Sheet Metal Love

5 Aug 2008 Category: Business, Design, Japan, Product

Sheet Metal Love

With “quick and cheap” being the priority for many manufacturers these days, Keiswi is a little neighborhood workshop that stands out for its near fanatical devotion to the creation of an ideal object. Their Aero Concept line combines the industrial aesthetics of prescision-crafted sheet metal airplane structural fittings with a craftsman’s love for creating just the right object for the task at hand.

Interview by Takafumi Suzuki
Translation by Claire Tanaka

Another side of Keiswi is their business making precision structural components for airplanes and shinkansen trains

Firstly, tell me about your main business, precision sheet metal processing. What is that, exactly?

We make onboard fittings for airplanes and shinkansen bullet trains; mainly the inside framework for the armrests. Those parts have to be made out of sheet metal with a high level of precision, which is why it’s called precision sheet metal processing.

Was this always a precision sheet metal workshop?

No, I took this company over from my grandfather. It’s quite old. Back in the old days, it was a regular sheet metal processing shop. But it seems my granddad had quite the skills on him. He was the chief builder for the replacement of the copper roof on Osaka Castle in 1931. That’s how good he was.

The same technical expertise used for airplanes and shinkansens is used in their consumer products. There’s even a cigar case!

Did you learn your trade from your grandfather and your father?

I was always playing around in the workshop as a child. I guess you could say I learned by watching and copying what I saw. Both my father and grandfather are craftsmen of the old order. They don’t teach. I was never praised for something I made. If I made something badly, it got chucked. (laughs) So if it didn’t get chucked out, I figured I did alright. I never really had my sights set on being a craftsman. What I really wanted to do was become an illustrator, but I liked it and that was my environment, so I just sort of became a craftsman naturally.

Here at Keiswi, aside from your main business making parts for the inside of airplanes and shinkansen, you also have your own brand called Aero Concept. How did you get started with that?

At first, I just made something that I wanted, for myself. And when I used it to carry my drafts around in, people started saying “Make one for me too” and then through word of mouth, boutique chains like Beams and United Arrows came to approach me about carrying them, and then department store chains like Hankyu and Isetan approached me. And then they were featured in a magazine. Now, I even have several agents overseas representing the line. But I really had no plan to begin with, it just happened naturally. I don’t have the talent to make a plan like that. So in the beginning, it was just a case of me building something that I wanted for myself.

Of course behind these high-precision products lies the craftsman’s expert hand

Their flagship shop in Kyoto, AERO CONCEPT KYOTO

The hole-y design of the Aero Concept cases is quite distinctive.

I always see that type of material in the airplane fittings, so it never seemed like a design element to me. But it is a pretty neat look, isn’t it. 


But you thought up this design yourself, didn’t you?

Yes, I did. The airplane fittings look cool, plus they’re lightweight and strong. On top of that, I riveted some leather onto the case that I brought back from Italy. I got it from a place in Pisa. I even went to the workshop there. I wanted to see the faces of the craftsmen, you know.

To go all the way to Italy just to make something for yourself, that’s quite the devotion.

I wouldn’t call it “devotion.” I just like it. It’s like when a guy likes a girl, he wants to know everything about her. It’s the same as that.


The chassis is reminiscent of the black body of a Leica camera

Lovely texture on the handle

Aero Concept really has a sense of refinement about it.

Good things just talk to you, you know? When you touch and fondle them, they start talking to you. That’s the voice of the person who made it. Things are inanimate objects, but when they’ve got soul put into them, they make the user feel like, “this is cool.” That sense of “cool” isn’t in the shape or the brand or the efficiency rating. Kindness, a sense of thinking of others. That is what’s really cool. The Aero Concept attaché case doesn’t hold a lot of documents. The reason for that is so that it sends the message, “I’ve come to see only you.” We want people to use it with that kind of thought for others. A bit of inconvenience, a bit of restraint, that’s what real style is about.

But, don’t you get requests from retailers to change the design?

Yes, but if they don’t understand what the products I make are about, I don’t want them bringing them to customers. That’s why although I get plenty of orders for the Aero Concept, I turn down requests from big trading firms. For example, the sound it makes when you close the case. I spent half a year working on that. I wanted to get close to the sound of the shutter of a Barnack-era Leica camera. Those guys don’t figure that in to the value of a product. But sound is important.

These old machines are still in use today. For precision metalwork, the latest cutting edge machines can’t hold a candle to these beauties

I agree that perhaps sound is something people experience on a subconscious level. You put such a level of specialization into you work, and that’s why you turned them down.

Yes. Also, I turned down a chance to do a collaboration with a famous high-end French brand. After all, the leather on the bag would be changed to one with their logo, and that’s not something I would want for myself. It wouldn’t be mine anymore. The representative from the brand was really surprised. He said, “I never thought you’d turn us down.” But I never had any doubt in my mind. If I’d done it, I’d have been a millionaire in two or three years’ time, though. (laughs)
 


Most people would be blown away if they had the chance to make that kind of money.

But money is just paper. Of course, you’ve got to treat money with respect. It’s good to have some paper. But we all have to die someday. We’re just here for a short time. Say what you can say, do what you can do, make what you can make. You’ve got to value that. The biggest car manufacturer in Japan approached me about doing something together, and in the end the big guys even came out to talk to me, but I turned them down. They were all, “Do you know who you’re talking to?” and they never expected to be turned down. But it doesn’t work that way. (laughs) I may be small potatoes, but I still have my pride.

The elite technicians of the precision metal plate processing world have come together at Keiswi

What do you consider to be the underlying motivational force behind manufacturing?

It’s probably not becoming of a craftsman to talk about “philosophy” but I think that’s what it is. How can I make something as beautiful as possible, how can I make it without any gaps. Thinking about how to solve those problems is a kind of philosophy. When I was still in training, one of my mentors told me to go outside and polish the car. So I was outside polishing it and he came and yelled at me, saying, “What are you doing? That’s not what I call polishing!” Polishing a car is a way to learn about the making of a car. You’ve got to notice that as you polish. “This part is this shape, that part is like that, all because of the thoughts and feelings of the person who made it.” Those thoughts and feelings, that’s the philosophy behind it all. That’s why there’s got to be an underlying philosophy running through everything if you want to make something good.

There’s something holy about the air in this dignified workshop

In light of your successes, I think your words will provide hope to a lot of craftspeople out there.

All this time, we craftspeople have been yelled at and picked on and now by making something ourselves and selling it, it’s bought by the end user and we make money. And on top of that, we get letters in thanks. That’s a great feeling… (laughs) So I really want my fellow craftspeople to keep up the good fight.

Keiswi
Hachimangi 3-8-10, Hatogaya City, Saitama

Keiichi Sugano
Born in Tokyo, in 1951. Sheet Metal Craftsman. President of Keiswi.

44 Comments

  1. Wow, a truly amazing man. The metal+leather briefcases are beautiful. I want one, but I don’t see a way to buy one from the U.S…

    Posted by: Jung on August 6th, 2008 at 12:20 am

  2. I agree. I love people like that who take such pride in their work.

    Jung, try the contact page on their website. The first line is for your name, the next two are your email address, the second to verify, you can ignore the fourth line in the first instance, and, in the box ask about the lovely briefcases. It may work if somebody speaks English there.

    Posted by: Anonymous on August 6th, 2008 at 2:02 am

  3. ^Thanks! I just sent them an email :-)

    I did poke around some more to get a sense of price and their SuperTransPorter line has the most amazing handles… http://www.seimitu.com/main/products/supertransporter_original.html Leather on the handle is stitched through the metal. wow!

    I must say… at over $2500, it’s no impulse buy :-)

    Posted by: Jung on August 6th, 2008 at 4:58 am

  4. Great article!

    Posted by: Sravaka on August 8th, 2008 at 1:47 am

  5. What an insightful interview. Thank you so much.
    Power to the craftspeople!

    Felicia

    Posted by: Felicia on August 8th, 2008 at 8:26 pm

  6. This is what craftmanship is.
    Gave me a new perspective to Japanese technology.

    Posted by: Jonathan.R on September 15th, 2008 at 12:14 am

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  8. “But we all have to die someday. We’re just here for a short time. Say what you can say, do what you can do, make what you can make. You’ve got to value that. ”

    Keiichi Sugano truly shows in his beautifully crafted work.

    It was very inspiring to read this article.

    Thank you,

    Emma

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