Apart from launching a sole outlet in Minami Aoyama, the Shikoku Towel Industrial Cooperative Association (STICA) still actively participated oversea trade shows. In 2014, they first joint the London 100%-design trade show. Continue reading →
Till the point where the subsidization from “Japan Brand Incubation Supporting Programme” was finished, Imabari Towel still did not have a sole outlet in Tokyo. There were only three collaborating outlets – Mitsukoshi department store, official gift shop in The National Art Center and Isetan Shinjuku department store. So what to do next? Continue reading →
[ #20 | Easy Chair “Corona” ]
1961. Model No. EJ 5
Designed by Poul M. Volther.
Model polyurethane foam structure.
Matte chromed spring steel frame.
Seat upholstered in fabric.
Height 96.5 cm. Width 87 cm. Depth 85 cm. Seat Height 42 cm.
During 2007, you can only find an outlet in Texport Imabari, Imabari-shi Ehime-ken that towels made by members of STICA were sold. There once had a guerrilla outlet in Ginza of Tokyo from 2003 till 2006. STICA could barely operate the outlet because they paid too much attention to the profit. Continue reading →
In Mr. Kashiwa Sato’s mind, the “Imabari Towel Japan” mark not only functions as an anti-bogusness, it would be an endorsement of high quality to merchandise. Starting from it’s launch in 2007, a set of identity are required to be applied to every qualified towels made by members of ITIA. Since launching, a member, whom a batch of unqualified towels were affixed “Imabari Towel Japan” identity, was requested to withdraw membership. Continue reading →
[ #19 | Round Rattan Chair ]
1960. Model No.T-3010.
Designed by Isamu Kenmochi.
Rattan woven structure. Wool covered cushion.
Height 75 cm. Width 99 cm. Depth 94 cm.
一齊由著名美籍日裔藝術家 野口 勇（Isamu Noguchi, 1904-1988）說起。戰後 1950 年，野口勇再次回到日本，巧遇同名字的日本工業設計師 劍持 勇（Isamu Kenmochi, 1912-1971)。他們不同背景，但藝術修養類同。劍持勇對藤傳統製品極濃，野口氏亦然。他們共同設計及製作了原型樣本—竹籃椅（The Bamboo Basket Chair)，野口氏選用他喜好的雕塑鋼結構作椅腳。這張椅子從未量產，而原版樣本又遺失了，最終只於美國野口博物館，依照一張照片製作了一張「克隆」展出。 Continue reading →
At first, Mr. Kashiwa Sato was not comfortable to accept their invitation because of the lesser-than-enough budget accomplishing a real branding project. What did Mr. Toyama do to convince Mr. Sato? Continue reading →