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|Objects of Use are looking forward to welcoming our friends from Japanese woodcraft collective Asahikawa Woodworking and IF-J Holdings Ltd. They'll be bringing with them some of Japan's most beautiful examples of crafted everyday items for the exhibition ‘Yukari’, which will be held in our Oxford store from Friday 8 - Sunday 10 November.||We will be holding an evening reception and ‘meet the designer’ on Friday 8th from 5.30pm to 8.30pm. Please feel free to come along and meet OJI Masanori, designer of many of the beautiful exhibits.
This is a golden opportunity to meet a leading Japanese designer, learn more about the rich manufacturing heritage of Japan and own timeless products.
|Evening reception and meet the designer: Friday 8th November 5.30pm – 8.30pm
Friday 8th - Sunday 10th
Objects of Use
6 Lincoln House
‘I design living products.
‘I have dedicated myself in creating them while considering a design which may connect various things gently and comfortably everyday. I have designed not only a product itself but also its package and graphics while considering overall process of how a product is born.’
|Yukari is a Japanese word used since ancient times to mean ‘relationship’ or ‘connection.’
This time, I would like to hold a series of exhibitions titled ‘Yukari,’ curating handicrafts manufactured in places in Japan I have Yukari with, in the countries I have developed Yukari with. Products that are created with care are created envisioning people yet to see who will eventually pick up and use the products.
The makers hope to relate to the users by giving them gentleness and aesthetics within the products. I would like to make use of the traditional crafting techniques that have been passed down for generations in today's products because I believe it is important to connect the past with the future beyond generations.
A man can feel the connection between himself in the past and himself at the present moment by living a life surrounded by things that are manufactured based on the traditional techniques, fully functional, yet beautiful. He might start thinking that his children should use them as well. And, that fact will make him aware of the connection with the future, and he could live a life with deep satisfaction.
Through the Yukari exhibitions, I would like to bridge the people and the countries to which I am personally connected. And, I am hoping that I could share with many people this substantial feeling that we are all connected.
I would be glad if you could feel this Yukari in your own sense through the beautiful Japanese handicrafts that are manufactured with care.
|Bottle Opener Crescent; Bottle Opener Eclipse; Bottle Opener Frame; Chopping Board Holder; Cutlery Rest Shooting Star; IHADA Fork L; IHADA Fork M; IHADA Fork S; IHADA Knife; IHADA Spoon L; IHADA Spoon M; IHADA Spoon S; IHADA Tape Dispenser L; IHADA Tape Dispenser S; Knife Stand; Paper Weight Rhombus; Paper Weight Square; Paper Weight Triangle; S-shaped Hook; Shelf Bracket L; Stationery Tray L; Stationery Tray M; Stationery Tray S; Tool Holder L; Tool Holder S; Towel Hanger L; Trivet Galaxy; Trivet Moon; Trivet Star; Trivet Sun; ZENMAI Hook Bean L; ZENMAI Hook Bean S; ZENMAI Hook Diamond L; ZENMAI Hook Diamond S; Facet Shot Cup; Facet Cup; Facet Rock Cup; Octagonal Petal Dish SS; Octagonal Petal Dish M; Chrysanthemum Plate SS; Chrysanthemum Plate S; Chrysanthemum Plate M; Curved Flower Plate SS (Fuchi-Sabi); Curved Flower Plate M (Fuchi-Sabi); Bellflower Plate S; Bellflower Bowl S; Mug L Fuchi-Sabi; Mug S Fuchi-Sabi; Pitcher with Lid; Flower Vase SHINOGI S; Flower Vase HEISH S; Flower Vase SHIMENTORI S; Hexagonal Petal Plate; Rhombic Petal Plate; KAKUDO Chopping Board M; KAKUDO Butter Case Maple; KAKUDO Butter Case Cherry; KAKUDO Butter Case Walnut; KAKUDO Bagel Trivet 18 Maple; KAKUDO Bagel Trivet 18 Cherry; KAKUDO Bagel Trivet 18 Walnut; KAKUDO Board S Cherry; KAKUDO Board M Cherry; KAKUDO Board L Cherry; KAKUDO Board XL Cherry; KAMI Mug M; KAMI Schale; KAMI Glass Wide L; KAMI Glass Long XL; KAMI Glass Free S; KAMI Glass Free M; KAMI Glass Free L; KAMI Plate XS; KAMI Plate S; KAMI Plate M; HARIMI Dustpan Small; HARIMI Dustpan Large; KAKE TOSAKA [Crest]; KAKE CHOHOU [Convenient]; KAKE BUSHOU [Lazy]|
I sincerely design products so that my creative essence cuddles up to the user's life.
|Cara Mug Cup; Cara Saucer; Cara Cup M; Paper Lantern NOPPO [Tall]; Paper Lantern MARU [Circle]; Paper Lantern MUSUBI [Drop]|
1975 Born in the city of OHTSU, SHIGA Prefecture
2000 Studied under a wood sculptor TAKAHASHI Yoshiaki
2002 KYOTO Technical Academy
2003 Joined Studio YAZAWA by YAZAWA Kintaro
2007 Founded IBAZEN
|IBAZEN Stool SH48|
1979 Born in the city of Asahikawa, HOKKAIDO Prefecture
2002 Graduated from a technical college
2002 Started working in FUKUSHIMA Prefecture
2006 Founded Studio akarino-tane
|OTONA [Adult] Spoon Birch; OTONA [Adult] Fork Birch; KODOMO [Child] Spoon Birch; KODOMO [Child] Fork Birch; CHIISAKI-HANAIRE [Small Flower Vase] TSURUKUBI [Crane-head]; CHIISAKI-HANAIRE [Small Flower Vase] TOKURI [Sake Cup]; CHIISAKI-HANAIRE [Small Flower Vase] UZUKUMARU [Crouch]; CHIISAKI-HANAIRE [Small Flower Vase] KINEGATA [Mallet]; CHIISAKI-HANAIRE [Small Flower Vase] KINUTA [Stone for beating cloth]; CHIISAKI-HANAIRE [Small Flower Vase] NATSUME [Jujube]|
Born in 1978.
In fall 2007, created to-mo-ni (means ‘Together’ in Japanese); a brand focused on wood as material. Actively participating in web design, graphic design, product design, production, direction, and retail promotion to establish to-mo-ni brand.
Since Spring 2007, working as an executive officer of the creative group, mickle. The objective of mickle is to connect artists and creators to support their activities.
Since 2009, working for Asahikawa Craft Association as an evangelist for the community.
Since 2009, working as an executive committee for AMCC (Asahikawa Mokko (Wooden) Community Camp)
|wrapqraw 64 (S) Walnut; wrapqraw 64 (S) Oak; wrapqraw 64 (S) Maple; wrapqraw 64 (S) Cherry; wrapqraw 96 (M) Walnut; wrapqraw 96 (M) Oak; wrapqraw 96 (M) Maple; wrapqraw 96 (M) Cherry; wrapqraw 128 (L) Walnut; wrapqraw 128 (L) Oak; wrapqraw 128 (L) Maple; wrapqraw 128 (L) Cherry|
Design Studio by Yusuke Hayashi and Yoko Yasunishi.
After their college education, both studied design and founded DRILL DESIGN in the year 2000.They give total project directions in various fields, such as Product Design, Graphic Design, and Interior Design.The products, which are mainly everyday objects such as furniture, stationeries, gardening tools, and kitchen utensils, are available for sale at countries around the world, including the MoMA Store in New York.They have won numerous awards, such as the Good Design special Award.
Born in Kanagawa prefecture, 1975.
Studied economic geography at Gakushuin University.
2011- Professor at Tama art University
2010-2011 Professor at Showa Women's University
Born in Gifu-prefecture, 1976.
Studied sociology at Waseda University.
[ AWARD ]
red dot award product design 2012 (2012)
Good Design Award (2010)
Good Design Special Award (2008)
Good Design Award (2006)
DISPLAY DESIGN AWARD (2004·2005·2006)
[ EXHIBITION ]
Windsor Department (gallery Plot/2011)
Room with AOI HUBER (gallery5610/2011)
Maison & Objects (France/2010-2012)
Paper-Wood Products on sale (onsundays/2011)
MILANO salone satellite (Italy/2010)
DESIGNERS BLOCK in MILANO (Italy/2009)
100% design TOKYO (2005·2007)
Colorful Cord Products (ozone/2003)
|constellation red; gravity tree red|
Daisuke Tsumanuma / Kenichi Yamada
The name of the brand ‘[10¹²] TERRA’ was inspired by the number of cells produced per day (10¹²) and glass cases called terrarium, made for collecting and showcasing plants.
We started this brand to create products that mirror the constant changes of life, full of new discovery.
|Hydro 80:80; Hydro 120:80; Hydro 160:80; Hanging Argyle; Triangular Twist Vase|
Hokkaido was pioneered in the modern era. Perhaps because memories of its development remain vivid, Hokkaido residents are proud of their pioneering spirit. 360,000 people help each other to live in snowy Asahikawa, where the temperature frequently drops to –20°C. Due perhaps to its pioneering history and perhaps due to its severe climate, Asahikawa has drawn in many frank and open artisans, the likes of whom cannot be seen elsewhere in Japan. These artisans have continuously responded to changes in the market and reexamined their craft to meet market needs.
|The origin of Asahikawa can be found in its deep rich forests, which produce globally acclaimed lumber. Since the opening of first sawmill in 1890, Asahikawa has grown with lumber. Asahikawa's forests produce Japanese oak, a superior lumber for furniture, and its cold and dry climate makes it the best place for preserving lumber in an otherwise humid Japan. High quality lumber from around the world is thus collected and stored in Asahikawa. Historically, there has been strong demand for Western furniture in Asahikawa, which has drawn many engineers and artisans to the city. The City government also provides support for the wood product and manufacturing industry, which has helped furniture production technology and industry take root in Asahikawa.||Woodworking in Asahikawa has thus accumulated a variety of technologies needed for high quality production. In the late 1960s, as furniture demand waned, artisans involved in making unlacquered wood products and parts processing began developing original products to launch independent businesses. Craft artists followed and also began to make unique products independently.
During the same period, Asahikawa City commissioned Yoshio Akioka as its supervisor to provide proactive support to local artisans by giving lectures biannually, providing critiques at crafts exhibitions, and giving private instruction to craftspeople. With the results of these endeavours under its belt, Asahikawa has successfully hosted many designers and buyers to hold workshops and provide feedback at exhibitions of crafts and design.
Asahikawa continues to thrive as a site for learning and produce furniture and other wooden handicrafts and products of superior design and quality.
Born in 1969, Hidetoshi joined his father and turnery mentor’s company Takahashi Kogei in 1992 after working at a construction company. In 2007, Hidetoshi released Takahashi Kogei's most acclaimed product ‘Kami Glass.’ He currently works with designers Masanori Oji and Rina Ono on the ‘Kami,’ ‘Cara,’ and ‘Kakudo’ series and also produces other simple, functional wooden tableware that features the natural colour and grain of high quality Hokkaido wood. He followed his father's footsteps to become Takahashi Kogei's second generation president in 2009.
|‘Taking wood from Hokkaido's mountains and making wares out of them is a way of connecting the mountains and humans.’
To achieve thicknesses of just 2 millimetres — generally considered impossible for wood utensils — Hidetoshi Takahashi has developed a special blade for the lathe used in creating his Kami series cups. The key is to eliminate all unnecessary vibrations and stabilise the lathe's movement. While this initially entailed a process of trial and error, the lathing expertise nurtured by Takahashi Kougei since its founding in 1965 and the pioneering spirit that has engendered one new innovation after another have enabled the steady production of Kami series cups.
|The hallmark of Takahashi Kougei products is the meticulous attention to detail given in applying highly refined lathing techniques. The respective features of various high quality Hokkaido-grown trees are used to craft simple and functional wood products. When the company was founded by woodturner Shoichi Takahashi in 1965, it first produced mostly table legs and ornamental pillars. With the downturn in the domestic furniture market, Takahashi Kougei launched in the 1980s the production of wood cups and sugar pots using lathes, becoming the founder of the Asahikawa group of wood tableware makers. The Kami Glass series of drinking cups—developed by second-generation President Hidetoshi Takahashi in 2007—attracted great attention for its unadorned simplicity and thinness previously thought unattainable for wood utensils, becoming one of Takahashi Kougei's most popular items. This was further refined into the Kami series through contributions by designers Masanori Oji and Rina Ono. New lines of products were subsequently added to the Takahashi Kougei lineup, including the Cara series inspired by the curve of egg shells and the Kakudo series of polygonal utensils. These wooden items have a modern sensibility, enabling them to blend naturally into the contemporary lifestyle, and lend warmth to one's environment.|
Born in 1975 in Shiga Prefecture. After working in auto repair, Iba spent seven years attending a professional school in Kyoto and apprenticing under wood sculptors and Kintaro Yazawa at Sashimono Kobo Yazawa. In 2007, he moved to Biei City, Hokkaido and established the furniture-making studio Ibazen. Supported by the Asahikawa woodworking community and its openness to immigrants, he actively procures lumber and exhibits works in the area. Iba makes furniture paying obsessive attention to the quality of the wood and lacquer and with an understanding that products made with natural materials get better with age and can be used for a very long time with repairs. His philosophy is apparent in his exclusive use of Hokkaido lumber.
|‘Objects made of natural materials, such as wood, get better with age.’
Ibazen uses lacquer, believing that its surface strength makes it the best finish available. Its durability enables the long use of finished products, and it is all-natural, qualities that also conform to Ibazen's inclinations. It is, however, hard to handle, so Ibazen built a humidity-controlled room for hand-applying lacquer; and rather than using sandpaper as a finishing tool, Ibazen uses Japanese planes to accentuate lacquer's charms. Many Ibazen products are assembled with great precision using traditional wood-framing techniques that bring out the best in each material.
|Ibazen was founded in 2007 by Takahito Iba in Biei, a town neighboring Asahikawa famous for its beautiful hills and rural landscape. Iba works out of a small and unassuming studio and lives next door. He not only manages Ibazen but is also personally involved in all aspects of the production process. Because his home and studio are next to each other, he can watch over the drying of lacquer in a humidity-controlled room by himself. He also lives in complete harmony Hokkaido's harsh winters, undertaking the repair of his traditional home, collecting firewood from the hills in the back of the house, and eating the vegetables he grows in the garden.|
Born in 1978, Yoshida began ‘to-mo-ni’ in 2007. to-mo-ni had developed ‘wrapqarw,’ a wooden cord wrap, which reuses wood scraps, and ‘wrapqarw colours,’ which reuses waste paint. In addition to being designer, Yoshida is a operating member of the Asahikawa woodworking community and is involved in disseminating wooden products from and publicising woodworking artisans working in Asahikawa.
|Naoto Yoshida works with several outstanding woodworking studios in the Asahikawa community to produce the distinctive, graceful form of the wrapqarw series cord magement tools. The challenging curves are created using a special blade that was developed for a woodcutting machine. The series is backed by Yoshida's intimate knowledge of woodworking, nurtured through his being born and raised near many studios in Asahikawa.||Prototypes of ‘wrapqarw’ were difficult to make because the form was too detailed to render in wood. Finally, I decided to use ebony, which is a heavy, hard, and expensive wood. The product was finalised with help from an Asahikawa wooden craft artist. After many prototypes, we arrived at a size that feels comfortable in the hand. We also hollowed out the centre to make it lighter and to release heat emitted from cords wrapped around it.|
‘I want to make designs that nestle up to, rather than dominates, the materials used.’
Born in 1952. Mesmerised by the plate glass he saw at Biei Station, Sugai decided to become a glass artist. After working a glass factory, he established Glass Studio JUNCOBO in Kitanoarashiyama in 1986. Sugai makes special order plate glass for public buildings and private residences. ‘Ki-glass,’ which he co-developed with a wooden crafts artist in the Asahikawa region, is one of his most well known works. His works incorporate Asahikawa's unique landscape while using the materials' natural form.
|Glass Studio JUNCOBO works with a local woodworker to offer products made of wood and glass. Its icicle-like sake cups are a condensation of the winter landscape in Asahikawa.||The Kigurasu
The Kigurasu (Wood Glass) series of sake cups combines a stand made from Hokkaido-grown wood and a conical, blown-glass drinking vessel, and is a collaborative effort between Glass Studio JUNCOBO, a glasswork specialist, and a local woodwork artist. The cup is lifted from the stand when drinking. The glass cups have just the right thickness and unevenness to fit in one’s hand, and light is refracted in different ways depending on the angle they are held, making the drink even more appetising. Sipping sake, wine, or other drink from these cups is one way of enjoying the cold and long winter nights of Asahikawa.
The place we live is Asahikawa in HOKKAIDO, where the temperature frequently drops to –20°C. Perhaps due to its severe climate, Asahikawa has drawn in many frank and open artisans, the likes of whom cannot be seen elsewhere in Japan. We love those unique open-minded tradition in Asahikawa, and based on the tradition, we make products with unique designs, providing the warmth of wood.
|These vases are all designed after 6 types of the classical Japanese flower vases.
TSURUKUBI: crane neck
KINUTA: wooden block for beating cloths used for softening
TOKURI: Japanese SAKE decanter
|In the Japanese tradition of flower arrangement, flowers of the season are put in a specially selected vase in such a manner that brings out the beauty of the flowers themselves.
The designer, INOUE Hiroyuki, has created these tiny vases so that many people can gain a feel of what the Japanese art of flower arrangement is like.
Please find a beauty in the evanescence of flowers, withering to death.
Founded in 1897 in the city of Takaoka - since the Edo period considered the home of Japanese brass and bronze production - Futagami until recently specialised largely in the manufacture of Buddhist altar fittings and statuary. By the early twenty first century and faced with a falling demand for religious goods in an increasingly secular society they hoped to preserve their traditional skills as well as their livelihood by diversification into new forms and purposes for their brassware.
|2008 saw the beginning of an ongoing collaboration with the designer OJI Masanori, and the birth of both the FUTAGAMI brand and the IHADA series of household goods with the creation of the iconic bottle openers, trivets, and hooks.||IHADA (肌)
Ihada means skin, and refers to a method of casting whereby the surface is cleaned but left raw, without chasing or polishing, with a patina and texture drawn directly from the sand patterns into which the molten brass was poured. At once crude in-so-far-as they are left unfinished, IHADA castings also speak of the quality of their production for there is no disguising imperfections, flashing, welds, or technical dodges beneath an applied finish. It is hoped to stand as a testament to the skill and dedication of its makers.
Located in the Gifu Prefecture Hayashi Kougei (Forest Crafts) has long been known for the production of traditional washi paper lanterns, as well more recently bags, containers, envelopes, and even vases also made from their own specially developed handmade papers.
|Washi, or quite literally Japanese paper, is made using fibres drawn from the inner skins of ganpi, paper mulberry, and mitsumata bushes. The fibres are both longer and stronger than those produced by wood pulp, resulting in (often) more highly figured but significantly more durable sheets more akin to fabric than fragile western papers.||At Hayashi Kougei the washi paper used in the lanterns is still produced in the traditional manner, drawn by hand through screens pulled from cold vats of pulp. The wood that forms the frame of the lanterns is cleft and cut in their own wood workshops then carefully wound around a former, tensioned, and bound in place by the paper that forms the shade.|
JICON is a porcelain brand launched by Touetsugama kiln in collaboration with designer OJI Masanori. The brand name means ‘porcelain (JI) in modern times (CON).’ In the Buddhist words, JICON means ‘seize the day.’ It also denotes ‘porcelain (JI) created by the house of IMAMURA’ of the Touetsugama kiln, founded 350 years ago. (It's worth noting that ‘IMA’ means ‘modern times’ in Japanese and can be paraphrased as ‘CON.’)
The Touetsugama kiln originated in Mikawachi of Sasebo City in Nagasaki prefecture as a house kiln under the patronage of the Hirado clan. The kiln was redeployed to Arita in Saga prefecture by IMAMURA Shikao XII for its expansion and is currently succeeded by IMAMURA Kenichi XIV. The kiln makes porcelains for daily life with its traditional white porcelain techniques using Amakusa Touseki (porcelain stone).
Being pure to the materials and their nature the porcelain used in the production of the JICON series is left unbleached. It is mined as porcelain stone in the mountains of the Amakusa region, before being ground into a unique clay slurry and stirred for up to 20 hours to gradually break down the particle size, ensuring a smooth and even surface.
|Atypically for Arita ware the JICON series is oxidation fired to 1240 degrees, rather than reduction fired to 1300 degrees. This helps to preserve both the half matte texture and clarity of the straw ash glaze as well as the natural white and even colouration of the body, but required (with the assistance of the Saga Prefectural Technology Centre) the development of a unique high grade clay mixture to ensure the hardness and durability of the finished low-fired porcelain.|
Our products are made not by a single factory. We travel across the country, and produce a great tool by finding the best combination of materials of one factory and skills of the other factory. It may take lots of man-hours, however by matching up some materials and skills can always give us new discoveries.
|These unique mobiles are named ‘Constellation’ and ‘Gravity Tree.’ Both mobiles can give us a strange and unique feeling. You may never get tired of watching at them.||These are unique mobiles you may have never seen before. They do not consist of only vertical and parallel lines. The red mobile is named ‘Constellation,’ which stainless steel wire provide a beautiful triangle. Please enjoy watching a continuously changing constellation. The black one is named ‘Gravity Tree,’ which springs show us a feeling of floating.|
The sleek glass faces, geometric shape and metal edges are so quiet that you can purely appreciate a whole plant including even its root. Because you can separate the upper case and the lower case, it would be very easy to change water everyday.
Handmade of glass, copper, and solder and reminiscent of museum and specimen cases these are designed after nineteenth century terrariums and like those are made for collecting and showcasing plants. Their simple stark lines grant their contents the illusion of floating within a cage.
|1. Take the cactus or succulent plant out of the pot and completely wash away the soil attached to the roots with water.
If the main plant or the roots are damaged, bacteria might invade and the plant might rot, so wash the plant gently, so as not to damage it.
2. After the soil is washed away, first cleanly cut away the roots that had been growing in the soil, leaving 2-3 mm of root attached to the base. This way, new roots will grow from the cut ends that will be suited for hydroponics.
(The plant will grow without a problem without its roots being cut, but it will be more stable with hydroponic roots. Additionally, depending on the season and the type of plant, it might take time for the hydroponic roots to develop, but if the cut ends are kept submerged in water, the roots will grow smoothly.)
3. Once the roots are cut, allow the cut ends to dry completely.
(This also is dependent on the season but should take generally 1-2 days.)
4. Once the roots are cut, place the cactus or succulent in the centre of the trellis in the upper part of the container.
5. Put water in the lower part of the container, and try to regulate the water level to keep the cut ends submerged as detailed in step 2. (If the main part of the plant is kept submerged in water, it will rot, so it might be best to submerge the cut ends only a little bit.)
|6. Use tap water to put in the container.
(The chlorine in the tap water serves to sterilise many types of saprophytic bacteria, including the mildew that grows in water, and makes it more difficult for diseases to develop.)
7. About how often to change the water: Once the plant is hydroponically stable, the water may be kept without being changed for long periods of time due to the plant's natural self-purification abilities, but until the plant stabilises, it is best to change the water frequently.
[While the roots are still short and the plant is not yet hydroponically stable] - Try to change the water whenever it becomes dirty.
[Once the roots are grown and the plant has become stable hydroponically] - It's all right simply to top off the water without changing it as the water level drops so that the roots remain submerged, but the plant will grow best and be the most stable if the water is changed completely about once a month.
8. To gauge the proper water level, try to keep the water at about the level where the roots were cut. Even if the water is changed infrequently, the plant's growth will be healthy.
9. Cacti and succulents enjoy locations with good exposure to the sunlight, so be sure to grow your plant in a sunny location.
10. If mildew grows on the root or plant during its hydroponic growth, gently wash it off with tap water and wipe it off with a cotton swab or tissue sprayed with an alcohol-based antibacterial spray made from natural ingredients.
(Antibacterial agents for plants are also available, but alcohol-based solutions with natural ingredients are safer.
Also, if you add silicic acid or charcoal to the bottom of the water, it will inhibit the propagation of mildew and bacteria through its water-purifying capabilities, and you will have to change the water less frequently.)
11. A substance similar to white algae might grow on the surface of the root, but these are merely ‘root hairs’ - tiny hairlike roots that grow on the surface of the main roots. They are important, as they increase the surface area of the roots and allow them to take in more water and nourishment. As the roots grow thicker, the root hairs will decrease in number, so even if their appearance is a bit worrying, be patient.
(Root hairs will come off easily if washed with water, but this will not cause the plant to wither, so relax.)
The following is what we think is important when producing our SOJIRUSHI cleaning tools:
1. Our products have built-in functionalities as cleaning tools.
2. The production processes of our brooms are free from unnecessary strains put upon the craftsmen.
3. We make a sustainable system for the material production and the production, sales, and use of our brooms.
‘SOJIRUSHI’ is committed not only to providing cleaning tools but also establishing the relationship and time-space between their producers, sellers, and users. We believe SOJIRUSHI should be a brand in which such concept is shared concurrently by all the members who are involved in this very process.
|The deep brown coloured KAKE TOSAKA [Crest broom] is hand bound by Murai San in Atsuga City, Kanagawa Prefecture, of shuro (Japanese hemp palm - although in this instance grown in China) with linen thread and copper wire about a rattan cane.
The the lighter, stiffer KAKE CHOHOU and KAKE BUSHOU [Convenient broom and Lazy broom] are hand stitched by the craftsmen of Shirokiya Denbe, of selected broom corn (a hardwearing sorghum) bound with linen thread around a rattan cane.
The curved handle means the broom can be hung almost anywhere allowing the brush fibres to breathe and best retain their shape.
The Harimi dustpans are made up of folded, glued, stapled, and riveted layers of Japanese [washi] paper stiffened with a bamboo reinforced rim and sealed and hardened with persimmon tannin.
This natural varnish provides some water resistance as well as granting the dustpan a smooth low static surface allowing dust to slide easily into the bin. Handmade following ancient traditions of craftsmanship and simplicity in the Mokojima area of Tokyo.
|‘Since an Edo broom is hand made, that influences the results and usability. It also affects their level of comfort when our customers use them. That's why I like to pursue the quality and speciality of the tradition. I was born in a house of craftspeople, my grandfather, father, and I, and I have been doing this for 60 years, since I was in elementary school, to this day. So I can say that I'm an Edo craftsperson from head to toe. What's probably been handed down is the mentality of native Edo more than the techniques. I really wish for our products to be long-loved and used, as we make them carefully. This is the wish I would like to hand down to future generations.’