, and the textures and patterns affected by the nobirigama (climbing kiln). I got the one on the left when I visited Tokushima for indigo dyeing and stopped by a studio. We came across Sue ware that we loved and bought so many together. Our home base, the food we eat, and our lifestyle have changed, but I can tell that our lives are more enriched. I want to continue enjoying the small changes in my everyday life. 

A waterfall embodying the cycle of nature 

Leki Nagahara-san took us to Todoroki falls in Tokushima. It’s where people worship the sacred Todoroki shrine, and entry to the waterfall basin is restricted. Because the belief in all the gods and goddesses has been passed down for generations, we find ourselves putting our hands together in prayer when we visit places like this. I clearly remember feeling that strange, uniquely Japanese sensibility. He told us a story about how the sea is the lover of the mountain on our way there. Water from the ocean evaporates to create vapor, which then forms clouds. The clouds then produce rain and form a waterfall on the mountain, which flows through the forest to a river, and then flows to the sea. It’s the cycle of nature, so if we can’t protect the mountains, we can’t protect the sea. Of course, the opposite is also true. If one thing goes wrong, everything is spoiled. That’s why humans shouldn’t do anything outside of the cycle. He spoke about the natural world, but I feel like it applies to everything. We forget about the cycle of nature and living alongside nature when we live in the city. It’s such an obvious thing, but it’s something we should never forget. We want to convey what every one of us should think about for the future through eit swim. 

eit swim
eit swim is a Japanese swimwear brand based on “The City and The Sea.” The idealized products, created by designers who are also surfers, have silhouettes that consider Japanese people’s body types, functionality that allows one to enjoy marine sports, and designs that one could incorporate into their outfits in the city.

Translation Lena Grace Suda

The post Japan’s Brand Trivia Vol. 7: Caring for Japanese products and going back to basics with eit swim appeared first on TOKION - Cutting edge culture and fashion information.

Along with criteria like product design, functionality, standards, and trends, the “Made in Japan” label has become an important consideration for selecting a product. In this series, Japan’s Brand Trivia, various creators introduce innovative made-in-Japan products that align with our concept of social mindfulness. This time, we spoke to Yoshimi Nagao, creative director of Takashimaya Women’s. Which “made in Japan” products has Nagao selected by using her aesthetic eye, which she’s cultivated over the years in fashion? When we asked her about the criteria for her unique selection, the source of her taste—having a sincere relationship with the things she likes—came to the forefront.

–As someone who works in fashion and at a department store, you’ve encountered many different things. How do you feel about the value and allure of “made in Japan” products?

Yoshimi Nagao : Because I work in a department store, I get to see things from a broad perspective and have many opportunities to see Japanese products, not limited to fashion. I also have my personal taste, of course. It’s like, the interests I’ve always had are at the base, and that switch gets turned on. I have more opportunities to learn about the importance of the four seasons, the rich colors, and the culture of Japan, thanks to my current job.

In general, I’d say I have the spirit of a craftsman. I feel that “made in Japan” products have this meticulousness, humble beauty, appearance, and vibe unique to Japan’s aesthetic. The same can be said for architecture, dishes, antiques, and the Japanese manufacturing industry of today. I often visit Europe and the U.S. for work, and when I look around their cities, I spot many decorative things carefully preserved over a long period. But in Japan, I feel like many things have this elegance and humble beauty that blends into everyday life.

–What do you think is the difference between craftsmanship in Japan and abroad? What’s interesting about it? 

Nagao: In Europe, the architecture looks like a movie set. It’s fun and beautiful. It’s as if the entire city’s a work of art. You can also look at Japan through an artistic lens, but to me, Japan is the polar opposite of Europe. My impression of the U.S. is that it’s a bit more mixed. You can sense the mixture of different cultures there. Scandinavia exists in a minimalist world with a distinct eye for color and functional beauty. It’s interesting to look at how each country has a different idea of beauty.

–What do you look for in regards to fashion?

Nagao: Firstly, I look for the quality of the fabric. The look and quality of the textiles are what I focus on the most when I select clothes. Even at vintage stores, I build an outfit by starting with the fabric first and then thinking about the styling. As for my job as a buyer, although I judge clothes by whether or not they’ll sell, one of the key points upon buying is whether or not the fabric looks cheap on a hanger. Secondly, I visit many pop-up shops every season and always look for a balance between fabrics and textiles. I also think about whether the designer has their signature; do they have their style, derived from their background and the things they like, regardless of trends? These are the two key points. I don’t feel moved by something I’ve seen elsewhere or something that looks like something else. Of course, I buy some things with a business mindset because I feel like they might sell, but I’m attracted to people and designers who create unique styles. 

FUMIKA_UCHIDA, a distinct style

Japan’s vintage culture is unlike any other. Every country in the world has vintage clothing, but Tokyo has established that as fashion. Only Tokyo has developed it as a fashion style and trend. In my view, men’s vintage clothing is more utility wear-oriented, like military clothes and denim. But FUMIKA_UCHIDA is a pioneer in women’s vintage clothing. The clothes are very light and cool, and they complete any outfit with a vintage flair. The styling and overall balance are surprising. I believe Uchida-san, the designer, created women’s vintage clothing culture. 

She understands the background of vintage clothing and incorporates it into everyday life. It explains why she can edit and create a distinct style. Her strength is singular, and her sensibility’s acutely heightened. I’ve been following her work since her debut collection, and she comes up with a different style every time. Her attention to detail regarding the textiles exists in every aspect. It’s perfect.

This knitted sweater is one of the clothes she showed in her debut collection in 2014. I wore it when I visited New York during fashion week. Out of the many celebrities who had cameras pointed at them, the late photographer Bill Cunningham pointed his camera at me. I was wearing this sweater, leather pants, and converse sneakers. Then, other photographers gathered around me. I’ll never forget how he said, “Nice sweater!” as I was leaving. It’s a very classic fisherman sweater, a textile that everyone knows. The balance between the patchwork and off-the-shoulder silhouette must’ve been very fresh to him. So, it’s a legendary sweater for me.

Contemporary Ainu tray with tribal patterns

I got this at an Ainu folk art exhibition at Takashimaya in Nihonbashi. Today, Ainu culture is gaining attention, and I tried to incorporate it into my life. The contemporary tribal design stands out, making it special. I’m from Hokkaido, and although my lineage isn’t Ainu, Ainu culture has always been an integral part of my life. When I moved to Tokyo and started working for a department store, I had more opportunities to learn about their craftsmanship, history, and origins. Every time I go back, I visit places connected to them.

They don’t make their crafts for commerce. They make things with wood and leather to coexist with nature. This spirit is similar to Native Americans, I think. When I visited Kuma no Ie, a store by Takeki Fujito-san—the late pioneer of Ainu woodcarving—near Lake Akan, his wife asked me if I liked Native American jewelry upon seeing the accessories I was wearing. I think it was because the Ainu people also make accessories with turquoise. They showed me around the basement, which he used as a storage area for his works. Fujito-san’s parents were Ainu, and he became his father’s apprentice and inherited his skills. Not only did he carve bears out of wood, but motifs such as wolves, deer, marine creatures, and so on. When I saw them, it was as if they were brought to life. The storage room was like a museum. They told me Native Americans once stepped foot in Kamui Kotan for a ceremony involving burning wood and left behind feather ornaments for worship. They must’ve felt a kindred spirit. As with Fujito-san’s work, I feel like many Ainu crafts are so cool and fascinating.

Obihiro, Tokachi: a hometown with nature’s gorgeous seasonal colors

Hokkaido is globally known for its Ainu culture, resorts in Niseko, and so forth. I recommend going to Hokkaido not only during winter but also in the summer, maybe because I was born in that season. Obihiro, Tokachi, my hometown, is the hottest and coldest region in the country. Winter and spring are long; in the dead of winter, it turns snowy white with a temperature of minus 20 degrees celsius. The snow melts away in May, and it suddenly gets hot in June. On some summer days, the temperature goes over 40 degrees celsius. And right after obon, the season turns into fall. The four seasons are so distinct, making the colors of nature deeper. The view from the plane landing at Tokachi-Obihiro Airport is as beautiful as the English countryside, according to someone who lives in England. People associate the area with agriculture, but you can find many cultural facilities, like museums, there. Rokka no Mori, run by Rokkatei and Nakasatsunai Bijutsumura have galleries throughout their massive grounds. You can enjoy art and sightseeing in nature with the fresh air and view of Obihiro. In the city, it’s easy to get inundated by the amount of flooding information. When I return here, I can isolate all of that. The sky and earth are vast, the mountains are in front of your eyes, and the colors of nature are lush. Just by being in such a place, I feel like the innate compass of human life, so to speak, returns to its correct position. My mind clears up. I could see things with a fresh pair of eyes again. It may sound cheesy, but it’s where I can reset my mind.

Yoshimi Nagao
Women’s Fashion creative Director, Takashimaya Department Store. After working as a sales clerk at a select store, she moved to Tokyo. After working as a buyer for Takashimaya STYLE&EDIT, she became the creative director of the women’s fashion department. With her outstanding sense of style, she attracts attention for her freely mixed style and fashionable lifestyle.
Instagram:＠yoshiminagao

Translation Lena Grace Suda

The post Japan’s Brand Trivia Vol. 6: the beauty and uniqueness of Japanese products according to Yoshimi Nagao appeared first on TOKION - Cutting edge culture and fashion information.

Along with criteria like product design, functionality, standards, and trends, the “Made in Japan” label has become an important consideration for selecting a product. In this series, Japan’s Brand Trivia, various creators introduce innovative made-in-Japan products that align with our concept of social mindfulness. This time, we spoke to Adrian Hogan, a Tokyo-based Australian illustrator whose work has appeared in various media. What are his thoughts regarding illustration, and how do products made in Japan influence and inspire his artwork?

——It’s been eight years since you’ve moved to Japan. What’ve you come to realize is distinctive about Japanese products? 

Adrian Hogan (Adrian): Before coming to Japan, I had two stereotypes about “made in Japan” products: high quality and long-lasting. When I arrived in Japan, I felt like my impression was correct, but I remember being surprised by the scope and details of craftsmanship more than I had expected. The toothpicks at restaurants, for example, could be folded at the tip and placed like a chopstick rest, so they don’t directly touch the table. Restaurants also serve warm hand towels. People designed things with a specific use in mind, and they survived through the ages; that’s connected to the Japanese spirit of hospitality. I wanted to understand this way of thinking more, so I started studying Japanese. It’s been eight years since I started living in Tokyo, and I’m so glad I live here as far as having a creative life is concerned. It has an international business side, but Tokyo is also a city where you can live authentically. Even if you’re in an area with buildings, you can walk for a bit and still find traditional streets and factories. That juxtaposition is interesting.

——Where do you find Japan-made products and places that pique your interest?

Adrian: I’ve been walking around different neighborhoods since I first moved to Tokyo. It’s fun to see how your view changes after just five minutes of walking. I like the urban side of Tokyo, but I also like the countryside vibe of somewhere far from the city center, such as Higashimurayama. As I started observing the city, I became fascinated by things that have been used for a long time and have an aged feel. I used to think that if something became worn out, I could throw it away and buy something new, but now I understand the spirit of appreciating good, old things and fixing them to use them for a long time. I feel this way not only regarding objects but also in terms of buildings. I often draw pictures of such views. Tokyo has a lot of buildings with basic colors, but the people are stylish and wear many colors. I find the contrast between buildings and people interesting whenever I draw.

A small treasure for everyday use: Postalco pencil case

This is a Postalco pencil case I’ve been using for a long time. An American/Japanese married couple runs this brand. They design and sell functional, day-to-day stationery and leather products. They moved from America to Tokyo, and Japanese craftsmen make their products. They have an international feel, but it’s interesting because the products are made in Japan. I’m trying to do the illustration version of that. For example—a drawing you could live alongside. I want to draw illustrations that people could love for a long time. Even if the colors fade away due to sunlight, I want it to have taste. In a sense, Postalco’s approach and concept towards craftsmanship is an example and senpai. Also, when someone from abroad wants to buy my drawings, I write “Made in Japan” on the packaging because I think my work is, in a way, made in Japan. It might be strange for a foreign illustrator to make something in Japan, but I think the definition fits. 

A brush pen with a nice touch and distinct wabisabi 

When I first came to Japan, I used to draw with brush pens without knowing the significance of each color. You can alter the color saturation and pen strokes when you’re out of ink. You can draw fine lines by adjusting how hard you press. Above all, they’re available at convenience stores and are cheap. I enjoy using them. There are many drawings that I wouldn’t have been able to draw if I hadn’t found this brush when I came to Japan. I also draw with several calligraphy brushes, from thin to thick. Now, you can produce this texture with digital tools, but I prefer an analog, so I sometimes scan and overlay my digital drawings with drawings I made with brush pens. I use this method according to the spirit of “made in Japan,” where things made by hand are considered perfect. Also, when I draw portraits, it’s not about the likeness but about the personality and individuality of the person that hand-drawn drawings bring out. It’s what makes my work original.

A cafe for people to connect through drawing 

When I was starting out as an illustrator, I thought it would be better to draw outside rather than at home because I like drawing people. I sketched on trains, on walks around the city, and in cafes in various cities. Even when I draw in the same spot at the cafes I go to often, I always find something different. No two pictures are the same. My favorite cafe right now is Parlors, located under a working space. I meet a lot of people by chance there. When I was drawing, one of the staff asked me if I was an illustrator and then introduced me to an art director who happened to be there, which led to work. It’s a place where communication leads to opportunities like that. These days, people quickly take pictures with their iPhones, but I want to sketch the moment. As a habit, I always keep a small sketchbook in my pocket to preserve happy moments and many memories. When I look back at my sketches, I often feel that everyday moments can be turned into art. I naturally learned about Japanese customs and manners, like how to hand a business card or the angle of a bow, from the sketches I drew.

Adrian Hogan
A freelance illustrator from Australia, who moved to Tokyo in 2013. Adrian Hogan draws for many media like magazines, advertisements, books, murals, and such, in and out of the country. He’s garnered a following on social media thanks to his daily sketches.
Instagram：@adehogan
http://www.adrianhogan.com/

Translation Lena Grace Suda

The post Japan’s Brand Trivia Vol. 5: The brilliance of Japan-made products according to Adrian Hogan, who draws everyday life with the city as his studio appeared first on TOKION - Cutting edge culture and fashion information.

Along with criteria like product design, functionality, standards, and trends, the ‘Made in Japan’ label has become an important consideration for selecting a product. In this series, Japan Brand Trivia, various creators introduce innovative made-in-Japan products that align with our concept of social mindfulness. In this installment, we feature Ryoko Hori, a therapist based in Berlin. Hori moved to France after graduating from a fashion college. Later, she moved back to Japan, working in the fashion industry for about three years before moving to Sydney and then Berlin. Today, she has been living in Berlin for nearly 10 years. We ask Ryoko about what she has realized about made-in-Japan products after living abroad for many years.

−−After living abroad for many years in cities such as Paris, Sydney, and Berlin, what have you realized is special about products that are made in Japan?

Ryoko Hori: I think that even on a global level, the ‘made in Japan’ label is synonymous with ‘high quality.’ That’s because nothing else is comparable in terms of quality. In Berlin, where I live, Japanese culture has been popular since just before the coronavirus. I have a lot of friends who like traveling to Japan. Since I hadn’t been able to go home, those friends would tell me about the hot spots around Japan. All my friends also trust the quality of Japanese products. That’s why there are more and more people who want to choose Japanese products. And living abroad, I’ve been reminded how thorough Japanese people are in every way. Not only are their products thorough, but also as people, and when it comes to work and time—they’re very punctual. In any case, it’s very Japanese to be precise.

−−When it comes to craftsmanship, what are the differences between Japan and other countries? Also, what do you find interesting about those differences?

Ryoko: I think people from other countries are quick to try things out. If they’re interested in something, a lot of people will just give it a go. So it’s interesting how they experiment with making things and come up with fascinating things or new ideas. I like Japanese pottery and crafts, so I collect them. When I look at my collection, I’m amazed by the skills that have been passed down over the years. They’re not just traditional; they also have a modernness. Because there’s a proper foundation behind these techniques, they can be modified. I work with many artists, so I can easily see whether a piece of pottery was made by a Japanese person or not. There are many immigrants in Berlin, so it’s interesting to see people from all different countries doing creative work. And that’s also why the differences are obvious.

Studio Cuze: A ceramic artist embodying Japanese quality in Berlin

These pieces are by a ceramic artist named Cuze. He also lives in Berlin and works out of his studio. He moved to Berlin right around the time I did, and I met him through a friend. In addition to creating alcohol-based perfumes, my store also offers incense made from resin as well as koboku (fragrant wood). Cuze makes me perfume bottles, smudge holders, and kouro (a vessel for burning Japanese incense and resin) that are of made-in-Japan quality. Of course, there are many artists I like and want to work with based in Japan too, but it’s difficult to do that casually because of the distance. Cuze is nearby, and his quality is incredible. I’m thankful that someone like Cuze exists to turn my ideas into reality.

Secondhand Japanese goods that have been passed down for generations

Whenever I’m back in Japan, I make sure to go to antique markets and check out the old secondhand stores. When I find something from the Edo era, I feel like I’ve found treasure. When I look at old goods, I imagine how they were made and what they were used for at the time, and I’m overwhelmed by the skill of the craftsmen. Because of course, everything from that era must have been handmade. Among the things that I cherish is a comb that’s over 100 years old. It’s made so thin and even, and I’m fascinated by how delicate it is. And the candleholders must have been like what flashlights are today, and they’re built so the candle is always standing up straight. The well-thought-out functionality is incredible. Of course, I also like European antiques, but what’s striking about European design is the aesthetic rather than the function. Japanese products focus on function, and the design is stripped down. That simplicity is modern without feeling outdated. The unique Japanese functionality and techniques that have been passed down for many generations is really incredible, isn’t it?

Sasaya: Where you can eat the best sushi in Berlin

The last time I was back in Japan was three or four years ago. When I miss Japanese food, there’s a restaurant in Berlin that serves delicious Japanese food. That restaurant is Sasaya. In Tokyo, there are a lot of great restaurants. If you go to an expensive restaurant, you obviously won’t be disappointed. But the same is almost always true with cheap restaurants. In Berlin, where there aren’t many opportunities to eat fish, a restaurant that serves raw fish and is also delicious is a precious thing. So I eat here frequently. Sasaya is a popular restaurant that’s even said to be the best Japanese restaurant in Berlin. That melt-in-your-mouth texture of the seared salmon nigiri made by the Japanese chef—it always reminds me of Japan. The chef is quiet, but he sees everything that’s going on in the restaurant. That’s distinctive of a Japanese restaurant, so it’s a space where I can feel at ease.

Ryoko Hori
She was born in Osaka in 1980. After living in Paris, London, Tokyo, and Sydney, she currently lives in Berlin. She runs RYOKO senses salon and works as a remedial massage & beauty therapist, perfumer, and store owner.

Translation Aya Apton

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–Please tell us about the process from “Khanompang” to the launch of “Buddha Bowl”.

Mariko Maeda (hereinafter Maeda): My career has always been close to the world of cooking. Even before launching Khanompang, I had worked in an Italian restaurant and had made and sold cakes and cookies. My engagement with bread was triggered suddenly by some book. The book was about people from various parts of Japan who were making bread in ways that suit their own forms of lives. They were making yeast from the surplus vegetable peels and rice, and their relaxed styles fitted well with my desire for shifting my life to the countryside. So I moved to Hayama to start making bread. It had been 13 years since I started “Khanompang” without even realizing it. Those years went by surprisingly fast. The state of yeast changes every day, and I was looking inside the oven while breads were being baked every single day without fail. I was struggling every day. Ten years later, I had an anniversary party and I baked the best bread ever for that occasion. That event made me think that I want to try something new and decide to come back to Tokyo.

Even though I was like an empty shell for a while, I got fired with enthusiasm for creative food again while working part-time at the restaurant “Musmus”. I became familiar with vegan foods when I lived in Hayama to the extent that I visited my favorite Thai vegan restaurant at least once every six months, no matter how busy I was. Drawing on the knowledge about vegan foods, I started vegan plate at the place I was renting. At that time, I happened to learn about the Buddha Bowl on Facebook, and add a little modification to the plate I originally made to create a Buddha bowl with colorful vegetables, grains, and fruits on one plate. I wasn’t vegan myself, but I simply liked vegetables. It was also fun to think about new things. I also like the term Buddha Bowl because I think it has a strong power within itself. I was quite sure that I would be able to be the pioneer of the Buddha Bowl in Japan! Then I published “Book of Buddha Bowl”. After publishing the book, the words vegan, plant-based, and buddha bowl became quite popular, which made me feel that I had been able to set a trend.

Enjoying the taste of Japan through traditional dishes and seasonal ingredients

–What do you think is the appeal of Japanese food culture after going through various milestones in your cooking life?

Maeda: For example, it’s quite sad to see a gradual loss of traditional dishes or Japanese unique food habits, like the osechi dishes. And I don’t want them to be lost. I cook osechi dishes every year. After all, Japanese ingredients agree best with bodies of Japanese people. When I was working in Khanompang or making Buddha bowls, I always thought about what I would serve based on what vegetables and other ingredients I had at the store on that day. Those moments were the time where I felt an adrenaline rush. Even at such times, I often used Japanese ingredients. Although I was not conscious of it, it may have been a natural criterion embedded in me, just because it’s my root. I started my life in Hayama because I wanted to make something that fits Japanese life with my own hands, and it was around that time that I started to make miso and pickled umeboshi. These are just ordinary things in everyday life rather than something special. I prepared a meal by grilling fishes, cooking brown rice, making miso soup with my own miso, and taking out nuka-zuke, salted rice bran pickles, from nuka-doko, the rice bran paste bed. After all I like that kind of dishes. I even prepared salted dried fishes and Ganmodoki, deep-fried tofu mixed with thinly sliced vegetables, by myself when I had a time. It was as delicious as a dream. With Japanese ingredients, you can celebrate with seasonal ingredients at the turn of the season, or you can even feel that your body is filled with pleasure when you eat. I think Japanese food is full of such charms.

Feeling the changes of the seasons and physical condition through cooking “Koji” “Nuka” “Ume”

–Please tell us the reason why you mentioned koji (rice malt), Nuka(bran), and Ume (plum) as recommended ingredients.

Maeda: From Thai restaurant and “Khanompan” to “Marideli” and “Musmus,” I had been busy working, striving to serve delicious foods. So I wasn’t really be able to care about what I eat. Now, I feel that I am finally able to pay enough attention to myself and live carefully to the full extent in my life. Enjoying the process of fermentation and having miso soup using miso made by myself, rice bran pickles, and pickled plums on the daily table are the most delightful for me now.

–These three ingredients are indispensable for Japanese food, but what do you feel about the fun of making them by hand?

Maeda: I’m sure the malted natto (natto refers to fermented soybeans) has a very high potential to boost immunity because it is a combination of malt and bacillus natto. On top of that, once natto is malted, it can be stored for longer periods, which is the great thing about preserved foods unique to Japanese food culture. I make pickled plums every year, and this year I made plum syrup and crispy small picked plums. The plum work during the annoying rainy season is exciting. Since we can dry them outside when it’s sunny, I wait for a sunny day during the long spell of the rainy days. I’m looking forward to being with season’s transition every year. I like the feeling of wabi-sabi unique to Japanese culture. If my mind is not relaxed, the nuka-doko will soon be ruined. Through nuka-doko, you can feel that you are making something that enables you to feel the state of your mind and to notice small changes in yourself.

Crushing sesame seeds in a earthware mortar, sticking to a little extra effort

–Please tell us why you chose the earthware mortar as the recommended item.

Maeda: The rice cooker is from Taiwan, the clay pot does not seems Japanese, and the pots are all bought in Thailand and India, and the rest are the products of STAUB, so I wondered if I had any Japanese product… When I looked around the kitchen, I found this mortar. This was a present from my husband. I like the noise when I use it, and it’s exciting to feel the good smell gradually coming out. I think it’s a great tool unique to Japanese food culture.

–What kind of food do you use this mortar for?

Maeda: In terms of ground sesame seeds, the freshly ground ones are extremely fragrant and delicious. When making spinach with ground sesame seeds, rather than putting boiled spinach in a bowl and adding ground sesame seeds in it, I prefer grinding sesame seeds in a mortar and adding boiled spinach and seasonings in it, mixing them evenly inside the mortar. I think that is more delicious.

The restaurant “Musmus” where I learned about the charm of Japanese ingredients and organic foods

–Why do you recommend “Musmus”?

Maeda: First of all, their dishes are really delicious. They use sun-dried rice, and when I was working, the guest could have free refill on rice for lunch. The taste of sun-dried rice is completely different from ordinary one. You can choose between brown rice and white rice, and you can also have side dishes. The name “Musmus” is derived from an act of steaming vegetables in a bamboo steamer. (In Japanese, the word “musxdr54rtyuiklu” refers to the verb “to steam”. )

–What kind of restaurant is it for you?

Maeda: This is the restaurant where I worked part-time for about a year after quitting “Khanompang”. I drew on the experiences in “Musmus” to study Japanese food. Since “Musmus” is the restaurant where only Japanese ingredients are used, they purchase Japanese organic ingredients from all over the country and they have a meticulous attention even to seasonings. So I was able to come across a basic form of really delicious Japanese cuisine. Because I worked at lunch time, the place was always crowded with office ladies and office workers working in Marunouchi. Besides, although they are serving mild Japanese food, there was a rigid hierarchy inside the kitchen. The foods are very detailed and carefully prepared. For example, in terms of hari-shoga which literally means the needle-like ginger, I was told to cut them thinner than a needle. However, I got a severe reprimand from colleague because the ones I cut were way too thick. It was such a great training for me where I could learned valuable things that I didn’t have: great technics, skills, recipes.

Mariko Maeda
She is a food artist who developed her cooking skills at various restaurants and opened the bakery “Khanompang” in Hayama, Kanagawa in 2000. She specializes in vegan cooking with plenty of vegetables, and is the leading figure who has populized the Buddha Bowl in Japan.

Text & Edit Mai Okuhara
Translation Shinichiro Sato(TOKION)

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–How do you see the value of Made in Japan from outside of Japan?

Emil Pacha Valencia: Made in Japan is always a synonym of “quality”, at least from a Western point of view. In France, after decades of decay, there’s a revival of “Made in France” products, but it’s still very limited, especially in fashion. It’s actually easier to find Japan-made brands than France-made ones! Made in Japan also convoys a sense of design, style, and kind of “handmade” feel. There always this image – which in a sense is also a cliché – of a craftsmen using millennial skills to make the perfect bowl, the right indigo shirt, and so on – even though most of the time it’s factory made! Still, the quality tag remains, whatever the brand is.

–Is that something only in japan?

Emil: I think so. Some countries have specialized in a series of products, and those “made in…” products are really sought after. We think of Murano glass, Calais lace, Horween leather, British Millerain, Savile Row for bespoke tailoring, etc. But the thing with Japan made products, it’s that it concerns a very large array of products : clothes, woodwork, glass, steel and carbon knifes, lacquer, ceramics…Another cliché “when Japanese start making things, they make it better.” Well, there’s some truth in it. Only look at French or Italian gastronomy” I’ve eaten my best pizzas and the most delicious croissants in Tokyo! And of course in Japan almost each region has its specialty. You can travel throughout the country and be almost certain that you’ll come across some local craft. I know no other country that has this craftsmanship quality image and such a variety.

–What do you think is the difference and fun in manufacturing between Paris and Japan?

Emil: In Japan, I feel that people experiment more, and there are so many communities that whatever you like, you’ll definitely find yourself at ease. For men, the fashion scene is much more open in Tokyo than in Paris, there are so many brands and styles, it’s very refreshing. In Paris, fashion is much more conventional, at least for men. Recently, a men’s fashion mass market brand just changed its baseline : “be normal”. That’s so sad! Fashion is a form of expression, of social representation; being normal is being invisible, massified. “Be normal” is a form of totalitarianism! Where has the “be yourself” gone?

I tend to prefer select shops, with few curated brands, than big department stores or brand shops. I don’t buy a brand in particular, but I have my favorite shops in Tokyo which I trust to choose the styles and quality I like. I try to buy exclusively “made in Japan” articles, not only for quality’s sake, but also for ethical reasons.

Japanese brands nurtured in the rich nature and the historic city,“Rofmia”

–Please tell us about the brand.

Emil: Brand called “Rofmia” from Minokamo City, Gifu Prefecture. Taishi Takeuchi and his partner, Hiroko, do everything from design to production. Not only do they specialize in leather jackets and bags, but they also make bags made of high-tech material called hybrid Cuben fiber. I have two backpacks from this label. They are the best bags I have ever had in my life.

–-What do you like about the “Rofmia” bag?

Emil: Technology, quality, fashion, all in one bag. Everything from design to patterning, sewing and how they are sold is decided and made by the designer himself, and while it is a very minimal design, it also has high functionality. I was impressed by the fact that they are constantly trying to innovate and improving their technology. I don’t like to feel uncomfortable when wearing clothes, so when choosing clothes and items, I attach great importance to high functionality. I’m very happy that outdoor brands are proposing more stylish styles these days. The use of natural materials such as pure wool and leather is also important factor for me to select products, so in that sense, Rofmia is my great favorite.

–What is the appeal of manufacturing of “Rofmia”?

Emil: We discussed about their work, and then we profiled them in “TEMPURA”. I really wanted to feature a young brand like this, that respect the crafts, the materials and the functionality of everyday objects. That don’t want to massify their production, just doing what they like, day by day.

The discerning shop that stocks everything from used clothing to selected items, feets.

–Please tell us about the shop you want to introduce.

Emil: I’ve been walking around various cities in Tokyo looking for inspiration and new styles from the streets. I found a select shop “feets” in Yutenji. It sells not only used clothing for men but also a variety of goods created by Japanese designers, so it also has the aspect of a select shop. It’s one of the shops I’ve always checked when I went to Japan since I had found it four or five years ago.

–What do you like about it?

Emil: There is a wide range of selections, and it is fun just to speak to the staff with abundant knowledge about products. I also like the original eyewear brand created by the owner. Personally, I prefer select shop that has its own selection of brands rather than big department stores and brand shops. So I like the fact that you can choose items in line with your favorite style in the same way at this shop.

–What did you buy?

Emil: I personally focus on quality rather than quantity no matter what it may be. Therefore, although I love fashion, I don’t have a lot of clothes. I like simple cutting, wide pants, minimal colors and styles, and I always wear the wide pants from “Fujito” I bought here. I also like incense (aroma).

A lovely cup that is rustic and ragged

–Please tell us about your encounter with this cup.

Emil: Ten years ago, I came across this Bizen ware cup at a select shop in Chiba. I was fascinated by the fact that Bizen ware made from high-quality clay has an uneven texture, which makes respective pieces completely unique. When I first picked it up, it felt like a beautiful natural stone made over many years on earth. I’m always drinking sencha with this, and the taste is totally different.

–What is the appeal of made-in-Japan products, not just in terms of fashion?

Emil: Japan is about diversity. Various things are made by many craftsmen, and there always be new discoveries. I’m also a collector of earthenware, especially cups and teapots (Bizen, Tamba, Tokoname, Hagi, Echizen …), and the deeper I dug, the more I realized the fact that some craftsmen are traditional, and others are taking innovative approaches. Finding new artists and potters is fun and inspiring.

–Do you have a favorite ceramic artist?

Emil: I love the black lacquer pottery by Kenta Anzai from Fukushima and by Naotsugu Yoshida from Shizuoka. Both of them used to study under Taizo Kuroda, but now they are on their own path, redefining modern ceramics. Every geographical area of Japan has not only its own ceramics but also a variety of specialties. If you travel somewhere, you will almost certainly find some local specialties. I would like to find a new artist I haven’t met yet, find a lot of attractive potteries, and introduce them in “TEMPURA”.

Emil Pacha Valencia
Based in Paris, Emil is the Editor-in-chief of “TEMPURA Magazine”. In 2019  he started the publication of “TEMPURA” that focuses on Japanese social issues, underground culture and subculture. The project was crowdfunded and achieved 300% of the target amount at the time. So far, he has published the fifth volume.

Text mai okuhara
Edit Miyuki Matsui(Mo-Green)
Translation Shinichiro Sato

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