Nestled in Tochigi Prefecture lies the scenic town of Mashiko, bursting with lush greenery.

This is a town of potters, home to roughly 250 kilns and 50 ceramic shops.

Here, Tomo and Wakaba Enokida are the fifth-generation heads of Enokidagama, a kiln with a history spanning over 130 years. While honoring tradition, they infuse their own unique styles into their work, creating pottery that blends seamlessly into modern life and is featured in select shops like BEAMS JAPAN.

Tomo, a former musician, found his way to pottery through a chance meeting with Wakaba. Let's dive into the story of Enokidagama, a place where individuality and tradition gently intertwine.

A Historic Kiln Honored by the Emperor for its Tea Set

'The history of Mashiko ware spans about 170 years,' Tom explains. 'It started at the end of the Edo period when Keizaburo Otsuka, who had trained in nearby Kasama, built a kiln in Mashiko. So, it's actually one of the newer pottery regions in Japan.'

In this area, rich in nature, many potters led a life of 'half-farmer, half-potter.' Mashiko grew into a production center for what's known as *seikatsu zakki*—everyday items like water jugs, bowls, and earthenware teapots. It was in this environment that the *Mingei* (folk craft) movement blossomed.

'The ceramic artist Shoji Hamada, who championed the *Mingei* movement alongside Soetsu Yanagi, was the one who discovered the beauty of Mashiko ware,' he continues. 'When Hamada moved here in 1924, Mashiko transformed into a major hub for *Mingei* crafts, especially tableware.'

The couple Tomo and Wakaba Enokida are the fifth-generation successors of Enokidagama, a kiln that has been in operation for over 130 years. The kiln is especially renowned for its *kyusu*, or teapots. Wakaba's grandfather, the third-generation master, once worked at the Hamada kiln and had the honor of being awarded the "勲七等青色桐葉章" (Order of the Paulownia Leaves, Seventh Class) after presenting a tea set to Emperor Showa.

'My predecessors crafted countless teapots, day in and day out,' says Tom. 'Even in a single teacup or plate, you can feel a powerful essence—this is true *Mingei*. Perhaps this philosophy of approaching one's work with a natural, unforced attitude is the most important thing our kiln has inherited.'

A Chance Meeting in Okinawa: The Journey from Musician to Potter

The couple met, believe it or not, in Okinawa. Wakaba, who was born into the Enokidagama family and was already a Mashiko ware potter, was temporarily helping out at a guesthouse. Tomo, a traveling guest, happened to walk in.

'I used to be a musician in a band,' Tom shares. 'I was traveling through Okinawa with my guitar, searching for something, and that's when I met her.'

After Tomo returned to Osaka and Wakaba to Mashiko, they kept in touch. One day, Tomo took an overnight bus to visit her. She took him to the Shoji Hamada Memorial Mashiko Sankokan Museum, which showcases Shoji Hamada's personal collection of *Mingei* crafts.

'I was blown away by a quote I saw on display there: "Perhaps *Mingei* is akin to music." I've been back to the museum since, but I can never find that exact quote again,' he laughs. 'But I'll never forget how it struck me like a bolt of lightning.'

As Tomo contemplated his future, he decided to take a leap of faith and move to be near Wakaba. After working in a nearby town for a time, he eventually began working at Enokidagama. What sealed the deal was a warm invitation from Wakaba's father, the previous master: 'Why don't you come join us?'

A free-spirited lifestyle may be the true essence of Mingei

Tomo started working at Enokidagama, but he says he didn't actually set out to become a potter at first.

"At first, I was just helping out with kneading the clay, a process called 'kiku-momi.' But I ended up with tendonitis," he explains. "After that, I started helping at the soba noodle shop that Enokidagama used to run."

The shop is closed now, but Enokidagama used to have a soba noodle shop where they served the previous generation's handmade noodles in bowls fired right at the kiln. After marrying Wakaba and while trying to find his own way, he realized he wanted to seriously build a life here.

"I loved the pottery Wakaba and her father made, and I loved seeing people enjoy the food and connecting with the local community. I thought, 'What a great way to live, being part of that cycle.' It made me think that the free-spirited feel of Enokidagama might just be the true essence of Mingei."

Tomo felt a renewed urge to tackle pottery, something he'd once given up on. He started with slip casting, helped by Wakaba, and began attending the Ceramic Technology Support Center, which trains the next generation of Mashiko potters. When I ask if anything stood out from his time learning the craft, Tomo shares a saying from the previous owner: "Pottery is a total art form."

"You shape the clay, paint a design, glaze it, and fire it. The previous owner used to say that pottery encompasses every aspect of art. But back then, that just felt like a lot of pressure.

But as I kept working with the clay and getting a better feel for it, I slowly found myself able to just 'create.'"

Adding Their Own Flair to Inherited Forms

At Enokidagama, the shelves are lined with pottery that reflects the unique personalities of Tomo, Wakaba, and the previous generation.

"They really let me do my own thing," Satoshi says. "Ever since I arrived, Wakaba and her father have been making their own unique work. They have this great dynamic, and I feel like I've just been able to slide in between them and find my own space."

Tomo aims for unpretentious Mingei pottery with the kind of strength found in the work of the previous generation. Wakaba’s style, on the other hand, uses traditional Mashiko glazes to create pieces that are pop, modern, and full of warmth.

While they respect each other's creative expression, they're not just making completely separate things. They say there's a lot of overlap and mutual influence.

"We use molds that have been passed down through the generations at Enokidagama, so sometimes the shapes are the same. I'm also heavily influenced by the previous generation's work. So, the foundation is basically the same, and from there, we each naturally add our own personal touch.

Enokidagama doesn't have a so-called 'signature line' like many other kilns. I used to think that was a weakness, but I've realized it's not. It's because we aren't tied down by a specific product that we're free to create work that showcases our individual styles while still honoring tradition."

One's Way of Life Naturally Shines Through in Their Work

A particular experience had a profound impact on Tomo's work. In 2023, he took part in a training program that sent him to the Leach Pottery in St Ives, England, as part of an international ceramics exchange project run by the Mashiko Museum of Ceramic Art.

The Leach Pottery is a world-renowned studio founded by Shoji Hamada, who traveled from Japan with the British potter Bernard Leach. What did Tomo learn at this legendary pottery studio, which continues the Mingei legacy in another country?

"It was amazing," he says. "England is the home of the coffee mug, you know. The shape of my mugs and pitchers, the way I attach handles, how I form the spouts—my whole approach changed based on what I learned at Leach Pottery."

But he didn't just learn new techniques. He was also deeply influenced by the potters' way of life—their approach to work and their philosophy on living. It’s something I felt, too, as I listened to them talk. Their life and their craft are seamlessly intertwined.

"I think part of what Shoji Hamada and the others wanted to share through Mingei is the idea that 'good is good,' regardless of whether it's old or new, Eastern or Western. That's a concept that applies to music and so many other things. It's how I thought when I was a musician, and it's how I try to live now.

But we can't just replicate the beautiful Mingei crafts from the old days. The artisans back then weren't consciously trying to make 'great art.' They were making thousands of pieces day in and day out, and their lives just naturally flowed into their work. In that sense, I think it’s a lot like music."

The pottery from Enokidagama has an incredibly warm feel in your hands. Holding one of their pieces, designed for everyday use, you get a sense of the couple's friendly and open nature just from its touch.

Before our interview, we sat around the traditional sunken hearth while Tomo brewed coffee. He poured it slowly, hand-dripping it from a pitcher made right here at the kiln. The coffee had a comforting flavor, as if it were telling me, "Just relax, you don't need to be so formal."