Our Roots: The 'Ukidama' Fishing Float

The story begins back in 1949. In the land of Aomori, Hokuyo Glass was established as a factory producing 'ukidama'—glass floats for fishing nets. During the late 1940s and early 1950s, scallop farming began to boom in Aomori, and demand for these floats skyrocketed.

"A single fisherman might use over 500 floats. With hundreds of fishermen out there, you can imagine we were producing a staggering number," Nakagawa reminisces.

Each Hokuyo Glass ukidama was engraved with the kanji character '北' (kita, meaning 'north') as a symbol of pride and confidence. In an era when adding an emblem was itself an unusual concept, it was a quiet declaration of the artisans' pride: "Our glass is tough."

That quality eventually traversed the ocean. After drifting across the Pacific for two and a half to three years, floats bearing the '北' mark washed ashore in the United States. Unable to read the kanji, Americans mistook the character for two F's side-by-side and dubbed it the 'Double F (FF).' This name would later be adopted for one of Hokuyo Glass's product lines.

Day after day, the artisans relentlessly crafted ukidama using glassblowing techniques. And the more they produced, the more refined their skills became. This daily practice of glassblowing would prove to be the unique and invaluable asset that would one day save the company.

Two Existential Crises: The Rise of Plastic and the Winds of Change

The production of ukidama seemed to be smooth sailing. But the tides of change were unforgiving. A new material emerged that would threaten their very existence: plastic.

It was lightweight, durable, didn't require the extra netting of its glass counterparts, and could be mass-produced by machines. Fishermen flocked to the new plastic floats. Ironically, the inventor of this game-changing plastic float was none other than the founder of Iris Ohyama, a company that would go on to become a major Japanese manufacturer.

"Production of our glass floats came to a complete standstill."

Having lost their largest customer base, the company was on the brink of collapse. Yet, the artisans still possessed the advanced glassblowing skills they had honed making floats. Their new motto became, "If we can make a float, we can make a vase." They adapted their techniques to create colorful vases, forging a new path to survival. Although the workforce shrank from 300 to around 70, the company pulled through. Back then, few factories produced large vases, and Hokuyo Glass's creations once again found their way into homes and public spaces.

But this period of stability was short-lived. In the late 1980s, lifestyles began to shift, and the tradition of displaying large vases in the *tokonoma* (a decorative alcove in a traditional Japanese room) started to disappear.

"They used to be in every home, not to mention in the principal's office or on a bank counter. That whole custom just vanished."

Once again, their products had no market. This was the second, and even more severe, crisis.

The Birth of "Tsugaru Vidro": A New Beginning as Aomori's First Designated Traditional Craft

"Let's make tableware next."

Although the price per item was lower than that of vases, they pinned their last hopes on tableware, an everyday essential. And so, their challenge to produce in larger quantities began.

Just then, a major turning point arrived. Aomori Prefecture had launched a new "Traditional Craft Designation System." Hokuyo Glass was designated as its very first recipient, and with this honor, the "Tsugaru Vidro" brand was officially born.

But they wouldn't just make things aimlessly. They decided to create with a "concept."

The inspiration they discovered was right at their feet: the stunning nature of Aomori. "Aomori is an incredibly beautiful place, with four distinct seasons, each lasting about three months," explains Nakagawa. Aomori boasts the magnificent cherry blossoms of Hirosaki Castle in spring, the vibrant energy of the Nebuta Festival in summer, the fiery autumn foliage that sets the mountains ablaze, and the serene winter snow that blankets everything in white. Their concept was to capture these beloved four seasons of Aomori in the colors of the glass. This idea became the very soul of Tsugaru Vidro.

To faithfully recreate the essence of Aomori's nature, the artisans tirelessly developed one new color after another. Today, their palette has grown to over 100 different shades.

They even infused the soul of Aomori into the raw materials. Near the factory lies Shichiri-Nagahama Beach. When they tried melting sand from this very beach, impurities in the sand reacted to the high heat, creating a beautiful deep green glass.

"If you melt regular, clean sand, it becomes clear and colorless. But the sand from this beach, thanks to its various impurities, transforms into this beautiful green."

It was a beautiful miracle, a gift from nature itself.

Partnering with Starbucks: A Modern Challenge Balancing Tradition and Innovation

Embodying the seasons and nature of Aomori, "Tsugaru Vidro" soon captured the hearts of many. Its growing reputation led to new and exciting opportunities.

They collaborated with Starbucks to co-develop a line of glasses exclusive to Aomori Prefecture. This partnership was a perfect fusion of Starbucks' philosophy of honoring local culture and the unique story of Tsugaru Vidro. The initiative was a resounding success, eventually leading to the development of original products for the "Starbucks Reserve® Roastery Tokyo," one of only six such specialty stores in the world.

The glass factory that once only knew how to make fishing floats now stands shoulder-to-shoulder with some of Japan's most iconic brands, continuously taking on new challenges armed with its traditional craftsmanship.