Seeking the Artisans

Tomo and Wakaba Enokida, the fifth-generation heads of the Mashiko ware kiln, Enokidagama, continue a rich tradition while crafting pottery that reflects their unique artistic sensibilities. This article delves into their journey from music to ceramics and their approach to craftsmanship, one that is rooted in the *Mingei* philosophy and the rhythms of everyday life.

Toshiyuki Matsubayashi of Asahiyaki has developed 'osaa,' a new tableware collection, in collaboration with a Scandinavian design studio and several restaurants. This piece explores how they are extending Asahiyaki's philosophy—tableware that evolves with its user—beyond the realm of traditional tea ware and onto the modern dining table.

Koji Masubuchi of Kouzangama has built a kiln that balances handcrafted pottery with large-volume orders, all while respecting the individuality of each artisan. While inheriting tradition, he continues to explore new possibilities for Kasama ware, such as developing the thin and light "Helka Ceramica."

After evacuating due to the Great East Japan Earthquake, Manabu Kondo, the 9th-generation head of the Tokichiro-gama kiln of Ohori Soma Ware, returned to the Ohori district in Namie Town, Fukushima, in 2023 to open a new kiln. While dedicated to upholding tradition, he is striving to revive the pottery town and bring back the landscape of craftsmanship.

Kengo Kabashima of Legnatec Co., Ltd. shares the story of how the furniture brand "ARIAKE" was launched from a retreat-style workshop with international designers. Thanks to a unique development system where artisans and designers collaborate on prototypes, the brand has now grown to be sold in over 20 countries worldwide.

“Maiwai,” passed down in Kamogawa, Chiba, originated as celebratory garments worn by fishermen to mark large catches. Riki Suzuki, the fourth-generation head of Suzusen, inherited the family business after experiences abroad and is bringing Maiwai rooted in Boso fishing culture into the present day.

In the Kurobane district of Otawara City, Tochigi Prefecture, you'll find the indigo dyeing workshop Kurobane Aizome Konya, a business that has continued since the Edo period.

Nestled by the Myoshoji River in Tokyo's Ochiai, Shinjuku Ward, is Some no Sato Ochiai, a general incorporated association dedicated to preserving the traditional dyeing arts of Edo Sarasa and Edo Komon.

Yame Chochin (lanterns) are a traditional craft passed down through generations in Yame City, Fukuoka Prefecture.

The origins of Banko-yaki are quite chic. In the 18th century, Rozan Nunami, a wealthy merchant from Kuwana (Mie Prefecture), was so driven by his passion for tea that he opened his own kiln.

"Yachimun no Sato" in Yomitan Village, Okinawa, is a celebrated hub for local crafts.

Ikutouen, a Tsuboya-yaki kiln in Tsuboya, Naha City, has continued yachimun pottery for over 300 years. Wakana Takaesu, the sixth-generation successor, is developing systems that connect production, sales, and experiences while carrying forward the “scenery of Tsuboya” to the next generation.

In Koriyama City, Fukushima Prefecture, lies "Deko Yashiki," a village of artisans that has thrived since the Edo period.

How many people have actually combed their hair with a handmade boxwood comb? Chances are, most have never even held one.

In Asato, Naha City, Okinawa, sits the Nakamine Shamisen-ten, now celebrating 65 years in business.

In Shuri Yamagawa-cho, Naha City, Okinawa—a land that still echoes the days of the Ryukyu Kingdom—you'll find Kakuman Shikki, a venerable Ryukyu lacquerware establishment with a history spanning over 120 years.

Welcome to Haebaru, a town in Okinawa Prefecture right next to Naha City.

Kofu, Yamanashi, a city that once prospered as a post town on the Koshu Kaido highway.

Once, Tokyo was home to countless coopers. Today, however, only one person carries on the technique.

With over 130 years of history, Minakuchi Shuzo has been brewing sake in the heart of Dogo Onsen, one of Japan's most famous tourist destinations.

Sekioka Woodblock Print Studio carries on a traditional woodblock printing lineage dating back to the Edo period.

Moriyama Ward, a long district stretching across northeastern Nagoya.

Saijo City, Ehime Prefecture. Every October, the entire city buzzes with excitement for its autumn festival, where "danjiri" floats take center stage.

When you look at a finished pearl, you see a serene and beautiful object.

Amid the traditional imagery of Tobe ware, one finds vessels adorned with strikingly free-flowing lines.

Hachioji, a city in Tokyo once celebrated as the "City of Mulberry," has a rich history of prosperity built on sericulture and weaving.

Nestled in the mountainous Nao district of Saga Prefecture, Nao Tesuki Washi is a craft that has been passed down for approximately 330 years.

ISAMI Corporation has been producing tabi in Gyoda City, Saitama for 120 years. As a major production area, Gyoda still preserves artisans’ skills and history. Building on tradition, the company is now taking on the challenge of redefining tabi beyond traditional wear and promoting modern Japanese style globally.

Once home to over 860 umbrella makers across Fukui and Ishikawa, the industry has declined to a single production base, Fukui Yōgasa, which continues research and development to create a new umbrella culture rather than simply preserve the industry.

Located in Iriya, Taito-ku, Tokyo, Nisshin Kikinzoku is a workshop producing Tokyo silverware rooted in the philosophy of timelessness and functional beauty. As part of the Hirata school of silversmiths serving the Edo shogunate, it has inherited techniques for 400 years. While preserving core traditions, it continues to explore new values.

Nakajima Seikichi Shoten is a long-established maker of shogi pieces, emphasizing careful material selection, natural drying, and specialized craftsmanship. The company shifted from mass production to quality-focused production, pursuing consistency across each set of 40 pieces. While facing challenges such as material shortages and a lack of craftsmen, it continues efforts to sustain shogi culture and craftsmanship.

Kyukei Goto, head of Goto Kyukei Kamakurabori Gallery and a 29th-generation descendant of the Buddhist sculptor Unkei, lost his father and master at the age of 20. The article traces how he developed his own style and creates works suited to modern life through silent dialogue with pieces left by previous generations.

Kiyohara Orimono has preserved the advanced hand-weaving technique of tsuzure for over 400 years. Its work ranges from imperial offerings and culturally significant festival textiles to contemporary art and collaborations with global brands, continuing to expand across eras.

“Urushigei Nakajima” continues the tradition of Edo lacquerware in Tokyo. Yasuhide Nakajima, the 11th-generation head and a certified master craftsman, has worked with lacquer for 60 years. The article explains why he insists on using natural lacquer despite the dominance of synthetic coatings and highlights his craftsmanship.

Mino washi has a history of 1,300 years, and a craftsman is working toward its future. Koichi Tsuji, the third-generation leader of Marujyu Paper Manufacturing Cooperative in Mino City, has taken over his grandfather’s factory and is rebuilding the washi industry.

Tsumami kanzashi is a traditional Japanese craft dating back to the Edo period. In a workshop in Takadanobaba, Tokyo, these ornaments are still created from small pieces of silk. The article follows Tsuyoshi Ishida, third-generation owner of Ishida Shoten, and his approach to preserving and evolving the craft.

In Takasaki, Gunma, known for producing 80% of Japan’s lucky daruma dolls, a craftsman creates forms of wishes by instilling prayers into paper.

When you work in the travel industry, you can't help but notice the unbreakable bond between a place and its culture.

Nakakin Glass Co., Ltd., located in Edogawa, Tokyo, has produced Edo glass since 1946. Its founder, Kingo Nakamura, developed the Pokan method, enabling two-layered colored glass and bringing rich color expression to Edo Kiriko, which had previously been transparent.

Ishiori Shoten, an indigo dye workshop in Kazo City, Saitama, has continued natural fermentation dyeing since its founding in 1910. The fourth-generation owner, Shingo Ishizuka, preserves tradition while pursuing new approaches such as apparel production, expanding sales channels, and collaborations.

Bamba Dyeing Factory in Kyoto preserves kata-yuzen techniques through a division-of-labor system while expanding into original furoshiki products, overseas markets, and workshop-based experiences. Fourth-generation owner Norio Bamba focuses on building sustainable business models to keep traditional crafts viable as an industry.

Oriental Carpet, known for supplying carpets to places such as the Imperial Palace and Kabuki-za Theatre, has preserved hand-weaving techniques for 90 years. Through collaborations with designers and architects, the company established the “Yamagata Dantsu” brand.

“Kaguno Azuma,” based in Wakayama, is led by fifth-generation craftsman Fukutaro Azuma. While specializing in kiri tansu, he incorporates lacquer, raden, and modern technology to explore new forms of traditional craft. His work includes collaborations with brands such as genten, MARKS&WEB, Lexus, and Philip Morris.

Yuki Tsumugi, a silk textile produced mainly in Yuki City, Ibaraki, is known as one of Japan’s three major tsumugi. Okujun Co., Ltd. accounts for more than half of the production share in this region. The article explores the value of time-intensive craftsmanship and the meticulous handwork of artisans.

The moment you step inside the Yamagata workshop, the atmosphere shifts.

Inuyama Castle, one of Japan’s oldest surviving keeps, stands by the Kiso River. Inuyama ware has been produced as official kiln ware for the Naruse family, the castle’s lords. The Ozeki family has inherited the kiln since 1842, with the 7th-generation Sakujuro Ozeki Tatsushi currently leading it.

Higo Zogan from Kumamoto is a traditional craft known for its contrast of black iron and gold or silver inlay. Yuji Osumi, head of the Mitsusuke workshop and chairman of the Higo Zogan Promotion Association, carries on the tradition. He also explores new applications to expand its possibilities beyond conventional uses.

Mud dyeing, created through the natural environment of Amami Oshima, is a key process in Oshima Tsumugi with a history of 1,300 years. However, this traditional technique is now facing the risk of decline.

Maruo-yaki is a kiln in Amakusa, Kumamoto, originating in the late Edo period when water jars and clay pipes were made as a side job during the farming off-season. Since then, it has adapted to changing times and now operates as a workshop open to the local community.

Kanemasa Meriyasu Co., Ltd., based in Wakayama, has built a unique position in circular knit textiles since its founding in 1964. The company continues to pursue innovation rooted in tradition. This article features third-generation leader Kohei Hyakkendani, exploring their philosophy of unique manufacturing, technological development, and the background behind launching their factory brand.

Oshima Tsumugi is known as one of the most intricate textiles in the world, with a history of 1,300 years rooted in the natural environment and lifestyle of Amami. Today, however, it faces challenges such as a shortage of successors and a shrinking market.

Tokoname, one of the Six Ancient Kilns and the largest production area, developed through its high-quality clay resources. This article introduces ceramic artist Yohei Konishi, who creates Tokoname teapots, along with his techniques and philosophy behind the craft.

Chichibu Meisen, a silk textile proudly produced in Chichibu, Saitama Prefecture, became a beloved fashion fabric for women during the Taisho Romantic and Showa Modern eras. Woven using the hogushi resist-printing technique, it is distinguished by its bold, expressive patterns and was once immensely popular as a stylish yet casual everyday kimono fabric.

Edo Kimekomi dolls are traditional Hina dolls with a history of over 270 years. Kakinuma Ningyo has continued this craft for three generations in Koshigaya, Saitama. Toshimitsu Kakinuma expands the possibilities of Kimekomi by integrating new sensibilities and technologies.

Oshima Tsumugi, a traditional craft of Amami Oshima, is known for its intricate weaving but faces challenges such as a shortage of successors and low wages for artisans. Shingo Minami, the third-generation leader of Yumeorinosato, is addressing these issues directly.

“Jewelry Sashou” in Fukagawa, Tokyo, is a workshop that inherits the techniques of Tokyo Chokin. It handles rare remake jewelry and repairs, attracting customers with meaningful pieces. The article explores Shinichi Sashou’s craftsmanship combining traditional and modern techniques.

Nara brushes are traditional crafts with over 1,000 years of history and are considered the oldest brushes in Japan. Their existence was recorded in the Taihō Code of 701, developing alongside writing culture. This article features an interview with craftsman Matsutani at Akashiya.

Kumihimo, once essential for samurai sword cords and kimono accessories, is a traditional Japanese craft dating back to the Nara period. Iga City in Mie Prefecture has long sustained this technique, and “Iga Kumihimo” is known as one of Japan’s three major braiding traditions. However, demand has declined with the shift to Western clothing, and the number of workshops has decreased from over 100 at its peak to around 18 today.

Shigaraki-cho in Koka City, Shiga Prefecture, is known as one of Japan’s six ancient kilns, producing ceramics with a simple and robust character. Since its founding in 1939, Uzan Kiln has continued to evolve its craftsmanship, creating both large ceramic works and small items suited to modern lifestyles.

Tsugaru Vidro is a craft defined by over 100 colors of glass and nine forming techniques. Artisans maintain strict control over weight and quality while working by hand to achieve consistency. A unique training system supports skill development and passes techniques and philosophy to the next generation.

Tsugaru Vidro is a glass craft that reflects Aomori’s four seasons like a kaleidoscope. Originating from fishing floats, it has survived two major crises to reach its current form. The article traces how artisans adapted their techniques and created new value amid changing times.

Homespun in Iwate developed from traditional winter handcrafting, with British techniques introduced in the Meiji era. Founded in 1962, Michinoku Akanekai provides work for women and continues producing hand-spun, hand-woven wool textiles.

Picture frames play a supporting role in enhancing artworks. “Tokyo frames,” created through skilled craftsmanship, are designated as a traditional craft of Tokyo. Daichi Kurihara of Fuji Seigaku in Arakawa, Tokyo, is a young artisan who once aspired to be a fashion designer.

Amid conflict with his father, a Living National Treasure, and an interest in contemporary art, Shuji Nakagawa developed the philosophy that “craft is about We.” This part highlights how that thinking led to innovations like the “konoha” wooden bucket and cross-disciplinary collaborations.

The technique of wooden bucket making is said to have been introduced from the continent about 700 years ago. At Nakagawa Mokkougei Hira Workshop, traditional wooden buckets are adapted to modern life and expanded through collaborations with other fields.

“Transparent Tsugaru-nuri” reveals the hidden brilliance of raden through light. This new expression in the traditional craft of Tsugaru lacquerware overturns its conventional image of deep, opaque finishes.

In 2023, a cast metal work using the “Fukiwake” technique, where two metals blend together, was acquired by the Smithsonian. Created by Hannya Chuzo Foundry in Takaoka, Toyama, it reflects over 150 years of tradition and innovation recognized worldwide.

Matsui Kigyo, based in Johana, Toyama, has preserved the tradition of rare shike silk made by two silkworms for 148 years. The company is expanding its applications into interior and beauty fields while creating new value from its traditional techniques.

Echizen Uchihamono, made in Echizen City, Fukui, is a traditional craft with around 700 years of history. Ryusen Hamono has inherited this technique and gained recognition domestically and internationally through its own brand. Fourth-generation leader Taiji Masutani works on blade finishing and product development.

Izumi Glass, a soft-type traditional craft developed after modern glass technology was introduced to Japan, is explored through an interview with Yasuhiko Satake of Satake Glass. The article covers its role in the imitation pearl industry, production methods, the shift to individual demand, and challenges such as the decline in artisans.

Nambu Kodai Katazome, a dyeing technique from Morioka City, Iwate Prefecture, has a history of over 400 years. Its patterns, once used on samurai garments, are preserved by Ebisuya Onosensaisyo. All processes, from stencil carving to dyeing, are still carried out by hand.

Soichiro Uenishi of Sosuke Kobo, the sole successor of Wakasa Agate Craft, entered the world of traditional craftsmanship after returning to his hometown and has inherited a technique with a history spanning nearly 300 years. While continuing to create works that highlight the natural beauty of agate, he is also working to revive the region through initiatives such as the launch of the new brand, MENOU.

This article introduces Tanaka Hat, a straw hat maker based in Kasukabe, Saitama Prefecture, that has been crafting straw hats since 1880, along with the work of its sixth-generation owner, Yu Tanaka. While preserving traditional handcrafted production, Tanaka Hat is building new connections with customers through a brand strategy that communicates the history and stories behind its craftsmanship.

As third-generation successors to Takahashi Embroidery, sisters Mami Endo and Yuko Saito carry on the tradition of Edo embroidery by sharing different roles within the workshop. Alongside creating traditional embroidery for kimono, they are introducing the value of handcrafted craftsmanship to younger generations and international audiences through the development of new products such as Komamon.

Hideki Kiuchi, the third-generation head of Kiuchi Rattan Co., Ltd., carries on the tradition of rattan craftsmanship with meticulous attention to every stage of production, from selecting materials to manufacturing. Looking toward younger generations and international markets, he is opening up new possibilities for the craft by developing products such as uchiwa (traditional Japanese fans) and folding fans, while shaping the future of rattan craftsmanship.

Hyozaemon Co., Ltd. continues the tradition of crafting Wakasa lacquered chopsticks with natural lacquer, guided by the belief that “chopsticks that go into your mouth are part of your food.” Through efforts to promote chopstick culture and encourage resource circulation, the company is working to preserve Japan’s food culture and traditional craftsmanship for future generations.

Kohei Murata, the third-generation successor of Rakugei Kobo, carries on hikihaku—a traditional Nishijin weaving technique—while exploring new forms of expression that make use of the unique character of antique and fired foil. While preserving the essence of tradition, he embraces new technologies and collaborations across different fields, creating work that helps shape the future of Nishijin weaving.

Harappa Co., Ltd. carries on the techniques of Harayama Textile Mill, founded in 1899, creating products that bring Aizu Momen—a traditional cotton textile with a history spanning some 400 years—into contemporary life. While preserving its distinctive striped patterns and the craftsmanship of skilled artisans, the company also embraces new designs, sharing the appeal of Aizu Momen with audiences in Japan and around the world.

Kurotori Forging Workshop preserves the approximately 150-year-old tradition of Tosa forged blades while crafting knives tailored to the needs of each individual user. Through its dedication to freehand forging and heat treatment, as well as the development of new products and hands-on workshop experiences, the workshop is committed to carrying this tradition into the future.

Thank you as always for reading Artisan.We are pleased to announce the launch of three new content series that take a multifaceted look at Japanese crafts through the lenses of skill, spirit, and the support behind its heritage.

Tatsuya Arai of Kuno Dyeing Factory Co., Ltd. shares the history, appeal, and unique value of Arimatsu Shibori as a one-of-a-kind textile tradition. By adapting techniques once used primarily for traditional Japanese garments to clothing and interior products, and through collaborations with brands in Japan and abroad, he is expanding the possibilities of this centuries-old craft.

Masao Koishihara of Yushisha is dedicated to preserving and passing on the tradition of fujifu—a textile once known as the “phantom fabric”—through the creation of obi woven with wisteria fiber. While carrying forward an ancient weaving tradition rooted in harmony with nature, he is nurturing the future of fujifu through tree-planting initiatives and community engagement.

Soichiro Nishimura, the sixth-generation head of Nishimura Textile, the oldest Hakata-ori weaving house, carries on a legacy of craftsmanship and history spanning more than 160 years. Alongside producing traditional obi, he is expanding the possibilities of Hakata-ori through collaborations with architecture and contemporary art, opening new paths for this historic textile tradition.

Maida Senga Kougei, a studio in Kanazawa, Ishikawa Prefecture, produces Kaga Yuzen textiles through a fully in-house process, creating works with a strong emphasis on research and live sketching. While preserving these traditional techniques, Hitoshi Maida is also exploring new applications beyond kimonos, such as Yuzen art panels and decorative glass.

Based in Nishiwaki, a major Banshu-ori textile region, Maruman Co., Ltd. leverages its high-quality jacquard technology to develop its in-house brand "POLS" and material brand "MARUMAN JACQUARD." Through creative textile expressions and collaborative craftsmanship across the region, the company aims to generate new value for Banshu-ori and pass the tradition on to the next generation.

Keiji Okamoto and Ema Okamoto of Nishijin Okamoto talk about the history and techniques of Nishijin Kinran weaving, a craft passed down through four generations. While preserving traditional weaving methods, they are incorporating digital technology and active communication to build a sustainable future for artisans and the entire production region.

Mina Takaoka took over her family’s gold leaf business, actively working to build a sustainable production system and pass down artisan craftsmanship. While re-evaluating the historical value of gold leaf, she aims to create modern relevance through new ventures like "Haku WORKS" and international expansion.

Hiroyoshi Chinzei, CEO of Hidakawashi Co., Ltd., shares the history and manufacturing process of Tosa Tengujo Paper, a craft preserved for over 50 years. Recognized as the world's thinnest handmade paper and widely acclaimed in the field of cultural property restoration, the company is also taking on the challenge of exploring new artistic expressions and applications.

Rihei Ban, the 18th-generation head of Tokyo Matsuya Co., Ltd., and Karakami master Yuya Takasugi discuss their efforts to revive and preserve Edo Karakami—a craft that was once on the verge of being lost. Through rediscovering traditional patterns and training craftsmen in their own studio, they continue their mission to pass Edo Karakami on to the next generation.

Hiroshi Hatakeyama, head of Hatakeyama Cloisonné Studio in Arakawa Ward, Tokyo, creates works using over 200 shades of enamel glaze and the plique-à-jour (totai) technique, all while preserving the tradition of Tokyo Cloisonné. Carrying on the history and craft of Tokyo Cloisonné—which has also been applied to industrial products—he continues to take on new challenges in artistic expression and public outreach.

Ryo Takeuchi, representative of Takeuchi Hiroshi Shoten, connects dye houses and production hubs as a fabric wholesaler while sharing the charm of Chita cotton through a concept store and his brand, "WATAKUMI." Capitalizing on the characteristics of traditional unbleached white cotton, he works to reintroduce it through products suited for modern lifestyles.

Ryotaro Kato, the 8th-generation head of the historic Kobei-gama kiln, embodies the pioneering spirit deeply rooted in Mino ware through his work with Momoyama-style ceramics and wood-firing anagama kilns. Drawing on his studies in Kyoto and his calligraphy practice, he explores new artistic expressions that integrate modern sensibilities while remaining grounded in tradition.

Yoshihisa Nakaya, head of Nakaya Pile, leverages the traditional Kinkazan weaving techniques of Hashimoto City, Wakayama Prefecture, to manufacture textiles for home interiors and vehicle upholstery. By blending traditional Japanese weaving craftsmanship with Western design concepts, he is actively exploring new markets, including outdoor gear.

Kazuko Ikegami, who operates Ako Dantsu Workshop Gallery Higashihama, continues to craft and promote Ako Dantsu rugs, preserving the value of the art form inherited from her grandmother. While upholding traditional auspicious patterns and techniques, she is taking on new challenges to expand her product line and share this craft with younger generations and international audiences.

As the head of Ryusen-gama, a historic Tobe ware kiln, Asato Ikeda crafts unique works through thin, sharp forms and experimental firing, all while honoring traditional techniques. Through continuous research into glazes and wood-firing anagama kilns, he is actively taking on new challenges to pioneer new expressions in Tobe ware and expand into international markets.

Isao Kusunashi, President and CEO of Kusunashi Monori Co., Ltd., reflects on Imabari towel's journey and his company's legacy of innovation passed down from its founder. The discussion highlights their 100th-anniversary initiatives, including new bio-refining technology driven by R&D and the launch of their original brand, "ROYAL-PHOENIX OF THE SEAS."

Colorful masks that catch the eye with their captivating presence.

Imabari City, Kikuma Town in Ehime Prefecture, is the birthplace of "Kikuma-gawara," a rooftiling stile known for its elegant silver luster.

"Ozu Washi," handed down in Ikazaki, Uchiko, Ehime Prefecture, is a traditional form of paper that traces its history back 350 years to when it thrived as a source of income for the Ozu Domain.

Mafu Okai started as a wholesaler of handwoven Nara Sarashi, later establishing its own brand.

A wine glass characterized by its captivatingly beautiful wood grain.

With sickles, hatchets, and kitchen knives... this is Tsubame-Sanjo in Niigata Prefecture, known as a town of metalwork.

The ceramics made in the vicinity of Hasami Town in Nagasaki Prefecture are referred to as "Hasami-yaki.

Takeno Senko started as a wholesale fabric manufacturer specializing in roll printing before launching its own factory brand.

Known far and wide, "Edo Kiriko" is a traditional Japanese craft that has continued since the Edo period.

In the Fukui Prefecture, particularly around Sabae City, the lacquerware produced is known as "Echizen lacquerware.

Formerly a wholesaler for Tango Chirimen textiles, kuska fabric has rebranded and relaunched.

Rainy days often bring on a feeling of gloom. But with a favorite umbrella, not only can your spirits lift, you might even find yourself looking forward to rainy days.

Fukui Prefecture stands among Italy, China, and South Korea as a major eyewear production hub.

Announcing the start of Artisan’s YouTube channel!

Soft cords, hard cords, rough cords, smooth cords. There are even cords that glow in the dark and those that have tubes running through them.

Brushes are everyday tools used in various aspects of our lives, including cleaning and maintenance.

Bingata, designated as an Important Intangible Cultural Property of Japan, is a traditional dyeing technique alongside Yuzen dyeing and Komon dyeing.

The clear blue sea and lush greenery span across Ishigaki City, Okinawa Prefecture.

Raden refers to a type of decoration applied to lacquerware, using shells like nacre to create a shimmering beauty.

A comb with a warm yellow tint. It feels surprisingly familiar in your hand and glides smoothly through your hair.

Located in the Shuri district of Naha City, Okinawa, Shuri Textile Museum "suikara" serves as a facility dedicated to passing on the two traditional crafts of Ryukyu bingata and Shuri-ori cloth to the next generation.

Tatami is a unique element of Japanese traditional culture, once an essential part of Japanese homes.

Located in Hita City, Oita Prefecture, which along with Fukuyama City in Hiroshima Prefecture and Shizuoka City in Shizuoka Prefecture is regarded as one of the three major production areas for geta.

The intricate design and deep hues that draw you in.

"Uchiwa" (referring to a round hand fan) is a stylish summer tradition that continues to enjoy enduring popularity in our daily lives.

Tin, a metal that is easy to work with and is not harmful to the human body, has been used for centuries in the production of eating utensils and crafts.

Known for their beautiful quality and soft texture, Muto Corporation's products range from fashion to interior decor, spinning a diverse array of threads from the world's thinnest to the thickest under the motto "You'll know when you touch it.

Sanyo Leather Co., Ltd. is a tanner (leather manufacturer) with its headquarters and factory located in Himeji City, Hyogo Prefecture.

Gifu City in Gifu Prefecture is Japan’s largest production area for Japanese umbrellas, dating back to the Edo period.

Embroidery is an indispensable technique for decorating clothing.

Nara Prefecture is famous as "Japan's No.

Fashion Tech News launches a new project, ‘Artisan’.

Tortoiseshell crafts, made skillfully from turtle shells, claws, and plastrons, have a history of over 300 years.

Located in Hachioji, Tokyo, Ishizuka Senko Limited.

Located in the northwest of Saitama Prefecture, the Chichibu area is surrounded by breathtaking natural beauty.

Glass tableware used in homes and restaurants is a common sight.

When the weather gets chilly, we yearn for woolen products.

Many of the colorful clothing and fashion accessories we see near us are dyed using chemical dyes (synthetic dyes).

"Kinsai" is a decorating technique where gold and silver foils, gold dust, and other materials are glued down.

Echizen Washi has a long history of 1500 years. Papermaking artisans of Echizen have continued to develop various techniques in accordance with the changes in times while inheriting the old and high craftsmanship.

Kurume Kasuri textiles, dyed with authentic natural indigo, captivates with their unique texture.

Most people are likely to own at least one piece of clothing made from denim.