Inherited Skills and a 'Matter of Course' Mindset

The process of creating Higo Zogan—carving fine grooves into blackened, tempered iron and hammering in gold or silver threads—seems impossibly delicate and nerve-wracking. But for Osumi, it was a familiar scene from his childhood.

Growing up watching his father and grandfather work silently in the studio, taking over the family business wasn't a monumental decision for Osumi.

"It was only natural for me to do it. I'm simply carrying on what's been passed down for generations as a 'matter of course'—that's all there is to it," he says.

The studio is always filled with the scent of iron filings and the sharp, percussive sound of the chisel. Apprentices and family members move in and out, each absorbed in their tasks, creating a quiet but powerful rhythm. For Osumi, this is both his daily life and a time that brings a sense of sharp focus and purpose.

Today, while leading the Mitsusuke workshop, he also shoulders the responsibility of overseeing the entire craft region as chairman of the Higo Zogan Promotion Association. His daily life isn't just about creating his own pieces; it also involves nurturing the next generation of artisans and steering the course for the industry's future.

The History of Higo Zogan and the Path of Mitsusuke

The origins of Higo Zogan trace back to the Edo period, when Hosokawa Tadatoshi, the feudal lord of the Kumamoto domain, summoned artisans from Kyoto. The embellishments on armor and sword fittings became a way to express the samurai's aesthetic, using the striking contrast between black, gold, and silver.

Back then, this inlay work was more than mere decoration; it was a symbol of a 'samurai's status.' The motifs carved into a sword guard (tsuba) spoke of the owner's rank and personal taste. The Mitsusuke lineage is one of the families that has carried on this craft since the Edo period.

After the Meiji era, as demand for swords declined, a new market for Higo Zogan emerged in the form of tourist souvenirs and decorative accessories. During the honeymoon boom of the Showa period, travelers flocked to Kumamoto from across Japan, and the craft became widely popular as a 'memento of their travels.'

However, as times changed, demand dwindled, and the number of artisans fell. Today, a small team of artisans collaborates to keep production going at the Mitsusuke workshop. "We're no longer in an age of mass sales like we once were," Osumi acknowledges, "but that’s exactly why this is an era for perfecting quality."

The Core of the Technique: 'Suji-uchi' Brings the Work to Life

The Higo Zogan production process flows from 'nunome-giri' (cross-hatching the surface), to hammering in the metal threads, inducing rust ('sabi-dashi'), and finally, 'suji-uchi' (line engraving). Of all these steps, Osumi says it’s the final 'suji-uchi' that 'decides whether a piece lives or dies.'

Once the gold and silver are hammered into the cross-hatched grooves and the surface is polished, a beautiful design emerges. But the work isn't done. The final step involves using a chisel to carve fine lines that enhance the pattern's expression. This finishing touch elevates the inlay from a simple design into a 'living craft.'

"As soon as you carve the lines, the piece instantly gains a new expression. There's a moment where it starts to breathe, as if you've just given it eyes," Osumi explains. His words convey a sense of tension and elation that only a true artisan can know.

The workshop has also introduced a thermo-hygrostat to stabilize the rust-inducing 'sabi-dashi' process, which is highly susceptible to climate changes. In the past, the final finish could be easily affected by weather and humidity, but this scientific approach ensures consistent quality. This philosophy—preserving tradition while flexibly adopting modern technology—is what underpins the craftsmanship at Mitsusuke.

Collaboration and Market Adaptation: Bringing Crafts into Everyday Life

To secure the future of traditional crafts, Osumi is focused on one key question: "How do we get these items into the hands of everyday people?" While traditional crafts are often seen as "beautiful, but not practical," he is actively working to change that perception through collaborations with various other fields.

For instance, when collaborating with companies or on character-themed merchandise, it’s not as simple as just inlaying the original design. The artwork must be redrawn into "lines achievable with zogan inlay." This means it’s not just about providing a technical service; it requires creative input right from the design phase.

He knew he was onto something when he hosted a hands-on workshop. Participants were overheard saying things like, "This is much harder than I expected!" and "I was blown away the moment the pattern emerged." He believes the next step is to move beyond the realm of tourist souvenirs and tap into the desire people have to create and use these items themselves.

Furthermore, he's expanding beyond purely ornamental pieces to create accessories and small, everyday items. He confronts the harsh reality of people saying "I don't need this" head-on, asking instead, "So, what would make you want this?" Osumi's journey is a continuous cycle of trial and error, adapting a rich tradition for the modern era.

Tackling New Materials: Inlaying Eyeglass Frames

Osumi is also pouring his energy into applying the craft to new materials. He's exploring how to apply zogan inlay not just to traditional iron, but also to modern materials like titanium and stainless steel. These materials offer superior durability and help prevent the intricate inlay patterns from fading over time.

A flagship experiment in this area is inlaying eyeglass frames. In today's world, glasses are a common, practical accessory. By embellishing them with Higo zogan, they transform from a simple tool for vision correction into a piece of wearable art, opening up a world of possibilities.

Feedback from abroad has slowly started to trickle in. European buyers have expressed their astonishment, remarking that "It’s like jewelry," while Asian markets are captivated by the "fusion of tradition and functionality." Though still in the prototype phase, there are promising signs that Higo zogan is starting to gain international acclaim.

"Simply preserving tradition isn’t enough for survival. Only by creating crafts that people actually use can we pass them on to the next generation," Osumi explains. A new frontier for Higo zogan is quietly but surely beginning to unfold.