Preserving the Legacy of Tokyo's Umbrella Craftsmanship

Could you tell us about the features of the umbrellas manufactured at Komiya Shoten?

Komiya For over 90 years since our founding in 1930, our artisans have handcrafted each umbrella one by one, using techniques passed down since the Meiji era.

For example, to prevent injury when opening the umbrella, we cover the "rokuro"—the part you push with your fingers—with fabric, called "rokuro wrapping," and we protect the part where the ribs contact the fabric, known as the "dabo," with "dabo wrapping."

Due to the intricate structural details involved, it can be challenging, yet we focus on even the hidden aspects, meticulously crafting each umbrella with care.

Many customers have been using their umbrellas for over 10 years. Even if parts like the ribs get damaged, we offer repairs at our workshop, allowing long-term use through continuous maintenance. The more you use it, the more you can appreciate the quality of its craftsmanship.

What kind of textile is Koshu Ori, the weaving used in Komiya Shoten's popular "Kasane" series?

Komiya "Koshu Ori," with over 400 years of history, is a textile made in the region centered around Fujiyoshida City, Yamanashi Prefecture, known for its glossy colors and refined texture.

The textile is woven using "pre-dyed" threads, and because it's woven with extremely fine threads, it appears dense and of high quality. The fabric width is around 60 cm, narrower than regular bolts, and is woven using looms specifically for umbrellas. There are no stitching lines at the fabric edge, thus no worry of fraying. Factories that produce such narrow textiles exist only in Yamanashi Prefecture now, and only a few remain. Using these rare looms, we have our own exclusive fabric made.

The Koshu Ori umbrella's edge curves beautifully, giving it a sophisticated look. What inspired your founding?

Komiya It all began in 1930 when the founder, Takamasa Komiya, established the business in Nihonbashi-Hamacho. At the time, the mainstream umbrellas used in Japan were called "bangasa," made with bamboo frames and washi paper, and Western-style umbrellas were so expensive that only a college graduate's starting salary could afford one. Takamasa, aiming to craft these trendy Western umbrellas by himself, started using Koshu Ori, with his connections to a textile merchant in Otsuki City, Yamanashi Prefecture.

In the early 1960s, the umbrella industry saw its golden age, with Japan leading the world in production, consumption, and exports of umbrellas. There were over 70 umbrella-related shops crowded around Higashi-Nihonbashi, where the Komiya Shoten store is located, with numerous umbrella craftsmen as well. However, after the bubble economy burst in the early Heisei era, many umbrella manufacturers moved production to Asia, where labor costs were cheaper, leading to an influx of inexpensive umbrellas produced abroad. Now, there are only a few umbrella craftsmen left in Tokyo.

Returning to the Roots, Highlighting the Craftsmanship of Artisans

Could you tell us how you, President Komiya, got involved in your family business?

Komiya In my previous job, I worked as an engineer in the electrical field for a manufacturer. After being in the workforce for seven years, my father, the second generation, reached out to me, and in 2000, I joined Komiya Shoten.

At the time I joined, deflation was rampant, and inexpensive overseas-made umbrellas priced at 500 yen began circulating, leaving domestic umbrellas priced over 5,000 yen mostly ignored. Our company also experienced a period where we handled many of these affordable umbrellas, and we were forced to prioritize selling them in large quantities. Consequently, I was constantly swamped with tasks such as attaching price tags to umbrellas, even during holidays. It was a tough time.

During that period, I decided to return to our roots—the Japanese-made umbrellas crafted by artisans, which we had dealt with for many years. Considering how to convey the quality and beauty of domestically-produced umbrellas, I realized selling online or directly explaining to customers in stores were viable options.

Therefore, we established an online store quite early as a manufacturer selling Japanese-made umbrellas, and began directly selling to individual customers. At the time, people were not even aware that western umbrellas were crafted by hand by artisans, so we focused on their work and produced videos about umbrella-making to share online.

When did the store in Higashi-Nihonbashi start operating?

Komiya Around the same time we started the online shop, in 2014, we opened a store to directly sell umbrellas to customers.

Before launching the retail store, the umbrellas manufactured by our company were being sold under the names of the stores to which we wholesaled, meaning the name "Komiya Shoten" wasn't displayed anywhere. Therefore, although we had been manufacturing umbrellas for over 90 years, "Komiya Shoten" only became a known name about 20 years ago.

The store attracts many customers from overseas, and today we even had visitors from Norway. Currently, Japanese-made umbrellas account for about only 1% of all umbrellas distributed. Our store seems to be the destination for those seeking Japanese-made umbrellas and wanting to experience Japanese craftsmanship.

Recently, a sustainable perspective of "wanting to use good things for a long time" has led customers in their 30s and 40s to often seek out our umbrellas. Since there are many offices in the area, our umbrellas are often chosen as gifts for special occasions, like retirement celebrations or Mother's Day presents.

The latest series "TwoPly‐トゥープライ-" is a functional and interesting product that can be used as a regular umbrella or a folding umbrella. Where do ideas for such new products originate?

Komiya The inspiration for developing "TwoPly-トゥープライ-" came from customer feedback.

We received requests for an umbrella that could easily fold and be carried like a long umbrella. On days of continuous rain, it can be used as a long umbrella, and on days with intermittent rain, as a folding umbrella. We've also made the umbrella case 2-WAY to prevent wet umbrellas from soaking the surrounding area or one's clothing when brought inside a train.

We have an in-house workshop and artisans, allowing us to handle everything from planning to manufacturing and sales. The ability to quickly incorporate customer feedback into our product planning and realization is a major strength of our company.

The Essential "Mold" for Creating the Beautiful Form of an Umbrella

Can you explain the manufacturing process of an umbrella that you, Tanaka, are involved in?

Tanaka At Komiya Shoten, our umbrellas are crafted by combining parts made by fabric manufacturers, frame manufacturers, and handle manufacturers. Our main task is cutting and sewing the fabric and attaching it to the frame to create the umbrella body. Following that, we attach the handle before handing the product to our customers.

Umbrellas are constructed by sewing together triangular fabric pieces, and each of these triangular pieces is referred to as a "koma." The creation of these Koma relies on wooden molds, and our work begins with "mold-making."

The isosceles triangle portion of the mold is not a straight line; up close, you'll notice it's curved. We adjust these curves in millimeter increments according to the fabric texture and frame, ensuring the umbrella's silhouette is beautifully defined.

Even if it's the same product mold, each craftsman's unique "hand touch" can lead to slight variations in shape, so every craftsman owns their distinct mold. Molds allow for mass production, simply being the necessary tools for producing quantities.

Example: We saw how fabric is cut using a template, but it seems to require a lot of skill despite looking simple. Are there any other notable processes?

Tanaka In the "middle sewing" process where the cut panels are sewn together, we use a special umbrella sewing machine called a "single-chain stitch sewing machine." It sews fabric with a single thread without using the bobbin thread common in regular sewing machines, allowing umbrellas to open softly.

By cutting the end of the sewn thread, only one panel of the isosceles triangle fabric can be removed, making it easy to repair if a part is torn or stained.

When attaching the sewn fabric to the frame, for long umbrellas, each rib is sewn in two places with thread. At the tip of the umbrella, to prevent leaks, we attach a waterproof cloth called 'kikuza,' and a conical tool called 'jingasa.' At Komiya Shoten's umbrellas, additionally, a waterproof packing is inserted between the waterproof cloth and jingasa to enhance waterproofness. Attention to detail is applied to even the unseen parts.

As machine manufacturing becomes mainstream in umbrella making, almost all processes for Japanese-made umbrellas require human touch, with many crafted by a single artisan. The final finish depends on the craftsman's experience and knowledge, making it a profoundly engaging task.

The Moment of Understanding—The "Message" in the Making of Umbrellas

What does a Western-style umbrella mean to you, Tanaka?

Tanaka Since personal standards and sense of beauty slightly differ from others', I often tussle with myself. For example, when someone says an umbrella feels "stiff," I may not initially agree, but upon revisiting it later, I acknowledge, "Indeed, it is stiff." At such times, being open to objectively reflecting on oneself is crucial.

It might sound grandiose, but making umbrellas has taught me to view things objectively in life, in how I think and approach matters.

The aim is not to be self-centered but to create something truly aligning with the customers' wishes. When I can achieve an ideal beautiful finish, it's extremely rewarding, akin to a lifework.

I heard that you tell customers, "I'd like to be the one to repair any umbrella I've made," if they bring one in for repair.

Tanaka I don't make these umbrellas alone. It's only when I convey "These are the good points of this umbrella," and have it sold by my colleagues, that it reaches the customer; hence, I feel I'm in a position of great responsibility.

When an umbrella I've made is brought in for repair, I feel I've caused some inconvenience. I think about how to modify the design to make it sturdier next time, hoping to use this opportunity for improvement. At Komiya Shoten, our corporate culture allows us to learn freely and eagerly about umbrellas, so I am driven to aim for better products while listening to other departments' opinions.

What fascinates you about making Western-style umbrellas, Tanaka?

Tanaka According to what I've heard from an 88-year-old umbrella craftsman, sometimes umbrellas he made during his prime come in for repairs. At such moments, he feels the urge to "surpass himself from his prime." Each umbrella carries a story, revealing the depth of handiwork.

I often receive umbrellas for repair that were crafted by artisans who have already passed away. As I fix them, there are moments when I understand "This is what the craftsman wanted to achieve," and I experience the thrill of messages transcending time resonating as a form of passion embedded in the umbrella's make.

When I try incorporating their techniques into the umbrellas I make, sometimes the quality improves noticeably. Those instances make me feel, "I may have succeeded in inheriting the techniques from former artisans." It's possible because the manufacturing method hasn't changed since the Meiji era.