The brand ARIAKE, launched by two furniture makers from Morodomi in Saga Prefecture, develops its products through retreat-style workshops with international designers and is now sold in over 20 countries.

Amid language barriers and cultural differences, why did local artisans decide to welcome international designers into their factories, embarking on an unconventional development process of living and working together?

We spoke with Kengo Kabashima, President and CEO of Legnatec Co., Ltd., about the story behind ARIAKE’s launch and the chemical reaction that ignited between the artisans and designers.

Setbacks at an Asian Trade Show and a New Encounter

Kabashima joined the family business, Legnatec, 13 years ago, just as the company was about to celebrate its 50th anniversary. Having been devoted to baseball through his university years with no background in architecture or interior design, he jumped onto the factory floor and eagerly absorbed the ABCs of furniture making. At the time, as their client base expanded across Japan, he thought, "Considering the company's future, we have to compete on the world stage." This became the first step toward international expansion.

He first decided to exhibit at the International Furniture Fair in Singapore, which was the most vibrant market in Asia at the time. However, with no knowledge of international business or branding, the endeavor proved to be extremely difficult. In their first year, they exhibited by relying on a local coordinator but were unable to achieve any significant results or gain any real traction.

"The first year, we came back without getting any feedback or closing a single good deal. We agreed to stick with it for three years and exhibited again the second year, but we still couldn't get the results we wanted."

The turning point came during their second year at the fair. At the exhibition hall, he met Gabriel Tan, who would later become ARIAKE's creative director. Tan, who had just launched his own studio at the time, visited the factories in Saga to see the facilities and technical capabilities of Legnatec and Hirata Chair Manufacture Co., Ltd.

It was there that Tan proposed a completely new idea: gather a few international designers for a one-week retreat in Saga to rapidly develop a full product lineup and launch a new brand.

A Retreat in Saga That Transcended Walls of Language and Culture

At Gabriel Tan's suggestion, the retreat-style workshop began, bringing in up-and-coming designers from overseas. However, for Kabashima and his team, who had no experience in branding or international business, it was a process of constant trial and error. Although they made efforts like hiring a Japanese designer as an initial member to help with interpretation, they were constantly plagued by concerns, such as how far they should accommodate the international members' requests and how to set the pricing.

"We were incredibly anxious, wondering if this was really the right way to go. It was just one challenge after another, from whether we should trust and meet 100 percent of their demands to how we should handle pricing."

Nevertheless, through the retreat, the designers immersed themselves deeply in the land of Saga. By visiting the Ariake Sea for fieldwork and participating in local traditional festivals, they absorbed the scenery and culture of Saga. The memories of the Morodomi area were sublimated into their designs, such as a sumi-ink finish inspired by the color of the mudflats in the Ariake Sea and an indigo dye reminiscent of the dawn sky.

This experience made Kabashima realize he needed to learn English himself, prompting him to undertake a short but intensive 'spartan' study program in Cebu, Philippines. After returning to Japan, he established an international business division within the company and created an environment where he could communicate directly with the designers in English, dramatically closing the distance to the rest of the world.

From Conflict to Co-Creation: Shifting the Artisans' Mindset

In a typical furniture manufacturing setting, the factory team is expected to take a designer's blueprints, create production drawings, and focus on efficient mass production. For the artisans on the ground, who cherish their daily routines, the honest truth is they'd rather avoid tedious spec changes and new experiments.

However, ARIAKE's workshop-style approach completely upended this confrontational dynamic that existed across blueprints. By having designers physically enter the factory and build prototypes alongside the artisans—even without a common language—the relationship evolved from a simple designer-worker dynamic to a true manufacturing partnership.

“When designers come into the factory and build prototypes with us, the artisans start to feel things like, ‘I want to bring his design to life,’ or ‘He doesn’t like this particular finish, so maybe this other way would be better.’”

This process of close, face-to-face dialogue ultimately led to the successful creation of complex designs that would normally have been rejected with a “We can’t make this unless you change the specs.” This unique furniture collection, blending manual craftsmanship and machine production in equal measure, brought a fresh sense of wonder to the market.

The designs of the "Ariake Bar Stool" and "Ariake Lounge Chair" incorporate both classic and contemporary joint details—a testament to the meticulous co-creation between artisans and designers. Furthermore, having multiple designers work in the same space fostered a spontaneous harmony. They began to "naturally align the details of their own products with the designs of others." This resulted in pieces from different designers that match perfectly in the same space, shaping the unique worldview characteristic of ARIAKE.

Delivering the Brand's Worldview as a Spatial Experience

Although ARIAKE initially launched as a "re-import" brand focused exclusively on overseas markets, it has since garnered a dedicated following of core fans in Japan and expanded its reach to over 20 countries worldwide. The brand consistently exhibits at '3daysofdesign,' a major design festival in Copenhagen, Denmark, where it continues to carve out a unique presence.

While many Japanese brands emphasize traditional elements like washi paper and tatami mats to showcase their "Japaneseness," ARIAKE intentionally takes a different path. For the event in June 2026, they organized a joint exhibition called "The House of Making" with brands from countries like Spain and Portugal. The venue was the Asia House, a historic building in Copenhagen's old harbor.

“Many Japanese brands tend to put their 'Japaneseness' front and center, but we're focused on a different kind of presentation. By collaborating with international brands and creators, we build our exhibitions around the idea of how to stand out and how to create a lasting impression.”

For this exhibition, ARIAKE focused on telling the stories behind the furniture by showcasing the entire creative process—from sketches and prototypes to the very tools used. They also hosted a talk event featuring representatives from the collaborating brands, who shared their own brand stories and anecdotes.

This approach extended to offering tea and sake from Saga, creating a rich, all-encompassing experience throughout the space. Instead of simply placing furniture as the main attraction, ARIAKE views its pieces as part of a comfortable environment for people to gather. This philosophy solidifies a unique value that defies trendy categorization.

As ARIAKE approaches its 10th anniversary next year, the brand is already sketching out a vision for the next decade. The goal is to evolve into a truly global brand and establish itself as a launchpad for up-and-coming young designers.

Moreover, their vision for manufacturing extends beyond Japanese factories. They aim to build a production model that leverages local materials and artisanal skills in regions like Italy and the United States. By creating "Made in Italy" and "Made in USA" ARIAKE pieces, they envision a brand that transcends geographical production boundaries.

What began as a bold endeavor in the small furniture-making town of Morodomi, Saga, is now evolving into a global co-creation platform. By connecting with makers worldwide, ARIAKE aims to create a system that brings joy to everyone involved.