Japan Craft 21, Shining a Light on the Artisans

"It is critical that we continue to support our craftspeople and encourage apprenticeships," said Steve Beimel on February 19. The founder and director of Japan Craft 21 spoke passionately about the organization's mission at the Japan Traditional Craft Revitalization Contest at the International House of Japan in Tokyo.

Beimel's address at the International House of Japan in Tokyo underscored the urgency of their mission:

"The number of artisans in Japan is decreasing rapidly — from approximately 300,000 in 1979 to a projected 20,000 by 2028," he noted. "We have only three years to keep craftsmanship alive."

Japan Craft 21 aims to reverse that trend. The association is dedicated to revitalizing the Japanese crafts industry by supporting and celebrating artisans. It initiates recruiting apprenticeships and finding funding for artisans and their businesses. Each year, the organization recognizes outstanding talent by selecting a group of "Craft Leaders" and honoring one with the Ronnie Prize at the Japan Traditional Craft Revitalization Awards Ceremony.

*All nominees stand together with Steve Beimel (from the left Taichiro Takamatsu, Naoki Sakai, Junko Otaki, Shinya Kobayashi, Yusuke Maeda, Hikariwomatou group).(©JAPAN Forward by Natasha Takahashi)*

Craft Leaders of 2024

Craft leaders recognized for 2024 showcased a diverse range of craftsmanship, blending tradition with innovation.

Hikariwomatou incorporates handwoven, naturally dyed silk fabrics into contemporary designs, striving to integrate traditional textiles into everyday life.

Yusuke Maeda brings Japanese traditional arts to the runway, combining his weaving expertise with haute couture fashion. His work pushes the boundaries of Japanese craftsmanship beyond its conventional association with religion.

Junko Otaki, a weaver specializing in the Shinafu technique, works with the flexible outer layer of tree bark. By crafting obi from this ancient material, she weaves a form of wearable history, preserving and revitalizing the tradition.

Shinya Kobayashi, a master blacksmith, creates high-quality ikebana knives and scissors — tools designed for fellow artisans. Alongside his apprentices, he is also dedicated to environmental preservation and currently working to restore a satoyama in Shimane Prefecture.

Naoki Sakai produces traditional iron tea kettles in Ishikawa Prefecture. While these kettles are traditionally used in tea ceremonies, Sakai reimagines them for modern, everyday use.

Taichiro Takamatsu is an alchemist of fabric. Takamatsu trained to tailor at Gieves & Hawks in London before joining the PRADA and Dolce & Gabbana tailoring teams in Italy. After his time there he took to France to join a maison as a haute couture tailor. He is currently experimenting with traditional Japanese crafts to innovate the fashion sphere.

Ronnie Prize Award Winner Taichiro Takamatsu

Takamatsu's creations have walked many runways. Presently he works as a tailor in Japan, using his unique technique. He often incorporates traditional Japanese fabrics into his designs.

"My job is to make clothes. When I worked in France and Italy, I felt that Japanese materials have a lot of potential. My role is to take materials and give them form — I don't create the materials myself," he says. "So, I would like Japanese artisans to produce these materials. And I want to use them to create beautiful dresses and suits."

*Ronnie Prize award winner Taichiro Takamatsu (left) receives the certificate from Steve Beimel (Right). (©JAPAN Forward by Natasha Takahashi)*

He emphasized his mission to craft distinctly Japanese creations "Instead of importing trends, I want to showcase these creations from Japan to the world. That's the story I want to tell."

Going further, he touched on using Japanese craft techniques that are not traditionally used in fabric. "There are so many other techniques not traditionally used in clothing," he explained. "In 2024, for instance, I experimented with Urushi (lacquer) as a textile material. Urushi is usually not used on fabric because it's hard. But by shifting perspectives, we can create something entirely new. I want to collaborate with these materials and techniques to create clothing that makes people go, 'What is this?'"

Reviving Historical Fabric Techniques with Junko Okita

"It is incredibly time and labor-intensive to make" Junko Otaki describes the intensive process of creating the Shinafu material. She herself partakes in every step of the process.

*Junko Otaki (left) stands with Japan Craft 21 director Steve Beimel (right). (©JAPAN Forward by Natasha Takahashi)*

"We start by cutting down the tree and stripping it to its softer layer," she says. "Then taking those strips, we boil the bark for two to three days using ashes from burnt wood. We then take the material to shred it and twist it together by hand to make a long thread."

Okita shared her thoughts on how she would like Shinafu to be more accessible in the future.

"Shinafu has been used in different ways throughout history, to create something that adds joy to different lifestyles. Right now, it's mostly used for kimono obi (sashes), but I'd like to expand beyond that. My dream is that [Shinafu] will have a place in people's daily lives."

Expanding Japanese Fashion with Yusuke Maeda

The youngest of the nominees, Yusuke Maeda shared his vision for integrating Japanese craftsmanship into the high-fashion industry.

"Right now, I'm making apparel using Nishijin-ori, a type of obi textile. But beyond that — of course, I'm based in Kyoto, which has so many different techniques and materials. By embedding these artisans' skills into various products, we can create and grow a uniquely Japanese brand," said Maeda.

"I want to bring together the skills and dedication of artisans from all across Japan into a single brand and introduce it to the world," he continued.

Maeda also expressed his hopes for the younger generation to embrace Japanese crafts with renewed enthusiasm:

"Right now, young people in Japan are very interested in foreign cultures, which I think is great. But at the same time, Japan has long-standing traditions, techniques, materials, and cultural elements that have endured for centuries. If we find the right ways to combine them, I believe they have the strength to compete with global influences—instead of just looking outward.

"I want to work with younger generations to refine what we have here in Japan and present it to the world as something truly beautiful."