Of all the things to be passionate about, mold that grows on rice may seem a strange one. But without koji, the specific type of mold that is used in the fermentation of miso, soy sauce, sake and shochu, Japanese cooking would be unimaginable. And because of this, Hiroshi Terasaka is absolutely smitten with this humble fungus, and his passion is infectious. While bringing out samples of koji, Terasaka explains the seemingly endless culinary possibilities of this under-celebrated ingredient. It is what gives miso and soy sauce their distinct umami flavour, and yet its powers are not limited to savoury foods. “Most Japanese people have a vague idea of what it is, but I wanted to make a place where you can really experience and taste the wonders of koji. And since Kamakura didn’t have a koji shop or cafe before we opened, this seemed like the perfect place to start,” Terasaka says. Born in Fukui prefecture, Terasaka and his siblings are the fourth generation of a family of koji makers. They are perhaps the only koji manufacturer left in Japan that grows their own rice used for the production of the koji, which lives off the starch in steamed rice. After a stint living in Canada, Terasaka spent two years learning the ins and outs of the family business. Once confident in his knowledge of koji and its production, he decided that he wanted to spread appreciation for koji in another region of Japan. “I was involved in opening a casual Japanese restaurant in Toronto and I really enjoyed it, so I wanted to try my hand at opening my own business,” he says. Sitting at the very end of a narrow footpath in an area that is removed from the crowds around Kamakura station and its famous temples, Sawvih is surrounded on two sides by a bamboo grove, giving it a natural serenity. Terasaka commissioned an architect to design a structure that would accommodate a shop and cafe on the ground floor, and living space for him and his family upstairs. The result is a modern, minimalist home and retail space with clean lines and lots of natural wood and light. Entering through the front door of Sawvih, customers find themselves in a small shop space, where Terasaka sells canvas clothing, selvage denim jeans, and work boots, many of which are his own original creations made by top producers across Japan. “Farmers and koji makers need to wear durable work clothes,” he says. “But I wanted to make work clothes that still look stylish.” Just a few steps through the small garden and outdoor seating area is the door to the cafe space at the back: a simple but welcoming room with a single wooden table surrounded by hexagonal stools. Here, Terasaka serves koji ginger ale and lattes, as well as koji sweets made by his brother in Fukui. These might include soy tiramisu, brownies or frozen yogurt. Terasaka also conducts koji workshops in the space on an … Read More
With a dignified and somewhat restrained demeanour, Keiko Goto can at first appear a little aloof. But get her talking about the fine Kamakurabori lacquerware in her shop and she quickly warms up. Goto is the proprietress of Hakkodo, a more than 700-year-old family business that sits at the corner of the entrance to Kamakura’s magnificent Tsurugaoka Hachimangu Shrine. She is 29th in line from the founder and has been acting as the CEO and creative director of the company for over a decade. “I grew up playing in the workshop, and as I was the oldest child in the family, it was natural that I take over after my father,” she says. After graduating from Tokyo University of the Arts with a speciality in lacquer, Goto worked for the nearby Kamakurabori Museum before taking the helm of the family business. The history of Kamakurabori dates back to 1192, when the Kamakura Shogunate was established in the city and craftsmen moved in to supply Buddhist sculptures and other carvings for the many temples and shrines being constructed around the then-capital of Japan. When the market for sculptures was saturated, the artisans began making more mundane items such as bowls, plates and trays. Today, more than 50 workshops continue the tradition of making the beautiful lacquerware. The actual production process hasn’t changed much over the centuries. Hard, rough-cut katsura wood is shaped into bowls, plates and trays, then carved by hand with razor-sharp chisels to create different patterns. Up to ten layers of lacquer from the urushi tree are then applied over a period of several weeks, allowing for each layer to properly dry in between. The result is a deep, beautiful sheen that is one of the characteristics of the craft. At Hakkodo, this work is done by a small team of artisans in a workshop attached to the back of the shop. As one of the oldest Kamakurabori workshops in the city, Goto is aware of the importance of tradition, but also feels that the craft must evolve to be relevant for a more contemporary audience. “About half of our products are traditional patterns and items passed down through the generations, but the other half are new products that I have designed to fit better with a more modern lifestyle,” she says. The shop itself is housed in a 200-year-old building with a beautifully renovated interior that tastefully marries the old and the new. Goto has even launched a line of simple tableware she calls Hakko. The carvings on the plates, cups and bowls are far less ornamental than the more traditional pieces, and the lacquering process has also been simplified to about half that of the traditional Kamakurabori ware. The simple but beautifully crafted items make the perfect accent to any interior. “I wanted to make tableware that I myself wanted to use at home,” Goto explains.
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
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
[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
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