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

The post “Japan’s Brand Trivia” Vol.1 The editor-in-chief of “TEMPURA” from Paris unravels the power of “MADE IN JAPAN” born out of diversity appeared first on TOKION - Cutting edge culture and fashion information.

“KOBIDO” is a facial massage that works on deep muscles based on more than 1000 techniques. Its history goes back 540 years, and 48 techniques were created by combining the techniques of two massagers. Today, Shogo Mochizuki, a doctor and the 26th generation master of “KOBIDO,” inherits the techniques. It is said that there are only about 50 therapists in the world and only 5 in France who have learned the orthodox method of “KOBIDO” from him. One of them is facialist Delphine Langlois, who made “KOBIDO” famous in France. She spent several years learning the techniques of “KOBIDO” and opened her own salon in Paris for VIPs. Her quest for unique know-how led her to be trained by sworn experts to precise and renowned techniques, such as the anti-aging facial massage “Jacquet Pinchings,” Dr. Yakov Gershkovich’s “Buccal Massage,” and “Guasha Art” (a technique in traditional Chinese medicine).

Last year, “Académie des Facialistes” is established by her, the first school in France and worldwide, to train professionals to the facialist or face technician job. I asked Delphine, who pioneered the Ancient Road of Beauty (what literally “KOBIDO” means in Japanese) in France, about the spirit of “KOBIDO” and the beauty of France and Japan.

I was captivated by the technique of Shogo Mochizuki, a doctor and the 26th generation master of “KOBIDO”

――How come you end up getting into the beauty industry?

Delphine Langlois : The memory still remains which I used to accompany my mother to the beauty salon when I was a kid. I loved watching the procedure, especially the beautician’s fingering and the process of using different creams. This was my first interest in facial massage and I went to a beauty school. After working for 13 years in the great Parisian Palace George V, the Four Seasons as a supervisor of therapeutists, trainer and care creator.  In 2017, I came to wish to go back to the basics of my formative background as a beautician: the technique, and most precisely, gestures and the benefits of facial massage.

――If you’ve been working at the spa of a five-star hotel for 13 years, you probably already have a high level of skill and experience as a beautician. What motivated you to elevate the next stage?

Delphine : I was a skin therapist expert at the spa, which means an expert on the skin in general. My studies at a beauty school were also mainly about the skin, and I didn’t have the opportunity to learn about the lymph, fascia, muscles, and bones underneath the skin. In general, the importance of body massage such as stretching to loosen body muscles, slimming and detox has been widely recognized for centuries, but the benefits of facial massage have not been talked about. But in reality, the face has a lot of lymph and muscle, and working on them can give great results in terms of lifting effects, especially anti-aging. I thought it was necessary to acquire skills, anatomy, and expertise in order to pursue facial massage.

――How did you get to know about “KOBIDO”?

Delphine : When I was working at the spa, I had a client at the age of 75 with beautiful skin without sagging. Her beauty secret is a facial massage once a week for an hour, she told me. It makes a lot of sense to take the time to massage your facial muscles to improve blood circulation. Then, while researching traditional facial massage techniques worldwide, I arrived at “KOBIDO,” which has a long history in Japan. I was captivated at the moment I saw the technique of Shogo Mochizuki, a doctor and the 26th generation master of “KOBIDO.” The movement of his fingers is as beautiful as dancing on the skin. It has a soft touch but technically works deep in the muscles and brings an amazing lifting effect. At that time, my goal became to learn “KOBIDO.”

――How is “KOBIDO” different from French facial massage?

Delphine : For example, when you receive a facial treatment at a beauty salon in France, it is common to first have a relaxing massage to the facial muscles for about 10 to 15 minutes and then use various creams, masks, and machines to work on the epidermis of the skin. In other words, the main purpose of face massage is to relax. On the other hand, “KOBIDO” is a profound massage that loosens, trains and stimulates the facial muscles. Depending on the lymph, muscles, and skeleton, you need to move your fingers and hands slowly or quickly, and sometimes gently trace or apply strong acupressure, which requires various techniques. Because the muscles and skin return to their original position, the sagging is improved and the eyes open clearly, promoting natural lifting after the treatment. You can relax your mind and calm your nerves by receiving “KOBIDO.”

――”KOBIDO” is attracting attention in the beauty industry, and the academy established by you seems to be popular with professional beauticians.

Delphine : Basically, French women prefer natural treatment. The technique of “KOBIDO,” which approaches underneath the skin with hands instead of Botox or cosmetic surgery, is an attractive anti-aging method for such French women. It is regarded as a technique worth learning for beauticians as well. I feel that facial massage that incorporates “KOBIDO” has the potential to develop further in the future.

――You have also mastered techniques from other countries besides “KOBIDO.” How did you come up with your own massage that combined different techniques?

Delphine : Since “KOBIDO” is a technique that promotes lifting, I thought that I had to learn other techniques related to anti-aging, such as improving wrinkles. While learning some techniques, I’ve noticed “Buccal Massage” is a very effective technique. I learned this massage, which is popular in England, from a Russian doctor, and now some clients come to the salon only for this 15-minute treatment. The treatment method is to put your fingers in your mouth and massage with two fingers from inside and outside. It helps to improve wrinkles around the mouth and produces excellent anti-aging results when combined with the lifting of “KOBIDO.”

Personalized treatment that combines the techniques of “KOBIDO,” “Jacquet Pinchings” and “Buccal Massage”

――What kind of facial massage do you offer the 60-minute treatment?

Delphine : Before the massage, give consultation for 15 minutes, and while listening to the skin’s problems, touch the skin and analyze the condition and skeleton. The procedure begins with a simple 10-minute massage, cleanses the skin for 5 minutes, gives a full-scale massage for 45 minutes, and finally finishes with cream. The treatment content is completely different for each client because it is personalized to the individual skin and skeleton.

――How do your clients react after the treatment?

Delphine : Everyone is impressed to see their own face as the muscles are repositioned and how the skin is moisturized and glow. Most of the clients do repeat. They come back to the salon to receive weekly treatments for the first two months to maintain their condition and then continue once a month thereafter.

――Finally, please tell us about your future prospect.

Delphine : Currently, the academy has a course that you can learn the basics of facial massage in a period of two weeks. In the future, we plan to start more efficient and high-level courses. In addition, the academy has been well received requests for classes not only from France but also from the United Kingdom, Italy, Spain, Belgium, and the United States, so we are aiming to open the academy in English in other countries. Ideally, I would like to have the academy in Japan in the future!

Delphine Langlois
Facialist / the founder of “Académie des Facialistes”
After working for 13 years in the great Parisian Palace George V, the Four Seasons as a supervisor of therapeutists, trainer and care creator, she aimed to become a facial expert in 2017. She opened a salon for VIPs after learning the technique over several years from Shogo Mochizuki, a doctor and the 26th generation master of “KOBIDO.”  In 2020, she established France’s first facial school, “Académie des Facialistes,” and contributes to the development of facial massage experts.

Translation Elie Inoue

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People know Ukiyo-e for influencing both western and eastern artists. Today, it’s been established as one genre of art, but initially, it was something with close ties to everyday people. As the word ukiyo-e (浮世) suggests, many of the paintings depict the daily lives of their time. NAGA is an illustrator who makes contemporary art through his interpretation of ukiyo-e, which represents Japan. His illustrations are set in the Edo era, but the people ride skateboards and track bikes, just like in modern times. His work is ukiyo-e which transcends time. We spoke with NAGA, who has updated the artform by interweaving time and culture.

Getting into ukiyo-e while pursuing to become a manga artist

——When and why did you start drawing pictures based on ukiyo-e?

NAGA: 13 years ago, when I was 25 years old. The impetus was when I started working part-time and living at a public bathhouse ran by an older acquaintance’s family; they didn’t have enough hands. That public bathhouse would use underground water in Tokyo, and it was delicious to drink too. They said they wanted to make an advertisement to sell that underground water as drinking water. They asked me to draw an Edo-themed, Tokyo-like design in the style of ukiyo-e since I was good at drawing. I knew about ukiyo-e, but I wasn’t that well-informed about it. I went to a library to read and research books on ukiyo-e to replicate them. [The family] was so happy with it. It was fun for me to draw ukiyo-e too. I’ve been drawing in that style ever since.

——Were you working as an illustrator until you started working at a public bathhouse part-time?

NAGA: I was trying to become a manga artist back then. I used to go to a vocational school for illustrations and manga. I’ve liked drawing from long ago.

——Interesting. What impression did you get when you studied ukiyo-e pictures?

NAGA: I felt like it was the same as manga. Unlike oil paintings and watercolor paintings, you draw the outlining lines first and then apply color afterward. It was easy to get the hang of it.

——I see. Ukiyo-e felt right for you because you could get the hang of it. Do you think ukiyo-e is fresh?

NAGA: I found out about this as I looked into ukiyo-e, but there was strict censorship regarding publications during the Edo period. But some of the art evaded that censorship and snuck in hidden messages. For instance, you could find another meaning by connecting the people and the background. Some have hidden messages written into the small drawings around the title. I thought that sort of discreet mechanism was interesting, so I also include hidden expressions only those in the know could figure out.

——What sort of hidden messages?

NAGA: For instance, a kimono print worn by one skater is the same as a skate brand—that sort of thing (laughs). But it’s usually hard to discern it, so I think even among skate enthusiasts, only those who notice could react.

“What if the Edo period continued until the present day?”

——There are some points only skaters could find out. Have you always liked street culture like skateboarding?

NAGA: Yes. I used to love American culture. When I came across ukiyo-e, I wanted to dig deeper, so I mixed the culture I like and ukiyo-e. For me, it was street culture, like skateboarding.

——What other cultures influence you?

NAGA: Aside from skating and biking, I also like graffiti and hip hop. I reflect things I like—things that surround me.

——Your work is so unique because of how the pedestrians are on their skateboards or track bikes. Is there anything you’re careful about when you mix everyday life from the Edo period with foreign cultures?

NAGA: I sample many famous ukiyo-e pieces usually, and I try not to change the original painting as much as possible. If I change it too much, then the ukiyo-e, the foundation, would become confusing.

——You want people to take notice of your replications instead of obscuring them.

NAGA: Yes. Also, I pursue the theme, “What if the Edo period continued until the present day?” throughout my work. I don’t change the landscapes and outfits to make them more modern, but I implement advanced, foreign things. And I picture and make everyone wear chonmage and kimonos.

——What a unique perspective! What sort of response do you receive from those unfamiliar with ukiyo-e?

NAGA: They genuinely enjoy it. Even if they’re not familiar with ukiyo-e, those who like cultures like skating and music react [positively].

——Your art is like the contemporary version of ukiyo-e. What are your thoughts on traditional Japanese culture?

NAGA: I love it. But if it remains old, then it would be hard for people to understand. That’s why I update it in a modern manner. Ukiyo-e originally depicted [how people lived] back then, so I want to draw paintings that match the current zeitgeist.

Wanting to create ukiyo-e using traditional woodblock print someday

——Is there anything you want to try in the future?

NAGA: I want to incorporate my work into utensils people use daily, like plates and cups.

——Something like practical art.

NAGA: Yes. And I eventually want to make ukiyo-e using a traditional process. The type of ukiyo-e people usually see is made of a woodblock print. But it costs a lot to ask carvers and woodblock printers to do it. I thought about using woodblock print before, and when I asked a carver, he told me that my work was too detailed and that I had to make the lines thicker. He said there were some parts I had to omit too. If I were to make my work using woodblock print, it seems like it might cost too much. It makes you realize that ukiyo-e from the Edo period was a luxurious thing.

——I learned a lot, and I’m looking forward to your woodblock print. Lastly, you’re holding a solo exhibition soon.

NAGA: Yes, it’s my first one in two years. It’s going to be held in two places; at a boutique shop called Tsugiki in Nezu, which has been kind to me from before, and Hedge8, a hamburger shop across the shop. I’ve drawn many new paintings for my Suke~to Hyakkei series, which I’ve been drawing for a while. I’ve also drawn cats as a part of my new animal series. It was postponed because of the state of the emergency announcement, but it seems like I can finally host it. I would love it if people came.

NAGA
Born in Ibaraki prefecture, currently living in Tokyo. NAGA creates artwork that mixes street culture, which he respects and ukiyo-e. His original style is gaining attention, as seen in his collaborations with fashion brands and commissions for advertising firms.
Instagram：@naga0708

■Tsugiki and NAGA
Date: June 1st (Tuesday) to June 20th (Saturday)
Venue: Tsugiki / Hedge8
Address: Nezu, Bunkyoku, Tokyo-to 1-23-14 (Tsugiki) / Nezu, Bunkyoku, Tokyo-to 1-22-12 (Hedge8)
Time: 12pm to 7pm
Holidays: Wednesday
TEL: 03-5834-2871 (Hedge8)
Instagram：@tsugiki_tokyo（Tsugiki)
*Note that the opening hours might change because of the state of the emergency announcement. Please check Tsugiki’s Instagram for details.

Photography Yuji Sato
Translation Shinichiro Sato

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“Shunga approaches Shinto animism and pantheism, rejecting Western monotheism”

Ukiyo-e is loved worldwide and known to have influenced Pablo Picasso, Henri de Toulouse-Lautrec, Auguste Rodin, and others. Still, in this exhibition, Pollock focuses only on shunga. 

“In contrast to the breathtakingly beautiful ukiyo-e subject matter, such as images of cherry blossoms and landscape paintings, the madness of the Japanese is exuded in shunga. ​​In particular, the idea of having sexual intercourse with two octopuses in “The Dream of the Fisherman’s Wife” shows a Japanese sensibility, closer to Shinto animism, and pantheism, then Western monotheism. It is my understanding, that during the late Edo period when Hokusai lived, the established order of Japan had begun to unravel, and the lifestyle changed significantly. The chaotic world-view emerging out of a changing lifestyle, was expressed by shunga. Hokusai’s Surrealistic shunga is as revolutionary as Salvador Dali’s images, and pre-dates Dali by 100 years. ” 

Shunga is a category of ukiyo-e, that depicts the variety of sexual customs popular among the common people during the Edo period. It shows sex with not only existing creatures like octopuses, but also explored sexual intercourse with ghosts or youkai. Shunga utilized scenes from brothels to teach erotic techniques, or exploited voyeurism with forbidden moments, showing a girl peeking at adult sex separated by a paper screen . Eroticism and humour were chosen to create radical scenarios . From the middle of the 19th century, Shunga became taboo and was banned by updated censorship laws to regain order. 

Simultaneously, ukiyo-e spread as part of the fashionable “Japonism”, celebrated in Europe which influenced French Impressionist painters. Shunga also became more widely known by the European art world, after the French art critic Edmond de Goncourt introduced “The Dream of the Fisherman’s wife” in the late 19th century. 

Even in modern times, works of art may be perceived differently by contrasting interpretations, from Japan and abroad, especially the case with shunga. Overseas, the artistic and cultural value of shunga has been re-evaluated since the 2000s, and exhibitions have been held in Finland,  Spain and the UK. The most talked-about was the “Shunga: Sex and Pleasure in Japanese Art” held at the British Museum in London in 2013.

The present exhibition “The Dream of the Fisherman’s Wife” curated by Pollock, focuses on how the style influenced later artists, not the shunga itself, and is re-interpreted via contemporary eroticism. The influence is remarkable in the work of Larry Rivers, known as one of the pioneers of NY pop art in the 60’s. “Erotic Japanese Detail” was exhibited from his own shunga series in the 70s. “Goncourt described ‘The Dream of the Fisherman’s Wife’ as a landscape of genitals, and Rivers’ work has something in common with that vision. Depending on the perspective, in Rivers extreme pop close-up, the woman’s body shifts from comparison to a cave’s hillside entrance, to hair flowing like sea-grass underwater, or echoing Courbet’s ‘ The Source ‘ the couples climax is a waterfall made from dripping semen, which leads to Duchamp or even Jeff Koons” he added.

The Dream is an unholy mantra to shake off the shell and ennui of society’s restrictive tendencies.

In a sepia-colored photo of British artist Penny Slinger, two women dressed as a bride and groom share a dildo in their mouth. This work dated 1973, was created during the women’s liberation movement, but it seems to resonate with current trends supporting an updated gender-free change of consciousness. Slinger is a proto- feminist artist, who has also collaborated with “Dior” in the 2019-20 Fall/Winter haute couture collection, and continues to create new works on the themes of liberation, sexuality and channelling the spirit-goddess. 

Power dynamics and colonial symbolism are ingeniously exposed in the paintings of Kent Monkman, an indigenous artist of Cree origin based in Toronto. In Nation to Subject Nation, a Royal Canadian Mounty is caught kneeling and licking the genitals of an indigenous Chief, wearing only an ethnic headpiece with a pair of stiletto knee-high boots, painted in vibrant colors. Broken presumptions of race, dominance and desire are reassembled by Monkman, whom when guised as his alter- ego Miss Chief Testicleless, spills his magic seed for future growth. Kent Monkman’s body of work, changes the role of the artist to re-invent history paintings for the next generation

Robert Hawkins, an American self-taught painter, depicts the mating of the last Dodo birds before extinction, and in a second work, the sexual intercourse of Neanderthals in their cave. Ancient domestic bliss with a fireplace and a cheerful Paleo view, seems to show some things never change. Regarding what he has in common with Hokusai, Pollock concludes that “it is dis-ambiguous, whether it is based on fantasy or reality. ” 

British painter Matthew Collings chose a comical style to portray Jackson Pollock pissing into the fireplace at Peggy Guggenheim’s home party in the 1950s in his History of Piss in Modern Art. The painting’s angular sections cut to Andy Warhol’s 80s abstract piss-oxidation paintings, ending with a vacuous scene, representing the current art-wold proto-type alpha male. It shows mega- dealer Larry Gagosian relieving himself in the red plush carpeted stairs of Annabel’s, during Frieze- week 2018 ( a true story says the curator ).  

In addition, shibari artist Marie Sauvage performed live at the show’s opening, where she tied her muse wearing only a kimono, and  suspended her from the gallery ceiling. Outside of Japan, Shibari is started to be re-interpreted as a living pop art sculpture, transcending its familiar masculine origins.  

At the exhibition, these erotic dreams were presented as an unholy mantra to shake off the shell and ennui of society’s restrictive tendencies. States of bliss, ecstasy, nirvana and un-satiated lust are explored; not only by the pleasures associated with sexual intercourse, but also intimacy, contact, and comfort, which are states especially sought-after, since the pandemic. Many artists may have further expanded their dreams in reaction to the oppression experienced by the virus. “The Dream of the Fisherman’s Wife” is likely to continue to stimulate people’s creativity, and become a lubricant for unknown new works.

Steven Pollock
Born in the United States, a London-based curator, writer, and founder of POLLOCK FINE ART.

■”The Dream of the Fisherman’s Wife”
Date: Apri 17 – May 16
Venue: Ruttkowski;68  
Location: 8 Rue Charlot, 75003 Paris
Opening hours: 14:00-19:00 *Appointment only, for adults only
Closed: Sundays, Mondays, holidays
Admission: Free
Artists: Hans Bellmer, Kitty Brophy, Robert Crumb, Sante D’Orazio,Jårg Geismar, Kent Monkman, Marieli Fröhlich, Matthew Collings, Robert Hawkins, Bjarne Melgaard, Pierre Molinier, Carlos Pazos, Vilte Fuller, Philomène Amougou, Lily Lewis, Sophy Rickett, Larry Rivers Marie Sauvage, Penny Slinger, Andy Warhol, Bruce Weber, Cicciolina Ilona Staller, Hokusai

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The brand’s goal is to incorporate advanced programs and technologies into traditional craftsmanship to create the best solution and story for all women. The collection was presented as a 25-minute film. A scene was projected in which 20 models of various body shapes, from 18 to 70 years old, wearing dresses or printed pajamas danced and rejoiced on the stage. He has approached both functionality and fashion such as a knit material with excellent elasticity that can handle sizes from XXS to 4XL and dresses that are easy for one person to put on and take off.

Alber, who has many fans in Japan, visited Japan as a guest designer of Converse’s Japan-only project “Avant Converse” after leaving “Lanvin.” At that time, he said, “I immediately agreed with the proposal from ‘Itochu,’ who has built a good relationship for many years,” and posted many photos of his stay in Japan on Instagram. This time, I asked Alber about his love for Japan and his new brand “AZ Factory.”

Japanese culture, where tradition and innovation coexist without overemphasis

――How did you spend the years between leaving “Lanvin” in 2015 and the launch of “AZ Factory”?

Alber Elbaz：I was just traveling to meet friends all over the world. The purpose is to meet friends in person, not sightseeing like going to museums or temples, in order to go back to the past and ask myself about the present. And yet, I went forward imagining the future. Throughout the trip, I thought and learned in conversations with friends and ask myself in my own time; What’s next in fashion and what’s next for me? What would make me happy?

――Why did you collaborate on “Converse Japan” while you were away from work?

Alber：I met the licensed “Itochu” and “Converse Japan” people and felt that I could work with peace of mind. I didn’t have to overdo it because I was on break, but I felt like I wanted to do it. This feeling is essential in creation.

――You have been to Japan many times. What is your impression of Japan?

Alber：I’ve been to Japan many times. Every time I come to Japan, I like it more. There is kind of a contradiction between tradition and innovation, but these two coexist without overemphasizing each other creates a beautiful harmony. Japanese traditional aesthetics remain part of life, such as architecture, food and clothing, shaping today and inheriting tomorrow.

More than anything, I like Japan for its people. I have very good friends living there and I always enjoy coming back.

――Who is your favorite Japanese artist?

Alber：I love to work of Yayoi Kusama because it represents what Japanese art is for me: colorful, happy, optimistic, surrealism… I’ve been following her work and love what she is doing.

――During the break, how did you feel when you visited many countries?

Alber：I watched the world around me reach a turning point. I had some boring days as time went by in contrast to the days I was always working on collections, though I realized that boredom is maybe the best ingredient for creativity. Some day, things changed. I found myself walking in the rain, not knowing if I had tears on my face or if it was just the rain. 

After so many years of deadlines, I had the luxury to meet myself again and think on a larger scale.  I felt liberated to create my own new dreams. Throughout traveling the world, I met many investors who only wanted to see business plans and price tags. I went to Palo Alto because I was fascinated with the new technology and met engineers and more people at the factories. This virtual, digital world inspired me to try to find a synergy between tradition and newness. I felt that this was the next fashion and could fill my heart with happiness, so I founded “AZ Factory.”

Challenge to support and make women look attractive.

ーーWhat made you return to the fashion industry?

Alber：WOMEN! I looked at the people around me—the women around me—my friends.  Women were at the heart of it from day one, the first minute.  I’ve been trying to understand women for decades as a womenswear designer, and I’m still learning. While away from the industry, it was also a valuable opportunity to observe women’s fashion from a fresh and easy-going perspective. It has always been and will continue to be my challenge to support and make women in this world look attractive. I want to create solutions for women.

――Please tell us more about “AZ Factory.”

Alber：”AZ Factory” is a production and communication company rather than a fashion house. It’s a new company for us, not just me. A and Z are the first and last letters of my name. AZ is symbolic for me because I believed we needed a reset. To start from A again.

At the same time, living in beauty has been and always very important to me. I want to make solutions that project confidence, comfort, and beauty. I dreamed to make a dress, just a simple one; a dress holds you when you need it. 

――What would you like to bring to the world through its project?

Alber：An opportunity to give people a dream and go back to the basics of fashion. Go back to the essence of Couture; be a laboratory and an experience. It is also about made to measure – carefully crafting for each body.  Couture, for me, stands for experiments around the body. “AZ Factory” is a place to generate new ideas and technologies that would have been tested many times and later translated for the masses.

Alber Elbaz
A fashion designer born in Casablanca, Morocco, in 1961. He was the artistic director of “Lanvin” from 2001 to 2015 and successfully revived the long-established French Maison. He launched “AZ Factory” in 2021 after a five-year break. Incorporating traditional craftsmanship and advanced technology, he launched a new project to support women through clothing.

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Successive Ultra Heroes Inheriting the DNA of the First Ultraman

The exhibition starts with a panel of all the ultra-heroes in the order of appearance. Some guests have signed their autographs to commemorate the exhibition, so they may cause you to stop and look. At the end of the panel is a CG model from “Shin Ultraman,” a movie set for release in 2021. The design is based on ideas from Hideaki Anno, the director of planning and writing, to faithfully reproduce the work of Toru Narita, who designed the first Ultraman, and is characterized by the absence of a color timer.
At the end of the panels are several showcases housing many ultra-heroes from across the three periods of Showa, Heisei, and Reiwa. They can be viewed in any order to avoid overcrowding.

Here we look at the exhibits that TOKION focused on. The first work of TSUBURAYA PRODUCTIONS, the TV program “ULTRA Q,” was the beginning of Japanese Tokusatsu, with original miniatures and props on display. These valuable items give a feel for the production processes of the time.

Next, the original Ultra Hero appeared in “ULTRAMAN,” and the Showa masterpieces “ULTRA SEVEN” and “THE RETURN OF ULTRAMAN” have many ardent fans. Ultraman’s costume boots, which are rare and difficult to maintain, and costumes for the Hayata (male) and the helmets of the special research crew are eye-opening to fans. It’s also interesting to see how the Ultraman masks and color timers (Ultra Heroes can only operate for three minutes at a time on Earth) have changed over the years. “ULTRASEVEN” displays the red ultra-guard point, Anne Yuri’s uniform, ultra-gun, capsule monster, Wyndham’s head, etc. “THE RETURN OF ULTRAMAN” is lined with props including ultra-bracelets and miniatures used in the flight scenes.

The “ULTRAMAN A (ACE),” “ULTRAMAN LEOTARO” and “ULTRAMAN LEO” ensured the popularity of the Ultra series. Masks and props for flight scenes are on display in showcases, and the walls are also decorated with original designs by Akihiko Iguchi. Learning about the birth of a hero through originals is a fantastic experience. We can see the details of the Ultra father’s mask that appeared in “ULTRAMAN A” and “ULTRAMAN TARO.” Really, the design of the mask is slightly different for each item. Being able to see these difference is valuable.

The steering prop used in one episode of “ULTRAMAN 80,” which celebrates its 40th anniversary, is eye-opening. That was the 47th episode, “The Evil Glove. Be careful what you throw out!” The prop was created for the one-off appearance of the Dynamite Ball, a deathblow used to defeat KAIJU GROBSKU and was never used again.

Heisei Ultra Series from works co-produced overseas

“ULTRAMAN: towards the future,” Australia, “ULTRAMAN THE ULTIMATE HERO,” is also on display in this exhibition, as well as materials from ultra-works created in collaboration between production companies from the United States and other countries and TSUBURAYA PRODUCTIONS. This is a valuable booth due to the rarity of the material being shown to the public. The design and material of the costumes worn by the actors have changed from the initial productions, and you can enjoy seeing these differences.

This exhibition showcases the Heisei Ultra series, which continues in the current broadcast series. Starting with the early Heisei work, “ULTRAMAN TIGA,” mechanisms, miniatures and props from “ULTRAMAN DYNA,” “ULTRAMAN GAIA,” and “ULTRAMAN MAX” are on display. There are also items from the popular “ULTRAMAN ZERO” which was not mainly broadcast on TV.

TSUBURAYA PRODUCTIONS works related to the Ultra series

The venue also features other heroes that TSUBAYA PRODUCTIONS worked on, which were the basis for characters fighting together in the “ULTRAMAN ZERO” series. They are “MIRRORMAN,” “JUMBORG A(ACE)” and “MAGMA MAN.” Masks, props, and mecha for each hero are on display for people who saw the original series and children who only know of “ULTRAMAN ZERO” to enjoy.

Get your fill of the world of Tokusatsu

Other exhibits include illustrations for boys’ magazines and record jackets from the Ultra series and promotional posters for movies and TV programs related to TSUBURAYA PRODUCTIONS drawn by artist, Tatsuji Kajita. There are also items from “KAIJU BOOSKA,” the only monster in this exhibition. You can lose yourself in the wealth of material on display. With contributions from TSUBURAYA PRODUCTIONS, Japan’s Tokusatsu culture has followed its own evolution. Enjoy the charm of the valuable original material from the Ultra series, which is representative of that evolution. In this time of self-isolation, it is interesting to see how Tokusatsu imagine the future, including the Ultra series.

©TSUBURAYA PRODUCTIONS Co., Ltd.
©TOKUSATSU-DNA Film Partners
©ULTRMAN Z Film Partners・TV TOKYO Corporation

■“TOKUSATSU-DNA ―ULTRAMAN Genealogy”
Dates:  – October 18
Venue: Tokyo Dome City Gallery AaMo
Address: 1-3-61 Bunkyo-ku, Tokyo, Japan
Hours: 12:00–18:00 (weekdays), 10:00–19:00 (Saturday, Sunday and public holidays)
Admission: ¥2000 for adults, ¥1000 for children, ¥3800 for couples, ¥3400 for tickets with goods

Photography Satoshi Ohmura

The post Looking Back on the History of Japan’s World-Class Tokusatsu: “TOKUSATSU-DNA ― ULTRAMAN Genealogy” Report appeared first on TOKION - Cutting edge culture and fashion information.

——You established Loopwheeler in 1999 but how did that come about?

Satoshi Suzuki (hereinafter Satoshi): Before starting Loopwheeler, I used to work for an original equipment manufacturer (OEM) specializing in garments, but when the economic bubble burst around the early-mid 90s, all the manufacturers started to move to China. In the 80s, there were around ten loopwheel machine factories in Wakayama prefecture but by 1997, there were only two left. I love loopwheeled products and I’ve always regarded the craftsmen’s skills as a cultural thing. I had a strong desire to preserve this phenomenon and so I founded a sweatshirt brand that only uses knitted loopwheeled fabric. 

When people think of sweatshirts, they think of Champion, the American brand. They used loopwheeled machines until roughly 1965, and then they started to incorporate high-speed circular knitting machines for about five years. It was around the 70s when they began to basically only use circular knitting machines. Since then, it’s become the norm to use such machines globally and I think Japan is the only country that still creates high-quality sweatshirts with loopwheel machines. 

If there aren’t brands like us that want to keep Japanese techniques alive, then we wouldn’t have any Japanese manufacturers left. I’ve seen many factories close down in the early-mid 90s. Today, it’s impossible to create “Made in Japan” products because the number of manufacturers is dwindling. I didn’t understand the gravity of the situation back then.  

——So, you started the brand because you wanted to preserve the culture of loopwheeling. What is it about the technique that you love so much? 

Satoshi: With a loopwheel machine, you could only knit one meter of fabric in an hour. Even if you spend the whole day, you would only be able to complete 8 or 9 meters. That’s only 7 or 8 sweatshirts per day. To make more, you would have to increase the number of times the machine rotates, the speed at which you put in the threads, and the pace of threading itself. If you use a circular knitting machine, the process would be 30 times faster. However, if you sew that fast, it creates extra tension on the threads, which prevents the threads from staying in top shape. Loopwheeling is a slow knitting process so there’s none of that excessive tension. It creates a fluffy finish and ensures durability. I think that’s the better choice. It takes time and you can’t mass-produce, but I will stick to loopwheel machines. 

Becoming popular internationally before being acclaimed domestically 

——Were things going well after you founded the brand in 1999? 

Satoshi: At the time, Urahara (a branch of the Harajuku aesthetic) was the trend and so people like clothing that were graphic and cool. Keywords such as “plain and basic,” “Made in Japan,” and “good quality clothing that lasts long” weren’t embraced by the public. I did think about selling some clothes to high-end shops at a wholesale price but no one wanted to work with me. It made me think, “am I doing something wrong?” and it made me feel concerned. 

Around the same time, Japanese denim brands like Denime, Evisu, and Fullcount were super popular in England so I thought, “Loopwheeler might have a shot there.” I confided in a friend of mine that lived there and fly over to promote the brand. I went to England around three times for that and luckily, a buyer at Selfridge’s liked the clothes and purchased them. This was around the beginning of the 2000s and thanks to the buyer, British magazines started to feature the brand. After that, Sarah Andelman of Colette in Paris gave me an email and one week later, I went to discuss business with her with clothing samples in hand. She ordered some products the next day. And then, a Jack Spade store in New York started to regularly buy “LW01.” I initially didn’t get lucky in Japan but people abroad took a liking to the phrase, “Made in Japan” as well as the culture of Japanese artistry. 

From 2000 to 2001, I was mainly focused on working with different people overseas, but I came face to face with the difficulties of doing business outside of the country. I realized that I couldn’t continue doing the things I was doing. On a positive note, I felt confident that what we were working on was something amazing after getting accepted by people in different countries. My mindset changed from wanting to sell wholesale to Japanese stores, to wanting to show people the value of well-made products. That’s why we decided to come up with our own store. 

——That led to you opening a physical store in Nakameguro in July of 2002.

Satoshi: I was close to the guys from groovisions and Bonzaipaint at the time, and they were thinking about selling some products of their own. We were like, “let’s do it together” and so we used a small three-story building. Loopwheeler was on the first floor, Bonzaipaint was on the second, and groovisions was on the third floor. I was at the store on weekends and tried to explain what loopwheeling was to customers. The Nakameguro shop closed in about three years and then we opened our flagship store in Sendagaya in 2005. My office was in Jingumae at that point, so I was looking for a location that was within walking distance. I was blessed with the right people and timing, as I was able to find a spot in Sendagaya. After that, we opened stores in Fukuoka and Osaka; we have three stores in all right now. I was able to get these places started thanks to meeting the right people.  

——You’ve been actively collaborating with people such as Sakanaction and kolor recently. Does the other party approach you first usually? 

Satoshi: Yeah. I’m so grateful for the people that want to collaborate with me but I only work with people that understand where I’m coming from and vice versa. Otherwise, things won’t go well. I became close friends with Ichiro Yamaguchi of Sakanaction and Junichi Abe of kolor through Masamichi Katayama, who designed the store. With kolor, we gave them the Katakana font used on the sleeve tag of our products and asked them to play with that in any way they wanted to. They told us that they wanted to use the “LW01” model for the collaboration. It was such an honor. 

——That Katakana lettering is unique. 

Satoshi: When I first went to England, I realized that we needed something that would indicate that Loopwheeler was a Japanese brand. We thought that using Kanji characters would make people conflate the brand with China, and Hiragana seemed too complicated, so we decided to go with Katakana. For people outside of Japan, it has a graphic look to it and I thought that was cool. I thought that no one would get it at first, but it eventually resonated with people. Back then, Japanese people told me that it was uncool and that I should stop using the font (laughs). 

——Is the classic “LW01” your most popular item? 

Satoshi: Yes, the “LW01” is popular but the slim-fit “LW250” and our zip-up hoodie, “LW290” are popular too. We’re frequently tweaking the sizes of our classic products and continuing to update them. 

A change in the consumer’s mindset after the earthquake 

——When did your brand start to pick up steam? 

Satoshi: The first ten years since 1999 was tough. Our job is to “stay small.” There are currently only three factories that have loopwheel machines and the number of machines we can use is limited too. The maximum number of products that can be produced is set, so we’re running a business that has its limits. I work with the hope that the current year will be better than the last, and that the following year will be better than the current one. In the 2000s, the influence of the IT industry and fast fashion industry was big and so the overall trend was to go big at the time. That’s why our brand didn’t speak to people. Around 2008, things started to get better slowly, and then everything changed in 2011 when we had the devastating earthquake. My appreciation for the value of objects changed and we started to get a lot of people that showed interest in the brand. People started to understand the sort of cultural mindset we have at Loopwheeler. 

——Do you have a lot of men in terms of your customer base? 

Satoshi: There are a lot of men, but around 20 percent of our customers are women. For instance, some wives or girlfriends buy a sweatshirt for themselves after washing their partner’s sweatshirt and realizing how the quality sets it apart from other brands. It makes me happy to think that some people discover our products like that. 

——Lastly, what’s next for you? 

Satoshi: Not much (laughs). We work in a very serious, diligent manner and create pieces slowly and steadily. This attitude of ours is what connects to our customers having trust and faith in us. We can’t gather in large groups right now and that’s precisely why I want to work on a fun collaboration that would bring joy to our customers. 

SatoshiI Suzuki
Born in Shizuoka prefecture, Satoshi Suzuki started an OEM business in 1991 that dealt with shirts/tops. He started his brand, Loopwheeler in 1999. There are currently stores in Tokyo, Osaka, and Fukuoka. The brand has collaborated with brands such as Nike and kolor. 

Photography: Takahiro Otsuji (go relax E more) 

The post Loopwheeler, the Beloved Brand Preserving the Culture of Japanese Craftsmanship appeared first on TOKION - Cutting edge culture and fashion information.

The concept behind TORAYA CAFÉ is “Toraya’s other confectionery” and “confectionery that transcend the boundary of Japanese and western”. Both these thught are being continued and to better launch a menu around An Paste, its flagship product, it started a TORAYA CAFÉ・AN STAND, that added the concept of “A Life With An” in 2016. The company comprises TORAYA CAFÉ and the five shops in Kita-aoyama, Shinjuku, Yokohama, Aoyama, and Ginza, each with their own menus.

TORAYA CAFÉ uses An (azuki bean paste), the ingredient quintessential to Japanese confectionery, in a wide variety of sweets. The establishment seemes to try to create a new value based on what was created over the course of about 5th century.　

In the following we will consider how TORAYA CAFÉ interprets the brand, menus and interior decoration of the tradition-rich Toraya store to explore TORAYA’s appeal. TORAYA CAFÉ’s Division Manager, Mr. Uno Toshimichi comments as follows.

Not overly concerned with its long-established brand

TORAYA CAFÉ uses the Toraya name, but they do not intend to sit on our reputation, but forge ahead creating new menus around bevarage or bread using an aggressive approach to attract new customers.

Around the time of opening, there were concerns in the firm that using the Toraya brand to start
a café might hurt the historic Toraya name.

Peer firms surprised, “Is the long-established Toraya really going to open a café?”

“ A “Long-established brand” is what our customers think of us and it is a valuable asset we have inherited from our founder. While it is important to understand the history the company has gone through, it is also essential to meet the challenges that lie ahead of us. A long continuous history is no guarantee for the future.”

As an organization grows old it establishes pride and a vision and as its brand image becomes known, it also becomes averse to change. However, TORAYA CAFÉ intends not only to carry on the long traditions of the Toraya establishment but also to introduce new projects that clearly make a difference. 　

Making products that make the taste of An – the soul of Japanese confectionary – more readily available

An Paste is a typical example of “confectionery that transcend the boundary of Japanese and western”. The idea of the inventor that led to this new product was that “foreigners would think An as azuki bean paste, and bottling it like peanut paste or chocolate spread may be accepted”. Now it has become a popular product not only sold in cans but also served with bread, ice cream and in drinks, but initially not a few of our staff and employees inside the firm were negative.

“Is it a good idea for the Toraya Group to sell An, the soul of Japanese confectionery?” was an often heard criticism. However, with the opening of the café, this new product became highly valued by our customers who came to call it “the other sweet made by Toraya.”

The just right degree of sweetness created by brown sugar and maple syrup is blended with kanten (agar) to produce a smooth taste that you do not easily become bored with. It quickly became a popular product upon its launch

New stores for “A sweet that is neither a Japanese or western in origin”

The interior of each store is designed by Landscape Products, a firm headed by Shinichiro Nakahara, who designs office and store space and also makes original furniture. Wood and white walls were used to create a modern space with a “serene and soft look that encases An” to create an environment for a new type of confectionery that is neither Japanese nor western.

TORAYA CAFE・AN STAND is decorated with a ceramic tile depicting two tigers created by graphic designer, Masayoshi Nakajo, on the wall. The tiger motif on the ceramic tile at the station store is used on wrapping paper and has become the symbol and a brand image of the AN STAND.

The launch of An Paste Ice Lolly by TOKiON the Store

TOKiON the STORE is now selling the Mini An Paste Ice Lolly so far only sold by the TORAYA CAFÉ・AN STAND Ginza. Mini An Paste Ice Lolly provides the pure taste of an with its mild sweetness. Kudzu starch lends a unique soft taste that lingers as it causes the an to melt more slowly..

Look for the ice cream freezer at the entrance to the TOKION STORE to find it. It is a great refreshment during shopping that makes you forget the heat of the season. We hope you will sample the delicacies offered by TORAYA CAFÉ that transcend the boundaries of Japanese and western confectioneries.

The mission of a confectioner under a pandemic

At the end of the interview, We asked him about the ongoing novel COVID-19 Pandemic.

“It has forced a mindset change on us, but I think there will still be times of joy that will brighten our lives. For example, with the increase in telecommuting, some of us may now have more time to relax and time to enjoy a leisurely breakfast at home. At such times, we hope that cake made with An Paste with tea, coffee, bread or other food or drink will help raise your spirits.

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