Tag: craft

Celebration of Handmade: Visiting the 2013 Matsumoto Craft Fair

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August 6, 2013Matsumoto Travels

Every year as spring turns to summer, the quiet castle town of Matsumoto in mountainous Nagano prefecture is transformed into the craft capital of Japan. Crowds of people come from afar to celebrate the work of several hundred of the country’s leading craftspeople at the two-day Matsumoto Craft Fair.

Since its humble beginnings in 1984, the fair has become the biggest and most prestigious of a growing number of open-air craft fairs that take place across Japan annually. Although the Matsumoto event showcases the work of approximately 260 craftsmen, the competition for places is fierce, which means that entry standards are very high. Only 1 in 5 of applicants reportedly are accepted to participate.

The manhole covers in Matsumoto depicts the town's famous craft, temari. embroidered balls for traditional ball games. — This brightly colored manhole covers in Matsumoto depicts the town’s famous craft, temari. embroidered balls for traditional ball games. Such attention to detail seemed quite appropriate for the town that hosts the largest craft fair in Japan.

I experienced the excitement of the most recent craft fair in Matsumoto on the final weekend of May 2013 when I, along with 250,000 other craft enthusiasts, made the two and a half hour pilgrimage by train from Tokyo.

At the train station, I was welcomed by an advertising banner announcing “Matsumoto Craft Month” (kougei-no-gogatsu). The success of the craft fair has contributed to the growth of the city’s tourism and it now organizes numerous craft related events and workshops throughout May that builds up to the climax of the main craft fair at the end of the month.

The banner advertising Matsumoto Craft Month welcoming guests at JR Matsumoto station. — A banner advertising Matsumoto Crafts Month welcomes guests at JR Matsumoto station.

It takes around 20 minutes to walk from the train station to Agata-no-Mori Park where the show is held. This 15-acre sprawling park is lined with tall Himalayan cedars and houses a beautiful historic school building. By the time I arrived in the late morning though, the park’s promenade was tightly packed with the biggest crowd that I have ever seen at a Japanese craft fair. The atmosphere was festive and everyone seemed excited to be there.

A large crowd packs the Agata-no-mori Park promenade at Craft Fair Matsumoto. — A large crowd packs the Agata-no-mori Park promenade at the Matsumoto Craft Fair.

Each of the stalls that I visited displayed beautiful and truly unique work. Besides the exceptional quality on show, another characteristic that differentiates this fair from others that I have visited was the sheer diversity of crafts on display. Of the 260 stalls, approximately 80 were ceramics, 50 wood, 25 glass, 25 textiles, 20 metal, 10 leather, 4 apparel, and 40 other miscellaneous outlets. This “others” group included stalls selling raw materials, tools and even books related to crafts that I have not seen elsewhere. Additionally, there were 40 stalls brimming with food and drinks that made the fair an event that one can enjoy for a whole day.

A man demonstrates cotton spinning on a wheel at Craft Fair Matsumoto — A crafts maker demonstrates cotton spinning on a wheel at the Matsumoto Craft Fair

Another unique feature of the show was its serendipitous design. The participants choose where to locate their stalls on a first-come first-serve basis. There was no map to locate where a favored craftsman might be found, so there was plenty of incentive to go around as much of the show as possible to see what was on display. I really enjoyed this element of surprise, which allowed me to wander through all the stalls without the distraction of intent. After a while, I noticed that the end of the park was far less crowded than the entrance, so the next time I come here I will start at the end and work my way back to the front of the park.

The makers Kobayashi Katsuhisa, Ito Akinobu, and Sakai Mika, whom Studio KotoKoto has introduced to the U.S. were also participating in the show, and it was very exciting for me to see them again at such a prestigious setting.

Woodworker, Kobayashi Katsuhisa's stall was found on the promenade of Agata-no-mori Park — Woodworker Kobayashi Katsuhisa’s stall on the promenade of Agata-no-mori Park. His shaker-style cherry tea boxes were sold out in just 30 minutes.

Potter Ito Akinobu with his family at Craft Fair Matsumoto. — Potter Ito Akinobu and his young family at the Matsumoto Craft Fair. This is a fun weekend event for participants and their families.

Ceramic artist Sakai Mika in Matsumoto. Her stall was found close to end of the park. — Nerikomi potter Sakai Mika at the craft fair with her husband. Her stall was located towards the end of the park.

With its sterling reputation and huge popular appeal, it is hard to imagine that the Matsumoto craft fair has only been running for 29 years. It normally takes many more decades to become so renowned. The fair was founded by a small group of dedicated craft artists after one of its members was inspired by craft shows that he had witnessed in the U.S. and the U.K. He proposed starting a similar outdoor event in Matsumoto where the fans of handmade crafts could meet their makers in a fun environment.

The Matsumoto fair will celebrate its 30^th anniversary in 2014. If you happen to be in Japan during the last weekend of May and want to see what the very best of the country’s young and talented crafts makers have to offer, this is the place for you. Just bring your enthusiasm, a hat, and a comfortable pair of shoes.

Reflecting on Girl’s Day in Japan

By:

Ai Kanazawa

March 5, 2013Topics

Sunday March 3rd was Ohinamatsuri, or Girl’s Day, in Japan when we celebrate the health and well being of young girls. In a country where so many seasonal celebrations are male focused, it is a refreshing change and a special day to recognize the contributions made by women in Japanese society. It is also a day to enjoy the wonder of Girl Power, Japan-style.

Girl's day celebration — Girl’s day celebration with a traditional display of dolls at the Kanazawa household in Singapore circa 30 years ago

In thinking about the place of women in Japan, I looked into the relationship between women and craft. According to the World Economic Forum’s 2012 Global Gender Gap Report, Japan ranked a disappointingly low but not surprising 101^st of 135 countries in the gender gap index (*The updated 2017 Global Gender Gap report ranked Japan 113rd of 144 countries). It is embarrassing to see my home country hovering so far down in the rankings and well behind other major developed states. The U.S., for example, stood in 22^ndplace while Nordic countries dominated the top 10 (*the U.S ranked 49th in the 2017 report).

In the old and rigid world of Japanese traditional craft, it seems that we continue to be bound by male-dominated hierarchies. Japan’s Ministry of Economy, Trade and Industry designates traditional craft products and certifies master craftsmen in their effort to promote and preserve traditional Japanese crafts. As of 2011, there were approximately 4500 certified master craftsmen, of which less than 600 or 13% were women.

Despite these grim statistics, in the more globalized and populist contemporary craft community that Studio KotoKoto is a part of, we have come across many successful and vibrant female artists in Japan as well as the U.S.

Sakai Mika at her booth in Kurashiki 2012 — Talented and successful Japanese nerikomi ceramic artist Sakai Mika showing her work at a show in 2012. Mika’s work can often be seen at department stores and galleries across Japan.

My visits to several craft shows in Japan over the past year offer a simple insight into how successful and influential Japanese women artists have become. In all of these high quality juried shows, roughly half of the participating artists were women. I also found that a large majority of visitors to these shows were women and they also were the biggest supporters of these artists. Many women travel around the country to visit artists and purchase their work.

Women shopping at a craft show — A majority of visitors to craft shows are women, and they are the biggest supporters of craft artists

Moreover, while many Japanese male artists are quiet and rather insular, I have found that Japanese women artists are very open and willing to work with us in California.

So on Ohinamastsuri, I salute all of the fearless Japanese women artists that have made Studio KotoKoto such a wonderful and fulfilling experience. At least in the world of contemporary Japanese craft, girl power is a phenomenon to be reckoned with.

Takami Yasuhiro: Master Bamboo Basket Weaver

By:

Ai Kanazawa

September 11, 2012Baskets TAKAMI Yasuhiro

Baskets by Takami Yasuhiro in our shop ->

The most remarkable aspect of Takami Yasuhiro’s baskets is the stunning beauty of every bamboo splint woven into them. Their evenness and glow create lines that are refreshing to the eye, and give his work a unique air of grace.

Double-Weave-Kikko — Double Weave Tortoise Shell (or Kikko) Basket featuring bamboo segments on the rim by Takami Yasuhiro

I met Takami-san in May 2012 at a special exhibit of crafts in a Tokyo department store. It was sheer luck to be able to meet this soft-spoken artist in Tokyo, because he is usually based in Yufuin city, Oita prefecture, in the southern island of Kyushu. He has been using bamboo to make a wide range of items from small trays to large ceiling installations for over 30 years.

Takami-Yasuhiro — Takami Yasuhiro at his studio in Yuhuin, Oita
Photo courtesy of Chikuseikan

When I saw his work, I was enamored by the contemporary look of his baskets that cleverly featured bamboo segments. Usually the segment part of the bamboo is trimmed off because it makes it more difficult for the artist to weave the splint. I loved that Takami-san uses the segment in his work because this, in my view, is the most iconic and beautiful part of bamboo.

triple-splint — Triple splint bamboo tray
Photo Courtesy of Chikuseikan

Takami-san manually splits every bamboo splint (called Higo in Japanese) using traditional tools and methods. It is hard to imagine the amount of patience required in splitting and matching the width of the splints. Being adept at splitting bamboo is the most important skill for a basket weaver, because the beauty of each splint determines the appeal of the end product. It is said that this skill alone takes three hard years to master.

splitting-bamboo-web — Master basket weaver Takami Yasuhiro splitting bamboo
Photo courtesy of Chikuseikan

Evenly cut splints
Photo Courtesy of Chikuseikan

Tools — Takami Yasuhiro’s tools used in bamboo basket weaving
Photo courtesy of Chikuseikan

When asked why he chose to become a bamboo basket weaver, Takami-san simply said that “I wanted to become a person that absorbed all aspects of bamboo”. What I think he meant by this statement is that he deeply cherishes the qualities that makes bamboo special and has striven to emulate these attributes in his work: the importance of endurance, flexibility, strength, and continuing maturity.

Takami-san seems to have successfully achieved his long-sought goal after spending three decades in mastering this highly demanding craft. He passes on this gift to us in his spectacular work.

Hanako Nakazato: Expressing the Natural Beauty of Clay

By:

Ai Kanazawa

August 14, 2012Ceramics Hanako NAKAZATO

Ceramics by Hanako Nakazato in our shop ->

A bowl made by Hanako Nakazato is so succulent that the clay seems as though it is still pliable.

Hat Bowl by Hanako Nakazato
Photo Courtesy of Monohanako

“I try to bring out the natural beauty of the clay and glaze”, says Hanako. She finds that the beauty of clay is in its unique plasticity, receptive to the slightest pressure from the fingertips. That characteristic of clay is masterfully brought out in her works. It is hard to resist the urge to pick it up and hold it in your hands.

Production at Monohanako by Hanako Nakazato (1) — Production at Monohanako by Hanako Nakazato
Photo Courtesy of Monohanako

And pick it up you should because Hanako creates wares that are intended for regular use. “A ware’s significance is only complete when it is used” she explains. “The same ware will manifest different expressions depending on the food it carries. I want people to enjoy that variation.”

Katakuchi by Hanako Nakazato
Photo Courtesy of Monohanako

Among the assortment of plates and bowls in the cabinet at home, a select handful keep getting used over and over to serve different kinds of foods. They are chosen because the cook can visualize how well the food fits with the vessel. Hanako’s creations easily trigger such visualizations. The Shinogi sobachoko, for example, is ideal for serving appetizers, soups, ice cream, and many more dishes.

Shinogi-Sobachoko by Hanako Nakazato
Photo Courtesy of Monohanako

Hanako wants her wares to be used often and for many years by their owners. She explains that the key to making such wares is to keep a neutral mind and to “go with the flow” during the production process. Too much planning, eagerness, and intent by the potter will result in works that suffocate and bore people over time. Hanako never measures her wares as she throws.

Production at Monohanako by Hanako Nakazato (2) — Production at Monohanako by Hanako Nakazato
Photo Courtesy of Monohanako

Hanako can only pull off such a feat because she is an extremely skilled potter. She is from the Nakazato lineage of potters that have been throwing pottery for 14 generations in Karatsu, Saga Prefecture, Japan. Refined expertise can only come through rigorous study and learning from the best, and Hanako went through many years of tough apprenticeships under her father, renowned potter Takashi Nakazato, and also Malcolm Wright in Vermont, a student of Tarouemon Nakazato XII, Hanako’s grandfather who was designated as a living national treasure by the Japanese government in 1976.

Monohanako Studio
Photo Courtesy of Monohanako

Hanako’s unique approach is also shaped by the way that she is able to harmonize and find balance between the dual worlds that she inhabits. Born and brought up in Japan, Hanako went to high school in Florida and subsequently studied Art at Smith College in Massachusetts before returning to Japan to apprentice with her father.

This bicultural potter has expertly synthesized the deep traditions of the Nakazato heritage with her own modern American interpretations and experiences. Hanako now spends half of her time in Japan and the other half in her studio in Union, Maine.

Select wares made by Hanako Nakazato and Monohanako West is available at our shop.

Introducing Sasaki Shoko: Making Original and Elegant Kiln Formed Glass

By:

Ai Kanazawa

July 31, 2012Glass SASAKI Shoko

Sasaki Shoko is one of the exciting new talents in Japan’s glass making community. This young and energetic glass artist has a creative vision that is reflected brilliantly in the tasteful combination of shapes and colors that distinguish her kiln formed glass works.

Studio KotoKoto came across Shoko’s work in a show at a prominent department store in Tokyo in October 2011. The show featured handcrafted items for contemporary tea ceremonies and was organized by an artist collective called Enishi.

Kiln formed glass plates by Sasaki Shoko

Shoko explains her approach: “I always try to bring out the best in the ability of glass to create interesting expressions by layering colors”. She strives to bring out the beautiful yet subtle Japanese colors such as gunjyo (ultramarine), sumire (violet), and kurenai (crimson) into her fused glass. Shoko’s exquisite works instantly attracted our eyes.

Fused Glass Plate Diagram — Glass artist Sasaki Shoko’s base drawing and design of her plates
(Photo courtesy of Sasaki Shoko)

Scoring glass with a glass cutter (photo courtesy of Sasaki Shoko)

Sasaki Shoko using glass runner — A running plier is used for breaking the glass along the score line
(photo courtesy of Sasaki Shoko)

An interesting twist is that the colored glass that Shoko works with is produced in the U.S. by Bullseye Glass Co., which has been providing fusing compatibility tested glass to artists around the world since 1974. By layering, sandblasting, and firing and re-firing this glass to precise temperatures in the kiln, Shoko masterfully allows the glass to express the delicate and sometimes slightly muted colors that are uniquely Japanese.

Kiln with slumping mold — Placing the glass on a slumping mold in the kiln
(Photo courtesy of Sasaki Shoko)

Shoko grew up in Niigata, a prefecture in the island of Honshu on the coast of the Sea of Japan. After moving to Tokyo to attend Musashino Art University, she was instinctively drawn to glass as a medium because of their transparent and colorful nature. During her formal training at the university for a Masters of Fine Arts, she was especially drawn to kiln-formed glass because it allowed her to accomplish numerous expressions by understanding and manipulating the kiln temperatures.

“My work may not be flamboyant, but I design them to have a distinct presence when people use them”, Shoko points out. The work she creates are stunning and elegant indeed!

A selection of kiln-formed glass plates made by Sasaki Shoko is available from our shop.

Visit to Saratetsu Dye Studio Part 3 – Butterflies and Fern: Bringing Back the Magnificent Stencil Patterns of the Past

By:

Ai Kanazawa

July 17, 2012Textiles Saratetsu

Saratetsu linen furoshiki with vintage stencil pattern in our shop ->

Saratetsu, the last yuzen wrapping cloth (or furoshiki) dyer in central Tokyo, has accumulated a treasure trove of stencils since opening for business in 1910.

KotoKoto was especially fascinated by the design of old paper stencils that Saratetsu used before switching to computer generated screens 22 years ago. These old paper stencils are called katagami, and are made by layering multiple pieces of Japanese paper glued together with persimmon tannin. Kimono and other fabric dyed with these waterproof paper stencils were extremely popular in Japan from the mid Edo (around 1800) to the early 20th century.

We wanted to pick two stencil patterns to be used for our new linen designs. But with such rich choices available, making a decision was incredibly difficult.

Many were not just beautiful but had special meaning to the Japanese people. For example, the ‘feather of arrow’ pattern had the power to ward off evil. It also was often used on gifts to a bride to wish her a happy marriage. As an arrow never came back once it was shot, the gift senders wanted to wish that the bride would not return home because of a broken marriage.

After taking many pictures of the old stencils, countless hours were spent back in California contemplating all these attractive patterns and the meanings they convey. We are finally happy to announce the selection of the butterflies and fern patterns!

According to the book “Symbols of Japan – Thematic Motifs in Art and Design” by Merrily Baird, the butterfly is a symbol of joy and longevity. It is also a symbol of rebirth, a sentiment that we strongly wish for the Japanese people as they continue to recover from the devastating earthquake of 2011. We also thought that it was appropriate for KotoKoto’s launch in our hope to be an ever changing and exciting website for people to discover new things. The butterfly motif has enjoyed widespread popularity in Japan since the Nara period (710-794).

The fern is a symbol of long life and family prosperity because of the numerous spores on its leaves. We especially liked this pattern because the fern represents elegance and hardiness, characteristics that we seek in the skill and craft of artists. The fern motif has been popular in Japan since the Heian period (794-1185) and has also been fashionable in the West since the ‘pteridomania’, or a craze for ferns, struck Victorian Britain in the 19^th century.

Exif_JPEG_PICTURE — Color Testing on Linen

We are now testing colors with Saratetsu and will be starting to print these fabrics very soon!

Read all of the previous postings about Saratetsu here.

How are these used? Read our furoshiki blog post ->

The Inseparability of Food and Craft: Hand-Woven Bamboo Tray by Takami Yasuhiro & Shrimp and Avocado Canapé

By:

Ai Kanazawa

June 28, 2012Baskets Food and Craft TAKAMI Yasuhiro

Do you think food only looks good and tasty in plain-colored, uniformly mass-manufactured vessels? At Studio KotoKoto, we believe that appreciating and enjoying the vessels that contain the food should also be an important and fun part of the dining experience. We want people to ask not only what is on the plate but also who made the plate.

In this food blog, we want to inspire the notion that food and craft are inseparable by offering ideas and thoughts about this relationship. To do this, we will feature a handmade piece by an artist and suggest a dish to go with it.

Today we are using a double-layered mesh (ajiro) woven bamboo tray by Takami Yasuhiro of Chikuseikan*.

二重透かし網代 — Double-Layered Mesh Ajiro Hand-Woven Bamboo Tray by Takami Yasuhiro
14″W × 2.5″H

The refreshing summer look of this vessel is perfectly suited for plating delicious, bright appetizers, and so we decided to serve shrimp and avocado canapés. A simple chip and dip recipe with a fine dining twist by Ai makes them really attractive!

Shrimp and Avocado Canapé Makes about 16 canapés

Base

Round Corn Chips 16

Spread

Avocado 2 each
Lime Juice 1 tbsp
Garlic, chopped fine 2 cloves
Cilantro, chopped fine 1 tbsp
Salt and Pepper TT

Put the avocado in the blender and add lime juice.
Take the avocado paste out of the blender and mix in garlic and cilantro. Salt and pepper to taste.

Garnish

Small-Medium sized Shrimp 16
Red Onion, brunoise (see photo) 2 tbsp
Lime Juice 1 tsp
Cilantro, chopped fine 1 tsp
Cilantro leaves 16 each
Olive Oil TT
Salt and Pepper TT

1. Boil shrimp and put in ice water to cool. Pat them dry. Add lime juice, cilantro and coat with olive oil. Salt and pepper to taste.
2. Brunoise red onion. This will be the “wow” factor of this dish to show your knife skills so spend time to make them nice! Coat this with a little olive oil also.

Now all the parts are ready to build the canapé.

Pipe out the spread onto corn chips.
Scoop some brunoise red onion on top.
Position the shrimp on top of the spread.
Garnish with a leaf of cilantro.

Visit to Saratetsu Dye Studio, Part 2 – The Technique for Printing on Both Sides of Japanese Linen (Hint: It’s Very Difficult)

By:

Ai Kanazawa

June 14, 2012Textiles Saratetsu

Hagiwara Ichizo of Saratetsu, the last yuzen dye studio of wrapping cloth (or furoshiki) in Tokyo, is an expert at dyeing a variety of natural fabrics, so Studio Kotokoto asked him to print a pattern from their collection of old paper stencils onto Japanese linen.

We chose Japanese linen because it becomes more beautiful with time and use. Moreover, this fabric has deep roots in Japanese history. It was among the most popular fabrics used in the country until a century ago but was pushed aside by cheaper imports. It has been making a slow comeback in the past few years.

However, linen is also notorious for its resistance to dye transfer, and today’s dyed linens are mostly piece or yarn dyed. Despite these production challenges, Hagiwara-san not only took on the task but said that he could also dye a different color on the back. This is a truly amazing feat and he is probably the only dyer in Japan or elsewhere who can make this happen!

The factors that control colors are the mixing of dyes and the duration of steaming to fix the dye. Hagiwara-san tests each color and combination and carefully records the results in a logbook.

After the dye is applied, the fabric is steamed to bring out and fix the color. Hagiwara-san gave a demonstration to show how the duration of steaming can change the hues of the same color.

0 1 4 minutes — Identical Dye on Silk Steamed for 4, 1, and 0 Minutes

fabric steamer no steam — Fabric Steaming Box

When a fabric is dyed on both sides, the color on one side adds to the hue on the other. So Hagiwara-san and his colleagues undertake constant experimentation and testing to achieve the intended effects.

color combination test — Front and Back Color Combination Experiment

Controlling the dye and preventing seepage into the back is a special skill that has taken several generations for Saratetsu to perfect.

kani tenugui double sided — Crab Patterned, Double Sided Cotton Facecloth (Tenugui) by Saratetsu
©All Rights Reserved

In the next blog post we will share some of Saratetsu’s collection of old paper stencil patterns and decide which of these styles to apply to our linen.

<-Read the previous post about Saratetsu

Read the next post about Saratetsu ->

KotoKoto Visits a Dye Studio Engaged in the Disappearing Art of Yuzen Hand-Dyeing

By:

Ai Kanazawa

May 20, 2012Textiles Saratetsu

Hand-dyed wrapping cloth by Saratetsu in our shop ->

Take a look at this silk fabric that has been dyed into deeply contrasting colors on its two opposing sides.

This is the work of Saratetsu, the last remaining hand-dyer of wrapping cloth (or furoshiki) in the central 23 wards of Tokyo. Owned and operated by Hagiwara Ichizo, Saratetsu has been dyeing yuzen-style for three generations since 1910. Ai was given a tour of their studio in early May.

Yuzen is a method of dyeing fabric by using sticky rice husk resist. Hagiwara-san says that by only using this traditional dye resist is it possible for a thin fabric such as silk to be dyed into a different color on each side. While many dyers in Japan have switched to machines and other more economical methods, Saratetsu has continued to carry on the yuzen tradition by dyeing everything by hand.

Yuzen dyeing is extremely labor intensive, involving detailed accuracy and care at each step of the process.

In the following photographs, yuzen-dyer Harima Jun of Saratetsu demonstrated the dyeing process for KotoKoto:

Preparing the wooden dye board by misting it with water to activate the rice resist

Seikaiha — Sliding the stencil to continue the pattern.
Then going back and repeating this process many, many times!

Saratetsu specializes in free hand and stencil yuzen-dyeing, and their attic is full of hand carved paper stencils that were previously used. The patterns of old stencils are beautiful and continue to appeal to our modern eyes. KotoKoto is discussiing with Saratetsu to revive one of these old paper stencils onto fine linen.

Can we do it?

Read the next blog post about Saratetsu ->