In Emiko Tsuchiya’s workshop in Nara hangs a thin cloth that has got yellowish. The cloth, which is only the size of a palm, has apparently been heavily used; some corners have turned blunt, the edges are as well torn, exposing the thread ends. Regardless of how aged it looks, the tiny holes for needlework still look intact, implying the cloth was once sewed onto something else. “A customer bought one of our fabric book covers a few years ago. The cover slowly got torn after some heavy use and was sent back to us for repair.” Tsuchiya found the old piece of cloth detached from the book cover very beautiful and has then been keeping it until now.
I recalled a quote by Yanagi Sōetsu that she posted on the website of Tsuchiya Orimono-sho saying, “The difference between handiwork and machine is the real human touch which is connected straight to the heart. […] The hands follow the heart; together, they create works with elements of joy. Intrinsically the principle and moral of handicraft are upheld, to maintain the authenticity of the works.” The fabric book covers produced at Tsuchiya Orimono-sho are first woven carefully by craftsmen, before being sewn together stitch by stitch by another craftsman. The appearance of the book cover itself can already tell the intricate steps involved in the production, whilst a touch of the cover would reveal the dedication of the craftsmen. In this age of consumerism where the cycles of a product’s life are becoming shorter, the owner still holds onto the fabric book cover even it gets old and shabby.
Emiko Tsuchiya first learned the technique of fabric dyeing and weaving at the age of 29 in 1996. The first collection she made was some silk scarves. Only until she founded Tsuchiya Orimono-sho in 2006 did she start to make everyday items like coasters, bags, tissue holders, bento bags and wagashi paper pouches. By making these items that she can actually use on a daily basis, she gets to assess what kind of products can be considered as quality products. She needs to consider the texture, how it would appear when sitting on the table, and how it can be integrated into the living room without affecting the original vibe. There were a few occasions I tried to ask if she would like to make some aprons since this is something I use a lot myself. She would somewhat struggle when answering my question, as she never wears an apron when working or cooking. She has no idea how to design an apron. Shoulder straps or neck strap, which is better? How big should the waist pocket be? Is the waistband necessary? The artisans need to use their own experience to design; in the face of an unfamiliar item, they would rather not make a product by mere speculation.
Tsuchiya has stored quite a few vintage items at home, including some practical articles such as a vintage spinning wheel; along with some other items that serve an unknown purpose and fabrics from hundreds of years ago. I always imagine artisans who are into vintage items would keep the future in view when designing; they would try to make things that can get more beautiful with time, thus more and more valued by their owners in the future.
Tsuchiya has stored quite a few vintage items at home, including some practical articles such as a vintage spinning wheel; along with some other items that serve an unknown purpose and fabrics from hundreds of years ago. I always imagine artisans who are into vintage items would keep the future in view when designing; they would try to make things that can get more beautiful with time, thus more and more valued by their owners in the future.
When interviewing Tsuchiya for the current issue of OBSCURA magazine, I had an idea to photograph the prototypes in her workshop. However, looking at those brand new everyday items, I could not help thinking there was something missing from these beautiful things. They were somehow not as nice as the pouch Tsuchiya has been using for years, or the coaster she used to serve me tea that appeared old from washing, or the no longer sturdy tissue holder I have at home. These are all articles produced by Tsuchiya Orimono-sho but are surprisingly blemished by looking too new. The everyday items from Tsuchiya Orimono-sho can obtain their full charisma only by being used. The users would also expect to see them getting worn and torn, which adds an essence to further adorn the daily wares.
Starting from the 1st of December, OBSCURA will host a retrospective exhibition for its latest issue at Halfway Coffee. There, a selection of lifestyle products from Tsuchiya Orimono-sho will be on display and available for sale in the OBSCURA Online store. For a detailed interview with Emiko Tsuchiya, please stay tuned to the next issue of OBSCURA.