Mister Hollywood

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Daisuke Obana never expected he would end up founding and helming one of Japan’s most influential and successful menswear brands. In fact, he never even pictured himself as a fashion designer. “Ever since I was young my dream had been to become a buyer for a vintage fashion store,” he says. “I love vintage clothes and I thought that if I was going to work in that field the ultimate goal would be to become a buyer.” Obana started working in vintage as a student, rising to the rank of buyer and store manager just a few years later. Through numerous trips to the U.S. to scour flea markets and thrift stores, he developed a sharp eye and a gift for curating an eclectic yet design-conscious selection. “I lived the life of a buyer for about six or seven years, but every time I went on a buying trip I found fewer and fewer good items. And when that happened I realised that even though I liked it, there may not be a future for me as a vintage buyer,” Obana says. “But at that time there were a lot of things that were in terrible condition but had a good aura, or things that didn’t hold any value to most people but were still cool. So I started to select and edit those, and to pick up and rework the things that were in bad shape. I thought it would be good if I could take things that already existed, do different things to them, and make them look stylish. And that was how the brand I have now started.” Obana began selling his first reworked vintage items, as well as a few original pieces, from a corner of the vintage shop where he worked in 1999. With no formal design training, he struck out on his own a year later with a shop in Harajuku called Mister Hollywood, and his brand N. Hoolywood—named after the neighbourhood where he once rented a house when he was making frequent trips to the U.S., but with an unconventional spelling—was officially launched in 2001. The Harajuku store moved to its current location in 2004, taking over a house in the backstreets near Omotesando. Decorated with everything from an old wooden kitchen bench and refrigerator to carnival-style capsule toy vending machines and clown portraits, the store reflects Obana’s own unique tastes. The designer’s background can often be gleaned from his collections, which may include everything from military influences to tailored suits to distressed sweatshirts in oversized silhouettes, always beautifully constructed with a keen attention to detail. There are also numerous collaborations with other brands, including Pendleton, Vans, Mountain Hardwear, Jerzees, and New Balance. But Obana says he mostly draws inspiration from within, interpreting his reactions to a particular place, experience, or cultural aspect. “You can get any kind of information you want via social media, so I think it’s more interesting to make clothes that are a mix of all the things I … Read More

Lunco

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Ranko Nagata always knew she would end up in a creative line of work, but until one fateful first visit to a flea market some four decades ago, she had never imagined her life would be exactly what it is today. At the time working as a glass blower, Nagata visited the market to get inspiration and ideas for her art. “I found a box full of old fabric, and a very surprising thing happened. It was as if it was talking to me, as if it had life. My mother wore a kimono so I was used to and interested in kimono fabric, but this was a whole new experience,” she recalls. “The fabrics at the market were old, dating back to the Edo period, and they were naturally dyed in very basic, neutral colours of indigo and beige. But for me, they were alive and fresh. I immediately bought the entire box and started making things with them.” Ever since that day, vintage fabrics have been Nagata’s passion. She continued making glass art for some time, but she was also making frequent visits to markets to satisfy her insatiable thirst for old textiles, which she used to make small crafts and patchwork bed covers. Eventually she was asked to help out at a vintage fabric store, which ended up being the final nail in the coffin of her glass blowing career. “I gradually became more obsessed with fabrics than I was with glass work,” she says. “Fabric became so much more interesting to me.” Nagata opened her own shop about 20 years after that first flea market encounter. Called Lunco—a creative, alternative spelling of her first name—it has been in its present location for about a decade. She sells vintage kimono and vintage fabric cuttings, the majority of which are at least 100 years old. She finds them at auctions and then often hangs onto them for months or years before putting them in the shop. “When we sell things, we set a theme. Rather than selling them right away when we find them at auctions or markets, we keep them until the collection for the theme is complete, however long it takes. We want customers to feel the theme and the things we have collected,” she says. Nagata likens creating these themes—or “worlds,” as she calls them—to making works of art. It’s her creative outlet, she says. Past themes at Lunco have included crimson and purple, autumn plants, and distant turquoise. And she still prepares all the kimono and fabrics herself, carefully steaming the wrinkles out, while she murmurs a thank you to the backside of the fabric (expressing her gratitude to past wearers) and a request to take care of future wearers to the front side. While some might call Nagata a workaholic—she proudly boasts of only taking New Year’s Eve and New Year’s Day off each year—she is clearly driven by passion and a genuine love for what she does. She has a childlike fascination … Read More

Miyako Andon

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[Please make a reservation before visiting Miyako Andon.] A wooden model of an old Japanese house – complete with tiny sliding screens – sits in the corner of Masanori Kizaki’s office. With the flick of a switch, the house illuminates. “My ancestors built models like this as souvenirs for the foreigners who came to Japan after the war,” says Kizaki, the fourth generation of his family to lead their handcrafted lamp business, Miyako Andon. These days, Kizaki’s contemporary lamps – made using similarly detailed Japanese woodwork and joinery techniques, but updated with the his own modern sensibilities – also find their way into homes around the world. “These ones are going to New York City,” he says, pointing at two minimalist cubes destined to hang in a Manhattan kitchen. “A very particular customer.” The business dates from the late 19th Century when Kizaki’s great grandfather was a ‘shokunin’ (artisan) making delicately latticed, painstakingly assembled wooden screens known as ‘kumiko’. His son – Kizaki’s grandfather – began manufacturing lamps before World War Two, and continued selling them afterwards to Americans in the Allied occupation force. An ‘andon’ is a traditional, wood-framed, paper-sided lamp that originally would have contained a small vessel of burning oil as a source of light. Some ‘andon’ were portable and could be carried from room to room, or out into the streets at night. With electrification, however, their utility faded. “In postwar Japan, most people lived in cluttered apartments with pre-installed ceiling lights,” observes Kizaki. “But the younger generation is starting to think more about design.” Kizaki has always thought that way. When he was a student, he would spend his weekends in Tokyo’s fashionable west side – in Aoyama, Omotesando and Daikanyama – soaking up the new fashions and modern architecture. The clean lines and pure geometry of his products reflect his passion for structures and spaces. The Tsukika lamp, a globe of interlocking, paper-covered triangles is his most recognizable design. “Every component comes from another artisan: the wood from northern Japan, the ‘washi’ paper from Shikoku,” he says, referring to a large island in western Japan. “In other lamps, instead of paper we use patterned cloths hand-dyed by a craftsman here in Tokyo.” At his office, a short taxi ride from Nippori railway station, the old and the new stand side by side. The showroom (viewable by appointment) is a simple concrete box – with a void filled by natural light at its core – built to Kizaki’s own plan. The classic Mini Cooper parked outside? That’s his too. Next-door is the old workshop, with sawing machines, wood presses and lamp skeletons, stacked high and waiting to be papered. The company’s seven workers includes five members of the Kizaki family – among them the craftsman’s wife, Toshiko, who speaks fluent English and handles international sales. “To be a successful ‘shokunin’ these days, it’s not enough just to make beautiful and enduring things,” says Kizaki, the last traditional ‘andon’ maker in Tokyo. “You need to adapt … Read More

Shun Okubo

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On a small street in Nakameguro populated by trendy shops and cafes, one store stands out: under a neon “S” logo are a set of imposing, floor-to-ceiling glass double doors that open at an angle. “The doors were order made and are easily the most expensive thing about the shop,” says Shun Okubo, who sells his eponymous line of jewellery here. They also allude to the designer’s undeniable creative sense, which extends not only to his products, but to the raw concrete walls, custom black wood display cases with clean geometric lines, and eclectic mix of art portraying things like French cafe scenes or a quote by Louise Bourgeois. It is art, in fact, that inspired many of Okubo’s early designs. Originally following the path toward a career as a fashion designer, Okubo lived in Paris for some years, where he would often visit Constantin Brancusi’s studio at the Centre Pompidou. “My initial approach to jewellery design was to make things like these abstract cultures, but on a scale that fit the body,” he says. After returning to his native Tokyo and realising that his timing was off if he wanted to produce a fashion collection for the upcoming season, Okubo stumbled into jewellery. “I didn’t want to just do nothing, and an acquaintance of mine was a jewellery maker, so I told him that I wanted to do something with my hands, and I asked him if he would make jewellery for me that I designed,” Okubo says. This was the birth of the brand, which has now been operating for over a decade. In the early years, Okubo always thought he would eventually get back into fashion, but now those ambitions have waned, at least when it comes to launching a full-fledged fashion brand. And while he studied accessory design at fashion school, he acknowledges that his entry into the field was an unconventional one. “I wasn’t that familiar with accessories. It’s complex work, and even though I was selling jewellery, I still felt that I didn’t have very much experience with jewellery design, and I wanted to deepen that,” the designer says. “My philosophy is to take things like artworks or everyday items and interpret them into jewellery. I have no interest in just doing jewellery as a business.” But Okubo’s initial inexperience also worked to his advantage, as his mind was more open to try unusual production methods or material combinations. Many of his pieces use mixed mediums, like yellow gold with black rhodium, platinum with rose gold, or pearls with wood. “The world changes through different colour combinations,” he says. “When I was a child I really hated the colour brown, but then once I saw a fashion brand combine brown with blue, and it was really beautiful. I had never used brown, but after that I started to incorporate it. With materials as well, you can take a material that looks old or worn out and by combining it with something else you can … Read More

Book and Sons

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With its clean white facade, large cut-out windows, and welcoming little coffee stand facing outward to the street, Book and Sons is the kind of place that would easily draw in the curious passerby for a look around. But the thing is, it’s not a place most people are likely to simply pass by. Located on an obscure residential street in the neighbourhood of Gakugei Daigaku, this modern, minimalist bookshop relies almost entirely on word of mouth to attract customers. “This place isn’t easy to find, so most people who come here do so because they have a reason to,” says the shop’s owner, Osamu Kawata. “They’re usually looking for something specific or hard to find.” Friendly, easygoing and quick to flash a smile, Kawata immediately makes customers feel at home in the serene, peaceful space. He can answer questions about all of the roughly 1,000 titles he carries, but he won’t be found in the shop most days (not to worry, his staff are equally welcoming and knowledgeable). In addition to Book and Sons, he also runs a prominent graphic and web design office. It was, in fact, Kawata’s design career that served as the impetus for the store’s opening. “I didn’t go to an art or design school, but after graduating from university I got a job working for a design firm. Since I didn’t have any experience with graphic design, I had to start from zero,” he says. “I didn’t have time to go to school while I was working, so I taught myself the basics from books.” Some years later when his first child was on the way, Kawata’s wife said he needed to clear out some of his books to make room for the baby. Book and Sons was his solution. When it first opened in April 2015, the store was stocked with Kawata’s own private collection, which was comprised almost exclusively of books on typography. Slowly, as the books sold, he had to find a way to replace them, and so began contacting publishers directly about carrying their titles. “I’ve always loved typography. For me, it’s the most important element of design,” Kawata says. “Ten years ago, there were a lot of technical restraints as a web designer and only two or three fonts we could use. Now, there are probably more than 1,000 to choose from. But there aren’t many bookstores that focus on typography, so this is something I wanted people to see.” The store has now morphed to include books on graphic design and photography, but there are still plenty of typography tomes as well. Some of the more unique volumes include design guides from organisations such as NASA and British Rail. In the back of the store, a small gallery space hosts rotating exhibits. There is also a small selection of products such as t-shirts, bags, mugs and stationery items made in collaboration with brands run by Kawata’s friends and sold exclusively at Book and Sons. Everything is so precisely … Read More

Amezaiku Yoshihara

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As a child, Takahiro Yoshihara was enthralled by the candy artists he saw at summer festivals, deftly turning thick liquid sugar into hardened, elaborate shapes of animals and creatures of fantasy. At the time he dreamt of one day joining their ranks. And while he did eventually become a candy artist, it was not his first career. Yoshihara trained as a chef, and travelled to Italy to learn more about food and cooking. While there, he found himself feeling embarrassed that he was unable to answer questions put to him about Japanese culture. This sparked in him a renewed interest in doing something that was more closely related to his roots. “When I started thinking that I wanted to have a career doing something that celebrated Japanese culture, of course I could have taken the path of cooking Japanese food, but I remembered my childhood self wanting to do amezaiku and chose to follow that path instead,” he says. The word “amezaiku” loosely translates as “candy craft,” an art that has its origins in China, but which took a different form upon gaining popularity in Japan during the Edo period. It is mainly and traditionally a mobile craft, peddled by artisans who travel from city to city, creating candies from a cart at outdoor festivals and other events. But after learning from an experienced amezaiku artist in this way for four years, Yoshihara had a different idea. When Amezaiku Yoshihara opened in 2008, it was the first permanent store in Japan dedicated to the traditional candy craft. Creating a place where customers could come to buy the whimsical candies anytime was Yoshihara’s way of helping to keep the craft alive. While he has trained other young artists in amezaiku and his business has expanded to include a second store where workshops are held, he says there are still only some 30 to 40 amezaiku artisans remaining in Japan. What makes amezaiku unique, according to Yoshihara, is the performance element to it. “You don’t have to twist and pull candy into different shapes in order for it to taste good, but that’s what’s wonderful about amezaiku,” he says. “It’s not only something you can eat—it also has some fun and beauty to it. The fact that you can watch it being made just for you and then take it home—this is something that doesn’t exist in other businesses, and it makes amezaiku really special.” Yoshihara and his team make a variety of shapes of candy every day, ranging from the simple to the elaborate. Each piece must be created in under three minutes, before the candy hardens and can no longer be worked. The only way to get to this level, Yoshihara says, is through lots of practice. While there are many shapes that are staples of amezaiku, there are slight variations depending on the artisan’s personal style. “I want to make the kinds of things that I enjoyed seeing made as a child, so I tend to make brightly coloured, … Read More