Itogonjiro Shoten, a venerable Yame lantern maker founded in 1815 in Yame, Fukuoka Prefecture, is making headlines with unconventional projects that push the boundaries of traditional crafts, including creating art sets for international films and collaborating with overseas commercial facilities.

In a craft world facing a precarious decline, why has this shop continued to daringly pursue challenges that create a stir, ultimately achieving global acclaim?

This article delves into the journey of Hiroki Ito—the 8th-generation head of Itogonjiro Shoten and CEO of Crafcult Co., Ltd.—revealing his unique survival strategy of elevating traditional techniques into modern spatial design and art.

Experience in Commercial Facilities and Spatial Design Abroad

Itogonjiro Shoten was founded in 1815 and has passed down the tradition of Yame lanterns for eight generations. Although Hiroki Ito decided to take over the family business from a young age, he didn't immediately dive into the world of artisanship. He first chose a career in promotion and marketing for corporations and a fashion complex in Marunouchi, Tokyo.

"In the world of crafts, it's common for artisans to only know about the creation process, right? Most of them lack knowledge in areas like marketing, promotion, or how to expand sales channels. That's why I specialized in this at university and then joined a company. The fashion complex where I worked was particularly unique; they had us do everything, so we developed a very versatile skillset."

Equipped with skills in planning, budget management, and promotion from his corporate career, Ito then ventured abroad. At 26, he created lantern art decorations for a live-action Disney film and joined the art team for a Netflix original movie with Netflix UK. His ability to read blueprints and propose lighting and designs for entire spaces—lanterns included—became his key strength as a creator, going beyond the typical artisan's role.

Two Faces: One for Defense, One for Offense

After biding his time, Ito joined the family business. While continuing traditional lantern making, he also launched a series of innovative approaches never before seen in the craft world. However, taking on bold, unconventional challenges under the name of a long-established business carries risks. So, he adopted a strategy of separating his companies and titles.

"Long-established businesses are strong on defense but tend to be weak on offense, you know? If you do something new, even if it doesn't draw criticism, doing something too unconventional can upset the clients who have been with us for a long time. So, without using the Itogonjiro Shoten name, I created a company called Crafcult—a name that pays homage to crafts—and I separate the projects I take on."

This flexible structure allowed Ito to collaborate with a diverse array of companies. "Itogonjiro Shoten" preserves tradition, while "Crafcult" expands the possibilities of crafts. By leveraging these two personas, he created a foundation to accept work from a wide spectrum of genres.

International Acclaim and the Aesthetics of Subtraction

Ito's work is not limited to Japan; it extends to decorating commercial facilities and interiors overseas. Working abroad has been an opportunity to encounter values that differ from the conventional wisdom in Japan. He says he was taken aback by the dynamic mindset on a project in Hawaii, where a giant lantern was hung in an atrium stretching from the basement to the first floor of the Waikiki Plaza.

"Hanging that huge lantern on the first floor ended up hiding the sign for a coffee shop right at the entrance. In a Japanese commercial facility, obscuring the sign of a major global company with a lantern would be an absolute no-go, but they told me it was fine."

The person in charge on-site apparently laughed it off, saying, "This is Hawaii. It's not like people will stop coming just because a sign is hidden." On the other hand, Ito feels that Europe has a deep appreciation for Japan's "aesthetics of subtraction." Europeans show a keen interest not in flashy decorations, but in the beauty of empty space and the diffuse, expansive ambiance created by lantern light. He notes this is why his lanterns were chosen as decor for an art performance at the Palais-Royal (a former royal palace) in Paris, where such genuine beauty is sought after.

Unparalleled Skill and a Dedication to Bamboo Strips

While Ito often grabs headlines for his innovative projects and atmospheric creations, his work is firmly rooted in his exceptional skills as a craftsman. He has mastered the *ichijo-rasen-shiki* (single-spiral) method—a signature technique of Yame lanterns where a single bamboo strip is wound into a spiral—and meticulously crafts each lantern by hand. In recent years, many artisans have switched to iron wire to save time, but Ito remains fiercely committed to using bamboo.

"For larger lanterns, using iron wire makes them incredibly heavy, so bamboo strips are the only way to go," he explains. "Bamboo is far lighter, more flexible, and stronger, and it never rusts. Iron wire might not break, but it can bend out of shape under its own weight."

Furthermore, he paints his designs not on flat paper but directly onto the three-dimensional, spherical lantern. This prevents the image from becoming distorted when assembled. In a craft industry where many business owners are no longer makers themselves, Ito’s ability to masterfully handle every step of the process makes him a truly unique presence.

'Kikai Yagyo': Creating an Experience, Not Just a Product

As demand for traditional lanterns waned, Ito began looking for ways to generate value beyond simply selling his products. One result was an event showcasing his collection of lanterns painted with *yokai* (Japanese monsters and spirits). It all started in his own workshop, where he displayed the *yokai* lanterns and charged a small admission fee.

"The reality is, lanterns just don't sell like they used to," he admits. "So, I decided to stop trying to sell them. But I still needed to make a living, and I realized I had a knack for planning events. My first step was to fill this workshop with my *yokai* lanterns and turn it into an exhibition."

This modest beginning gradually grew in scale. Today, it has evolved into 'Kikai Yagyo' (Bizarre Night Parade), an immersive event that combines a *yokai* lantern exhibition with live ghost storytelling. He now rents out 'Ohana,' a national cultural property in Yanagawa City, for the occasion. Despite the venue's remote location, it draws huge crowds every year. This method of treating lanterns not as merchandise but as elements of an atmospheric experience for which people pay admission has garnered high praise, even in the contemporary art world.

The craft world faces a challenging environment, evidenced by the dwindling membership of the Yame Lantern Makers' Association. "Our shop is the oldest lantern maker in Kyushu," Ito says, "which means we have a duty to be the ones shaking things up the most. If the most historic businesses don't take the boldest risks, creativity will stagnate in the world of tradition." By deliberately pursuing unconventional projects, he aims to energize the entire industry.

While he has mastered traditional techniques, Ito refuses to be constrained by them. Instead, he is redefining the value of lanterns in the new arenas of atmospheric design and event production. Ito's journey provides a compelling answer to the urgent question of how Japan's traditional crafts can not only survive but also thrive and engage with the world in the modern age.