Kinsai Ueda: Founded by a Mother and Daughter to Preserve Traditional Crafts

Could you tell us about how Kinsai Ueda was founded?

Kinsai Ueda is a Kinsai studio run by my mother and me. My mother has been working in a Kyoto Yuzen studio since she was 18 years old. After getting married and giving birth, she took on a typical job, but she returned to her craft when she was given an opportunity to join a new Kinsai studio.

On the other hand, seeing my mother work as an artisan from when I was a child, traditional crafts were always a part of my life. I didn’t realize at the time that this job was something special to be passed down, so I went on to college and worked for an apparel company, just like my peers.

When I was working as a salesperson in the apparel company, I was living apart from my mother, so we often talked about our daily life or work-related matters over the phone.

Through these talks with my mother, I gradually started to recognize the differences between general corporate life and the world of traditional crafts. For example, despite their skills, traditional artisans are not compensated accordingly. Also, though the Kinsai applied to kimonos takes advantage of the beauty of classical designs and incorporates designs according to the times, I thought that Kinsai could be applied to a wider range of designs.

As these thoughts accumulated, I began to think that starting something on our own, including the preservation of Kinsai as a traditional craft, would enable us to pursue a better path. So, in the quest for possibilities beyond the use of Kinsai on kimonos, we set up this studio together.

You mentioned not being "bound by Kinsai on kimonos." What led you to this consideration?

Even for me, wearing a kimono feels like a "a few times a year" deal, and I think this is even more true for younger people who may only wear an antique-style kimono on a trip to Kyoto. Having a tailor-made kimono created at a kimono shop is a once-in-a-lifetime experience for some.

However, there are more and more people who want to wear kimonos handed down from their grandmothers or mothers. They may not be making new ones, but requests for repairs like "I want to restore the gold which is flaking" or "I want to clear up the yellowing" are quite common.

Who are most of your current customers?

If we are talking about age range, most of our customers are in their 60s and older. Also, many of our orders come from companies requested by their customers, and there are few private individuals who reach out directly to us.

I think the threshold to approach a studio directly might be high. People might not feel comfortable going to a Kinsai workshop as it's not a commonly visited place, and they might perceive it as having a high threshold.

However, our workshop operates on the principle of "Everyone is welcome." So, the first thing we want to do is to let people know that they can drop by anytime without hesitation.

While the idea of visiting a studio directly might seem daunting to some, what are the advantages of doing so?

A major advantage is that when customers visit the studio, they can communicate their wishes directly to the artisans, eliminating any misunderstandings about the desired outcome.

The artisans have a wealth of ideas drawn from their experience. Especially my mother, who is highly experienced and skilled. Therefore, not only can they provide the one plan the customer has in mind, but they can also present several plans for the customer to choose from.

Furthermore, they can make proposals to improve the finished product within the customer's budget, without just catering to their requests. They will also take into account the usage scenario of the product. And of course, without involving any intermediaries, the costs can be kept lower.

Understanding the Technique of "Kinsai" Through the Work Process

Is there any initiative you are undertaking to help people get familiar with Kinsai?

I am emphasizing dissemination by posting work processes on X (formerly Twitter) and completed works on Instagram.

The reason I post the process is to create an opportunity for people to get in touch with Kinsai. There are really fewer and fewer people these days who can immediately picture something when they hear "Kinsai". Even for me, when someone I meet for the first time asks, "What kind of work do you do?", I sometimes struggle to explain.

While it's important to explain on such occasions, I thought it would be best to have as many people as possible become interested by simply seeing the process.

Is there anything you do to make your posts more appealing?

When I post a piece, I make sure it's not a kimono. Of course, I sometimes post kimonos that I've repaired as they are, but more often than not, I don't make them into objects when I present them as works or materials.

The reason is that our studio is not a kimono shop, but sells the technique of Kinsai. We are not promoting kimonos to the general public, saying "Kimonos are really good" or "Let's wear kimono".

I hope that when Kinsai resonates with you, various ideas will be born from different perspectives. I hope that those who see it can expand their own images, thinking "I can use this in a video" or "I can use this in a dress", and so on.

What kind of items have you made utilizing Kinsai so far?

I've used it for things like storefront walls for interior decor and accessories.

Furthermore, I've also had requests from music stores saying, "We want you to apply Kinsai to our instruments". As the coating after the Kinsai requires a different technique from someone knowledgeable about musical instruments, I leave that to them.

Collaborating with people from other industries is fun because we can create things that we couldn't do by ourselves.

It seems Kinsai can be applied to various things. Is there anything that Kinsai cannot be applied to?

Fundamentally, it can be applied to anything, such as leather and silk. I've even applied it to shells. Even if it's a material I'm working with for the first time when I receive a request, I think about how it can be done and take it on.

However, Kinsai, which involves attaching foil with glue, is weak to water, so items that are frequently washed will not last long. In addition, items that are water repellent or waterproof are slightly difficult to work with. When waterproofing is applied, the adhesive does not blend well with the material and does not adhere easily. A thin layer can still be applied for Kinsai, but how long it will last and what state it becomes with use depends on the material. Therefore, it's necessary to test it to a certain extent for each material.

It seems that with some creativity, you can take on various challenges. Could you introduce the work process when you receive an order?

Originally, Kinsai is used in the final stage to further enhance the Yuzen, to the extent that it is even called a "makeup artist".

However, our studio does not only perform Kinsai, but also a unique dyeing process called "piece processing dyeing" using an airbrush.

When we are asked to start with a drawing, we first decide on the design with the customer and create the drawing accordingly. During the drawing process, we cut paper for masking part by part, like cut-out pictures, to bring out the design and shading. This alone takes quite a bit of time.

Once the design is complete, we cut the paper again according to where we want to apply the gold. After that, we draw patterns by squeezing out glue with a tube-like squeezer, a process called "tube drawing", and apply the foil. Finally, we finish the fine details, such as outlining the design or drawing lines like veins.

If you want to highlight the bumps of a design, we adjust that during the tube drawing. If you want to make it swell, it's called "mound gold", and if you want to flatten it, it's called "flat gold". When you create a raised shape, light reflects off that part and it looks sparkling.

Do you have any particularly important processes?

Every process is important, but in the case of repair, if only the fixed part looks new, it stands out. Therefore, we need to consider making it harmonize with the existing pattern. In such cases, color matching becomes significant.

Even though we call it gold, there are many types, so we always strive to make subtle color adjustments as needed.

You’ve been involved in various initiatives; tell us what makes you happy in your endeavors.

I'm pleased when people say things like "This is my first time learning about Kinsai" or "Wow this is really beautiful." Especially when we collaborated with apparel brands to produce ear accessories, we were able to receive reactions from people from generations we had not been involved with before.

When we can provide an opportunity for others to learn something they didn't know, I feel good about what I'm doing.

Kinsai adds sparkle to a special day and uplifts your spirits

Do you think there are any challenges in Kinsai, Ueda?

Just like any other industry, I think a lack of successors for the artisans is a significant problem, and it's deeply serious. Especially since the outbreak of the COVID-19 pandemic, I hear a lot of talk like "The old guys quit" or "This workshop is already closed."

The number of new people has not increased in this situation, and at the present pace, I don't think the number will increase in the future. I think the problem lies in the lack of expansion as an industry. That's why I want our generation to preserve and disseminate this technique, not just limited to kimonos, prompting interests from others.

But the reality is that I don't think it's a place where young people can reliably find stable work, so I couldn't say with a split tongue 'It's a good job' as things currently stand.

We need to create an environment where we can confidently take on the future of young people, and an environment where parents can say "That's a good job."

Though it may be a small thing, it is essential for someone to discover Kinsai. I want people to see not only the technique but also the possibilities beyond the technique. So, I want to be viewed from various angles for our efforts.

So your mission to "spread the word" is connected to your desire to solve these challenges?

Yes, that's right. To create an environment where more people get involved in Kinsai, I think we have no choice but to take on new challenges. It won't simply create a sudden surge in the number of people wearing kimonos.

To create scenarios where people might think "I want to use it for this" or "This is something new," I'm focusing on creating art pieces personally and collaborations across other industries. In the case of art pieces, they allow for the simplest appreciation of the appeal of Kinsai. Right now, we're on the move to get these into your view.

What kind of art pieces do you create?

It varies from time to time. Sometimes it's pop, sometimes it's classical. However, I strive to create something that most clearly conveys the charm of Kinsai and uplifts the spirits of the viewer. My goal is to have artworks made with Kinsai become a part of people's interior decor in their day-to-day lives.

Kinsai can take on various forms; the way it shines changes depending on the angle, and you can create a sense of depth. Depending on how you use various techniques of Kinsai, it can be made simple or gorgeous.

Also, the foil's color is not limited to gold or silver. With a vast array of possible expressions, you can finish it in any way based on your preferences.

Finally, could you tell us what you find so fascinating about gold leaf?

The charm of gold leaf is that it can add a touch of splendor to a special day or lift one's spirits. Kimono decorated with gold leaf are often related to festive occasions such as weddings, celebrations, and coming-of-age ceremonies. Hence, their flamboyance is fundamental. Whenever a good piece is completed, it lifts our spirits as well.

Nowadays, society tends to prefer simplicity, which is reflected in the prevalence of natural everyday wear. However, when commemorating special occasions, I believe it's totally fine to glam up. By using gold leaf to dress up or to decorate your home, it could serve as an item to enhance your mood.

Tradition may feel stiff or distant to some, but I'm convinced everyone loves flamboyant things. Even babies love gold. When given the choice among an assortment of origami papers, many children choose the golden one. This demonstrates the attractiveness of gold, as it moves people's hearts. Rather than delving into its complexities, we'd be happy if you could simply appreciate its beauty.

Check out Kinsai Ueda's Instagram, where we post process of gold leaf decoration, and my own Instagram where I showcase gold leaf as art pieces. Please take a look and expand your imagination on how to incorporate gold leaf in a way that suits you.