From System Engineer to the World of Washi

Tell us about the founding of your company.

I am from Ebina City, Kanagawa Prefecture, and before moving, I worked at a telecommunications company in Tokyo as a system engineer and in planning and sales for about 13 years.

My wife is from Ikazaki, and her family's business is a sake brewery that's been around for generations. The opportunity for founding the company came when my father-in-law, a member of the Chamber of Commerce who wanted to invigorate Ikazaki's traditional hand-made Washi, approached me.

It seems the desire to promote Ozu Washi was something that the entire Chamber of Commerce was thinking about.

Yes, although it was a town-wide initiative, we faced issues such as the aging of craftsmen and the declining demand for Washi.

In 2006, the Chamber of Commerce was selected for the "JAPAN Brand Production Support Project" by the Small and Medium Enterprise Agency. In short, it's a project to create products using Japan's traditional manufacturing techniques and sell them domestically and abroad.

As part of this project, the Chamber of Commerce went to see "Maison & Objet Paris," an international interior design trade fair held in France.

That's where we met Gabor Ulveczki. He is a designer who creates wallpaper using the gilding, a traditional French technique, akin to a Living National Treasure in Japan.

The Chamber of Commerce members made a bold request, asking if he would cooperate in reviving Washi in Ehime. With a pre-existing interest in Japanese culture, Gabor was enthusiastic and agreed to come to Ehime to instruct us in gilding techniques.

However, at the time, the Washi craftsmen were elderly, making it challenging to master new techniques. It was difficult to find someone who could absorb Gabor's skills and pass them on. That's when I stepped up.

Were you originally interested in Washi or traditional crafts?

Initially, my interest was more in starting a business that would engage globally rather than in Washi itself. I was also drawn to the environment where I could create new value for traditional crafts, which led to the company's founding.

Nonetheless, I love the work of craftsmen, and I am eager to conduct activities to maintain their employment and increase their numbers. Also, the fusion of Washi and gilding, which hasn't been seen before, is incredibly appealing to me.

Where Tradition Meets Tradition, Innovation Is Born

How did the fusion of Japanese paper and gilding come about?

When the business was founded in 2008, there was no clear plan on how to apply Gabor's techniques to Ozu Washi.

Japanese paper typically conjures images of calligraphy paper or shoji paper. At the time, despite fortunately maintaining orders, the business was on a downward trend due to changes in lifestyle. To sustain the business, we needed to find new uses for Ozu Washi.

That's when we saw commercial potential in the unique combination of gold foil and washi, as it was rarely seen elsewhere, and began producing gilded Washi. This is the only place in the world that combines Washi with the gilding techniques directly passed down from Gabor.

Gabor lived with his family in Ikazaki for two years to provide technical guidance. However, due to cultural and habitual differences, communication was challenging in the first year, and there were many difficulties. But by the second year, we were able to build mutual trust, allowing for smooth technical sharing.

The use of oxidized gold foil is characteristic of gilding, isn’t it?

Yes, using oxidized foil is rare in Japan. In its untreated state, it is ordinary gold, silver, or copper foil, but by immersing it in an acidic liquid, it becomes colorful.

Though technically it’s brass foil, oxidation gives it a unique hue, making it impossible to get the same color again. Since each product is close to being one-of-a-kind, customers often spend a long time deciding on which color to purchase.

Could you elaborate on the characteristics and strengths of the gilded Washi your company produces?

It's the fusion of European and Japanese tradition. The soft and warm image of plant-based hand-crafted Washi combined with the hard image of gold foil creates an interesting contrast.

Our wide range of offerings, from wallpaper to panels, tapestries, posters, postcards, and small items, and our collaborations with illustrators and Disney, are also our strengths.

When applying gilding to Washi, what parts of the process require the most skill?

Adhesion is the most challenging. We apply glue using a mold in the manner of silk screening, but the glue used is special.

In Japan, lacquer or glue is typically used to attach foil, but for gilded Washi, we use a water-based special adhesive. It becomes sticky as the moisture evaporates, which allows it to dry once applied.

The viscosity lasts for about a month, meaning intricate patterns can be created over time or even brought outdoors for workshops. Since Washi absorbs moisture like fabric, skill is required to adjust the adhesive's viscosity.

The Dilemma of Seeking "Perfect Beauty" in Handcrafted Washi

What originally led to Washi being produced in this area?

It seems that the development began when craftsmen were invited from Echizen. With clean water and abundant raw materials, akin to Echizen's climate, Ikazaki was suitable for washi production.

Similar to Tosa Washi of Kochi, Shikoku's good water allows for the creation of excellent Washi. Ozu Washi is known as premium calligraphy paper and has been used in the shoji paper at Kyoto’s Katsura Imperial Villa.

Unfortunately, as fewer people are able to harvest raw materials, we have to rely on imports, but there's movement now aimed at producing raw materials again.

Ozu Washi's defining feature is its handmade production, isn't it?

Yes, during the handcrafting process, the main material is mixed with Tororo-aoi, which acts as glue, in a vat. Using a wooden frame called a "Su (簾)," the mixture is stirred back and forth vertically and horizontally to create Washi sheets. The work involves using cold water, making winter especially challenging, and it requires maintaining a crouched position, which is quite labor-intensive.

Each piece is made carefully, with much effort and time, isn't it?

Yes, that's right. However, the balance between the charm of handmade Japanese paper and the level of perfection that is required is becoming increasingly difficult year by year.

For example, white Japanese paper used for shoji screens is made pure white, but what previously passed inspection without issue is now sometimes rejected for slight contamination or unevenness. The demand for absolutely spotless white paper has increased compared to before, and this creates a dilemma.

To eliminate impurities, the conclusion is reached to use a lot of chemicals and mechanize the process to produce uniform items. However, this would erase the charm of handmade Japanese paper, leaving craftsmen with mixed feelings.

Moreover, with the development of digital printing technology, it is now possible to replicate the textures and embossing used in gilded wallpaper.

It becomes difficult to distinguish them from handmade items unless you touch them or see them up close. I think we can only earnestly promote the value of handmade creations, but it remains a challenging situation.

How many handmade Japanese paper craftsmen are there currently in the Ikazaki area?

About 10 people, I think. When including those specializing in processes such as drying or creators involved in letterpress printing, the total is likely just under 20.

In our company, we have teams divided into a Washi team and a Gilding team. Even within the Washi team, there are those who mainly focus on drying and others mainly involved in the papermaking process.

The peak was around the time of the oil shock, with about 30 to 40 craftsmen then. When I moved here 18 years ago, there were only four craftsmen in their 70s to 90s, but now the number has increased with many young craftsmen in their 30s.

Making the Name "Ozu Washi" Resonate Domestically & Internationally

It's wonderful to see that the number of young craftsmen has increased in recent years. Are there any challenges facing the Ozu Washi industry? Also, could you tell us about your measures to solve those challenges?

First of all, the infrastructure, such as buildings and machinery, is aging and needs maintenance. Moreover, the raw material issue is proving to be more of a challenge than anticipated. Previously, imports were primarily from Thailand, but now the shift is towards cheaper labor countries like Laos.

However, if this trend continues, the quality of the materials won't improve. The soaring crude oil prices have to be incorporated into product pricing, resulting in numerous challenges.

To solve these issues, we need to promote our activities aggressively. There are more customers signing up for Washi production experiences so we're working on creating a framework to expand Ozu Washi through collaboration with the tourism industry, adding more Washi experience tours with JTB, and increasing options for international visitors.

Moreover, proposing new uses for Washi paper is essential. Recently, we collaborated with a well-known sesame oil company to create a letter set using sesame husks.

Gilded Washi pairs well with art, so we also want to focus on using it in paintings, creating three-dimensional shapes, and expanding its use in the art field.

In 2017, your "Koyori Washi" was used in the display at Yohji Yamamoto's Paris store, and you have been actively engaging with international exhibitions too.

Abroad, particularly, we find good synergy with interior products such as wallpaper and panels. We have held exhibitions focused on these items in Paris, London, Shanghai, and most recently in Sydney. In Sydney, we were pleasantly surprised by the orders for wallpaper and interior goods exceeding our expectations.

In Shanghai, we collaborated with a Japanese company dealing with traditional crafts, proposing mural art to wealthy Chinese clientele. In Singapore, our products were showcased as a platform for promoting Japanese craftsmanship to the world, at Muji Singapore, the largest store in Asia.

Many people in Asia have an affinity for sparkling things; thus, the beauty of foil is well-received. Conversely, Europeans and Americans often prefer the traditional Japanese atmosphere offered by plain Washi. It's fascinating to see how reactions differ by region.

What are your thoughts on efforts to promote Ozu Washi worldwide in the future?

For overseas exhibitions, we have teamed up with the Association for the Promotion of Traditional Craft Industries. Moving forward, we want to continue holding exhibitions and solo exhibitions in places like Australia, Taiwan, and Singapore, where the demand for gilded Washi is high, to break into international markets.

Additionally, one of our most popular products is postcards, which sell well at airports. We offer a rich variety, including designs featuring Kabuki patterns and collaborations with young creators. We aim to further strengthen the development of such popular products.

As I mentioned earlier, gilded Washi pairs well with art, so we plan to continue participating in art festivals. Eventually, we would like to collaborate with the Setouchi Triennale and are also considering exhibiting at the Expo.

The industry still faces many challenges, but this also means there's room for growth. We hope to find new angles to promote Ehime Prefecture and Ozu Washi to the world.