{"id":7551,"date":"2026-08-29T07:17:00","date_gmt":"2026-08-28T22:17:00","guid":{"rendered":"https:\/\/en.kogei-japonica.com\/media\/?p=7551"},"modified":"2026-08-29T07:17:00","modified_gmt":"2026-08-28T22:17:00","slug":"ldf-2026-crafttech","status":"publish","type":"post","link":"https:\/\/en.kogei-japonica.com\/media\/events\/ldf-2026-crafttech\/","title":{"rendered":"Craft x Tech Tokai: Japanese Craft at London Design 2026"},"content":{"rendered":"<p>In September 2026, London&#8217;s Victoria and Albert Museum (V&amp;A) hosts the Craft x Tech Tokai Project, which connects Japanese craft with contemporary design.<\/p>\n<p><b>Craft x Tech Tokai brings together craft businesses and makers from six production areas across three prefectures in Japan&#8217;s T\u014dkai region with six creative teams working in Japan and abroad, reinterpreting craft techniques through furniture, lighting, spatial works, and contemporary art.<\/b><\/p>\n<p>The name might suggest a project that introduces AI or digital technology into traditional craft. Looking at the six actual works, though, that isn&#8217;t the whole story. Firing clay, forming paper by hand, binding and dyeing cloth, firing cloisonn\u00e9 enamel, painting porcelain, braiding cord\u2014to these the project adds structural design, light, other materials, and international design thinking, opening up applications beyond the crafts&#8217; traditional uses.<\/p>\n<p>From 30 May to 2 June 2026, the six new works had their world premiere at kudan house in Tokyo, before travelling to the V&amp;A for their London showing alongside London Design Festival 2026 (hereafter LDF2026). LDF2026 itself runs from 12 to 20 September, but the Craft x Tech Tokai showing has been officially announced to continue until 18 October.<br \/>\uff08Source\uff1a<a href=\"https:\/\/craft-x-tech.com\/news\/craft-x-tech-to-exhibit-at-london-design-festival-2026\/\" rel=\"noopener nofollow\" target=\"_blank\">The Craft x Tech Tokai Project heads to London | Craft x Tech<\/a>\uff09<\/p>\n<p>Rather than presenting the six works simply as &#8220;a collaboration between Japanese traditional craft and overseas design,&#8221; we look at them through one question: <b>what did each technique retain, what changed, and what new applications emerged?<\/b> From there, we go further\u2014into what makes an international collaboration on this scale coherent, and what a production area or company should prepare when working with an overseas designer.<\/p>\n<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_73 ez-toc-wrap-center counter-hierarchy ez-toc-counter ez-toc-white ez-toc-container-direction\">\n<div class=\"ez-toc-title-container\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<span class=\"ez-toc-title-toggle\"><\/span><\/div>\n<nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/en.kogei-japonica.com\/media\/events\/ldf-2026-crafttech\/#What_is_Craft_x_Tech_Tokai_An_international_collaboration_between_six_Tokai_craft_areas_and_six_creative_teams\" title=\"What is Craft x Tech Tokai? An international collaboration between six T\u014dkai craft areas and six creative teams\">What is Craft x Tech Tokai? An international collaboration between six T\u014dkai craft areas and six creative teams<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/en.kogei-japonica.com\/media\/events\/ldf-2026-crafttech\/#The_originator_the_curator_and_the_continuity_from_the_Tohoku_edition\" title=\"The originator, the curator, and the continuity from the T\u014dhoku edition\">The originator, the curator, and the continuity from the T\u014dhoku edition<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/en.kogei-japonica.com\/media\/events\/ldf-2026-crafttech\/#Where_and_when_can_you_see_it_Practical_details_for_London_Design_Festival_2026_and_the_V_A_showing\" title=\"Where and when can you see it? Practical details for London Design Festival 2026 and the V&amp;A showing\">Where and when can you see it? Practical details for London Design Festival 2026 and the V&amp;A showing<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/en.kogei-japonica.com\/media\/events\/ldf-2026-crafttech\/#How_Craft_x_Tech_Tokai_fits_into_LDF2026\" title=\"How Craft x Tech Tokai fits into LDF2026\">How Craft x Tech Tokai fits into LDF2026<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/en.kogei-japonica.com\/media\/events\/ldf-2026-crafttech\/#Artisan_%C3%97_production_area_%C3%97_designer_%C3%97_outcome_breaking_down_the_six_collaborations_comparison_table\" title=\"Artisan \u00d7 production area \u00d7 designer \u00d7 outcome: breaking down the six collaborations [comparison table]\">Artisan \u00d7 production area \u00d7 designer \u00d7 outcome: breaking down the six collaborations [comparison table]<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/en.kogei-japonica.com\/media\/events\/ldf-2026-crafttech\/#Mino-yaki_%C3%97_David_Caon_Mino_washi_%C3%97_Lanzavecchia_Wai_two_production_areas_in_Gifu\" title=\"Mino-yaki \u00d7 David Caon, Mino washi \u00d7 Lanzavecchia + Wai (two production areas in Gifu)\">Mino-yaki \u00d7 David Caon, Mino washi \u00d7 Lanzavecchia + Wai (two production areas in Gifu)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/en.kogei-japonica.com\/media\/events\/ldf-2026-crafttech\/#Arimatsu-Narumi_shibori_%C3%97_Bethan_Laura_Wood_Owari_shippo_%C3%97_Philippe_Malouin_Seto_sometsuke-yaki_%C3%97_EUGENE_STUDIO_three_production_areas_in_Aichi\" title=\"Arimatsu-Narumi shibori \u00d7 Bethan Laura Wood, Owari shipp\u014d \u00d7 Philippe Malouin, Seto sometsuke-yaki \u00d7 EUGENE STUDIO (three production areas in Aichi)\">Arimatsu-Narumi shibori \u00d7 Bethan Laura Wood, Owari shipp\u014d \u00d7 Philippe Malouin, Seto sometsuke-yaki \u00d7 EUGENE STUDIO (three production areas in Aichi)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-8\" href=\"https:\/\/en.kogei-japonica.com\/media\/events\/ldf-2026-crafttech\/#Iga_kumihimo_%C3%97_Atang_Tshikare_one_production_area_in_Mie\" title=\"Iga kumihimo \u00d7 Atang Tshikare (one production area in Mie)\">Iga kumihimo \u00d7 Atang Tshikare (one production area in Mie)<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-9\" href=\"https:\/\/en.kogei-japonica.com\/media\/events\/ldf-2026-crafttech\/#Why_%E2%80%9CTokai%E2%80%9D_and_why_this_line-up_coheres_an_editors_reading\" title=\"Why &#8220;T\u014dkai,&#8221; and why this line-up coheres: an editor&#8217;s reading\">Why &#8220;T\u014dkai,&#8221; and why this line-up coheres: an editor&#8217;s reading<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-10\" href=\"https:\/\/en.kogei-japonica.com\/media\/events\/ldf-2026-crafttech\/#Why_%E2%80%9CCraft_x_Tech%E2%80%9D_is_easy_to_misunderstand\" title=\"Why &#8220;Craft x Tech&#8221; is easy to misunderstand\">Why &#8220;Craft x Tech&#8221; is easy to misunderstand<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-11\" href=\"https:\/\/en.kogei-japonica.com\/media\/events\/ldf-2026-crafttech\/#How_can_a_Japanese_production_area_or_company_collaborate_with_an_overseas_designer_A_practical_checklist\" title=\"How can a Japanese production area or company collaborate with an overseas designer? A practical checklist\">How can a Japanese production area or company collaborate with an overseas designer? A practical checklist<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-12\" href=\"https:\/\/en.kogei-japonica.com\/media\/events\/ldf-2026-crafttech\/#Frequently_asked_questions_FAQ\" title=\"Frequently asked questions (FAQ)\">Frequently asked questions (FAQ)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-13\" href=\"https:\/\/en.kogei-japonica.com\/media\/events\/ldf-2026-crafttech\/#Summary\" title=\"Summary\">Summary<\/a><\/li><\/ul><\/nav><\/div>\n<h2><span class=\"ez-toc-section\" id=\"What_is_Craft_x_Tech_Tokai_An_international_collaboration_between_six_Tokai_craft_areas_and_six_creative_teams\"><\/span>What is Craft x Tech Tokai? An international collaboration between six T\u014dkai craft areas and six creative teams<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><iframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/tTZq3FkDh74?si=-IO4q1HZ3pBREBxu\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>Craft x Tech Tokai is a project pairing six craft production areas across Gifu, Aichi, and Mie prefectures with six creative teams working in Japan and abroad. It is the second edition of Craft x Tech; the first, the Craft x Tech Tohoku Project, focused on the crafts of the T\u014dhoku region.<\/p>\n<p>The 2026 Tokai Project works with six fields: Mino-yaki (Mino ware), Mino washi (Mino handmade paper), Arimatsu-Narumi shibori (bind-resist dyeing), Owari shipp\u014d (cloisonn\u00e9 enamel), Seto sometsuke-yaki (blue-and-white porcelain), and Iga kumihimo (braided cord).<br \/>\uff08Source\uff1a<a href=\"https:\/\/craft-x-tech.com\/\" rel=\"noopener nofollow\" target=\"_blank\">Craft x Tech | Official site<\/a>\uff09<\/p>\n<div class=\"box3\">\n<p><b>The six pairings that make up Craft x Tech Tokai<\/b><\/p>\n<ul>\n<li>Mino-yaki \u00d7 Fud\u014d-gama kiln, Y\u014dhei It\u014d \u00d7 David Caon<\/li>\n<li>Mino washi \u00d7 Warabi Paper Company, Takanori Chida \u00d7 Lanzavecchia + Wai<\/li>\n<li>Arimatsu-Narumi shibori \u00d7 Suzusan, Hiroyuki Murase \u00d7 Bethan Laura Wood<\/li>\n<li>Owari shipp\u014d \u00d7 And\u014d Cloisonn\u00e9, Shigeyuki And\u014d \u00d7 Philippe Malouin<\/li>\n<li>Seto sometsuke-yaki \u00d7 Shin-gama, Mayuki Kat\u014d \u00d7 Yuto Kangawa (EUGENE STUDIO)<\/li>\n<li>Iga kumihimo \u00d7 Itogo, Tomoyuki Matsuda \u00d7 Atang Tshikare<\/li>\n<\/ul>\n<p>What matters here is that these are <b>six creative teams working in Japan and abroad<\/b>, not &#8220;six overseas designers.&#8221; The collaboration on Seto sometsuke-yaki includes the Japanese contemporary artist Yuto Kangawa.<\/p>\n<\/div>\n<p>On why the T\u014dkai region is the focus, Craft x Tech points to its rich natural resources, along with the movement of people, goods, and skills via the historic T\u014dkaid\u014d and Nakasend\u014d routes, and a concentration of manufacturing that continues to the present day. That craft and industrial production cultures coexist in the same region is also important context for thinking about this project.<\/p>\n<p>A craft &#8220;production area&#8221; is more than a location. It is also a <b>production ecosystem<\/b>, where material supply, tools, processing techniques, kilns, division of labour, artisans, businesses, and distribution are bound together within a region. When introducing Japanese craft abroad, too, a more accurate picture emerges when you include the body of technique accumulated in a region, rather than describing it only by place name as &#8220;pottery made in Gifu.&#8221;<\/p>\n<h3><span class=\"ez-toc-section\" id=\"The_originator_the_curator_and_the_continuity_from_the_Tohoku_edition\"><\/span>The originator, the curator, and the continuity from the T\u014dhoku edition<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p><iframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/mIcVlOD-bmk?si=KDqep4XoLeMqnpht\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>The overall producer and creative director of Craft x Tech is Hideki Yoshimoto, a designer and engineer. The curatorial director is Maria Cristina Didero.<br \/>\uff08Source\uff1a<a href=\"https:\/\/craft-x-tech.com\/news\/craft-x-tech-to-exhibit-at-london-design-festival-2026\/\" rel=\"noopener nofollow\" target=\"_blank\">The Craft x Tech Tokai Project heads to London | Craft x Tech<\/a>\uff09<\/p>\n<p>What&#8217;s worth noting this time is that the second edition shifts its regional focus from T\u014dhoku to T\u014dkai.<\/p>\n<p>A collaboration between craft and overseas designers looks glamorous if you see only the finished work. In practice, it takes a great deal of time and coordination\u2014material understanding, prototyping, revision, communication, exhibition, logistics. That this is a project building a repeatable methodology across different craft regions, rather than a one-off PR exercise, is an important feature of Craft x Tech.<\/p>\n<p>That said, the extent to which each workshop views the project as part of a medium- or long-term business strategy isn&#8217;t something to state uniformly from the outside. The project&#8217;s continuity and each participant&#8217;s own management decisions need to be considered separately.<\/p>\n<h2><span class=\"ez-toc-section\" id=\"Where_and_when_can_you_see_it_Practical_details_for_London_Design_Festival_2026_and_the_V_A_showing\"><\/span>Where and when can you see it? Practical details for London Design Festival 2026 and the V&amp;A showing<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><b>LDF2026 runs from 12 to 20 September 2026, but the Craft x Tech Tokai showing at the V&amp;A is scheduled to continue from 12 September to 18 October.<\/b><\/p>\n<p>The venue is &#8220;The Daylit Gallery&#8221; inside London&#8217;s Victoria and Albert Museum (V&amp;A). Craft x Tech&#8217;s official information gives the exhibition hours as 10:00\u201317:45, with free entry. Event details may change, so check the latest information from the V&amp;A, London Design Festival, and Craft x Tech before you visit.<br \/>\uff08Source\uff1a<a href=\"https:\/\/craft-x-tech.com\/news\/craft-x-tech-to-exhibit-at-london-design-festival-2026\/\" rel=\"noopener nofollow\" target=\"_blank\">The Craft x Tech Tokai Project heads to London | Craft x Tech<\/a>\uff09<br \/>\uff08Source\uff1a<a href=\"https:\/\/londondesignfestival.com\/activities\/craft-x-tech-tokai-project\" rel=\"noopener nofollow\" target=\"_blank\">Craft x Tech Tokai Project | London Design Festival<\/a>\uff09<\/p>\n<div class=\"scroll_table\">\n<table>\n<thead>\n<tr>\n<th>Item<\/th>\n<th>Details<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td>LDF2026 dates<\/td>\n<td>12\u201320 September 2026<\/td>\n<\/tr>\n<tr>\n<td>Craft x Tech Tokai showing<\/td>\n<td>12 September \u2013 18 October 2026 (scheduled)<\/td>\n<\/tr>\n<tr>\n<td>Venue<\/td>\n<td>Victoria and Albert Museum (V&amp;A), The Daylit Gallery<\/td>\n<\/tr>\n<tr>\n<td>Hours<\/td>\n<td>10:00\u201317:45 (as officially announced)<\/td>\n<\/tr>\n<tr>\n<td>Entry<\/td>\n<td>Free (as officially announced)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<h3><span class=\"ez-toc-section\" id=\"How_Craft_x_Tech_Tokai_fits_into_LDF2026\"><\/span>How Craft x Tech Tokai fits into LDF2026<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>London Design Festival reaches its 24th edition in 2026. Its official announcements set out international exchange, a renewed appreciation of craft, and future-facing technology as key directions for 2026, and Craft x Tech Tokai takes part as one of the &#8220;Special Projects.&#8221;<br \/>\uff08Source\uff1a<a href=\"https:\/\/londondesignfestival.com\/stories\/a-first-look-at-ldf26\" rel=\"noopener nofollow\" target=\"_blank\">A First Look at LDF26 | London Design Festival<\/a>\uff09<\/p>\n<p>There&#8217;s no need to survey &#8220;the recommended shows across LDF as a whole&#8221; here. The value of Craft x Tech Tokai is that it lets you compare six craft traditions and six creative approaches within a single framework. Focusing on a single project, in fact, lets you examine how Japanese craft is translated into contemporary design in concrete detail.<\/p>\n<h2><span class=\"ez-toc-section\" id=\"Artisan_%C3%97_production_area_%C3%97_designer_%C3%97_outcome_breaking_down_the_six_collaborations_comparison_table\"><\/span>Artisan \u00d7 production area \u00d7 designer \u00d7 outcome: breaking down the six collaborations [comparison table]<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p>What the six works share is that they don&#8217;t add craft to a surface as &#8220;Japanese-style ornament.&#8221; Instead, <b>they build the technique into the material, the process, the structure, the light, and the use itself.<\/b><\/p>\n<p>Focusing not on the type of finished object but on &#8220;what was transformed from the original craft&#8221; makes the differences between the collaborations easier to see.<\/p>\n<div class=\"scroll_table\">\n<table>\n<thead>\n<tr>\n<th>Work<\/th>\n<th>Craft \/ production area<\/th>\n<th>Workshop \/ maker<\/th>\n<th>Creator<\/th>\n<th>Main composition (as officially confirmed)<\/th>\n<th>Kogei Japonica&#8217;s reading of the transformation<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td>Fushi<\/td>\n<td>Mino-yaki \/ Gifu<\/td>\n<td>Fud\u014d-gama kiln, Y\u014dhei It\u014d<\/td>\n<td>David Caon<\/td>\n<td>Console and lighting in ceramic modules, wood, and LED<\/td>\n<td>Ceramic vessel-making \u2192 modular furniture and lighting<\/td>\n<\/tr>\n<tr>\n<td>Grid Unwoven<\/td>\n<td>Mino washi \/ Gifu<\/td>\n<td>Warabi Paper Company, Takanori Chida<\/td>\n<td>Lanzavecchia + Wai<\/td>\n<td>Free-standing screen in Mino washi, wood, and LED<\/td>\n<td>Paper \u2192 an architectural material that controls light and space<\/td>\n<\/tr>\n<tr>\n<td>Kataginu<\/td>\n<td>Arimatsu-Narumi shibori \/ Aichi<\/td>\n<td>Suzusan, Hiroyuki Murase<\/td>\n<td>Bethan Laura Wood<\/td>\n<td>Lighting in dyed cloth, steel, and LED<\/td>\n<td>Dyeing and clothing \u2192 three-dimensional lighting<\/td>\n<\/tr>\n<tr>\n<td>Kasane<\/td>\n<td>Owari shipp\u014d \/ Aichi<\/td>\n<td>And\u014d Cloisonn\u00e9, Shigeyuki And\u014d<\/td>\n<td>Philippe Malouin<\/td>\n<td>Stacking boxes in copper and cloisonn\u00e9 enamel<\/td>\n<td>Surface decoration \u2192 stackable three-dimensional product<\/td>\n<\/tr>\n<tr>\n<td>Chair in Japanese Nuki and Dami style,<br \/>The Everyday at the Atelier<br \/>(Standard \/ Child Scale)<\/td>\n<td>Seto sometsuke-yaki \/ Aichi<\/td>\n<td>Shin-gama, Mayuki Kat\u014d<\/td>\n<td>Yuto Kangawa (EUGENE STUDIO)<\/td>\n<td>Chair and tea utensils in Seto blue-and-white porcelain tiles and nuki mortise-and-tenon joinery<\/td>\n<td>Vessel painting \u2192 furniture and everyday space<\/td>\n<\/tr>\n<tr>\n<td>Yamollo<\/td>\n<td>Iga kumihimo \/ Mie<\/td>\n<td>Itogo, Tomoyuki Matsuda<\/td>\n<td>Atang Tshikare<\/td>\n<td>Sculptural lighting in braided cord, FRP, steel, and LED<\/td>\n<td>Cord \u2192 lighting, sculpture, and a spatial divider<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<h3><span class=\"ez-toc-section\" id=\"Mino-yaki_%C3%97_David_Caon_Mino_washi_%C3%97_Lanzavecchia_Wai_two_production_areas_in_Gifu\"><\/span>Mino-yaki \u00d7 David Caon, Mino washi \u00d7 Lanzavecchia + Wai (two production areas in Gifu)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<figure id=\"attachment_11258\" aria-describedby=\"caption-attachment-11258\" style=\"width: 900px\" class=\"wp-caption aligncenter\"><img fetchpriority=\"high\" decoding=\"async\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/07_MinoYaki_DavidCaon_Fushi_01-900x599-1.webp\" alt=\"Mino-yaki \u00d7 David Caon\" width=\"900\" height=\"599\" class=\"size-full wp-image-11258\" \/><figcaption id=\"caption-attachment-11258\" class=\"wp-caption-text\"><a href=\"https:\/\/craft-x-tech.com\/collaboration\/\" rel=\"noopener nofollow\" target=\"_blank\">\u00a9 2025 Tangent<\/a><\/figcaption><\/figure>\n<p>&#8220;Fushi,&#8221; by Mino-yaki and David Caon, combines identically shaped ceramic modules made with Mino-yaki techniques, extending them into a console table and lighting. The materials are ceramic, wood, and LED. The surfaces use Oribe glaze (oribe-y\u016b), and a precise modular structure coexists with the glaze expression that firing makes different on every piece.<br \/>\uff08Source\uff1a<a href=\"https:\/\/craft-x-tech.com\/collaboration\/fushi\/\" rel=\"noopener nofollow\" target=\"_blank\">Fushi | Craft x Tech<\/a>\uff09<\/p>\n<p>What&#8217;s happening here isn&#8217;t the decorative move of &#8220;attaching pottery to the surface of furniture.&#8221; The important point is that <b>the ceramic element is reconceived as a structural module.<\/b><\/p>\n<p>More interesting still, the structure is precisely designed while the piece-to-piece variation from firing is not erased. When a craft is extended into a product, raising quality doesn&#8217;t have to mean making everything uniform. Which variations should be controlled, and which should be preserved as part of the craft&#8217;s character\u2014that judgement itself becomes design.<\/p>\n<div class=\"linkcard\"><div class=\"lkc-internal-wrap\"><a class=\"lkc-link no_icon\" href=\"https:\/\/en.kogei-japonica.com\/media\/crafts\/mino-ware\/\"><div class=\"lkc-card\"><div class=\"lkc-info\"><img decoding=\"async\" class=\"lkc-favicon\" src=\"https:\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/2025\/06\/cropped-logo_ver1-32x32.webp\" alt=\"\" width=\"16\" height=\"16\" \/><div class=\"lkc-domain\">en.kogei-japonica.com\/media<\/div><\/div><div class=\"lkc-content\"><figure class=\"lkc-thumbnail\"><img decoding=\"async\" class=\"lkc-thumbnail-img\" src=\"\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/2024\/11\/mino-ware1-1-150x150.webp\" width=\"100px\" height=\"108px\" alt=\"\" \/><\/figure><div class=\"lkc-title\">Mino Ware: Exploring the Appeal of Japanese Ceramic Culture Through History, ...<\/div><div class=\"lkc-url\" title=\"https:\/\/en.kogei-japonica.com\/media\/crafts\/mino-ware\/\">https:\/\/en.kogei-japonica.com\/media\/crafts\/mino-ware\/<\/div><div class=\"lkc-excerpt\">Mino ware (Mino-yaki) adds color to people&#039;s lives with its wide variety of styles and uses, from everyday vessels to tea ceremony implements and decorative pieces. Its appeal continues to evolve beyond generations, finding its place in contemporary dining tables and interiors.This article introduces the profound appeal of Japanese ceramic culture through Mino ware&#039;s history, traditional techniques, and representative types.What is Mino Ware? Its Characteristics and AppealMino ware ...<\/div><\/div><div class=\"clear\">\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><\/a><\/div><\/div>\n<p>&#8220;Grid Unwoven,&#8221; by Mino washi and Lanzavecchia + Wai, meanwhile, is a free-standing screen that reinterprets the traditional sh\u014dji (paper sliding screen) through Mino washi, light, and structure.<\/p>\n<figure id=\"attachment_11259\" aria-describedby=\"caption-attachment-11259\" style=\"width: 900px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/08_MinoWashi_LW_GridUnwoven_05-900x599-1.webp\" alt=\"Mino washi \u00d7 Lanzavecchia + Wai\" width=\"900\" height=\"599\" class=\"size-full wp-image-11259\" \/><figcaption id=\"caption-attachment-11259\" class=\"wp-caption-text\"><a href=\"https:\/\/craft-x-tech.com\/collaboration\/\" rel=\"noopener nofollow\" target=\"_blank\">\u00a9 2025 Tangent<\/a><\/figcaption><\/figure>\n<p>According to the official description, the papermaking (kami-suki) process devised for this work uses water and gravity to flow the fibres vertically, varying the density between the top and the bottom. Lit from behind with LED, it shows the washi&#8217;s fibres, thickness, and translucency themselves.<br \/>\uff08Source\uff1a<a href=\"https:\/\/craft-x-tech.com\/collaboration\/grid-unwoven\/\" rel=\"noopener nofollow\" target=\"_blank\">Grid Unwoven | Craft x Tech<\/a>\uff09<\/p>\n<p>In other words, rather than seeing washi as a &#8220;paper product,&#8221; it is reconsidered as <b>a material whose density and light transmission can be controlled.<\/b><\/p>\n<p>This is a useful way of thinking in craft product development. Instead of &#8220;how do I make the product I&#8217;m making now feel contemporary,&#8221; you ask again, &#8220;what else could this material be used for?&#8221; Once the question is reframed at the level of the material itself, possibilities emerge beyond the usual product categories\u2014lighting, architecture, hotels, commercial spaces, installation.<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Arimatsu-Narumi_shibori_%C3%97_Bethan_Laura_Wood_Owari_shippo_%C3%97_Philippe_Malouin_Seto_sometsuke-yaki_%C3%97_EUGENE_STUDIO_three_production_areas_in_Aichi\"><\/span>Arimatsu-Narumi shibori \u00d7 Bethan Laura Wood, Owari shipp\u014d \u00d7 Philippe Malouin, Seto sometsuke-yaki \u00d7 EUGENE STUDIO (three production areas in Aichi)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>&#8220;Kataginu,&#8221; by Arimatsu-Narumi shibori and Bethan Laura Wood, extends the complex texture of shibori\u2014made through binding, folding, and stitching\u2014into three-dimensional lighting. It takes its cue from the kataginu, a traditional Japanese upper garment, and is composed of dyed cloth, steel, and LED.<br \/>\uff08Source\uff1a<a href=\"https:\/\/craft-x-tech.com\/collaboration\/Kataginu\/\" rel=\"noopener nofollow\" target=\"_blank\">Kataginu | Craft x Tech<\/a>\uff09<\/p>\n<figure id=\"attachment_11260\" aria-describedby=\"caption-attachment-11260\" style=\"width: 900px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/09_ArimatsuNarumiShibori_BethanLauraWood_01-900x599-1.webp\" alt=\"Arimatsu-Narumi shibori \u00d7 Bethan Laura Wood\" width=\"900\" height=\"599\" class=\"size-full wp-image-11260\" \/><figcaption id=\"caption-attachment-11260\" class=\"wp-caption-text\"><a href=\"https:\/\/craft-x-tech.com\/collaboration\/\" rel=\"noopener nofollow\" target=\"_blank\">\u00a9 2025 Tangent<\/a><\/figcaption><\/figure>\n<p>What is preserved here is not simply the visual pattern of shibori. It&#8217;s the hard-to-fully-predict expression produced by how tightly the cloth is bound, how it&#8217;s folded, how it&#8217;s stitched, and how the dye penetrates.<\/p>\n<p>What changed, on the other hand, is &#8220;the relationship with light.&#8221; Something that took light from outside as clothing or dyed cloth now, as a lighting object, is lit from within. <b>Without changing the technique, changing the conditions of viewing produces a new use.<\/b><\/p>\n<p>&#8220;Kasane,&#8221; by Owari shipp\u014d and Philippe Malouin, is a set of stacking boxes in copper and cloisonn\u00e9 enamel. It takes a truncated-cone form inspired by the k\u014dgetsudai, the sand cone at Ginkaku-ji in Kyoto, with a structure where each part can be used on its own or stacked. The surfaces carry motifs in gin-sen shipp\u014d (silver-wire cloisonn\u00e9).<br \/>\uff08Source\uff1a<a href=\"https:\/\/craft-x-tech.com\/collaboration\/kasane\/\" rel=\"noopener nofollow\" target=\"_blank\">Kasane | Craft x Tech<\/a>\uff09<\/p>\n<figure id=\"attachment_11261\" aria-describedby=\"caption-attachment-11261\" style=\"width: 900px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/OwariShippo_PhilippeMalouin_Kasane_01-900x599-1.webp\" alt=\"Owari shipp\u014d \u00d7 Philippe Malouin\" width=\"900\" height=\"599\" class=\"size-full wp-image-11261\" \/><figcaption id=\"caption-attachment-11261\" class=\"wp-caption-text\"><a href=\"https:\/\/craft-x-tech.com\/collaboration\/\" rel=\"noopener nofollow\" target=\"_blank\">\u00a9 2025 Tangent<\/a><\/figcaption><\/figure>\n<p>Shipp\u014d is a technique that applies a glassy glaze to a metal body and fires it. In Kasane, the three-dimensional form is fairly restrained relative to the visual presence of the cloisonn\u00e9 itself.<\/p>\n<p>An easy trap in craft products for overseas markets is the idea of &#8220;adding immediately recognisable markers of Japaneseness.&#8221; But when the technique itself has enough presence, restraining the form can instead make the material and the working more visible. <b>Not &#8220;how many touches of Japaneseness to add,&#8221; but how to let the material, technique, and workmanship speak for themselves.<\/b> This way of thinking matters when considering overseas markets, too.<\/p>\n<p>In the work by Seto sometsuke-yaki and Yuto Kangawa (EUGENE STUDIO), Seto blue-and-white porcelain tiles are combined with traditional nuki mortise-and-tenon joinery to make a chair and tea utensils.<\/p>\n<p>The &#8220;dami&#8221; used here is not a woodworking technique. It is a painting technique in sometsuke, filling in areas with the brush. The official description shows the wavering of indigo that dami produces, and the hand-painting by Shin-gama, extended onto porcelain tiles and furniture.<br \/>\uff08Source\uff1a<a href=\"https:\/\/craft-x-tech.com\/collaboration\/chair-nuki-dami\/\" rel=\"noopener nofollow\" target=\"_blank\">Chair in Japanese Nuki and Dami style, The Everyday at the Atelier | Craft x Tech<\/a>\uff09<\/p>\n<figure id=\"attachment_11262\" aria-describedby=\"caption-attachment-11262\" style=\"width: 900px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/11_SetoSometsukeYaki_EugeneKangawa_Chair_01-900x599-1.webp\" alt=\"Seto sometsuke-yaki \u00d7 EUGENE STUDIO\" width=\"900\" height=\"599\" class=\"size-full wp-image-11262\" \/><figcaption id=\"caption-attachment-11262\" class=\"wp-caption-text\"><a href=\"https:\/\/craft-x-tech.com\/collaboration\/\" rel=\"noopener nofollow\" target=\"_blank\">\u00a9 2025 Tangent<\/a><\/figcaption><\/figure>\n<p>The works draw on a chair long used in the atelier and tea utensils long familiar at the kiln.<\/p>\n<p>The future of craft tends to bring to mind unconventional forms far removed from daily life. But much of craft has, by nature, been refined while being used in daily life. <b>Newness isn&#8217;t the same as moving away from the everyday.<\/b> This work shows that quietly.<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Iga_kumihimo_%C3%97_Atang_Tshikare_one_production_area_in_Mie\"><\/span>Iga kumihimo \u00d7 Atang Tshikare (one production area in Mie)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<figure id=\"attachment_11263\" aria-describedby=\"caption-attachment-11263\" style=\"width: 900px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/kogei-japonica.com\/media\/wp-content\/uploads\/2026\/08\/12_IIgaKumihimo_AtangTshikare_Yamollo_01-900x599-1.webp\" alt=\"Iga kumihimo \u00d7 Atang Tshikare\" width=\"900\" height=\"599\" class=\"size-full wp-image-11263\" \/><figcaption id=\"caption-attachment-11263\" class=\"wp-caption-text\"><a href=\"https:\/\/craft-x-tech.com\/collaboration\/\" rel=\"noopener nofollow\" target=\"_blank\">\u00a9 2025 Tangent<\/a><\/figcaption><\/figure>\n<p>&#8220;Yamollo,&#8221; by Iga kumihimo and the South Africa-born Atang Tshikare, is a sculptural lighting work in braided cord, FRP, steel, and LED. It is composed of a central light and the shields that surround it, and the surrounding shields also serve to divide space.<br \/>\uff08Source\uff1a<a href=\"https:\/\/craft-x-tech.com\/collaboration\/yamollo\/\" rel=\"noopener nofollow\" target=\"_blank\">Yamollo | Craft x Tech<\/a>\uff09<\/p>\n<p>Iga kumihimo is known in relation to Japanese dress, in obijime sash cords and haori cords. Itogo, the participating business, has already extended braided cord beyond Japanese dress\u2014into shoelaces, goods, and building materials.<\/p>\n<p>In Yamollo, that thinking is extended to a much larger scale.<\/p>\n<p>When &#8220;cord&#8221; handled in the hand is scaled up to the dimensions of the human body, the braid becomes not mere ornament but an element composing colour, plane, light, and space.<\/p>\n<p><b>Scale up a small craft technique, and what was ornament becomes structure or space.<\/b> This principle can be applied when connecting craft to architecture, interiors, hotels, and shops.<\/p>\n<h2><span class=\"ez-toc-section\" id=\"Why_%E2%80%9CTokai%E2%80%9D_and_why_this_line-up_coheres_an_editors_reading\"><\/span>Why &#8220;T\u014dkai,&#8221; and why this line-up coheres: an editor&#8217;s reading<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<div style=\"max-width:500px; margin:0 auto 15px;\"><iframe width=\"681\" height=\"851\" src=\"https:\/\/www.youtube.com\/embed\/H9SqjevkBjA\" title=\"Mino Yaki \u00d7 David Caon | \u7f8e\u6fc3\u713c\u00d7\u30c7\u30a4\u30f4\u30a3\u30c3\u30c9\u30fb\u30b1\u30aa\u30f3 #japanesecraft #kudanhouse #\u7f8e\u6fc3\u713c\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p>Having looked at the six works, there&#8217;s one thing worth stressing.<\/p>\n<p><b>It isn&#8217;t enough to explain Craft x Tech Tokai only through the story that &#8220;world-class designers took an interest because Japanese craft is excellent.&#8221;<\/b><\/p>\n<p>Holding together a collaboration on this scale requires at least several conditions: &#8220;curation that connects techniques with creators,&#8221; &#8220;the workshop&#8217;s technical and prototyping capabilities,&#8221; and &#8220;the cross-disciplinary design knowledge that makes a work hold together.&#8221;<\/p>\n<p>Mino-yaki and industrial design, Mino washi and light-and-spatial design, Arimatsu-Narumi shibori and three-dimensional lighting, Iga kumihimo and large-scale form. The six teams don&#8217;t drape external design over a finished craft object; <b>the collaboration begins with the capabilities and limits of the technique itself.<\/b><\/p>\n<p>More important still is not treating the production-area side merely as fabricators.<\/p>\n<p>In what form can the clay be fired? How far can the fibres of washi be controlled? How much of shibori&#8217;s inherent unpredictability can be controlled while preserving its character? To what shapes can shipp\u014d be applied? What happens when braided cord is enlarged?<\/p>\n<p>These can&#8217;t be judged by an external designer alone. The material knowledge and process knowledge on the craft side become fundamental design parameters of the work.<\/p>\n<div class=\"box3\">\n<p><b>Editor&#8217;s note<\/b><\/p>\n<p>In an actual collaboration, it isn&#8217;t only that the designer&#8217;s idea changes the craft in one direction. What the material can&#8217;t do, the fluctuation of firing, the limits of handwork, and process constraints can change the design too.<\/p>\n<p><b>A good craft collaboration, I think, isn&#8217;t about erasing constraints\u2014it&#8217;s about creating a process in which each side&#8217;s expertise reshapes the other&#8217;s thinking.<\/b><\/p>\n<\/div>\n<p>That Craft x Tech continues from the T\u014dhoku edition into the T\u014dkai edition has meaning, too. Still, you can&#8217;t go so far as to say that &#8220;because it&#8217;s a continuing project, each participating workshop is assured of future business growth.&#8221; The continuity of the project as a whole and each participant&#8217;s own management outcomes should be assessed separately.<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Why_%E2%80%9CCraft_x_Tech%E2%80%9D_is_easy_to_misunderstand\"><\/span>Why &#8220;Craft x Tech&#8221; is easy to misunderstand<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>From the name &#8220;Craft x Tech,&#8221; some will take it as a project that introduces digital technology\u2014AI, robotics, 3D printers\u2014into craft.<\/p>\n<p>But looking at this Tokai Project only through that understanding misses the substance.<\/p>\n<p>Craft x Tech itself describes the project as one that &#8220;questions anew the essence of &#8216;tech&#8217;\u2014the sensibility residing in Japanese craft, and the power of the thinking and hands that engage with it.&#8221;<br \/>\uff08Source\uff1a<a href=\"https:\/\/craft-x-tech.com\/\" rel=\"noopener nofollow\" target=\"_blank\">Craft x Tech | Official site<\/a>\uff09<\/p>\n<p>The &#8220;Tech&#8221; visible in the six actual works becomes easier to understand if you divide it into at least the following four layers.<\/p>\n<ul>\n<li><b>Material intelligence:<\/b> knowledge of handling materials such as clay, glaze, fibre, dye, metal, and thread<\/li>\n<li><b>Process intelligence:<\/b> process knowledge such as firing, papermaking, shibori, dyeing, cloisonn\u00e9, painting, and braiding<\/li>\n<li><b>Structural design:<\/b> the structural design that makes craft materials hold as furniture, screens, and lighting<\/li>\n<li><b>Digital \/ lighting technology:<\/b> technology such as LED that extends how materials appear and are used through contemporary equipment and light sources<\/li>\n<\/ul>\n<p>The point here, in other words, is that <b>&#8220;Tech&#8221; doesn&#8217;t mean &#8220;digital.&#8221;<\/b><\/p>\n<p>Controlling the firing of ceramics, adjusting the fibre density of paper, and designing the structure of braided cord are all technique. Add contemporary structural design and light to that, and new uses emerge.<\/p>\n<p>Rather than new technology updating old technology in one direction, the question is <b>where to connect different systems of technique.<\/b> Craft x Tech Tokai is better understood as an experiment in exactly that.<\/p>\n<h2><span class=\"ez-toc-section\" id=\"How_can_a_Japanese_production_area_or_company_collaborate_with_an_overseas_designer_A_practical_checklist\"><\/span>How can a Japanese production area or company collaborate with an overseas designer? A practical checklist<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p>To learn from a case like Craft x Tech Tokai in practical terms, it matters to look beyond the finished work and consider <b>what needs to be shared before the collaboration.<\/b><\/p>\n<p>A workshop, production area, local government, or company considering a collaboration with an overseas brand or designer would want to organise at least the following.<\/p>\n<ul>\n<li><b>The core of the technique:<\/b> what process or centre of value must not be changed<\/li>\n<li><b>Scope for adaptation:<\/b> how far form, colour, size, material, and use can be changed<\/li>\n<li><b>Material constraints:<\/b> what happens\u2014cracking, shrinkage, colour variation, strength, variation in fibre density from piece to piece<\/li>\n<li><b>Scale:<\/b> how the technique and quality change when enlarged or reduced<\/li>\n<li><b>Connection with other materials:<\/b> whether it can be combined with wood, metal, resin, light sources, building materials<\/li>\n<li><b>Prototyping capacity:<\/b> how much prototyping and revision can be handled<\/li>\n<li><b>Production scalability:<\/b> whether it&#8217;s one-off making or a set number can be produced repeatedly<\/li>\n<li><b>Logistics:<\/b> whether packing, weight, breakage risk, and overseas shipping can be handled<\/li>\n<li><b>Maintenance:<\/b> how repair, replacement, and mending after installation are handled<\/li>\n<li><b>Intellectual property and credit:<\/b> how design, technique, work titles, photographs, and maker names are handled<\/li>\n<\/ul>\n<p>What matters especially is sharing not only &#8220;what can be done&#8221; but <b>&#8220;what can&#8217;t be done.&#8221;<\/b><\/p>\n<p>Conditions like &#8220;it distorts easily above this size,&#8221; &#8220;an exactly identical colour can&#8217;t be reproduced,&#8221; &#8220;drying takes time,&#8221; and &#8220;because the process is done by hand, some variation between pieces is unavoidable&#8221; are not negative information.<\/p>\n<p>Shared from the start, they become design conditions in their own right.<\/p>\n<p>The precise modules and the fluctuation of Oribe glaze in Fushi are a good example for understanding this way of thinking. Rather than pursuing uniformity completely, it separates the precision needed as structure from the variation preserved as part of the craft&#8217;s character.<\/p>\n<p>One more thing matters: not deciding the finished product too firmly from the start.<\/p>\n<p>There&#8217;s a way of starting from &#8220;I want to make a lamp with this technique.&#8221; But starting from questions\u2014&#8221;how does this material look when it transmits light?&#8221;, &#8220;what happens when it&#8217;s enlarged?&#8221;, &#8220;could it become structure rather than surface decoration?&#8221;\u2014can reveal applications beyond existing product categories.<\/p>\n<p><b>International expansion isn&#8217;t only about exporting, as-is, a product completed at home. Translating a technique into a different design language and connecting it to a new market category is international expansion too.<\/b><\/p>\n<div class=\"linkcard\"><div class=\"lkc-internal-wrap\"><a class=\"lkc-link no_icon\" href=\"https:\/\/en.kogei-japonica.com\/media\/invest\/craft-brand-collaboration\/\"><div class=\"lkc-card\"><div class=\"lkc-info\"><img decoding=\"async\" class=\"lkc-favicon\" src=\"https:\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/2025\/06\/cropped-logo_ver1-32x32.webp\" alt=\"\" width=\"16\" height=\"16\" \/><div class=\"lkc-domain\">en.kogei-japonica.com\/media<\/div><\/div><div class=\"lkc-content\"><figure class=\"lkc-thumbnail\"><img decoding=\"async\" class=\"lkc-thumbnail-img\" src=\"\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/2026\/07\/craft-brand-collaboration_1.webp\" width=\"100px\" height=\"108px\" alt=\"\" \/><\/figure><div class=\"lkc-title\">Japanese Craft\u2013Brand Collaborations: Pricing and IP<\/div><div class=\"lkc-url\" title=\"https:\/\/en.kogei-japonica.com\/media\/invest\/craft-brand-collaboration\/\">https:\/\/en.kogei-japonica.com\/media\/invest\/craft-brand-collaboration\/<\/div><div class=\"lkc-excerpt\">Collaborations between overseas brands and Japan&#039;s craft regions can open new markets and new forms of expression. Yet the finished product \u2014 and the brand name on it \u2014 reveals little about the profit or rights that remained with the makers and workshops involved.Assessing a collaboration takes more than a story of international recognition. It means looking at prototyping cost, pricing, intellectual property, mass-production responsibility, credit and repeat orders.For a partnership bet...<\/div><\/div><div class=\"clear\">\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><\/a><\/div><\/div>\n<div class=\"linkcard\"><div class=\"lkc-internal-wrap\"><a class=\"lkc-link no_icon\" href=\"https:\/\/en.kogei-japonica.com\/media\/invest\/collaboration-traditionalcrafts\/\"><div class=\"lkc-card\"><div class=\"lkc-info\"><img decoding=\"async\" class=\"lkc-favicon\" src=\"https:\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/2025\/06\/cropped-logo_ver1-32x32.webp\" alt=\"\" width=\"16\" height=\"16\" \/><div class=\"lkc-domain\">en.kogei-japonica.com\/media<\/div><\/div><div class=\"lkc-content\"><figure class=\"lkc-thumbnail\"><img decoding=\"async\" class=\"lkc-thumbnail-img\" src=\"\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/2026\/03\/collaboration-traditionalcrafts_1-1.webp\" width=\"100px\" height=\"108px\" alt=\"\" \/><\/figure><div class=\"lkc-title\">Japanese Traditional Craft x Corporate Collaboration: B2B Case Studies in Pro...<\/div><div class=\"lkc-url\" title=\"https:\/\/en.kogei-japonica.com\/media\/invest\/collaboration-traditionalcrafts\/\">https:\/\/en.kogei-japonica.com\/media\/invest\/collaboration-traditionalcrafts\/<\/div><div class=\"lkc-excerpt\">How can a company stand out in a commoditized market and build a brand story that competitors cannot easily replicate? For many new business developers and executives facing this challenge today, co-creating with Japanese traditional crafts (Kogei) offers a meaningful strategic option.This article explores practical frameworks and success factors for B2B craft collaborations that go beyond mere buzz. For busy decision-makers, we have summarized the three key takeaways below.Collaborating with...<\/div><\/div><div class=\"clear\">\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><\/a><\/div><\/div>\n<p>At Kogei Japonica, we take enquiries from companies, local governments, and craft-related businesses on product development using craft, collaborations with companies and artists, spatial design, and market development. Beyond ordering finished products, it&#8217;s also possible to work from the planning stage, on questions such as &#8220;could our own materials or techniques be extended into another field?&#8221;<\/p>\n<div class=\"linkcard\"><div class=\"lkc-external-wrap\"><a class=\"lkc-link no_icon\" href=\"https:\/\/en.kogei-japonica.com\/enterprise\/\" target=\"_blank\" rel=\"external noopener\"><div class=\"lkc-card\"><div class=\"lkc-info\"><img loading=\"lazy\" decoding=\"async\" class=\"lkc-favicon\" src=\"https:\/\/www.google.com\/s2\/favicons?domain=en.kogei-japonica.com\" alt=\"\" width=\"16\" height=\"16\" \/><div class=\"lkc-domain\">en.kogei-japonica.com<\/div><\/div><div class=\"lkc-content\"><figure class=\"lkc-thumbnail\"><img decoding=\"async\" class=\"lkc-thumbnail-img\" src=\"\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/pz-linkcard\/cache\/0d0cf8a3066b9d844452c8aa36f225c66f67448a2f870ba599fea788a0eff3d5.jpeg\" width=\"100px\" height=\"108px\" alt=\"\" \/><\/figure><div class=\"lkc-title\">Japanese Craft Services for Business<\/div><div class=\"lkc-url\" title=\"https:\/\/en.kogei-japonica.com\/enterprise\/\">https:\/\/en.kogei-japonica.com\/enterprise\/<\/div><div class=\"lkc-excerpt\">Kogei Japonica helps businesses, organizations, artisans, and local governments work with Japanese craft through sales development, artist collaborations, creative projects, product sourcing, and rentals for exhibitions, photography, and interiors.<\/div><\/div><div class=\"clear\">\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><\/a><\/div><\/div>\n<h2><span class=\"ez-toc-section\" id=\"Frequently_asked_questions_FAQ\"><\/span>Frequently asked questions (FAQ)<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p>Here we gather the points worth checking before a visit or while gathering information\u2014Craft x Tech Tokai&#8217;s dates, the participating production areas, and the meaning of &#8220;Tech.&#8221;<\/p>\n<dl>\n<dt><b>When and where can I see Craft x Tech Tokai?<\/b><\/dt>\n<dd>It is scheduled to be shown from 12 September to 18 October 2026 at &#8220;The Daylit Gallery&#8221; inside London&#8217;s Victoria and Albert Museum (V&amp;A). London Design Festival 2026 itself runs from 12 to 20 September.<\/dd>\n<dt><b>How much is admission to Craft x Tech Tokai?<\/b><\/dt>\n<dd>Craft x Tech and London Design Festival official information gives free entry. Opening hours and entry arrangements may change, so check the latest official information before visiting.<\/dd>\n<dt><b>Which crafts take part in Craft x Tech Tokai?<\/b><\/dt>\n<dd>Six fields: Mino-yaki, Mino washi, Arimatsu-Narumi shibori, Owari shipp\u014d, Seto sometsuke-yaki, and Iga kumihimo. They come from the three T\u014dkai prefectures of Gifu, Aichi, and Mie.<\/dd>\n<dt><b>Are the participants six overseas designers?<\/b><\/dt>\n<dd>No. More precisely, they are six creative teams working in Japan and abroad. The collaboration on Seto sometsuke-yaki includes the Japanese contemporary artist Yuto Kangawa (EUGENE STUDIO).<\/dd>\n<dt><b>Does the &#8220;Tech&#8221; in &#8220;Craft x Tech&#8221; mean AI or digital technology?<\/b><\/dt>\n<dd>Not only that. Contemporary technology such as LED is used, but the project&#8217;s character is easier to understand when you also include process knowledge\u2014handling materials, firing, papermaking, dyeing, cloisonn\u00e9, painting, braiding\u2014and structural design.<\/dd>\n<dt><b>What is Seto sometsuke-yaki&#8217;s &#8220;dami&#8221;?<\/b><\/dt>\n<dd>It is a technique in sometsuke painting of filling in areas with the brush. In the Craft x Tech Tokai work, the wavering of indigo that dami produces, together with hand-painting, is extended onto porcelain tiles and combined with a wooden chair made with nuki mortise-and-tenon joinery.<\/dd>\n<dt><b>What can a craft business learn from Craft x Tech Tokai?<\/b><\/dt>\n<dd>Rather than decorating a finished product for overseas markets, the approach is to keep the core of the material and technique while changing use, structure, scale, and market category. It offers a cue to think not only about &#8220;what to sell abroad&#8221; but &#8220;what our own technique can do in another field.&#8221;<\/dd>\n<dt><b>In a collaboration with an overseas designer, what should we prepare first?<\/b><\/dt>\n<dd>It matters to organise the core of the technique, the scope for adaptation, material constraints, producible sizes, prototyping capacity, production scalability, logistics, maintenance, and the handling of intellectual property and credit.<\/dd>\n<\/dl>\n<h2><span class=\"ez-toc-section\" id=\"Summary\"><\/span>Summary<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p>Craft x Tech Tokai is a project in which craft businesses and makers from six production areas across the three T\u014dkai prefectures work with six creative teams from Japan and abroad, extending the techniques of Japanese craft into furniture, lighting, spatial works, and contemporary art.<\/p>\n<p>It is shown at the V&amp;A alongside LDF2026, but what&#8217;s worth attention isn&#8217;t only the outcome that &#8220;Japanese traditional craft reaches London.&#8221;<\/p>\n<p>In Fushi, vessel technique becomes furniture; in Grid Unwoven, washi becomes space; in Kataginu, dyeing becomes lighting; in Yamollo, braided cord becomes a sculptural form at the scale of the human body.<\/p>\n<p>What they share is neither abandoning tradition nor keeping an old finished form exactly as it was.<\/p>\n<p><b>What&#8217;s kept is the understanding of materials, the process, the principle of the technique, and the judgement artisans and businesses have accumulated. What&#8217;s changed boldly is use, structure, scale, and the relationship with other materials.<\/b><\/p>\n<p>When we think about bringing Japanese craft to international markets, we tend to start from the question &#8220;how do we sell Japanese-style products abroad.&#8221;<\/p>\n<p>But the question that should come one step before that is, surely, <b>&#8220;what can this technique really do?&#8221;<\/b><\/p>\n<p>The more deeply you understand a craft, the more possibilities appear for connecting it to different fields\u2014furniture, lighting, architecture, interiors, collectible design\u2014without relying on surface-level Japanese-style expression.<\/p>\n<p>If you have the chance to see Craft x Tech Tokai at London Design Festival 2026, compare the six works not only for the beauty of the finished pieces but for <b>what each work preserves from the original craft\u2014and what it transforms.<\/b><\/p>\n<p>What comes into view there is a concrete method for translating Japanese craft into its next use, its next market, and its next cultural sphere\u2014one that the convenient phrase &#8220;tradition and innovation&#8221; alone can&#8217;t fully explain.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In September 2026, London&#8217;s Victoria and Albert Museum (V&amp;A) hosts the Craft x Tech Tokai Project, which connects Japanese craft with contemporary design. Craft x Tech Tokai brings together craft businesses and makers from six production areas across three prefectures in Japan&#8217;s T\u014dkai region with six creative teams working in Japan and abroad, reinterpreting craft<\/p>\n","protected":false},"author":2,"featured_media":7552,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[281],"tags":[],"class_list":["post-7551","post","type-post","status-publish","format-standard","has-post-thumbnail","category-events"],"acf":[],"aioseo_notices":[],"amp_enabled":true,"_links":{"self":[{"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/posts\/7551","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/comments?post=7551"}],"version-history":[{"count":4,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/posts\/7551\/revisions"}],"predecessor-version":[{"id":7578,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/posts\/7551\/revisions\/7578"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/media\/7552"}],"wp:attachment":[{"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/media?parent=7551"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/categories?post=7551"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/tags?post=7551"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}