Introduction of artisans: Menu ----------------------------- Introduction ----------------------------- Introduction "Clothing" Kyo yuzen silk dyeing / Masahiro Ikeuchi Nishijin textile / Takahisa Tamura Kyo yuzen silk dyeing / Ryotaro Hika Kyo Yuzen silk dyeing / Tomoko Fujii Flower arrangement / Michihisa Watanabe ----------------------------- Introduction "Eating and Drinking" Japanese dishes / Takeshi Shinmura Rice / Takashi Hashimoto Sake / Yoshihiro Higashino ----------------------------- Introduction "Living" Synthetic resin / Shigemi Inari Kiyomizu-ware / Hirokazu Kato Woodblock printing / Yuko Harada Jidaigire / Taro Matsumura Folding fans / Takahito Mizukami

I was born to a family engaged in yuzen dyeing. Since the studio was attached to my house, it was very natural for me to succeed to the family business. If I were a son, I might have resisted succeeding to my father's business, but being the daughter and the only child, I entered my present profession quite naturally.

Today, few Japanese people enjoy traditional cultural aspects or use products of heritage industries, including kimono. In my view, we who are engaged in traditional industries are adhering to values valid only in such industries. Even though we seek convenient modern lifestyles on the one hand, on the other hand we continue to retain values different from those held by the rest of the Japanese people. I have long felt that our industrial culture remains old and out-of-date, yet I never realized the vital necessity of innovating such an old culture until I enrolled at a business school. What is truly essential for us in traditional industries is to seek optimal balance between the different values of traditional industries and modern industries/businesses. Although we cannot change conventional systems in one day, I hope to establish new business styles by innovating distribution systems and developing new products.

I was born to a family engaged in kimono production. Since the studio was attached to our house, from the moment I was born kimono and its studio have always comprised an essential part of my life.

Many customers complain that there are only few kimono articles for women between their latter twenties and their forties. Others suggest that it is difficult to coordinate kimono, obi (broad sash) and other accessories. They also remark that kimono maintenance is difficult. I am working to respond to these customers' demands, little by little.

I hope to establish and enhance our kimono brand. I am also planning to establish another brand for daily products – articles for daily use in a modern lifestyle – made from dyed silk. In producing both brand articles, I hope to take full advantage of traditional Japanese artisanship, which has been passed on from generation to generation in our original guild system. Although few such systems remain today, I hope to use this system to develop new businesses and present this guild system as a business model.
I hope to develop new businesses by using the sophisticated technologies that underpin our high-end, hand-painted yuzen articles. Since the introduction of our business in the Financial Times, we have been covered by various European and Asian media. Fortunately, we have received surprisingly favorable responses to such reports on our activities. Encouraged by such positive responses, we are planning to develop our business overseas.
Since I participate in the program titled Innovative Globalization of Kyoto's Heritage Industries, organized by the Doshisha Business School, in taking advantage of this tie with the university I hope to pioneer a model business of industry-academia collaboration.