The black made by lacquer is called shikkoku (lacquer + black) in Japanese, but this also refers to any deep, pure, jet black. The black that comes from lacquer is one that can’t be easily reproduced on a piece of paper or a computer screen. There are many centers of lacquer ware production in Japan, but not many of them combine that jet blackness with a modern sense of form and design. Tsuyoshi Kotaniguchi is the exception. In his small lacquer shop in the mountains of Ishikawa Prefecture, he’s taking that timeless black world and stretching it with his contemporary lacquer ware designs.
Interviewed by Takafumi Suzuki
Translated by Claire Tanaka
Were you always interested in lacquer?
No. I’d look at my father’s work and think it looked difficult, and not cool or fashionable at all. So, I never intended to carry on the work at my father’s lacquer ware shop. I used to work in advertising, actually.
Did you do anything like design or something that would connect to the craftsman’s world while you were in advertising?
No, not at all. I started out as a copywriter, and after that I became a planner. I never designed anything myself. I’d do media planning, and think about how to sell things. I worked really long hours. About 400 hours per month.
So what made you decide to get into lacquer in the end?
When my dad crossed the age 60 mark, he contacted me and told me he was thinking of closing the shop. I think advertising is basically about telling lies to sell things that aren’t of very good quality (laughs). Compared to that, to make something that I could be proud of and sell it started to sound pretty good.
After you decided to go into lacquer, how did you learn the business?
I was a rank amateur, and I really knew nothing about lacquer (laughs). But even so, the structure of the lacquer world is relatively simple. What’s more difficult is the matter of learning how to work with the wood. I went to a craftsman and studied about that for a while.
So it’s not the lacquer, but the wood?
If you don’t know the character of the wood, you can’t design anything. Wood is a natural material, so you can’t bend it to your will. How it is cut down can affect it, as can environmental factors. I studied about that kind of stuff.
Was it hard to study under a cranky old craftsman?
I probably would have been yelled at if I came bursting in on the first day with a bunch of messy designs. In my case, I came in asking, “What’s this? What’s that?” and I never stopped. Thanks to that, it took me about a year to learn how to tell the difference between different types of wood.
Did you pick up a lot of things by being out in the field instead of just studying from books?
I really learned for myself how much time and effort goes into this work - much more than I imagined. It’s not a matter of handing over a diagram and saying, make me this many for this much by this day. If an order for a new design comes in, the artisan has to start by making the right tools for that design.
So were you nervous when you made your first design and brought it to the artisans?
Naw, I wasn’t nervous. The artisans were pretty annoyed though (laughs). “Woah, what a fussy shape” they said. They’re only human, so they don’t like to fuss around when they work (laughs).
If that’s the case, then it must be quite important to have good communication with the artisans.
It is. But I’m not the type to try and get to know them by popping by to chat about nothing in particular. It would be nice if that was practical, but it just doesn’t help to get the job done. So, if they will agree to make my fussy designs, then I’ll make sure to order a large run. I’ve built it up bit by bit to work along those lines here.
I’ve heard that Taniya only hires people with a high level of skill. So, how do you find your artisans?
It works the same way as it does in the advertising business. In advertising, you’ll hear people say “This cameraman is good, but he charges a lot.” I just transferred that to the artisan world.
Is the communication side of things the same in advertising as it is in lacquer ware as well?
It is the same. You’ve got to have the equivalent basic knowledge as the person you’re talking to, being careful not to cause offence while at the same time not being too subservient. So, the back-and-forth I have with the craftsmen during production hasn’t been hard for me to get used to since it is very similar to the advertising world.
I see. But, the fact that you make these difficult designs must be an indication of the high level of attention to detail you have in your work, then?
I may fixate on details, but I’m no artist. I have no intention of making some big egotistical design. I think of the customer first. So, when we have an order from a shop to make some pieces, I ask the shop what kind of customers they have, what kind of things their customers like, and really delve into that. That’s quite similar to the work I did in advertising, doing orientations with clients.
So the shape comes from the idea of how it will be used in an actual situation in daily life, then.
I lived in Tokyo for a long time, and I know what kind of lifestyle people there have. I think that’s quite big. I think my experience there is why we’re able to make products for places like Cassina and Kurkku. I don’t think there is another lacquer ware maker like ours here in Japan.
What kind of boost do you get out of being in the lacquer business?
I really enjoy the direct connection with the user. I’ve worked at ensuring the quality and durability, the materials, and also the price is something that takes all that into consideration so that the product we sell is something I can have confidence in. When I get questions and comments from people, it’s a pleasure to communicate with them. This is something I never got when I was in advertising.
You really seem to be taking a modern approach to an old-fashioned industry. It must be really hard for you. But now tell me, what are your plans for the future?
There certainly is an opposition to what we do from people in the same industry. But I plan to keep on with things the way I’ve been doing it. It’s just not possible to make a living by doing it the old-fashioned way.
Taniya
Bessho-machi 2-6-2, Kaga City, Ishikawa Prefecture
Tsuyoshi Kotaniguchi
Born in Kaga City, Ishikawa, in 1970. Head of Yamanaka Lacquer Ware “Taniya”.
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PingMag MAKE is the sister site to PingMag. We use an interview format to put the spotlight on a wide range of people active in rural areas. We document the voices of these unknown heroes and broadcast them to the world. It’s the Japan-based magazine about people and making things, coming out once a week. We’re passing on the passion, ideas, skills, and life stories of people who are building today and exploring tomorrow: craftsmen, engineers, entrepreneurs, and inventors. Stay tuned!
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Cool! I love PingMAKE!
I wish I could see how black these products actually are :(
Posted by: Akai on April 2nd, 2008 at 6:20 am
its interesting… ive been reading since last year, but havnt posted anything.
thankyou and keep up the good work. :)
Posted by: edohsama on April 3rd, 2008 at 9:07 am
beautiful work.. i hope that the tradition continues to be passe down through the family.. if not i will fly over.. learn for a 3 years and gladly help out! keep it up!!!
Posted by: dailydesignspot on April 7th, 2008 at 12:52 am
Can these be bought in the US? Thanks!
Posted by: brad on April 7th, 2008 at 8:06 am
wicked, it would go well with the black cladding i am using!
:)
Posted by: michael on April 9th, 2008 at 6:26 pm
I really think the simplicity that he’s found in the lacquer business mirrors some of the aspects of what people need in the way they live their lives.
This is a nice example of simplicity leading to happiness.
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