品川職人組

 
 

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Taro Ito
  • From beautiful women to actors and scenery, my work is to print ukiyoe of all subjects. The work of one print sometimes requires close to 100 printing blocks, but the touch of a fifty-year veteran produces the print perfectly aligned.

 

 


 
 
Minoru Oishi
  • I use bamboo to make Japanese fishing rods. I treat the bamboo with coal fire, straighten it, and work the joints. After series of processes, and about 3 months, the rod is complete.

  • To encourage successors, I also have started rod-making classes.

 

 


 
 
Tamio Kamata
  • I repair antiques by rebuilding or adding on lacking parts and am a jack-of-all-trades who can make furniture, carve stone and gold, and use lacquer.     

 

 

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Katuhisa Kawabe
  • Kiriko is made from engraving designs on colored glass (often red or blue) covering a bottom layer of clear glass. The cuts, made with a disc-shaped file, leave a clear, brilliant design on the glass.

 

 


 
 
Akio Kuroki
  • Wood Hikimono is woodwork using a potter's wheel that rotates a square block of wood against a blade and produces a round shape. The history of potter's wheel is said to be very long and began with the proliferation of Buddhism.

 

 


 
 
Hiroshi Kenmochi
  • Wasai is Japanese sewing and is for tailoring the traditional kimono. Like any type of clothing, the kimono is diverse, and includes tomesode kimono, furisode kimono, "visiting" kimono, under-kimono garments, yukata and hakama. Hand sewing by men is called otoko nui (Literally, "man sewing") and the finished product is said to be very durable.

 

 


 
 
Konomi Sasahara
 
 
  • Konomi Sasahara is dedicated to Japanese embroidery that specializes in decorating kimonos. Konomi started learning Japanese embroidery in 1978 and became independent in 1998.
    Japanese embroidery originated in Muromachi period (1333-1573). Beautiful designs are created using silk threads in 400 different colors and gold/silver threads with 20 different stitching patterns, such as Suga stitch, Sashi stitch, and Sagara stitch. Japanese embroidery is categorized into three different styles: Kyoto; Kaga; and Edo. Konomi, who follows the Edo style, decorates kimonos, sash ("obi"), and handbags and also creates framed works. Many of her art works are highly appreciated overseas.     

 

 


 
 
Fumio Sano
  • A largely overlooked artistic work… to mount I put a thin Japanese paper at the back of my client's art for reinforcement and wrinkle prevention, and then put the art on the base fabric. After this, I make it into a hanging scroll.

 

 


 
 
Hideyasu Shimoda
  • My work is to hand-write characters on lanterns for use in festivals, businesses, etc. Using Japanese calligraphy, I precisely put each character on the bumpy surface and often I have to also draw in a family crest, which is a precise and beautiful feature.

 

 


 
 
Kinji Shinpo
  • Sword smith scissors used to be one of the local products of Shinagawa, but only a handful inherited the skill. I respect the tradition of the local industry for the best quality, and continue to produce scissors that are treasured by the professionals.

 

 


 
 
Kazuo Seki
  • With silver I make interior ornaments using both traditional and new skills. I have received a lot of positive feedback from not only visiting foreigners in Tokyo, but also from abroad.

 

 


 
 
Katsutoshi Seki
  • With the motto "Precious metal arts and crafts for all," this skill has been passed down from my grandfather onto my father and I am now the third generation. With such skill for silver work, I have been making interior ornaments.

 

 


 
 
Katushige Tanaka

  • To make lacquer ware such as bowls and trays I paint lacquer over woodenware. The workflow is as follows: basic coating, drying, polishing, second coating, drying, polishing, final coating and drying.

 

 


 
 
Yusaku Tsuta
  • I work with thin wires using iron, stainless steal and brass. From baskets and mochi nets used in the kitchen to industrial baskets used by gilt workers, I can create various goods in all shapes and sizes..

 

 


 
 
Yasuaki Narusawa
  • My work is to hand-draw and produce kimono patterns. My father trained me and for 42 years I have been doing all steps on my own - from the design and processing of the fabric to painting, dying, and cleaning.              

 

 


 
 
Masatsugu Hayashi
  [HP] 
  • Kiri, the Paulownia tree, is a high-grade tree used to make chests of drawers because of its lightweight and moderate ventilation that is suited for storing clothes. I do not use metal nails, and instead use wood nails and finish it with a plane.        

 

 


 
 
Hidenori Hayashi
  • I am the successor of Seiji Hayashi. The most important technique for the production of the Kiri chest of drawers is the use of the plane. I continuously detail and work with a plane so that the drawers can go in and out smoothly, and yet have no visible gap.

 

 


 
 
Chiharu Fujiyama
  • Using the kusaki-zome technique (dye made with natural plant materials such as flowers, berries and roots) the threads are dyed, and then traditionally hand-woven. With more a modern sense for the kimono and obi (sash) designs I strive for creativity.

 

 


 
 
Teiko Mizoguchi
  • I mainly make obi (kimono sash) and depending on the type of obi, like futokoro obi and Nagoya obi, sewing and tailoring processes are different. The obi is handled roughly when people wear kimono, and thus with wasai (Japanese tailoring) the making of obi requires a special skill.

 

 


 
 
Tokihito Yagi
  • I am the third generation of wasai and I started my apprenticeship under my father, who is still working, in 1989. My specialty is the dance kimono and special occasion garments that require special tailoring and high skill.