A Rule-Breaking Artisan Embracing New Technologies

Could you share the story behind Jewelry Sashou's origins?

Jewelry Sashou was founded in 1912, the first year of the Taisho era. It was a workshop that inherited the metalworking techniques designated as an Intangible Cultural Property of Koto City.

The art of metalworking flourished in the early Edo period when samurai began to adorn their sword scabbards with intricate goldwork for good luck. It consists of three techniques: *chukin* (casting), where molten metal is poured into a mold; *tankin* (forging), where metal is hammered with a metal or wooden mallet; and *chokin* (engraving), where a chisel-like tool called a *tagane* is used to shape or carve patterns. Among these, *chokin* is designated as a traditional craft by the Tokyo Metropolitan Government.

Originally, we were a lumber wholesaler, but my great-grandfather, a savvy merchant, was a heavy drinker and passed away early. My grandfather, who was not in good health, closed the lumber business and became an apprentice in metalworking to acquire a skill. That's how the workshop began. This neighborhood was the town of the Tatsumi geisha, known for their chic and dashing commoner's artistry, embodying the spirit of Edo. My grandfather was also a highly artistic person, so he created decorative items like *kanzashi* (hairpins) and *obidome* (sash clips) for the geishas.

As the third-generation artisan, we hear you chose to pursue wax modeling instead of traditional metalworking. What led to that decision?

Wax modeling is a newer technique from the United States where you carve a prototype out of wax and then replace it with metal through casting (*chuzo*). I was captivated by the dynamic forms possible with wax modeling and studied under a leading expert in the field.

Around that time, Japan was experiencing an unprecedented silver boom. Brands were competing to release silver accessories, and it was trendy to walk around in bell-bottoms wearing Chrome Hearts. After training for about a year, I honed my skills working as a prototype creator for accessories and on projects like the Ashura statue and accessories for MIKIMOTO. I took over the family business after I turned 30.

It sounds like your skill set extends far beyond traditional techniques.

Right from the beginning, I've been a bit of an outlier, employing a wide array of techniques beyond just traditional crafts. While the masters of Tokyo Chokin craft their pieces using only a single *tagane*, I utilize the full spectrum of metalworking skills—*chokin*, *tankin*, and *chukin*—in addition to wax modeling. Because what I do and the techniques I use aren't 100% traditional crafts, I sometimes feel the difficulty of defining my position.

I'm a member of the Tokyo Chokin association, a craft designated as a traditional craft by the Tokyo Metropolitan Government. Yet, because I employ such a diverse range of techniques, I wasn't officially recognized as a successor to "Kinko" (metalwork), an Intangible Cultural Property designated by Koto City. You could say I'm seen as a maverick. But it's precisely this versatile skill set that allows me to specialize in jewelry remakes and repairs.

Crafting One-of-a-Kind Remake Jewelry by Embracing Each Customer's Story

Tell us about the remake jewelry you create at Jewelry Sashou.

Right now, there are very few workshops in Japan that specialize in jewelry remakes. During the era of high economic growth, gems sold well and the market was large, so there were studios that also handled repairs. However, as the economy faltered and the community of artisans aged and shrunk, that trend hasn't reversed. It's often more profitable to have customers buy new pieces rather than repair old ones, which is why the practice hasn't become widespread.

Still, there are certainly customers who would rather repair a piece than buy a new one. People come to us from all over the country, often as a last resort after being turned away by other workshops, desperately thinking, "I absolutely want this repaired, I want it remade!" During the COVID-19 pandemic, people were hesitant to buy new jewelry. I feel there was an increase in those who, while finding new pieces to be expensive, cherished the sentiment of passing things down and wanted to give new life to inherited pieces.

What kinds of personal stories do your clients share?

We meet people from all walks of life. One client came in wanting to melt down a silver nameplate that belonged to her father, who had been given three months to live, to create a new silver tag for her child. After hearing her story, I felt it was important to preserve the original piece rather than melt it. So, I decided to split the plate in half and engrave her child's name on it. I felt it was more meaningful to preserve a piece of the father's memory.

We also had a request from a couple visiting from France. They wanted a ring made by combining a Napoleon gold coin that was the woman's family heirloom with an old Japanese silver coin the man had bought in Asakusa. The next day, the man came back alone and said, "I'm planning a surprise proposal at the summit of Mt. Fuji, so I need an engagement ring, too." Since I didn't know her ring size, I cleverly designed the ring with a small opening at the bottom so the size could be adjusted. After his successful proposal, we permanently sized and closed the ring.

It sounds like people come to you for remakes with all sorts of powerful memories attached to their pieces.

During consultations, clients passionately share the deep personal history behind each item. It's a real joy for me to connect with people who cherish their possessions. This drive to repair their pieces, no matter the effort, has pushed me to master a wide range of modern techniques.

For instance, traditional metalworking uses an oxygen torch for welding, but this can cause the metal to harden or require melting the entire piece. By using modern technologies like arc welding, which harnesses an electric arc, or laser welding, we can achieve a more beautiful and precise finish.

I think it's similar to dentistry. When I switched from an old-fashioned dentist to one using the latest technology, I was amazed that I could see the inside of my mouth on a monitor right in front of me, and the treatment was so much less invasive. My focus is always on how to restore a client's irreplaceable jewelry beautifully while putting the least amount of stress on the piece itself. To do that, I use both traditional methods and modern technology. My top priority is always to honor the customer's wishes.

A Sincere Dedication to the Craft, Inherited from a Predecessor

In addition to remaking jewelry, your work is incredibly diverse, from creating accessories presented to the 2025 Deaflympics national team to crafting jewelry for theatrical productions and films for major names like Toho and Takarazuka, and even the iconic butterfly motif for an ANNA SUI ad campaign.

That's right. As the accessory to be presented to the Deaflympics national team, I created the "SV925ペンダント音珠（おんたま）ロジウムメッキ/K18メッキ". I drew inspiration from the movie 『リトル・マーメイド』, specifically the scene where Ariel loses her voice. It made me realize that "a voice is a soul," and so the piece carries the message, "Let's send them our heartfelt cheers."

Working on stage jewelry was a truly rewarding experience. I usually work alone, so collaborating with so many people from the theater world, often late into the night, was like being part of a "school festival" for serious professionals, and I had a blast. With stage jewelry, durability is paramount because it has to withstand repeated wear without breaking. With film jewelry, on the other hand, creating a look of luxury is vital so it appears magnificent on the big screen.

For ANNA SUI, we became the first workshop in Asia to craft a jeweled butterfly motif for one of their ad campaigns. The representative I worked with was so passionate, and I felt a strong desire to meet their expectations and bring their vision to life.

You're active in so many different fields. What's the core principle you value most in your work?

It's all about genuine engagement. That principle is a constant, no matter the project. When I'm remodeling jewelry, I listen intently to the client's story and sincerely embrace the emotions they've invested in the piece.

From there, I approach the object with a clear, untainted mind. While I can accept and work with a client's sentimental attachment, I can't pour my own heart into it. When delivering a wedding ring, for example, I believe the "heart" in the phrase "the artisan crafted this with all their heart" is unnecessary. When I was younger, I used to get too attached myself. But one time, as I was deeply immersed in my work and nearing the final touches, I felt a distinct sensation of the piece leaving me and moving towards its owner. In that moment, I felt I had succeeded in creating a truly great piece of jewelry.

This earnest approach is also something I learned from watching the masters who came before me. I believe traditional craftsmanship isn't just about passing down techniques; it's about inheriting something more, something like a soul. As an artisan, I want to continue creating with care and dedication, always putting my clients first.