# Gianfranco Chicco > Gianfranco Chicco is a London-based creative producer, content strategist and writer connecting design, technology, craft and culture. He is the author of The Craftsman Newsletter. Public Ghost content for AI and LLM tooling. This file includes a bounded export of public pages first, then recent public posts. Append `.md` to any post or page URL to get the content in Markdown (for example, `/example-post.md`). ## Pages ### About URL: https://www.gchicco.com/about/ Last updated: 2025-10-05T14:13:44.000Z ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/10/Gianfranco-Chicco---June-2023---Photo-by-Lucy-Ranson_square_xs.jpg) Gianfranco Chicco - Photo by Lucy Ranson **Gianfranco Chicco** is a London-based creative producer, strategist and writer connecting design, technology and craft. He creates physical and digital experiences that bring people together. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/07/Venn-Triangle-and-T-diagrams-x-Gianfranco-Chicco.png) Gian is the former Head of Content and Digital of the [London Design Festival](https://www.gchicco.com/london-design-festival/) and [London Design Biennale](https://www.gchicco.com/london-design-biennale/) (2021-2023), two leading platforms that champion London as a global design capital and set the stage for world-leading contemporary design and design-led innovation, creativity and research. He was the European Marketing Director of [The Webby Awards and The Lovie Awards ](https://www.gchicco.com/the-webby-awards-the-lovie-awards/)(2016-2018), and a key member in the curation and production of the [World Business Forum](https://www.gchicco.com/world-business-forum/) (2003-2007), the [PICNIC Festival](https://www.gchicco.com/picnic-festival/) (2009-2010), [Frontiers of Interaction](https://www.gchicco.com/frontiers-of-interaction/) (2010), and [Social Media Week](https://www.gchicco.com/social-media-week-london/) (2013-2016) among many others. Gian writes [The Craftsman Newsletter](https://www.gchicco.com/the-craftsman-newsletter/) and is working on a book about what we can learn from Japanese craftspeople to improve how we live and work by embracing the slower pace and depth of feeling of the physical world with the innovation and convenience of digital technology. Gian holds an Industrial Engineering degree from the Buenos Aires Institute of Technology (ITBA) and an executive MBA from the Politecnico di Milano Graduate School of Management. Originally from Argentina, he is also Italian and has lived in Buenos Aires, Milan, Tokyo, Amsterdam, and Madrid before moving to London in 2013. [Portfolio](https://www.gchicco.com/tag/portfolio/) \[Last updated: January 2025\] ### Contact URL: https://www.gchicco.com/contact/ Last updated: 2025-12-08T13:38:45.000Z ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/stamps-japan-1.jpg) The best way to contact me is by email: [gian@gchicco.com](mailto:gian@gchicco.com) My literary agent is [Robert Caskie](https://www.robertcaskie.com/?ref=gchicco.com). You can also find me on [LinkedIn](https://www.linkedin.com/in/gchicco/?ref=gchicco.com), [Instagram](https://www.instagram.com/gchicco/?ref=gchicco.com), [Bluesky](https://bsky.app/profile/gchicco.com?ref=gchicco.com) and on my [YouTube channel](https://www.youtube.com/@gianfranco.chicco?ref=gchicco.com). ### The Craftsman Newsletter URL: https://www.gchicco.com/the-craftsman-newsletter/ Last updated: 2026-09-01T10:24:43.000Z ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/Chawan-by-Raku-Cho--jiro---I---Photo-by-Gianfranco-Chicco.jpg) ****Kuro Raku Chawan** by Raku Chōjirō I, Japan, 16th century. Photo by Gianfranco Chicco --- ## Archive - [Where to Put the Bench: Hiroshi Sugimoto Frames a Hillside](https://www.gchicco.com/where-to-put-the-bench-hiroshi-sugimoto-frames-a-hillside/) \- September 2026 - [The Colour of a Hundred Years](https://www.gchicco.com/the-colour-of-a-hundred-years/) \- August 2026 - [A Date at the Foundry](https://www.gchicco.com/a-date-at-the-foundry/) \- August 2026 - [Happy as an Otter with a Fancy Pebble](https://www.gchicco.com/happy-as-an-otter-with-a-fancy-pebble/) \- March 2026 - [What Wood Wants: Correspondence With Shuji Nakagawa](https://www.gchicco.com/what-wood-wants-correspondence-with-shuji-nakagawa/) \- January 2026 - [Mountain Eel: Making Chashaku with Kaida Sensei](https://www.gchicco.com/mountain-eel-making-chashaku-with-kaida-sensei/) \- January 2026 - [The Structure of Sui: Exporting Japan's Quiet Luxury](https://www.gchicco.com/the-structure-of-sui-exporting-japans-quiet-luxury/) \- December 2025 - [Winter Special 2025: Books and Ceramics](https://www.gchicco.com/winter-special-2025-books-and-ceramics/) \- December 2025 - [Bamboo, Blades and YouTube](https://www.gchicco.com/bamboo-blades-and-youtube/) \- October 2025 - [Sketches of Japanese Craftsmanship in London](https://www.gchicco.com/sketches-of-japanese-craftsmanship-in-london-september-2025/) \- September 2025 - [Aliveness (what machines can't make)](https://www.gchicco.com/aliveness-what-machines-cant-make/) \- August 2025 - [Summer Special 2025](https://www.gchicco.com/summer-special-2025/) \- July 2025 - [Upcoming: 10 July - Off the Hump: Poetry of Clay with Tarragon Smith](https://www.gchicco.com/off-the-hump-poetry-of-clay-with-tarragon-smith/) \- June 2025 - [Miracle Fibres: From Patagonia to London with Cindy Lilen](https://www.gchicco.com/this-friday-miracle-fibres-from-patagonia-to-london-with-cindy-lilen/) \- June 2025 - [The playfuil guinomi](https://www.gchicco.com/the-playful-guinomi/) \- May 2025 - [Crafting Memory: Alessi's Funeral Urn](https://www.gchicco.com/crafting-memory-alessi-funeral-urns/) \- April 2025 - [The Butterfly Effect: Sori Yanagi and the Art of Appreciation](https://www.gchicco.com/the-butterfly-effect-sori-yanagi-and-the-art-of-appreciation/) \- March 2025 - [Born Elsewhere, Made in Japan](https://www.gchicco.com/born-elsewhere-made-in-japan/) \- February 2025 - [Feeling More x Musubi Academy](https://www.gchicco.com/feeling-more-x-musubi-academy/) \- December 2024 - [Kamon, the original logos of Japan](https://www.gchicco.com/kamon-the-original-logos-of-japan/) \- November 2024 - [Craftsmanship and Circularity Are One](https://www.gchicco.com/craftsmanship-and-circularity-are-one/) \- October 2024 - [Fabrico, ergo intellego](https://www.gchicco.com/fabrico-ergo-intellego/) \- October 2024 - [Summer Special 2024](https://www.gchicco.com/newsletter-summer-special-2024/) \- July 2024 - [The genius of Raku Jikinyū](https://www.gchicco.com/the-genius-of-raku-jikinyu/) \- June 2024 - [Art without heroes: Mingei with Róisín Inglesby](https://www.gchicco.com/art-without-heroes-mingei-with-roisin-inglesby/) \- June 2024 - [A Tale Of Two Orin: Part 1](https://www.gchicco.com/a-tale-of-two-orin-part-1/) \- April 2024 - [Talking by making: pottery in the heart of Uji](https://www.gchicco.com/talking-by-making-pottery-in-the-heart-of-uji/) \- February 2024 - [Talking by making: soba noodles in Tokyo](https://www.gchicco.com/talking-by-making-soba-noodles-in-tokyo/) \- February 2024 - [Moving at human speed](https://www.gchicco.com/moving-at-human-speed/) \- October 2023 - [Tomatoes on Japanese ceramic plates taste better](https://www.gchicco.com/tomatoes-on-japanese-ceramic-plates-taste-better/) \- September 2023 - [From artificial to artisanal intelligence](https://www.gchicco.com/from-artificial-to-artisanal-intelligence/) \- May 2023 - [Slow prosperity: empathy and (small) business](https://www.gchicco.com/slow-prosperity-empathy-and-business/) \- May 2023 - [The connection between maker and owner](https://www.gchicco.com/the-connection-between-maker-and-owner/) \- April 2023 - [The humble yunomi](https://www.gchicco.com/the-humble-yunomi/) \- April 2023 - [The Ukrainian Tryzub](https://www.gchicco.com/the-ukrainian-tryzub/) \- March 2023 - [Traditions: from copying to rebellion to transcendence](https://www.gchicco.com/traditions-from-copying-to-rebellion-to-transcendence/) \- February 2023 - [I fell down a moon jar rabbit hole](https://www.gchicco.com/moon-jar-rabbit-hole/) \- August 2022 - [Are you a collector or a maker?](https://mailchi.mp/2291afc3626b/the-craftsman-newsletter-issue-032?ref=gchicco.com) \- May 2022 - [Cultivating patience in the new year](https://mailchi.mp/15dfc437fb73/the-craftsman-newsletter-issue-31?ref=gchicco.com) \- January 2022 - [Co-creating beautiful work with Nature](https://mailchi.mp/897d8b9d5f86/the-craftsman-newsletter-issue-30?ref=gchicco.com) \- December 2021 - [Hero pieces and sensorial bombs](https://mailchi.mp/5b6c433fa37f/the-craftsman-newsletter-issue-029?ref=gchicco.com) - [Is Kōgei a better word to describe Japanese craftsmanship?](https://mailchi.mp/4e08b4dfec77/the-craftsman-newsletter-issue-028?ref=gchicco.com) - [Focus on the process not the outcome](https://medium.com/the-craftman-newsletter/focus-on-the-process-not-the-outcome-f1a5172ed627?ref=gchicco.com) - [The social life of your favourite things](https://medium.com/the-craftman-newsletter/the-social-life-of-your-favourite-things-20eb999f695e?ref=gchicco.com) - [Get your hands dirty](https://medium.com/the-craftman-newsletter/get-your-hands-dirty-da1345ab4882?ref=gchicco.com) - [Timeless British leather bags, jubilant Venetian glass pendants](https://mailchi.mp/b1d898de82b5/the-craftsman-newsletter-issue-024?ref=gchicco.com) - [Mind and body in balance](https://medium.com/the-craftman-newsletter/mind-and-body-in-balance-e3429febcc0e?ref=gchicco.com) - [Find Happiness in Darning](https://medium.com/the-craftman-newsletter/find-happiness-in-darning-adfaee2cef0f?ref=gchicco.com) - [Pottery Can Be Addictive](https://medium.com/the-craftman-newsletter/pottery-can-be-addictive-1200748b1ea9?ref=gchicco.com) - [A Woodcarver Striving to Leave His Mark](https://medium.com/the-craftman-newsletter/n-020-a-woodcarver-striving-to-leave-his-mark-486522d1423a?ref=gchicco.com) \- February 2020 - [OEO Studio: Breathing New Life Into Craftsmanship](https://www.gchicco.com/oeo-studio-breathing-new-life-into-craftsmanship/) \- December 2019 - [Teachings From Japanese Craftsmanship: What Is Enough?](https://medium.com/the-craftman-newsletter/teachings-from-japanese-craftsmanship-what-is-enough-61db1a52841d?ref=gchicco.com) - [Falling into craftsmanship: from Hollywood movies to stained glass](https://medium.com/the-craftman-newsletter/the-craftsman-issue-n-017-october-2019-9e6bd5d4a1b2?ref=gchicco.com) - [It’s never too late to become a craftsman](https://medium.com/the-craftman-newsletter/the-craftsman-issue-n-016-august-2019-565f47cac6ee?ref=gchicco.com) - [Do you have material intelligence?](https://medium.com/the-craftman-newsletter/the-craftsman-issue-n-015-july-2019-247394610ddc?ref=gchicco.com) - [Craftsmanship as inspiration for a better way of living and working](https://medium.com/the-craftman-newsletter/the-craftsman-issue-n-014-june-2019-c17503e76afa?ref=gchicco.com) - [Meet master pen maker Dante Del Vecchio](https://medium.com/the-craftman-newsletter/the-craftsman-issue-n-013-may-2019-5117a47fd655?ref=gchicco.com) - [Issue n.012](https://medium.com/the-craftman-newsletter/the-craftsman-issue-n-012-march-2019-eceefb5ab7d0?ref=gchicco.com) \- March 2019 - [Helping People Understand the Value of Well Made Products](https://medium.com/the-craftman-newsletter/the-craftsman-issue-n-011-january-2019-1db187abcd20?ref=gchicco.com) \- January 2019 - [Issue n.010](https://medium.com/the-craftman-newsletter/the-craftsman-issue-n-010-september-2018-dbc2a26e5beb?ref=gchicco.com) \- September 2018 - [Issue n.009](https://medium.com/the-craftman-newsletter/the-craftsman-issue-n-009-june-2018-48acce7d621?ref=gchicco.com) \- June 2018 - [Tom’s Studio: The Most Beautiful Pens in the World](https://medium.com/the-craftman-newsletter/toms-studio-the-most-beautiful-pens-in-the-world-67c2b181572c?ref=gchicco.com) - [Issue n.008](https://medium.com/the-craftman-newsletter/the-craftsman-issue-n-008-may-2018-193be28201df?ref=gchicco.com) \- May 2018 - [Creating Ultra-Personalised Shoes Combining Shoe Data with Life Data](https://medium.com/the-craftman-newsletter/creating-ultra-personalised-shoes-combining-shoe-data-with-life-data-93ce3c7e45e1?ref=gchicco.com) - [Issue n.007](https://medium.com/the-craftman-newsletter/the-craftsman-issue-n-007-april-2018-320da1df1b15?ref=gchicco.com) \- April 2018 - [Issue n.006](https://medium.com/the-craftman-newsletter/the-craftsman-issue-n-006-march-2018-d4edd4bd96c9?ref=gchicco.com) \- March 2018 - [Rossi & Rei, a Global Marketplace for Custom Luxury](https://medium.com/the-craftman-newsletter/rossi-rei-a-global-marketplace-for-custom-luxury-80805c075574?ref=gchicco.com) \- December 2017 - [Issue n.005](https://medium.com/the-craftman-newsletter/the-craftsman-issue-n-005-october-2017-69e4c75110e5?ref=gchicco.com) \- October 2017 - [Issue n.004](https://medium.com/the-craftman-newsletter/the-craftsman-issue-n-004-july-2017-c6bba66cda0c?ref=gchicco.com) \- July 2017 - [Issue n.003](https://medium.com/the-craftman-newsletter/the-craftsman-issue-n-003-may-2017-fea5fdb30a4d?ref=gchicco.com) \- May 2017 - [Issue n.002](https://medium.com/the-craftman-newsletter/issue-n-002-april-2017-27cf9cf18499?ref=gchicco.com) \- April 2017 - [Issue n.001](https://medium.com/the-craftman-newsletter/issue-n-001-january-2017-2954f6fd300c?ref=gchicco.com) \- January 2017 ### Tags URL: https://www.gchicco.com/tags/ Last updated: 2025-09-13T11:16:00.000Z _No content available._ ## Posts ### Where to Put the Bench: Hiroshi Sugimoto Frames a Hillside URL: https://www.gchicco.com/where-to-put-the-bench-hiroshi-sugimoto-frames-a-hillside/ Last updated: 2026-09-01T10:12:19.000Z It’s a gorgeous late autumn day in 2023 when I visit Enoura Observatory in Odawara, Japan. Created by Hiroshi Sugimoto, it spreads over 60,000 square metres of hillside above Sagami Bay. The site is packed with natural and human-made things, none of them there by accident. Benches are laid out throughout. A few point out to sea; others are aimed at sights that look entirely ordinary. It’s not until I sit on one facing a bamboo grove, with a hint of ocean blue off to the right, that I understand what’s going on. From my journal notes: *The space follows Hiroshi Sugimoto’s rules. He did what he wanted, mixing pieces from different places and eras and with a keen attention to views. You can tell he’s a photographer. From time to time I would encounter a bench in an unassuming place and when I sat down it was always “ah! I get it”.* ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2023-Enoura-Observatory-Gianfranco-Chicco-23.jpg) The Meigetsu Gate was first in Kamakura during the Muromachi period (1336–1573). Later it was moved to Tokyo as the front gate of the Nezu Museum, before being rebuilt at Enoura. Photo by Gianfranco Chicco I probably first encountered Sugimoto’s photography on the cover of U2’s 2009 album ‘No Line on the Horizon’. My favourites are his series of seascapes (like the one used by U2) and empty theatres. But to define him just as a photographer is limiting. Over the last five decades, Sugimoto has also created sculptures governed by mathematical equations, theatre performances, installations and architecture, despite not being a licensed architect. I’m also smitten by his devout tea practice and design of tea rooms, like the ‘Glass Tea House Mondrian’ installed in Venice between June 2014 and November 2016. I briefly met Sugimoto at the inauguration of his retrospective exhibition in London’s Hayward Gallery in October 2023, just before I flew to Japan for a month-long trip. There’s one thing he said regarding the development in Odawara that has lingered in my mind since, and that is “Art breeds art, money breeds problems; I want to use up all my money before I die.” Naturally, after such a passionate statement, I had to visit Enoura Observatory. Seeing all his work collected in one place in London made me realise that there’s one clear thread connecting all the disciplines he’s engaged with, and that’s the same insight I had while sitting on that bench a few weeks later: spot-on framing. Sugimoto’s defining craft is that of carefully creating scenes that evoke emotions and reflection by playing with the notion of time. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2023-Enoura-Observatory-Gianfranco-Chicco-07-1.jpg) Sagami Bay. Photo by Gianfranco Chicco ### Ask the stone where it wants to be Enoura was inaugurated in 2017\. Its design was inspired by the ‘Sakuteiki’ (Records of Garden Making), written a thousand years ago during the Heian period by Tachibana no Toshitsuna. The treatise opens with *ishi wo taten koto* (石をたてん事), which can be translated as ‘matters of setting stones’. It advises following ‘the request of the stone’ when deciding where to place them. Sugimoto, who has declared a ‘stone fetish’, took this to heart when placing his large collection of old stones. The other key principles from the ‘Sakuteiki’ include the creation of vignettes inspired by the natural world, Chinese geomantic forces (some later known as feng shui), Buddhist references and, most importantly, taboos to be avoided. > Regarding the placement of stones there are many taboos. If so much as one of these taboos is violated, the master of the household will fall ill and eventually die, and his land will fall into desolation and become the abode of devils. — ‘Sakuteiki’, chapter 10\. Translation by Jirō Takei and Marc P. Keane. The ‘Sakuteiki’ might have been the starting point, but Sugimoto followed his own sensitivity, combining traditional and contemporary styles and techniques. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2023-Enoura-Observatory-Gianfranco-Chicco-02.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2023-Enoura-Observatory-Gianfranco-Chicco-13.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2023-Enoura-Observatory-Gianfranco-Chicco-15.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2023-Enoura-Observatory-Gianfranco-Chicco-19.jpg) Ancient stones from Sugimoto’s collection are scattered all over the mountain. Photos by Gianfranco Chicco The mountain site is populated by bamboo and twenty different kinds of citrus trees. It also holds a tea house, a shrine, an old workshop, two open-air stages and galleries lined in glass that reflect the scenery, creating a sense of continuity between the natural and artificial landscape. Many of these have been strategically placed to be in harmony with the sunrise during the summer and winter solstices, and the spring and autumn equinoxes, with light travelling through long corridors and tunnels as the sun moves. Both stages are built to the dimensions of a noh stage. The one in the amphitheatre, above Sagami Bay, is optical glass that glows as light passes through it, appearing to hover above the sea. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2023-Enoura-Observatory-Gianfranco-Chicco-21.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2023-Enoura-Observatory-Gianfranco-Chicco-14.jpg) Dense bamboo groves. When I visit, the fruits, probably **mikan* (みかん, satsuma mandarin), are individually wrapped in plastic bags to protect them while they ripen. Photos by Gianfranco Chicco ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2023-Enoura-Observatory-Gianfranco-Chicco-05.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2023-Enoura-Observatory-Gianfranco-Chicco-06.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2023-Enoura-Observatory-Gianfranco-Chicco-10.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2023-Enoura-Observatory-Gianfranco-Chicco-22.jpg) Summer Solstice Light-Worship 100-Meter Gallery and Winter Solstice Ligh-Worship Tunnel. Photos by Gianfranco Chicco ### From scroll to hillside Sugimoto considers Enoura his final project, and I have no doubt that it’s his masterpiece. Framing a scene, be it via a camera lens or by meticulous landscape design, is a craft in itself. But here the connection with craftsmanship evokes transcendence through space and time. Sugimoto writes that his goal in using traditional Japanese building styles and methods was not only to provide a tangible overview of Japan’s architectural history but also to “pass on craft skills that have been steamrolled by the cult of efficiency and to preserve them for future generations”. Enoura Observatory is Hiroshi Sugimoto’s reinterpretation of the ‘Sakuteiki’. He calls it “one big performing space” where he stages dancers, theatre actors, conceptual artists and even the sun. A place to feel art and craftsmanship, not read about them. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2023-Enoura-Observatory-Gianfranco-Chicco-11.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2023-Enoura-Observatory-Gianfranco-Chicco-12.jpg) The Uchōten (雨聴天) Tea House has the exact dimensions of the Tai-an (待庵) Tea House designed by revered 16th-century tea master Sen no Rikyū. Its name—literally rain, listen, heaven—comes from the drumming sound of raindrops falling on the corrugated iron roof repurposed from a local barn. Photos by Gianfranco Chicco ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2023-Enoura-Observatory-Gianfranco-Chicco-16-2.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2023-Enoura-Observatory-Gianfranco-Chicco-17.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2023-Enoura-Observatory-Gianfranco-Chicco-18.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2023-Enoura-Observatory-Gianfranco-Chicco-20.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2023-Enoura-Observatory-Gianfranco-Chicco-24-2.jpg) Kankitsuzan Kasuga Shrine, detail from the shed, sculptures visualising mathematical models and a member of staff. Photos by Gianfranco Chicco ### Post scriptum If you’re going to Japan, I wholeheartedly recommend visiting [Enoura Observatory](https://www.odawara-af.com/en/?ref=gchicco.com). Just the final part of the train ride from Tokyo with the idyllic views of Sagami Bay that inspired Sugimoto’s seascapes is worth the visit. Recommended reading: \- [‘Enoura Observatory: Land of Distant Memory’, by Hiroshi Sugimoto ](https://mweditions.com/books/enoura-observatory-land-of-distant-memories/?ref=gchicco.com) \- [‘Sakuteiki: Visions of the Japanese Garden’](https://www.tuttle.co.jp/products/show/isbn:9784805318317/language:en?ref=gchicco.com), by Jirō Takei & Marc P. Keane \- [Glass Tea House Mondrian](https://www.sugimotohiroshi.com/the-glass-tea-house-mondrian?ref=gchicco.com) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2023-Enoura-Observatory-Gianfranco-Chicco-08.jpg) Me on top of the Winter Solstice Light-Worship Tunnel. Photo by Tomo Yoshizawa --- Like the content of The Craftsman? Share it with a friend! You can support my work by [offering me a virtual coffee](https://www.gchicco.com/#/portal/support) ☕️ つづく ### The Colour of a Hundred Years URL: https://www.gchicco.com/the-colour-of-a-hundred-years/ Last updated: 2026-08-29T19:49:29.000Z Time can be treated as a river, as something eternal, or as a scarce resource. Today I want to focus on time as a material, an ingredient you can create with, and share the story of the tea caddy I could not talk myself out of. A chef ages a piece of meat or fish to tenderise it and concentrate its flavours. The potters of Asahiyaki, in Uji, collect and store clay for 40 to 50 years to let its character and qualities settle. Here time does its work before the making begins. With [Kaikado](https://www.kaikado.jp/?ref=gchicco.com) tea caddies it works the other way round: made in Kyoto since 1875, they are designed to age beautifully through everyday use, as the oils from your fingers transfer onto them. Occasionally, time stops being a process and becomes the material itself. Earlier this year I found out that Takahiro ‘Taka’ Yagi, master craftsman and sixth-generation head of Kaikado, was working with the discarded copper sheets from the roof of an ancient Japanese shrine. The roof was being replaced. After 100 years in the open, the copper had weathered to muted shades of grey and green. > Verdigris is a word for the colour of the patina that forms on copper or brass. It is thought to come from the French term ‘vert-de-Grèce’ which refers to the beautiful green on classical Greek bronze sculpture. — From the exhibition text at Postcard Teas ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/Kaikado-Verdigris-Collection.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/Kaikado-Verdigris-Collection-02.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/Kaikado-Verdigris-Collection-03.jpg) Kaikado Verdigris tea caddies. Photos courtesy Takahiro Yagi The material was scarce and brittle. Taka would turn it into a series of tea caddies to be shown at [Postcard Teas](https://www.postcardteas.com/?ref=gchicco.com) in London. The shop, owned by Tim d’Offay, has been in large part responsible for making Kaikado well known outside Japan. This is how Taka [described the inception of the Verdigris tea caddies](https://www.instagram.com/p/DX8Y68wyYPX/?ref=gchicco.com): > This project began about two years ago in London, from a simple conversation with Tim over tea. “People here seem rather fond of green,” I said — noticing it everywhere, from uniforms to small details in the city and of course London’s parks. “Perhaps,” he replied, “but it’s a different green from Kyoto.” From that moment, the idea grew: what if “green” became the theme of the next exhibition? As soon as I heard about it, I felt an irrational urge to have a Kaikado Verdigris. Irrational because, as a freelance consultant in an unstable economy, I have no business investing in such an object. I also didn’t need another tea caddy. But I could sense that this was not just a pang of materialistic desire. When the exhibition opened I would be speaking at a conference in Athens: the right country for the colour, the wrong one for the show. I wrote to both Taka and Tim to ask whether I could still acquire one. A few major museums and other collectors wanted one too, and only about 15 pieces were made. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2026-Kaikado-Verdigris-at-Postcard-Teas-by-Gianfranco-Chicco-05.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2026-Kaikado-Verdigris-at-Postcard-Teas-by-Gianfranco-Chicco-08-1.jpg) Kaikado Verdigris exhibition at Postcard Teas. One of the raw copper sheets is on the table. With Taka on the closing day. Photos courtesy Postcard Teas I usually wouldn’t buy an object like this without holding it in my hands, but I had to be quick. Tim sent photos of the caddies still available. I chose mine while boarding a plane, keeping my phone on until the last moment before take-off. I missed the opening but made it back to London on the closing day, in time to catch Taka before he returned to Kyoto. I saw the caddies in person, but left without mine. Thinking about what attracted me to the Kaikado Verdigris, I came up with four reasons why this example of time as a material feels so powerful to me. **The time in the material** The copper sheets from the shrine’s roof gained their character over a century, before the craftsman’s intervention. No two sheets were alike. “Each carried its own green”, Taka wrote, “some deep, some pale, some flickering like foxfire, and all marked by time.” It’s a process that can’t be hurried and it’s akin to how we develop our personality and understanding of life by living it. > Using this material from the earth but marked by the heavens for around 100 years, he has created objects which have incredible power but also a purpose. — From the exhibition text at Postcard Teas **The time in the maker’s hands** I’ve known Takahiro Yagi since 2013 and believe that he’s one of the most important craftspeople of our generation. Born in 1975, he probably could not have made the Verdigris caddies at 25\. Old copper does not cooperate. “Some resisted shaping, some could not be soldered easily, each behaved very differently under heat”, Taka wrote. He had to hone his skills and his taste over time to deliver such a wonderful object. The Verdigris caddies reflect the maturity of the maker as much as that of the material, and I’m in awe of watching it happen. 0:00 /0:14 1× The lid of a Kaikado caddy descending under its own weight. Video by Gianfranco Chicco **The time still to come** The Verdigris caddy will keep changing, as my other Kaikado caddies have over the past decade. I like the Japanese word *unson* (雲孫, cloud descendant), used for a descendant eight generations away. It makes them tangible even though they are as distant and unreachable as clouds. Someone’s unson might one day hold this caddy. I can only imagine what it will look like by then. **The time in me** Finally, it’s the moment it reached me in my own life. I’m in a period of change (aren’t we all?) where I’m reflecting on my craft and what the experience I have developed in the last 25 years is worth. There’s also my relationship with Japan, my research into why *shokunin* (職人, artisan) culture matters now more than ever, and the important role that tea plays in how I live. This cylindrical object silently speaks to all of those. --- ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/MEI-0034-Kaikado-Verdigris-01.jpg) **Midori Midorisuke* at home. Photo by Gianfranco Chicco I held my caddy a few weeks later. It is a 120g version, 81mm tall and 78mm across. The verdigris patina, *rokushō* (緑青) in Japanese, has two spots that look like eyes. They reminded me of the *Makkuro Kurosuke* — the soot creatures — in Hayao Miyazaki’s Studio Ghibli films. Mine is green (*midori*, 緑) rather than black (*kuro*, 黒). I called it ‘Midori Midorisuke’ in their honour. Taka, thank you for bringing these beautiful objects into the world. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/Athico-s-Kaikado-Verdigris-02-1.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/Athico-s-Kaikado-Verdigris-1.jpg) Having tea in July with my friend Athico, who also has a Kaikado Verdigris. Photos by Gianfranco Chicco *Note: The Kaikado Verdigris exhibition ran at Postcard Teas in London from 8 to 12 May 2026.* ### **Post scriptum** A few books and articles about time. **Books** ‘[The Good Ancestor: How to Think Long Term in a Short-Term World](https://www.romankrznaric.com/good-ancestor?ref=gchicco.com)’, by Roman Krznaric ‘[Four Thousand Weeks: Time Management for Mortals](https://www.oliverburkeman.com/fourthousandweeks?ref=gchicco.com)’, by Oliver Burkeman **Articles** ‘[Welcoming Uncertainty: A conversation with ceramic artist Hosai Matsubayashi XVI](https://www.musubi.academy/welcoming-uncertainty/?ref=gchicco.com)’, Musubi Academy Where I came across unson. ‘[The Myth of Succession: On Letting the Clay Sleep](https://hosaixvi.substack.com/p/the-myth-of-succession)’, by Hosai Matsubayashi XVI Hosai, interviewed in the Musubi Academy piece above, has recently started his own newsletter in English. In this issue he talks about how Asahiyaki’s practice of ageing clay for decades came to be. --- Enjoying The Craftsman? You can support my work by [offering me a virtual coffee](https://www.gchicco.com/#/portal/support) ☕️ つづく ### A Date at the Foundry URL: https://www.gchicco.com/a-date-at-the-foundry/ Last updated: 2026-08-01T16:14:50.000Z I recently found my notes from an autumn 2023 visit to the [Nousaku](https://www.nousaku.co.jp/?ref=gchicco.com) factory in Takaoka, on Japan's west coast, about two hours from Tokyo by shinkansen. Seeing their products in London shops brought the trip back. The Nousaku brand was coined in 2002 but the company had been making metal-cast products since 1916 in a town with a 400-year copperware history, especially for Buddhist temples and the tea ceremony. Katsuji Nousaku, the fourth-generation head of the company, is a former photojournalist who joined the family by marriage and worked in the workshop for two decades before rising to the top. He was the first to realise that the company could no longer rely on subcontracting and decided to invest in direct relationships with customers. The value of building your own brand of everyday homeware seems obvious now, but it wasn't then, especially since many craftspeople see their job as making fine objects, not stories that connect them to buyers. Today, their own original products represent 80 per cent of sales. Their first hit was a brass wind chime derived from their expertise making temple bells. What I like about the Nousaku story is that their success and international recognition was sustained by a good dose of lateral thinking. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2023-Nousaku-Takaoka-by-Gianfranco-Chicco-10.jpg) Brass wind chimes. Photo by Gianfranco Chicco ### From Material Weakness to Brand Signature Tin is commonly mixed with other metals to create alloys like bronze and pewter. One hundred per cent pure tin is expensive. It's also unusually malleable: you can reshape an object with your fingers. This property, often seen as a weakness, gave the company its second hit, a flexible mesh basket that packs flat and can be shaped by hand. Pure tin is also antibacterial, odourless, resistant to corrosion, has high thermal conductivity and doesn’t tarnish like silver. These properties led to another popular Nousaku product, sake cups, which allegedly enhance the drink’s flavour. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2023-Nousaku-Takaoka-by-Gianfranco-Chicco-06.jpg) 錫, the character for tin (pronounced **suzu*)**.* Photo by Gianfranco Chicco ### Turning the Factory into a Visitor Attraction The current Nousaku factory and office was built in 2017 following the concept of ‘industrial tourism’, a space that lets visitors feel the company’s craftsmanship with all five senses. Visitors are welcomed by an installation made of thousands of old casting moulds. They can join tours of the foundry’s facilities and see Nousaku’s craftspeople bringing objects to life. There’s also a workshop space to make your own pure-tin objects, and a cafe to have food and refreshments served in Nousaku’s products. At the shop you can browse the collections and factory-only exclusives. When I visited in 2023, the annual number of visitors was 100,000 and I hear it has gone up since then. Would you rather have 100,000 virtual followers on Instagram or that many real people coming to you every year? Takaoka is not a big, central city like Tokyo or Osaka, so those who make the trek are motivated to indulge in what you have to offer. (Blame it on my engineering background, I realise I photographed almost exclusively the manufacturing areas). ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2023-Nousaku-Takaoka-by-Gianfranco-Chicco-08-1.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2023-Nousaku-Takaoka-by-Gianfranco-Chicco-07.jpg) Installation of historic casting moulds and craftspeople at work. Photo by Gianfranco Chicco ### New Rituals for Old Products Another example of the company’s lateral thinking was when the fifth-generation and current president, Chiharu Nousaku, created a ‘Tin Wedding Anniversary’ ritual to celebrate 10 years of marriage (for reference, the silver wedding anniversary is at 25 years and the gold one at 50). Spouses visit the workshop to make pure-tin objects together and, as they told me, ‘give thanks to each other in a ceremony’. This shared experience creates a memory that’s forever attached to Nousaku. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2023-Nousaku-Takaoka-by-Gianfranco-Chicco-09.jpg) The workshop area where spouses can make their own Tin Anniversary cups. Photo by Gianfranco Chicco Nousaku lets you feel what they do, not just see it. One last random note from my notebook: tin takes just a few minutes to solidify when poured into the sand-cast moulds from its molten state. Bronze takes approximately 20 minutes but the craftspeople at Nousaku leave it for longer when making bells because they’ve found that they sound better. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2023-Nousaku-Takaoka-by-Gianfranco-Chicco-01.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2023-Nousaku-Takaoka-by-Gianfranco-Chicco-02.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/2023-Nousaku-Takaoka-by-Gianfranco-Chicco-04.jpg) Making the Mount Fuji sake cups. Photos by Gianfranco Chicco --- Like the content of The Craftsman? Share it with a friend! You can support my work by [offering me a virtual coffee](https://www.gchicco.com/#/portal/support) ☕️ つづく ### The Source Code: Precision - Pullman xChange Paris x House of Beautiful Business URL: https://www.gchicco.com/the-source-code-precision-pullman-xchange-paris-x-house-of-beautiful-business/ Last updated: 2026-07-02T22:05:23.000Z On 24–25 June 2026, [Pullman Hotels & Resorts](https://pullman.accor.com/en/pullman-magazine/events/pullman-xchange-paris.html?ref=gchicco.com) and the [House of Beautiful Business](https://houseofbeautifulbusiness.com/?ref=gchicco.com) turned two Pullman properties in Paris, Montparnasse and Centre-Bercy, into a 24-hour gathering for 150 guests, by invitation only. The theme was ***The Source Code***: the qualities that sit beneath everything we make and value, rarely named and almost never seen. The programme was designed and hosted by [Tim Leberecht](http://timleberecht.com/?ref=gchicco.com) and [Till Grusche](https://www.linkedin.com/in/tillgrusche/?ref=gchicco.com), co-founders of the House of Beautiful Business. We began in the afternoon with five trips to the source, continued that evening with the reveal of a sixth, universal quality, and returned the next morning to explore how The Source Code shapes what we do in practice. The programme moved through: **Imagination**, **Awareness**, **Rhythm**, **Precision**, **Care** and **Courage**, each held by a different practitioner, from an executive educator on leading through uncertainty to a systems expert on sensing complexity. The House of Beautiful Business asked me to, as a 'craftsmanship philosopher' (their words), lead the session on ‘Precision’ together with Pullman’s chef pâtissier **Guillaume Vincheneux**. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/07/FLO_MONPARNASSE_06242026_UMAMI_02_4x5.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/07/R01_9764.jpg) In the pastry kitchen of Pullman Paris Montparnasse, I presented precision seen through the lens of Japanese craftsmanship. Instead of slides on a screen, I used a handful of my favourite tea tools as props. Among them a Kaikado ‘Verdigris’ tea caddy made from copper shrine tiles weathered for a century. **What is the meaning of precision now that we're working side by side with Artificial Intelligence?** I'm an industrial engineer and during my early days at work precision meant perfection: repeatable measurements, tight processes, controlled tolerances. That's one way to look at it, and in some cases it still holds. If you're working on the Artemis Space Programme and the goal is to get astronauts safely to the moon and back, you want exactly that. But that kind of precision is going out of fashion. Not because it stopped mattering, but because the machines got better at it than we are. So the real question is no longer how to be precise. It's what precision is for. The argument moved towards a more human kind of precision: learning with the whole body before you earn the right to break the rules; [aliveness](https://www.gchicco.com/aliveness-what-machines-cant-make/), the presence of a maker's hand that no machine yet replicates; and knowing what is enough, the discipline to stop once something is right rather than once you've run out of things to fix. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/07/FLO_MONPARNASSE_06242026_UMAMI_21.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/07/Pullman-xChange-Paris---Day-1_4x5.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/07/FLO_MONPARNASSE_06242026_UMAMI_20.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/07/FLO_MONPARNASSE_06242026_UMAMI_44.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/07/FLO_MONPARNASSE_06242026_UMAMI_57.jpg) Not just talking about precision but doing precision Guillaume then took over to teach us how to make *chouquettes* from scratch to show precision as chefs actually live it: tolerances measured in seconds and degrees, judgement built through repetition, pacing and timing among colleagues and an instinct for when to stop. And above all the good taste that you have to develop as a chef to judge the quality of your work. To close, I prepared Uji matcha to pair with the choux, which we filled with a freshly made lemon cream and decorated with small basil leaves and edible flowers. Less visible, but true to the same brief: earlier that day, as guests arrived into a Paris heatwave well above 36°C, I'd also prepared cold brew sencha, served on arrival to cool down before the workshop started. **Also part of The Source Code:** - **Imagination**: [Frédéric Jousset](https://www.linkedin.com/in/fredericjousset/?ref=gchicco.com), entrepreneur and philanthropist, with [Blanche de Lestrange](https://www.linkedin.com/in/blanche-de-lestrange-857b2315?ref=gchicco.com), artistic director at the Art Explora Foundation, and artists from the foundation - **Awareness**: [Steven D'Souza](https://stevendsouza.com/?ref=gchicco.com), executive educator and author - **Rhythm**: [Monika Jiang](https://www.linkedin.com/in/monika-jiang/?ref=gchicco.com), loneliness researcher and community builder - **Care**: [Laura François](https://laurafrancois.com/?ref=gchicco.com), impact strategist - **Courage**: [Lori Baldwin](https://www.iamloribaldwin.com/?ref=gchicco.com), performance artist, revealed that evening as 'The Code Master' ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/07/Pullman-xChange-Paris---Day-1_dj_4x5.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/07/Pullman-xChange-Paris---1_dinner.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/07/FLO_MONPARNASSE_06242026_PARTY_143.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/07/The-Source-Code-brochure-1.jpg) The big reveal of **The Source Code* *Notes: this article was edited with the help of AI. Photos and video courtesy of Pullman Hotels & Resorts.* ### Finally, 3daysofdesign Copenhagen URL: https://www.gchicco.com/finally-3daysofdesign-copenhagen/ Last updated: 2026-06-20T20:57:27.000Z Finally made it to [3daysofdesign](https://www.3daysofdesign.dk/?ref=gchicco.com) in Copenhagen. The right size, the right mix of people and brands, good conversations, lunches and dinners, and an optimistic and playful tone throughout, all in one of my favourite cities. Not exhibiting this time, which let me flow with serendipity and get lost from time to time. The number of Japanese designers and brands showing was a pleasant surprise, and there was time to catch up with friends from Copenhagen and from further away. A highlight was a boat tour of Nordhavn, the harbour area to the north where the city has been expanding for decades and plans to keep building over the next 30 years. That includes new water defences against rising sea levels, alongside housing, community spaces, and beaches. The weather was moody, which at least gave us rainbows. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/2026-3daysofdesign-Copenhagen-fuji-quicksnap-by-Gianfranco-Chicco-09.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/2026-3daysofdesign-Copenhagen-fuji-quicksnap-by-Gianfranco-Chicco-01.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/2026-3daysofdesign-Copenhagen-fuji-quicksnap-by-Gianfranco-Chicco-03.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/2026-3daysofdesign-Copenhagen-fuji-quicksnap-by-Gianfranco-Chicco-04.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/2026-3daysofdesign-Copenhagen-fuji-quicksnap-by-Gianfranco-Chicco-08.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/2026-3daysofdesign-Copenhagen-fuji-quicksnap-by-Gianfranco-Chicco-10.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/2026-3daysofdesign-Copenhagen-fuji-quicksnap-by-Gianfranco-Chicco-11.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/2026-3daysofdesign-Copenhagen-fuji-quicksnap-by-Gianfranco-Chicco-12.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/2026-3daysofdesign-Copenhagen-fuji-quicksnap-by-Gianfranco-Chicco-15.jpg) *All photos were taken on a disposable Fuji Quicksnap. The quality shows and I think it suits the mood.* ### The Opposite of Sameness - Lecture at Domus Academy URL: https://www.gchicco.com/the-opposite-of-sameness-lecture-at-domus-academy/ Last updated: 2026-06-09T14:18:09.000Z *On the limits of convenience and how having a craft sensibility changes how you design, lead and build.* On 5 June 2026, I gave an online lecture for master's students at [Domus Academy](https://www.domusacademy.com/?ref=gchicco.com), Milan, across disciplines including fashion, design, and business. What follows is a summary of the main argument and the four parts that structured the 90-minute session. I’ve included links to various issues of The Craftsman Newsletter where I expanded on each topic. The central premise is this: for decades, friction was the enemy. Globalisation and digitalisation made it progressively easier to create, sell, and distribute. But somewhere in the process we passed a tipping point. *Premium* became abundant. Generative AI, built on averages, is now used at scale for copywriting, image and video generation, and designing everything from websites to products and fashion. The result is a “Default of Sameness”, a world where the absence of resistance produces work that circulates without leaving a mark. **The lecture argued that craft sensibility, understood as a philosophy, a hands-on discipline, and a way of seeing, is what separates work that lasts from work that merely circulates.** I offered my perspective through the lens of Japanese craftsmanship, not as a formula or a romanticised idea, but as a different way of thinking about how we live and work. Before starting, I asked the participants to think about one object that they would never throw away. The answers varied from a guitar, to a childhood plushie, jewellery and various gadgets. The session was structured in four parts. ### PART I:THE EPIPHANY The first part introduced the problem and my own trajectory into this subject: how working in digital media, surrounded by the immaterial and people living and working “from the neck-up”, led me to the *shokunin* (職人, craftsperson in Japanese) as a counterpoint. The word carries more than its translation suggests. A shokunin is not simply someone who has mastered a craft. The role implies social responsibility, synchronicity with nature, and an understanding of what is *enough*. The ideogram itself makes this clear. On the right, 人 means person. On the left sits 耳 (*mimi*, ear): to be a craftsperson, the first prerequisite is the capacity to listen. Not as a metaphor, but as a physical act. A shokunin listens to the sound of their tools working on the material to understand when they’re doing it right. But also to the needs of the community they serve. Next to 耳 sits 戠 (*shiki*), a compound of tool and sound that historically refers to the act of working clay or incising a mark into an object. Together, the two sides of the ideogram describe the full arc of craft: sensory attunement and the human imprint that endures. This is the opposite of neck-up existence. It is knowledge anchored in the body, in material, and in time. ### PART II: THE PATH TO MASTERY The second part explored three dimensions to frame Japanese craftsmanship: deep learning, circularity and enough. S*hu-ha-ri* (守破離), establishes the stages to become a master craftsperson. Copy the rules, break the rules, find a new balance and create new rules, become the rules. [Read more about Shu-ha-ri](https://www.gchicco.com/traditions-from-copying-to-rebellion-to-transcendence/). Craftsmanship and circularity are one. Sustainability is not a corporate PR box to check or an act of altruism. Longevity, avoiding waste, repairability and upcycling are systemic. The goal is not only to preserve materials and traditions, it also fosters lasting relationships between makers, their tools, and the people they serve. [Read more about craftsmanship and circularity](https://www.gchicco.com/craftsmanship-and-circularity-are-one/). The notion of knowing what is enough has changed how I see the world, especially when everything and everyone, especially in business, seems obsessed with scale and growth at all costs. [Read more about contentment, rooted in the Buddhist teaching *Ware Tada Taru wo Shiru* (吾 唯 足 知) — I only know enough](https://www.gchicco.com/teaching-from-japanese-craftsmanship-what-is-enough/). This section ended on a reflection on Artisanal Intelligence vs Artificial Intelligence. [Read more about it here](https://www.gchicco.com/from-artificial-to-artisanal-intelligence/). ### PART III: ALIVENESS AND CRAFT VS. CRAFT-WASHING The third part examined the line between genuine craft and craft-washing: the use of craft language and aesthetics to signal quality without the underlying commitment. At a moment when luxury leaders invoke taste and curation as a counterbalance to AI, the ability to distinguish one from the other is critical. I invited the participants to reflect on the object they said they would never throw away: - Would it evolve with time? Become better? - Does it carry a feeling of nostalgia? - Could they feel the hand of the maker in it? - Did it involve real craft or craft-washing? - Could human curation or taste be an antidote to AI’s sameness and the over-abundance of content? [Read more about Aliveness](https://www.gchicco.com/aliveness-what-machines-cant-make/). I shared my own chosen object, a ‘verdigris’ tea caddy made by Takahiro Yagi from Kaikado using weathered copper from the roof of an ancient shrine that had been exposed to the elements for 100 years. We then reflected on how you would pitch a product to a modern venture capitalist or consumer when its chief feature is that it takes a century to mature. ### PART IV: MAKING, DETAILS & CARE The final part offered a guide of possible paths for the participants to apply a craft sensibility to their practice. I shared this message via three quotes: **“Fabrico, ergo intelligo.” - Enzo Mari** ([Read more](https://www.gchicco.com/fabrico-ergo-intellego/)) **“The details are not the details. They make the design.” - Ray and Charles Eames** **“一期一会” (*Ichi-go, ichi-e*, one time, one meeting) - From Zen and tea culture** Care is a superpower. In a world of infinite sameness, the capacity to care, to understand through making, to focus on the details that matter, and to treat each encounter between host and guest (maker and consumer, salesperson and customer, etc) as unrepeatable is the only position that cannot be averaged out. ### When Apricots Blossom - Milan Design Week 2026 URL: https://www.gchicco.com/when-apricots-blossom-milan-design-week-2026/ Last updated: 2026-06-07T13:37:58.000Z Working with [The Crosses](https://thecrosses.com/?ref=gchicco.com), led by **Adnan Abbasi,** I was a creative producer and digital strategist for *When Apricots Blossom*, Uzbekistan's first national exhibition at Milan Design Week 2026 (20–26 April, Palazzo Citterio). Commissioned by **Gayane Umerova**, Chairperson of the [Uzbekistan Art and Culture Development Foundation](https://acdf.uz/?ref=gchicco.com) (ACDF), and curated by **Kulapat Yantrasast**, Founder of [WHY Architecture](https://why-site.com/?ref=gchicco.com), the exhibition drew 25,000 visitors over seven days, was shortlisted for the *Fuorisalone Award*, and received the Special Mention from the Fuorisalone Media Critics. ## Elevating Craft Through Design *When Apricots Blossom* took its title from a 1937 poem by Uzbek writer Hamid Olimjon, an ode to spring, hope and resilience. Its subject was Karakalpakstan, a region in northwestern Uzbekistan where the shrinking of the Aral Sea, which has lost approximately 90% of its original volume since the 1960s, has defined life for generations. The exhibition positioned craft not as heritage on display, but as a system of living knowledge with a practical role in environmental adaptation. Through the elevation of craft to design, the project explores the creation of new economic opportunities to channel the creative energy and appetite from Karakalpakstan. Three craft traditions structured the curatorial argument: bread-making, yurt-building and tassel-weaving, each addressing a fundamental human need (food, shelter, clothing), and each demonstrating how local materials and intergenerational knowledge have historically allowed communities to respond to changing landscapes. ## Creative Director and Designers Kulapat Yantrasast, whose practice WHY Architecture has designed spaces for the Metropolitan Museum of Art in New York and the Musée du Louvre in Paris, travelled across Uzbekistan before developing the exhibition concept, visiting cultural institutions and meeting artisans directly. Production of the exhibition was by Black Engineering. ### Material Palette The commissions and scenography drew on materials native to the region and its craft traditions: textiles, reeds, felt, wood and ceramics. ### Research Trips to Aral Sea region and Tashkent The Crosses team made several trips to Uzbekistan, to Tashkent and to Nukus, capital of Karakalpakstan, with Yantrasast and designers to meet artisans, understand the material culture of the region first-hand, and identify the collaborators who would work alongside international designers on the commissions. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-research-trips-01.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-research-trips-02.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-research-trips-03.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-research-trips-04.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-research-trips-05.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-research-trips-06.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-research-trips-07.jpg) Research trips to immerse ourselves in Uzbek craft culture ### Bread Culture: Bread Stamps and Trays Central to the exhibition was Uzbekistan's bread-making culture and its hand-held stamp, called *chekich* in Uzbek and *tikesh* in Karakalpak, used to press intricate patterns into flatbread before baking. These stamps act as both signature and decoration, linking each loaf to a specific baker, household or village. Twelve international designers were commissioned to create their own versions of bread stamps and trays in collaboration with Uzbek and Karakalpak artisans. ## Exhibition User Journey The exhibition unfolded across five main stages. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/User-Journey.jpg) ### Facade Visitors arrived to find the facade of Palazzo Citterio covered in *Bringing the Inside Out*, a cascading installation of tassels by **Bethan Laura Wood**, created with Karakalpak and Uzbek craftspeople and drawing on the ornamentation of yurts. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-facade-01.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-facade-02.jpg) The facade of Palazzo Citterio by Bethan Laura Wood in collaboration with Uzbek artisans ### Courtyard Inside, the courtyard set the context for what followed: ACDF's mission, the story of the Aral Sea and the craft traditions of Karakalpakstan. ### Gallery The gallery scenography, designed by Yantrasast and WHY Architecture's **Oskar Bocquillon**, used metallic reed-like forms to evoke the landscapes of the region and make a reference to the metal pins of the bread stamps. It featured a lighting installation and a soundscape that evolved throughout the day. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-gallery-01.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-gallery-02.jpg) ### Aral Sea One section was dedicated to ACDF's longer-term work in the region: artefacts selected by participants of the Aral School, an ecological postgraduate programme based in Nukus; material about the Aral Culture Summit, a biennial gathering held in Karakalpakstan; and a dedicated room screening *Where the Water Ends*, directed by **Manuel Correa** and **Marina Otero Verzier**, in which residents of Karakalpakstan, the last generation to remember life alongside the sea, decide what rituals and memories to preserve. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-aral-sea-01.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-aral-sea-02.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-aral-sea-03.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-results-04-1.jpg) ### Designer Commissions: Bread Stamps and Bread Trays Twelve designers presented their commissions: **Studio CoPain**, **Sevara Haydarova-Donazzan**, **Glithero**, **Bobir Klichev**, **Fernando Laposse**, **Nifemi Marcus-Bello**, **Raw Edges**, **Marcin Rusak**, **Sanne Visser**, **Bethan Laura Wood**, **Kulapat Yantrasast** and **Didi Ng Wing Yin**. Approaches ranged from hand-twisted yarns and suzani embroidery to geometric ceramic forms. Participating Artisans: **Shukurjon Azimov**, **Nigora Amangeldieva**, **Boburjon Atabayev**, **Abdulla Abdurazzokov**, **Abdulvahid Bukhoriy**, **Otabek Gaybullayev**, **Madina Kasimbayeva**, **Nursultan Qosbergenov**, **Lyudmila Yusupova**, **Yorqinoy Yuldasheva**, **Biybisara Kunnazarova** and **Altinay Naubetova**. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-designer-commissions-01.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-designer-commissions-02.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-designer-commissions-03.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-designer-commissions-04.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-designer-commissions-05.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-designer-commissions-06.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-designer-commissions-07.jpg) ### Staircase Rather than installing apricot trees in the space, Tashkent-based floral artist **Ruben Saakyan** and **Roman Shtengauer** created *A Thousand Voices*, a sculptural installation of apricot branches collected during the pruning season in Uzbekistan. This marked the transition from gallery to garden. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-stairs-01.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-stairs-02.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-stairs-03.jpg) ### Garden Pavilion A 15-metre-wide structure of 500 steel elements encased in translucent fibre gauze, the Garden Pavilion was Yantrasast's contemporary reinterpretation of the Karakalpak yurt, conceived as a lightweight, deployable structure. It served as the social heart of the exhibition and the venue for the public programme. Next to it, an existing space was repurposed as a tea house to offer food and refreshments during key moments of the day. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-garden-pavilion-05.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-garden-pavilion-03.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-garden-pavilion-04-1.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-garden-pavilion-02.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-garden-pavilion-01.jpg) ## Programming ### Talks Five talks brought together designers, architects, curators and researchers to explore craft traditions, ecological thinking and the role of design in fragile environments. Speakers included **Aric Chen** (Director, Zaha Hadid Foundation), **Carlo Ratti (**Founding Partner, CRA-Carlo Ratti Associati, Curator Biennale Architettura 2025), **Max Fraser** (Editorial Director, Dezeen), **Elena Kan** (KIVA Center, Local Mentor of the Food Track, Aral School), **Shirin Brückner** (Architect) and **Oktyabr Dospanov** (Head of Archaeology, Savitsky Museum), alongside several of the exhibition's participating designers. ### Workshops Seven workshops ran across the week: bread stamp carving, wood carving and tassel making, each led by master artisans from Uzbekistan and open to the public. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-talks-01.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-talks-02.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-talks-03.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-talks-04.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-workshops-01.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-workshops-02.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-workshops-03.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-workshops-04.jpg) ### Special Events The programme included an opening dinner and a private breakfast with AD Italia, held in the Garden Pavilion. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-night-view.jpg) ## Uzbek Presence A distinctive quality of the exhibition was the continuous presence of Uzbek and Karakalpak designers, architects, artisans, academics and members of the ACDF team throughout the week. Visitors could speak directly with practitioners who lived and worked in the region, hearing first-hand accounts of Karakalpakstan's craft traditions, landscapes and communities. This was supported by Uzbek hospitality: food, drink and gifts including tote bags and bread stamps offered a tangible connection to the culture on display. ## Results The exhibition welcomed 25,000 visitors over its seven-day run. It was shortlisted for the main Fuorisalone Award and received the Special Mention from the Fuorisalone Media Partners jury. Primary media partners were Dezeen and AD Italia, with special collaborations with Designboom, ArchDaily, Interni, Artribune and Exibart, and presence in the design specials by Corriere della Sera and La Repubblica. Following the exhibition, the Garden Pavilion was invited by Pinacoteca di Brera to remain at Palazzo Citterio for a further two months, extending its presence to the end of July 2026\. It will subsequently be relocated to Nukus, where it will become part of a creative park. The collection of designer commissions returns to Uzbekistan for presentation later in 2026. A printed catalogue was produced to accompany the exhibition. Graphic design, exhibition branding and identity, including signage and all printed materials, were by the Milanese **Studio Pupilla**. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-results-01.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-results-06.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-results-03.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-results-02.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/WAB-results-05.jpg) ## My Role As part of The Crosses, I was creative producer and digital strategist for the exhibition. I coordinated the public programme, led media partnerships, and managed the relationship with Palazzo Citterio. This included managing speakers, artisans and logistics across five talks and seven workshops, and negotiating media partnerships with Dezeen and AD Italia. I also conducted public and private tours of the exhibition for general visitors and key stakeholders. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/2026-Gian-in-Tashkent-Uzbekistan-by-Gianfranco-Chicco-02.jpg) *Photos courtesy of ACDF* ### Carving a Cha He from Soot Bamboo URL: https://www.gchicco.com/carving-a-cha-he-from-soot-bamboo/ Last updated: 2026-03-28T21:13:47.000Z For some time I've been wanting a small *cha he* (茶荷), a vessel used to measure and present dry tea leaves before brewing. It's especially useful for transferring tea into a small teapot or gaiwan. Instead of buying one, I made it from Japanese *susudake* (煤竹), soot bamboo. I had a few lengths left over from my [chashaku carving practice](https://www.gchicco.com/bamboo-blades-and-youtube/). I looked at examples online, found a reference I liked, then got onto the sawing and carving. Once I was happy with the shape, I finished it with light sanding and camellia oil. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/2026-bamboo-cha-he-by-gian-by-Gianfranco-Chicco-01.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/2026-bamboo-cha-he-by-gian-by-Gianfranco-Chicco-02.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/2026-bamboo-cha-he-by-gian-by-Gianfranco-Chicco-03.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/2026-bamboo-cha-he-by-gian-by-Gianfranco-Chicco-06.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/2026-bamboo-cha-he-by-gian-by-Gianfranco-Chicco-07.jpg) Photos by Gianfranco Chicco I tested it with a Korean black tea from [Postcard Teas](https://www.postcardteas.com/?ref=gchicco.com) and a small teapot by Ryusei Kimura. To transfer the leaves I used a wooden tea pick, or *cha zhen* (茶針) in Chinese, *chahari* in Japanese, that I made last month. It works. Exactly what I needed. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/2026-Small-teapot-by-Ryusei-Kimura-by-Gianfranco-Chicco-03.jpg) Teapot by Ryusei Kimura (left). Photo by Gianfranco Chicco ### Happy as an Otter with a Fancy Pebble URL: https://www.gchicco.com/happy-as-an-otter-with-a-fancy-pebble/ Last updated: 2026-03-26T22:05:35.000Z A few years ago [I wrote about](https://www.gchicco.com/are-you-a-collector-or-a-maker/) how I identified more as a “user” of craft, ceramics above all, rather than a collector. My reticence to use the c-word was possibly rooted in a feeling that collectors are just hoarders or people with abundant disposable income. The truth is that I am a collector and I have more things than I need. I am committed to using all of them, some in everyday life, others for special occasions. But I do forget about things I have stored away or abandoned after the love affair with an object is over, replaced by a new sweetheart. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/2026-Suiteki-by-Gianfranco-Chicco-09.jpg) A modern water dropper by Takashi Suzuki with his signature citrus (mikan) ash glaze. Photo by Gianfranco Chicco Earlier this year I worked with [WAJOY](https://www.gchicco.com/wajoy-at-collect-art-fair-2026/), a new Japanese craft platform, on their debut at Collect, one of the most prestigious international art fairs for contemporary craft and collectible design. The experience put me deep inside collector dynamics: what draws them in, and why younger people often assume collecting isn't for them because they have no money, no space, or the wrong idea of what a collector is. It made me look at how I collect and how some objects dissolve the separation between user and collector. For me, one such object is the water dropper, or *suiteki* in Japanese. > 水滴 (suiteki) > 水 (sui / mizu) — water > 滴 (teki / shizuku) — drops ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/Suiteki-shodo.jpg) In East Asian calligraphy, the water dropper is not one of a scholar's four treasures. That honour is reserved for the brush, ink, paper and ink stone. Maybe it’s because the function of the water dropper can be easily replaced with any small water container whereas that of the four treasures can’t. However, I’m smitten with suiteki because they bring a silent joy to a calligrapher’s desk. If I look at my collection of water droppers, they’re all functional thanks to a reservoir and two holes, one to allow air in, the other to dispense the water, which you can control up to a single drop by tapping and untapping the first one. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/2026-Suiteki-by-Gianfranco-Chicco-10.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/2026-Suiteki-by-Gianfranco-Chicco-04.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/2026-Suiteki-by-Gianfranco-Chicco-11.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/2026-Suiteki-by-Gianfranco-Chicco-05.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/Suiteki-2-by-Tomoo-Hamada.jpg) Various suiteki from my collection. Photos by Gianfranco Chicco Suiteki can be playful and I pick them to match my mood before a writing session. Some of them are anonymous and no-nonsense. Others stimulate the senses in tangible ways akin to a teabowl, which I enjoy as much for its shape and colour, texture and weight, the occasional sound of water dropping, as for its function. One of my favourites is practical, delightful and with a certain pedigree. I named it ‘Tino’ after *elefantino*, baby elephant in Italian. It’s by Tomoo Hamada, grandson of the 20th-century Living National Treasure Shōji Hamada. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/2026-Suiteki-by-Gianfranco-Chicco-08-1.jpg) 'Tino' by Tomoo Hamada. Photo by Gianfranco Chicco Collector is a label. At an art fair it’s one used to indicate a potential client. In my private life I see it closer to the original meaning of amateur, a lover of something. If I collect suiteki it’s not just because they are convenient for getting the right amount of water on the ink stone when I’m grinding the ink, but because they make me feel as happy as an otter with a fancy pebble. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/2026-Suiteki-by-Gianfranco-Chicco-06-1.jpg) Another one of my favourites, by Living National Treasure and Mingei potter Tatsuzō Shimaoka. Photo by Gianfranco Chicco ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/2026-Suiteki-by-Gianfranco-Chicco-12.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/2026-Suiteki-by-Gianfranco-Chicco-13.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/2026-Suiteki-by-Gianfranco-Chicco-14.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/2026-Suiteki-by-Gianfranco-Chicco-15.jpg) Texture, motif, glaze. Photos by Gianfranco Chicco \-- Like the content of The Craftsman? Share it with a friend! You can support my work by [offering me a virtual coffee](https://www.gchicco.com/#/portal/support) ☕️ つづく ### WAJOY at Collect Art Fair 2026 URL: https://www.gchicco.com/wajoy-at-collect-art-fair-2026/ Last updated: 2026-03-18T18:43:29.000Z WAJOY ([website](https://www.wajoyjapan.com/?ref=gchicco.com), [instagram](https://www.instagram.com/wajoy%5Fjapan/?ref=gchicco.com)) is a new cultural platform founded and directed by Mayumi Tachikawa to connect Japanese craft traditions with international contemporary art audiences. Rather than framing craft as heritage, WAJOY positions it as a living practice addressing present-day concerns around material, time, and sustainability. I joined as creative producer for WAJOY's launch and international debut at [Collect Art Fair 2026](https://www.craftscouncil.org.uk/collect-fair/?ref=gchicco.com), the leading international fair for contemporary craft and design, held at Somerset House, London (25 February – 1 March). My involvement began at the strategic level, advising Mayumi Tachikawa on company presentation, communications, and positioning. Under the title 'The Ritual of Resilience', WAJOY presented five urushi lacquerware artists from Ishikawa Prefecture: Ken Noguchi, Reia Momose, Junichi Hakose, Yuki Nakamura, and Tomonori Yamasaki. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/Wajoy_Collect_107_credit_Yoi_Kawakubo_4x5.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/Wajoy_Collect_239_credit_Yoi_Kawakubo_4x5.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/Wajoy_Collect_227_credit_Yoi_Kawakubo_4x5.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/Wajoy_Collect_238_credit_Yoi_Kawakubo_4x5.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/Wajoy_Collect_122_credit_Yoi_Kawakubo_4x5.jpg) WAJOY at Collect 2026, Somerset House. Photos by Yoi Kawakubo My role covered creative direction, content strategy, and communications, including press and media. Ahead of the fair, I introduced Mayumi to TF Chan, the newly appointed director of Collect, and worked closely with him throughout. I also hosted a press breakfast at the Prince Akatoki, London's only Japanese-owned hotel, to introduce WAJOY to UK media. Journalists from the Financial Times, The Times, and several leading magazines attended; both published coverage, alongside features in several other outlets. On the opening day, I was on the floor engaging directly with collectors, media and visitors alongside Mayumi. Several works were sold, new commissions were discussed, and the exhibition space maintained a consistent flow of visitors throughout the fair. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/IMG_2143.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/IMG_2251.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/IMG_2262.jpg) Press breakfast at the Prince Akatoki Hotel with TF Chan (Director, Collect), Masami Yamada (Curator for Japan in the Asian Department at the Victoria and Albert Museum) and Mayumi Tachikawa (Director, WAJOY), hosted by Gianfranco Chicco. Presenting urushi at Collect in 2026 was a considered choice. A handful of other galleries at the fair were showing urushi works, and broader institutional attention to this material and its associated techniques is gaining momentum, including an exhibition at Japan House London since January, and a forthcoming presentation at the Victoria and Albert Museum in April. Urushi is a tree sap harvested in East Asia and used in art and craft for over a thousand years, valued for its durability, resilience, and surface beauty. Often translated simply as lacquer, it is a fundamentally different material from European lacquerware, a distinction that matters to collectors. Praised by Junichiro Tanizaki in 'In Praise of Shadows', it remains little known outside Japan, though that is changing. ### Selection of Artworks Presented at Collect 2026 ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/wajoy_ken-noguchi_swaying-vessel-9_02_credit_akira-yuasa.jpg) 'Swaying Vessel 9' by Ken Noguchi. Cotton cord fixed with urushi lacquer, Noguchi builds form from repetition and restraint. Photoby Akira Yuasa ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/wajoy_reia-momose_fuka2_04_credit_credit_akira-yuasa.jpg) Detail of 'Fuka (Hatching Fruit) II' by Reia Momose. Momose builds depth through repeated layers, revealing time and process within the material itself. Photo by Akira Yuasa ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/wajoy_junichi-hakose_rectangular-sunflower_01_credit_akira-yuasa.jpg) 'Rectangular Sunflower' treasure box by Junichi Hakose. Working with gold and silver powders in urushi lacquer, Hakose reinterprets classical maki-e technique with quiet luminosity. Photo by Akira Yuasa ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/wajoy_yuki-nakamura_a-piece-of-life-10_01_credit_akira-yuasa.jpg) 'A Piece of Life 10' by Yuki Nakamura. Through fragmentation and reconstruction combining washi paper, gold leaf and found shell and mother of pearl fragments, Nakamura embraces change rather than restoration. Photo by Akira Yuasa ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/03/wajoy_tomonori-yamazaki_hyakki-yagyo--_01_credit_akira-yuasa.jpg) 'Hyakki Yagyō (Night Parade of One Hundred Demons)' by Tomonori Yamazaki. Yamazaki brings yōkai from Japanese folklore to life through maki-e linework, balancing technical rigour with subtle humour. Photo by Akira Yuasa ### What Wood Wants: Correspondence With Shuji Nakagawa URL: https://www.gchicco.com/what-wood-wants-correspondence-with-shuji-nakagawa/ Last updated: 2026-01-19T11:33:55.000Z A week before [my experience Kaida sensei](https://www.gchicco.com/mountain-eel-making-chashaku-with-kaida-sensei/), I found myself in another workshop in Shiga prefecture, this time starting not with carefully selected bamboo but with a mallet, a wedge and a massive tree trunk. I was visiting Shuji Nakagawa's studio - an accomplished artisan known for his wooden buckets (*ki-oke*) and iconic collaborations like the Konoha champagne cooler for Dom Pérignon. I first met Nakagawa-san in 2013\. In person, he projects the aura of a no-nonsense shokunin more comfortable at the workshop than in front of an audience. But since the pandemic, I've noticed a transformation. Back then he started hosting online discussions called 'Tree Talk on Thursday', inviting woodworkers, designers, and connoisseurs to talk about craft. When the world reopened, he began engaging not just through what he creates but through words too, a philosopher-guide alongside his making practice. That crisp autumn morning, I joined a group of knowledge workers as part of Professor Eugene Choi's research programme at Doshisha Business School, investigating how to translate tacit knowledge for non-craftspeople. The goal of the day was to understand wood better - where it comes from, how it's processed - and, above all, to learn to listen to it. Nakagawa-san gave us wood and tools to split, saw, cut, plane and sand. To think with our hands and senses, not just our heads. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/01/2025-In-the-workshop-with-Shuji-Nakagawa-by-Gianfranco-Chicco-04.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/01/2025-In-the-workshop-with-Shuji-Nakagawa-by-Gianfranco-Chicco-05.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/01/2025-In-the-workshop-with-Shuji-Nakagawa-by-Gianfranco-Chicco-06.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/01/2025-In-the-workshop-with-Shuji-Nakagawa-by-Gianfranco-Chicco-07.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/01/2025-In-the-workshop-with-Shuji-Nakagawa-by-Gianfranco-Chicco-13.jpg) Shuji Nakagawa's workshop in Shiga. Photos by Gianfranco Chicco ### Thinking Through Making Anthropologist Tim Ingold challenges the Western separation between mind and hand, thinking and doing. In the conventional view, knowledge comes from standing outside what we wish to understand. But when you think through making, knowledge grows from the inside - through sustained involvement with materials and tools. "The maker is someone who has to follow the material, has to join his or her own life to the lives of the materials that they work with," Ingold says. He calls this conversation with materials *correspondence*, learning to notice and respond to subtle variations in grain, texture, resistance. The skilled maker must balance two speeds: the imagination leaping forwards and the slow, patient work of the hands, keeping their "eyes trained on the far horizon while still engaged in the labours of proximity." 0:00 /0:25 1× Videos by Gala Espel and Professor Eugene Choi This matters beyond the workshop, where information floods us but knowledge remains scarce. For Ingold, art includes craft, and he argues: “We really need art to challenge the foundations of technoscience, that is to reawaken our senses and to allow knowledge, once again, to grow from the inside, so that it becomes part of who we are and part of how we relate to the world around us.” When we learn to work in correspondence with materials, we develop a better relationship with the world, one rooted in attention and sensory engagement rather than detached analysis. > "It sometimes seems that the more knowledgeable we are, the less attention we pay to what is going on around us in our environment.” - Tim Ingold ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/01/2025-In-the-workshop-with-Shuji-Nakagawa-by-Gianfranco-Chicco-03-1.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/01/2025-In-the-workshop-with-Shuji-Nakagawa-by-Gianfranco-Chicco-12.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/01/2025-In-the-workshop-with-Shuji-Nakagawa-by-Gianfranco-Chicco-15.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/01/2025-In-the-workshop-with-Shuji-Nakagawa-by-Gianfranco-Chicco-19.jpg) In the workshop. Photos by Gianfranco Chicco ### Making The Familiar In A New Way At the start, Nakagawa-san gave us a quick demonstration on how to make a small wooden box. However, he encouraged us to play with the wood and the tools with no specific goal but paying attention to what was happening. Only once we 'find' something in the material should we start working on it. So what did I find at Nakagawa’s workshop? Something both familiar and unexpected. While slicing a chunk of wood I noticed that its fibrous nature was forming a thin edge on one side and a curve towards the end of the other one. That curve felt just like that of the [chashaku I had been making at home](https://www.gchicco.com/bamboo-blades-and-youtube/). I decided then to follow that form and create a dual-purpose instrument: from one side, a scoop for matcha; from the other, a *kashikiri*, the small dessert knives used in the Japanese tea ceremony to cut and eat the sweets that accompany the matcha. I made four of them, plus a rest to present them. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/01/2025-In-the-workshop-with-Shuji-Nakagawa-by-Gianfranco-Chicco-20.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/01/2025-In-the-workshop-with-Shuji-Nakagawa-by-Gianfranco-Chicco-22.jpg) The final result, a dual chashaku-kashikiri. Photos by Gianfranco Chicco When we were done, we did a show-and-tell session for everybody to share the results of their efforts. This made me realise that I had been so immersed in my own work that I hadn’t paid much attention to what was happening around me. Some of my fellow participants created smooth or quirky sculptures, boxes of different sizes, kitchen utensils, hanging mobiles and much more. I'd come to understand wood but learned to listen instead. Through improvisation, I found something familiar expressed in a new form. Creativity, Ingold reminds us, lives not in novelty but in the improvisatory process itself. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/01/2025-In-the-workshop-with-Shuji-Nakagawa-by-Gianfranco-Chicco-24.jpg) I'm happy to call Shuji Nakagawa a friend. From left to right: Gianfranco Chicco with shokunin Shuji Nakagawa, Kamide Keigo (Kutani Choemon) and Takahiro Yagi (Kaikado). --- **Notes** - 'Tree Talk on Thursday' is a play on words given that Thursday (木曜日) in Japanese includes the ideogram for wood (木). - The Tim Ingold quotes in this article are taken from his talk '[Thinking Through Making](https://www.youtube.com/watch?v=Ygne72-4zyo&ref=gchicco.com)'. For further reading, I recommend his book '[Making: Anthropology, Archaeology, Art and Architecture](https://www.routledge.com/Making-Anthropology-Archaeology-Art-and-Architecture/Ingold/p/book/9780415567237?ref=gchicco.com)'. --- Like the content of The Craftsman? Share it with a friend! You can support my work by [offering me a virtual coffee](https://www.gchicco.com/#/portal/support) ☕️ つづく ### Mountain Eel: Making Chashaku with Kaida Sensei URL: https://www.gchicco.com/mountain-eel-making-chashaku-with-kaida-sensei/ Last updated: 2026-01-02T10:17:27.000Z When I confirmed [my return to Kyoto](https://www.gchicco.com/salt-and-pepper-at-kennin-ji/), I took it as an opportunity to progress in my chashaku-making. My friend Toshiyuki Matsubayashi from the [Asahiyaki kiln](https://asahiyaki.com/?ref=gchicco.com) recommended we visit Mai Miyake's studio in the mountains of Shiga to study under Kaida sensei. When someone from a 400-year pottery lineage says there's a master he wants to learn from, you pay attention. **Kyokko Kaida** has the energy and playfulness of a Studio Ghibli character. He started studying the way of tea in the 1960s and as a self-taught chashaku maker in 1980\. First we had to choose blanks from a selection of *susudake*, bamboo salvaged from old thatched houses coloured by decades (if not centuries) of exposure to soot from the open hearth, staining it from silky caramel to deep black. No two were alike, and as old homes disappear so does this type of bamboo. To allow for a fair selection for each of the nine participants in the workshop, Kaida sensei ran a fun [*Amidakuji* lottery](https://www.tofugu.com/japan/amidakuji/?ref=gchicco.com), a paper-and-pen method used to guarantee random pairings. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/01/2025-Making-Chashaku-with-Kaida-Sensei-by-Gianfranco-Chicco-04.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/01/2025-Making-Chashaku-with-Kaida-Sensei-by-Gianfranco-Chicco-09.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/01/2025-Making-Chashaku-with-Kaida-Sensei-by-Gianfranco-Chicco-05.jpg) Selecting blanks fairly with the Amikuji lottery (centre). Photos by Gianfranco Chicco When it comes to susudake, the weirder, the better. Until now I had only used standard bamboo from a DIY store. Working with an irregular, precious material forces you to see what's already there, which features to keep, accentuate, or let go. We had a few photocopied pages with guidelines and measurements but I barely used them during the day. Kaida sensei’s teaching consisted of minimal verbal instruction; we learned by watching and doing. However, he was paying close attention to how our hands moved, and available for questions, which he answered by demonstrating directly on our pieces. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/01/2025-Making-Chashaku-with-Kaida-Sensei-by-Gianfranco-Chicco-06.jpg) Kaida sensei's hands-on teaching. Photo by Gianfranco Chicco Unlike my solitary practice at home, being with a group at a communal table allowed me to see how others interpreted their material. Shared tools favoured trying different types of kiridashi, saws and Kaida sensei's homemade tools. There was no chit-chat, rather a silent show-and-tell. Making a chashaku requires dozens of decisions that make each one unique: node placement, handle thickness, smoothness, curvature, tip style, balance in the hand and on top of a tea caddy. It’s believed the final result captures some aspect of the maker’s personality, and this is particularly cherished by *chajin*, tea people. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/01/2025-Making-Chashaku-with-Kaida-Sensei-by-Gianfranco-Chicco-03.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/01/2025-Making-Chashaku-with-Kaida-Sensei-by-Gianfranco-Chicco-08-1.jpg) Making in group allows you to learn from others too. Photos left by Toshiyuki Matsubayashi, photo right by Gianfranco Chicco It’s also important to know when to stop before that fatal extra stroke that could ruin it all, something I struggled with before. Under Kaida sensei’s skilled observation I learnt restraint and the art of finishing. Afterwards, we moved onto the tatami tea room, where he prepared tea for each one of us using our individual chashaku, commenting on how they felt in the hand and allowing the group to admire each other's creations. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/01/2025-Making-Chashaku-with-Kaida-Sensei-by-Gianfranco-Chicco-14.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/01/2025-Making-Chashaku-with-Kaida-Sensei-by-Gianfranco-Chicco-13.jpg) Putting our chashaku in action in the tea room. Photos by Gianfranco Chicco Back at the workshop to make the *tsutsu* (the protective tube, my first), we chose bamboo to match the style and colours of the scoop and carved a cherry wood cap with the kiridashi. We had to decide which side would be the front and cut it flat to write the chashaku’s poetic name with brush and ink. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/01/2025-Making-Chashaku-with-Kaida-Sensei-by-Gianfranco-Chicco-15-1.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/01/2025-Making-Chashaku-with-Kaida-Sensei-by-Gianfranco-Chicco-16-1.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/01/2025-Making-Chashaku-with-Kaida-Sensei-by-Gianfranco-Chicco-18.jpg) Making the tsutsu. Photos by Gianfranco Chicco I named mine 'Mountain Eel'. The susudake's smoky tones, rugged texture and slender shape reminded me of grilled unagi, which we had eaten for lunch earlier that day at [Kaneyo](https://www.kaneyo.in/?ref=gchicco.com), a restaurant founded in 1872\. Some names choose themselves. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/01/2025-Making-Chashaku-with-Kaida-Sensei-by-Gianfranco-Chicco-24.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/01/2025-Making-Chashaku-with-Kaida-Sensei-by-Gianfranco-Chicco-19.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/01/2025-Making-Chashaku-with-Kaida-Sensei-by-Gianfranco-Chicco-01.jpg) Presenting the final results and the glorious lunch at Kaneyo, featuring dashi-maki tamago on top of grilled unagi. Photo centre by Toshiyuki Matsubayashi, others by Gianfranco Chicco --- Like the content of *The Craftsman*? Share it with a friend! You can support my work by [offering me a virtual coffee](https://www.gchicco.com/#/portal/support) ☕️ つづく ### The Structure of Sui: Exporting Japan's Quiet Luxury URL: https://www.gchicco.com/the-structure-of-sui-exporting-japans-quiet-luxury/ Last updated: 2025-12-18T10:05:02.000Z In November I made an [unexpected return to Japan](https://www.gchicco.com/salt-and-pepper-at-kennin-ji/)\* after a 2-year hiatus to attend the presentation of the [JAPAN SUI COLLECTION](https://japan-sui-collection.go.jp/?ref=gchicco.com) at the *Kyōto Geihinkan* (Kyoto State Guest House) within the Imperial Park. While the country is enjoying unprecedented global interest, from record tourism to the 'matcha effect', this affection seldom engages with its deeper cultural foundations. The SUI COLLECTION is the Cabinet Office of Japan’s strategic pitch to global markets that the country has much more to offer by leveraging its craftsmanship and culinary excellence. The curators faced the tough task of picking highlights of Japanese culture through a lens that could diversify and expand Japan's exports. To do so, they chose *Iki* (粋), an aesthetic of refinement and subdued chic. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025_1114_0283.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025_1115_0216.jpg) The Kyōto Geihinkan (Kyoto State Guest House) is where foreign dignitaries are hosted during their official visits. Photos courtesy of JAPAN SUI COLLECTION ### The Seduction of Sui Iki, pronounced 'Sui' when denoting excellence, is far more than mere elegance. In 'The Structure of Iki', philosopher Shūzō Kuki presented it as the supreme aesthetic refinement of Japanese culture. It is a quality that defies easy translation, though the French terms *chic* or *raffiné* come close. It relies on managing emotional tension whilst striking the right balance between spontaneity and artifice, allowing an object or person to project *sprezzatura*, that sense of effortless indifference born from deep knowledge. Iki is Japanese quiet luxury. My participation, and that of other distinguished guests, was based on the gamble that to seduce foreign audiences, this intrinsically Japanese aesthetic must be experienced rather than explained. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Sui-Collection-Kyoto-by-Gianfranco-Chicco-13-1.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Sui-Collection-Kyoto-by-Gianfranco-Chicco-09.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Sui-Collection-Kyoto-by-Gianfranco-Chicco-10.jpg) Photos by Gianfranco Chicco ### Tradition is Fluid The SUI COLLECTION firmly rejects the notion that tradition is a static museum piece; instead, the guiding philosophy is that traditions are alive and always evolving. The selection process reflected this dynamism, involving curators and connoisseurs such as Fashion Designer JUNKO KOSHINO and Crafts Expert Toshiaki Kawamata. Until the late nineteenth century, the Japanese language didn’t have separate words to differentiate between art and craft, which coexisted across a natural, elastic spectrum. This innate fluidity between pure traditional handmade craft (today known as *kōgei*) to design, and on to fine art is what Japan brings to markets obsessed with collectible art and design, from Art Basel to Downtown Design Dubai, Frieze London to the new Salone Raritas in Milan. What delights us about Japan goes beyond technical mastery. It includes a sense of purpose and often playfulness rarely found elsewhere. Take for example the knowledge and skills of the makers of samurai swords. Although you’ll no longer see people walking through the streets of Kyoto with their *daishō* blades, a long katana and a shorter *wakizashi*, they haven’t disappeared but evolved into a new domain. Visit any high-end restaurant and amateur chef’s kitchen and you’ll find much cherished Japanese knives forged with the same techniques and attention to detail. The SUI COLLECTION attempts to prove that many other kōgei are ready to trace a similar path, evolving from past glory into contemporary use and renewed admiration. ### Objects of Grace The exhibition was divided into three rooms. The *Juraku-no-Ma* (“Room of Peace of Mind and Joy”) hosted seven objects that displayed the preservation of culture and artistic craftsmanship. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Sui-Collection-Kyoto-by-Gianfranco-Chicco-01.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Sui-Collection-Kyoto-by-Gianfranco-Chicco-04.jpg) Traditional samurai armour and 'Tiger Bamboo' installation by Tanabe Chikuunsai IV. Photos by Gianfranco Chicco The *Yubae-no-Ma* ("Room of the Sunset") featured five regional treasures from public submissions and 36 master selections curated by Toshiaki Kawamata. They were rooted in traditional techniques and regional materials, reinterpreting traditional crafts with designs for a modern lifestyle. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Sui-Collection-Kyoto-by-Gianfranco-Chicco-08.jpg) As a tea lover, I would be delighted to own the elegant ‘Red Apple’ (Akai Ringo) Nambu cast-iron kettle by Tayama Studio in Morioka, Iwate Prefecture. Photo by Gianfranco Chicco ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Sui-Collection-Kyoto-by-Gianfranco-Chicco-12.jpg) I have surfed only once, over a decade ago, but I would certainly make space at home for the sculptural lacquered surfboard by Siita, made with Kyoto timber from the local mountains combined with ancient urushi technique. Photo by Gianfranco Chicco ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Sui-Collection-Kyoto-by-Gianfranco-Chicco-11.jpg) The spherical Arita Ware porcelain speakers by the Yamatoku Kiln, established in 1750 in Saga Prefecture, combine two of my biggest passions, ceramics and music. Photo by Gianfranco Chicco ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Sui-Collection-Kyoto-by-Gianfranco-Chicco-14.jpg) The SAMA kiri-tansu (pictured in the far back) by Azuma Kiri in Wakayama prefecture is a modern reinterpretation of the paulownia wood chest of drawers once used to store kimonos that reminds me of the Carlton Bookcase designed by Ettore Sottsass for the Memphis Group. Photo by Gianfranco Chicco In the corridor between rooms, JUNKO KOSHINO staged a fashion catwalk with models wearing dark robes with golden accents that, under washi-covered lights and accompanied by Noh musicians, evoked Jun'ichirō Tanizaki's aesthetic of subtlety. 0:00 /1:06 1× Fashion show by JUNKO KOSHINO with Noh musicians. Video by Gianfranco Chicco Finally, the *Fuji-no-Ma* ("Room of Wisteria") is where the Mayor of Kyoto, Kōji Matsui welcomed us, *Kyōgen* comic theatre was performed, Chef Hiroshi Nagashima served a seasonal menu, drinks were poured, and tea utensils were displayed and used for tea offerings by masters from the Mushakoji-senke. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Sui-Collection-Kyoto-by-Gianfranco-Chicco-18.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Sui-Collection-Kyoto-by-Gianfranco-Chicco-19.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Sui-Collection-Kyoto-by-Gianfranco-Chicco-20.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Sui-Collection-Kyoto-by-Gianfranco-Chicco-21.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Sui-Collection-Kyoto-Official-03.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Sui-Collection-Kyoto-Official-04.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Sui-Collection-Kyoto-Official-05.jpg) Moments during the reception, with the Mayor of Kyoto, Kōji Matsui, Fashion Designer JUNKO KOSHINO, tea masters and creative dishes by Chef Hiroshi Nagashima. Photos of the food courtesy of JAPAN SUI COLLECTION, photo of Gianfranco Chicco by [Tomo Yoshizawa](https://wisdomtoolkit.co/about?ref=gchicco.com), all other photos by Gianfranco Chicco. ### A Tide that Raises All Boats The SUI COLLECTION arrives at a pivotal moment. Japan's global cultural capital has never been higher, creating an opening to move audiences beyond familiar exports towards the country's deeper offerings. Even as a frequent visitor, I'm constantly surprised by the breadth of arts, crafts, and food waiting to be discovered across 47 prefectures and four seasons. The artisans themselves must continue seeking international collaborations whilst staying true to their mastery. But government officials should resist picking winners. Instead, their role is to create favourable conditions: bringing together connoisseurs as guides, lowering barriers to market entry, and making it easier for small producers to participate in exhibitions and trade shows. The question isn't which crafts will succeed abroad, but how many can be given the chance to find out. The SUI COLLECTION's real potential lies not in defining Japan's next export champions, but in inviting the world to discover the constantly evolving aesthetic of Iki for themselves. \*Ever grateful to [Erik Augustin Palm ](https://www.instagram.com/augustinpalm/?ref=gchicco.com)for telling me about this initiative. --- Like the content of The Craftsman? Share it with a friend! You can support my work by [offering me a virtual coffee](https://www.gchicco.com/#/portal/support) ☕️ つづく ### Salt and Pepper at Kennin-ji URL: https://www.gchicco.com/salt-and-pepper-at-kennin-ji/ Last updated: 2025-12-16T19:37:47.000Z If you asked me barely a month ago, I would have told you that I was feeling down because I hadn’t been able to return to Japan in two years. And then, thanks to a tip by [Erik](https://www.instagram.com/augustinpalm/?ref=gchicco.com) during a press tour in Dubai I was involved with, I got an invitation to attend the launch of the **SUI Collection** at the [Kyōto Geihinkan](https://www.geihinkan.go.jp/en/kyoto/?ref=gchicco.com) (京都迎賓館). Known in English by the unexceptional name ‘Kyoto State Guest House’, it’s actually a big deal. Located within the Kyoto Imperial Park, the Cabinet Office of Japan uses it to host foreign dignitaries. The invitation was confirmed on a Wednesday and I flew out on a Thursday morning to make it in time for the event 48 hours later. (I’ll write more about that exhibition in the [The Craftsman Newsletter](https://www.gchicco.com/the-craftsman-newsletter/)). ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Gian-at-Kennin-ji-by-Gianfranco-Chicco-B.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Gian-at-Kennin-ji-by-Gianfranco-Chicco-A.jpg) Photos by Gianfranco Chicco This is me in November 2025 at another special place, [Kennin-ji](https://en.wikipedia.org/wiki/Kennin-ji?ref=gchicco.com), a Rinzai Zen temple in Kyoto founded in 1202 CE. The sky was clear, the grounds busy with visitors but also peaceful. I sat in the engawa for 10 or 100 minutes. I felt just right, everything was as it should be, and I was filled with a sense of gratefulness to the Universe for making this unexpected trip to happen. (Later I noticed my beard has really turned salt and pepper in the last few years and it was unintentionally matching with my scarf). ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Gian-at-Kennin-ji-by-Gianfranco-Chicco-03.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Gian-at-Kennin-ji-by-Gianfranco-Chicco-04.jpg) This is what I was looking at in the photos above. Photos by Gianfranco Chicco ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Gian-at-Kennin-ji-by-Gianfranco-Chicco-01.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Gian-at-Kennin-ji-by-Gianfranco-Chicco-02.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Gian-at-Kennin-ji-by-Gianfranco-Chicco-13.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Gian-at-Kennin-ji-by-Gianfranco-Chicco-14.jpg) Kennin-ji is known by its gods of thunder and wind (Raijin and Fujin) and it's various dragons emerging from clouds. Photos by Gianfranco Chicco ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Gian-at-Kennin-ji-by-Gianfranco-Chicco-03-2.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Gian-at-Kennin-ji-by-Gianfranco-Chicco-04-2.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Gian-at-Kennin-ji-by-Gianfranco-Chicco-07.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Gian-at-Kennin-ji-by-Gianfranco-Chicco-08.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Gian-at-Kennin-ji-by-Gianfranco-Chicco-09.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/2025-Gian-at-Kennin-ji-by-Gianfranco-Chicco-10.jpg) What I loved the most where the many views to admire the fractal details of the temple complex, including the Sengai-inspired circle-triangle-square garden. Photos by Gianfranco Chicco ### Winter Special 2025: Books and Ceramics URL: https://www.gchicco.com/winter-special-2025-books-and-ceramics/ Last updated: 2025-12-04T13:09:48.000Z There are two things I’m partial to and will often indulge in without too much thinking: books and ceramics. From my point of view, you can never have too much of any of them :) I'm returning momentarily to the origin of this newsletter in 2017, when it was about recommending craft-related objects and people I encountered through my frequent travels. Although my aim is not to encourage you to buy something you don’t need, here’s some inspiration \[mainly\] from UK based makers and shops for your Christmas gifts. ## Books ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/Mundo-Mendo-Year-One.jpeg) Mundo Mendo Book One. Photo courtesy of Luis Mendo [**Make London**](https://www.hoxtonminipress.com/products/an-opinionated-guide-to-make-london?ref=gchicco.com)**.** Part of the ‘An opinionated guide to’ series by Hoxton Mini Press, this handy little guidebook offers recommendations on where to pick up tools or learn something new in London. Want to get started making bread, ceramics, or embroidery, distilling your own booze, or taking your first steps in glassblowing, wood and metalworking? They have you covered! Two of my favourites are Crown Work Pottery and the St Bride Foundation. [**Do Maintain**](https://thedobook.co/products/do-maintain?ref=gchicco.com)**.** This is also part of an excellent and long standing series by the Do Book Co. Maintenance is often overlooked but if you invest in a good quality (and often expensive) kitchen knife, then knowing how to sharpen it properly is a skill you need to become good at (I’ve been guilty of letting mine go blunt from time to time… but no more!). This book focuses on sharpening knives, scissors and garden tools. [**Mundo Mendo, Book One**](https://www.mundomendo.com/books/?ref=gchicco.com)**.** Luis Mendo is a Spain-born, Netherlands-made and Japan-based artist and illustrator that I like a lot. I first came across his work during the 2020 lockdowns when I bought his '[The Home Stayer](https://www.mundomendo.com/thehomestayer/?ref=gchicco.com)' prints. A year ago he started publishing his non-commercial work on his own website, Mundo Mendo. This chunky soft-cover *tankōbon* is a selection of the best stories from the past twelve months. They’re full of joy and Luis approaches illustration and storytelling with a craftsman mindset that I admire. [**Illusory Dwellings: Aesthetic Meditations in Kyoto**](https://www.stonebridge.com/catalog/illusory-dwellings?ref=gchicco.com). In retrospect, I’ve probably encountered Allen S. Weiss' writing in the past but it wasn’t until potter [Tarragon Smith](https://www.gchicco.com/off-the-hump-poetry-of-clay-with-tarragon-smith/) recommended Weiss’ book ‘The Grain of Clay’ that I consciously engaged with his words. Craft and pottery crisscross the chapters, whether the author is talking about Kyoto’s museums, gardens or restaurants. [**Craftland: A Journey Through Britain’s Lost Arts and Vanishing Trades**](https://www.penguin.co.uk/books/459780/craftland-by-fox-james/9781847927866?ref=gchicco.com). I’m still in the first third of James Fox's book on the disappearing craft skills and traditions that were once central to life in Britain. He traces back how these were foundational for entire communities and a way of life that, if you look closely, is still present in some shape or form… but not for much longer. *Disclaimer: I received free copies of Make London, Do Maintain and Mundo Mendo.* --- ## Ceramics ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/Hyakko-exhibition-photography_Credit-Jeremie-Souteyrat-x-Japan-House-London.jpg) Hyakkō at Japan House London. Photo by Jeremie Souteyrat, courtesy of Japan House London > “If we want to see a thing well, we must use it well.” - Sōetsu Yanagi [**Open Studio & Kiln Opening: Lisa Hammond’s Maze Hill Pottery (London), 6-7 December 2025**](https://www.instagram.com/p/DRC-SAnCG8y/?ref=gchicco.com)**.** As per tradition, Lisa fires her Big Bear kiln in early December and then opens it during a weekend of shopping, mulled wine and chats. What I love about her open studios is that it has a deep community vibe and I get to catch up with fellow ceramics lovers. [**Open Studio: Tokobo Pottery (London), 6-7 December 2025**](https://www.instagram.com/p/DRSJbJ8jErR/?ref=gchicco.com)**.** I took my first pottery lessons about five years ago with [Mizuyo Yamashita](https://www.mizuyo.com/?ref=gchicco.com), the founder of Tokobo Pottery. Once or twice a year she opens the doors of the workshop to share (and sell) her work and that of the pottery’s residents and teachers. Great for picking a gift for a special someone. [**Open Studio: Cockpit Arts Deptford (London), 5-7 December 2025**](https://cockpitstudios.org/whats-on/winter-2025-deptford/?ref=gchicco.com)**.** Another bi-yearly appointment I try not to miss (but I couldn’t make it to the Bloomsbury one last week). Meet dozens of brilliant artists and craftspeople, buy unique gifts and - my favourite thing to do - have a peek inside their workshops and ask questions about their tools and methods. [**Korean Fine Living by Han Collection**](https://www.koreanfineliving.com/?ref=gchicco.com)**.** One of London’s great Korean arts and crafts galleries, [Han Collection](https://www.hancollection.co.uk/?ref=gchicco.com), has just launched a complementary website offering one-of-a-kind tableware rooted in Korean traditions and modern design. [**Hyakkō: 100+ Makers from Japan at Japan House London, 3 December 2025 – 10 May 2026**](https://www.japanhouselondon.uk/whats-on/hyakko-100-makers-from-japan/?ref=gchicco.com)**.** Delight your eyes (no touching though!) with this astounding selection of thousands of contemporary handmade pieces by artisans from all over Japan. Ceramic, glass, urushi, metal and wood works laid out on an impressive custom-built winding table that covers the full gallery space. [**Ken Matsuzaki at Goldmark Gallery**](https://www.goldmarkart.com/collections/ken-matsuzaki?ref=gchicco.com)**.** Last Saturday I did a daytrip to Upphingham with Andrew and Haru to meet Mashiko-based ceramic artist Ken Matsuzaki, who’s having his eighth solo exhibition at Goldmark Art. The breadth of his work is impressive. [Check out the exhibition's video-tour](https://youtu.be/1cP-PPluulg?si=mDOIb4kOpKC62Sdj&ref=gchicco.com). I can neither confirm nor deny if I got a little something for myself. --- ## Bonus ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/12/Blenheim-Forge-cocktail-set.jpg) Cocktail Set. Photo courtesy of Blenheim Forge **Labour and Wai**t has a [new shop in Covent Garden](https://www.instagram.com/p/DQ%5Fyf9nCE6n?ref=gchicco.com) with their evergreen essentials for home and life. The **William Morris Gallery** sells [hand-painted baubles](https://wmgallery.shop/collections/christmas-cards?ref=gchicco.com) that are perfect for decorating the Christmas tree (my mum loves them). **Postcard Teas** sources and blends teas from small producers and one of their end-of-year specials is a [chocolate and tea blend they made for Kyoto tea caddy maker Kaikado](https://www.postcardteas.com/site/product/kaikado-tea/?ref=gchicco.com). The guys at the **Blenheim Forge** have made these lustful [cheese](https://blenheimforge.co.uk/product/cheese-set-2/?ref=gchicco.com) and [cocktail sets](https://blenheimforge.co.uk/product/cocktail-set-2/?ref=gchicco.com). **Cutting Edge Knives** have received a [new batch of sharp tools by Makoto Kurosaki](https://cuttingedgeknives.co.uk/collections/makoto-kurosaki-vg7-damascus-tsuchime?ref=gchicco.com). Finally, if you're curious about how ancient ceramics are restored and preserved, check out this [three-part documentary by the BBC on legendary art restorer Koji Mayuyama](https://www.bbc.co.uk/iplayer/episodes/m002gj1k/japans-master-of-restoration?ref=gchicco.com). --- Like the content of The Craftsman? Share it with a friend! You can support my work by [offering me a virtual coffee](https://www.gchicco.com/#/portal/support) ☕️ つづく ### Bamboo, Blades and YouTube URL: https://www.gchicco.com/bamboo-blades-and-youtube/ Last updated: 2025-10-15T14:14:47.000Z During the summer of 2025 I gave myself the task to learn to carve *chashaku* as part of my embodied research of Japanese crafts. If that sounds too esoteric, let me clarify. Chashaku (茶杓) are the small bamboo tea scoops used in the Japanese tea ceremony to transfer matcha from tea caddy to bowl. Originally ivory spoons for medicine in ancient China, they're now considered one of the most important utensils in the tea room because they touch the powdered tea directly. A *chajin* (茶人, tea person) makes their own chashaku as a sign of commitment to *Chadō*, the Way of Tea. > 茶杓は茶人の刀 > "The chashaku is a tea person's sword" > — Japanese saying I decided on making chashaku in part because I love tea and the web of arts and crafts connected to tea culture like pottery, calligraphy, flower arrangement, incense and tea room architecture. But also because it requires very little equipment. Besides, it allows me to spend time creating away from screens, which already occupy a big part of my day. ### Digital Sensei The first step was to go to the biggest repository of knowledge that humans have ever created: YouTube. There I found many tutorials, some more didactic than others. My Japanese isn't strong enough to follow everything but, in keeping with the learning approach of a *shokunin*, I watched carefully to pick up subtle hand gestures and sounds. \[[Playlist with my favourite chashaku making videos](https://youtube.com/playlist?list=PL5moj5i59WG6l6Y-j0G3A3hyw-CSgJHEy&si=Y4Ym8Zkf5yxvtD4o&ref=gchicco.com)\]. Once I had a rough sense of the process, I bought the materials and tools. At the bare minimum, you need a few lengths of dry bamboo (I bought an assorted bundle for DIY projects) and a carving knife, called *kiridashi* (切り出し, cutting out) or *kogatana* (小刀, small blade). ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/10/2025-Six-chashaku-by-Gianfranco-Chicco-03.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/10/2025-Chashaku-making-details-by-Gianfranco-Chicco-01.jpg) Mapping the process. Photos by Gianfranco Chicco The kiridashi has a single-bevel blade, a flat back and an angled cutting edge. I got mine as a gift from James of [Cutting Edge Knives](https://cuttingedgeknives.co.uk/?ref=gchicco.com), a UK online shop specialised in handmade Japanese knives (and accessories, not Kill Bill katanas) with the promise that I would share my learning process (thank you James!). My first attempt was unambitious. I just wanted to get to know the tools, which other than the kiridashi included a *dozuki* saw, a small log splitter and 200-400 grit sandpaper. I made a handful of blanks out of black bamboo and quickly realised they should have been longer. My first fully finished scoop, the '001', was too thin but decent enough to be useful. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/10/2025-Chashaku-tool-flatlay-by-Gianfranco-Chicco-01b_numbered.jpg) Tools: 1) Dozuki saw, 2) Ruler, 3) Gloves, 4) Cutting mat, 5) Carving jig, 6) Sori kanna, 7) Kiridashi, 8) String, 9) Pencil, 10) Log splitter, 11) Alcohol burner, 12) Broom, 13) 200-244 grit sandpaper. Photo by Gianfranco Chicco ### Geeking out on tools Next I became infatuated with Japanese wood planes, which are not strictly necessary for making chashaku but in the past were used in lieu of sandpaper. I bought a small *sori kanna*, or compass plane, which has a convex bottom that's handy for smoothing the chashaku's length. One thing common to many Japanese hand tools is that they're often sold unfinished, requiring the user to personalise them to their own style of making. A blade needs sharpening and, in the case of the kanna, the wooden holder has to be "tuned" for it to cut properly. I went back to YouTube but hours of watching left me none the wiser. I turned to another digital platform in search of a solution: Instagram. I posted a story asking for help and promptly received a comment from [Frederick Dodson](https://www.instagram.com/frederickdodsonstudio/?ref=gchicco.com), someone outside my network. He’s a British craftsman working in the Japanese tradition of hand-tool carpentry who, serendipitously, was taking part in an exhibition not far away from my home. When we met, he showed me how to safely use a fine chisel and a hammer to carve out bits of the kanna’s wooden base to obtain the right fit for the blade (note to self: add Japanese hammers and chisels to my wishlist). Frederick was extremely kind with his time and expertise and proof that there’s still some “social” left in social media. ### Six Scoops, Six Lessons I set up a mobile workstation in the living room, with a cutting mat on the coffee table and the tools laid out on the floor for easy access while sitting on the sofa. So far I've made half a dozen chashaku and have blanks ready for six more. I've been using them for daily tea practice instead of the established makers' ones I own. Feeling their imperfect forms and uneven proportions offers further feedback that shapes the next scoop. The first two taught me how to prepare the material and use the tools. Later iterations focused on refinement: adjusting the tip shape and node position, balancing the handle so it rests properly atop a tea caddy, imitating styles preferred by different tea masters. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/10/2025-Six-chashaku-by-Gianfranco-Chicco-04.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/10/2025-Six-chashaku-by-Gianfranco-Chicco-02.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/10/2025-Six-chashaku-by-Gianfranco-Chicco-05.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/10/2025-Balancing-chashaku-by-Gianfranco-Chicco-01.jpg) First six chashaku. Photos by Gianfranco Chicco My knowledge of making is slowly moving from brain to hand, from intellectual into tacit. Each chashaku develops my understanding of the medium... and of my limitations. Every time I rewatch the videos and look at reference books, I notice details I couldn't see before. Maybe I'll close the gap after making fifty or a hundred more scoops. Eventually I'll seek out a workshop with one of the master craftspeople in Takayama, a village in Nara Prefecture famous for bamboo crafts for tea for over 500 years. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/10/2025-Shodo-----------------------by-Gianfranco-Chicco-02.jpg) Two of my chashaku on a calligraphy of 茶杓は茶人の刀. Photo by Gianfranco Chicco What lies ahead is getting hold of better quality bamboo (which would have been wasted on my early attempts), making the *tsutsu* (the tube that protects the chashaku), and other tea items like *hanaire* (flower vases) and *kashi-kiri* (little picks for cutting sweets). Am I being too ambitious? Perhaps. But I've always learnt best and had the most fun by doing rather than studying. --- Like the content of *The Craftsman*? Share it with a friend! You can support my work by [offering me a virtual coffee](https://www.gchicco.com/#/portal/support) ☕️ つづく ### Sketches of Japanese Craftsmanship in London, September 2025 URL: https://www.gchicco.com/sketches-of-japanese-craftsmanship-in-london-september-2025/ Last updated: 2025-09-29T07:40:31.000Z *Sketches are my half-baked ideas, projects and notes for articles. I scribble them on napkins, random notebook pages or in my phone’s notes app.* Today's missive is from several activities I took part in during London Design Festival in September 2025\. The common denominator was Japanese craftsmanship with practical lessons about choosing place over prestige, how craft expertise can evolve into unexpected industries, and what screen-bound workers can learn from using hand tools. ### Sake made of Misato My friend, textile designer Kyoko Wainai, led an eclectic exhibition by makers from Akita Prefecture in Northern Japan under the banner "[From Akita to London: Passing on Wisdom](https://londondesignfestival.com/activities/from-akita-to-london-passing-on-wisdom-8c477942-37e6-4cab-801a-27ef83709f40?ref=gchicco.com)". Among them was Kuribayashi Brewery & Co, which makes [Harukasumi sake](https://harukasumi.com/about/?ref=gchicco.com) in the town of Misato. At a tasting for hospitality professionals at Sagamiya restaurant, seventh-generation owner and tōji (master brewer) Naoaki Kuribayashi shared his philosophy alongside Harukasumi’s classic lineup and a special 150th anniversary edition. Misato has cold winters. With the change of season, snow from the neighbouring Ōu Mountains melts and filters through layers of underground rock, creating abundant high-quality springwater. Misato also grows its own variety of sake rice, Misatonishiki, a hybrid of the famous Yamadanishiki with Miyamanishiki. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/09/2025-Akita-to-London-by-Gianfranco-Chicco-01.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/09/2025-Akita-to-London-by-Gianfranco-Chicco-02.jpg) L: Myself with Naoaki Kuribayashi and Kyoko Wainai. R: Harukasumi sake tasting at Sagamiya Kuribayashi-san acknowledged that Yamadanishiki deserves its title as king of sake rice: easy to work with, producing smooth drinks. So why does he use Misatonishiki? **"I live in Misato, I brew sake in Misato. My goal is to make the best sake that this land can provide. My contribution is sake that carries the flavour of this town."** His focus on local resources reminded me that great work is not about the best tools and ingredients but the right ones for what you want to do and where you are. We love creating rankings but what is "best" is subjective and tied to a scarcity mindset. The gifts you offer the world have ties to who and where you are, and how you approach your work. Two nights later, I took Kuribayashi-san on an exploration of London's sake scene. We started at Kanpai sake, a local brewer under London Bridge station where Lewis gave us a brief tour. We then moved to Moto in Covent Garden where Francisco guided us through their selection. The grand finale was at Kioku Sake Bar, all wooden furniture with chigiri joints, mirrored surfaces, ceramic cups, and vinyl playing in the background. Head sommelier Anthony, who'd attended Harukasumi's tasting, helped us pick the right nightcaps to conclude our *serious* market research. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/09/2025-Akita-to-London-by-Gianfranco-Chicco-07.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/09/2025-Akita-to-London-by-Gianfranco-Chicco-09.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/09/2025-Akita-to-London-by-Gianfranco-Chicco-13.jpg) Three of London's sake hotspots: Kanpai Sake, Moto Sake Bar and Kioku Sake Bar. Photos by Gianfranco Chicco ### A rose by any other name Last April I met [Faye Toogood](https://www.fayetoogood.com/?ref=gchicco.com) during the Fuori Salone in Milan. She was presenting 'ROSE', her collaboration with [Noritake](https://noritakedesign.com/collections/rose-collection?ref=gchicco.com), a historic porcelain brand founded in 1904 in Nagoya. Two weeks ago, Faye and Tetsuro Sano from Noritake invited us to the Toogood studio for lunch, where her creations were put to action in what was literally a rose-tinted experience. The original menu was created by local restaurant Spring and roses played a prominent role on and off the table. The rose charlotte cake was a favourite (I wish I could have stuffed my mouth with it but alas that’s not something you do at a professional lunch) and each guest was gifted a rose—a full plant, not just a flower—from English rose breeder David Austin. Today, only 5% of Noritake's business involves tableware. Their ceramic expertise has diversified into automotive parts, dental implants, and even the Space Shuttle's outer coating. Sanitary giant TOTO began as a Noritake spin-off. Yet the company continues investing in creative collaborations within its original craft. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/09/Toogood_LDF_Lunch33-1.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/09/Toogood_LDF_Lunch3-1.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/09/Toogood_LDF_Lunch21-1.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/09/Toogood_LDF_Lunch1-1.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/09/Toogood_LDF_Lunch20.jpg) ROSE by Faye Toogood x Noritake Design Collection. Photos by Genevieve Lutkin ROSE is part of creative collaborations under the "Noritake Design Collection". She came up with the rose motif during her residency with Noritake's technicians and artists. Reviewing the catalogue of past designs inspired feelings and colours that Faye finds during sunrise in her kitchen garden in the South Downs of England. The result is handpainted classic shapes, which combined with Faye's personal experience create timeless appeal, echoing how Kuribayashi-san draws from Misato's landscape for a drink that transcends its origins. ### The pleasure of hand tools This summer I purchased my first Japanese wood plane, a kanna. Since then, I've been learning how to tune it and use it properly, so when David from SeenPR invited me to a chopstick-making workshop with [Shintaro Oku](https://www.instagram.com/koppa.oku/?ref=gchicco.com), I jumped at the chance. Oku-san is a woodworker from Kagoshima where his business, Koppa (木片, chips of discarded wood), transforms waste into useful objects. The workshop was hosted at Wagumi in the OXO Tower and aimed at a general audience. I picked blanks made of bubinga, an African hardwood with an elegant caramel colour. Under Oku-san's guidance, I used jigs, a small kanna, sandpaper, and mineral oil to learn more effective planing and how to remove sharp angles to make chopsticks comfortable to eat with. 0:00 /0:14 1× Planing and sanding my chopsticks.Video by David Gorrod As a knowledge worker perennially in front of a screen, learning traditional hand skills, even briefly, offers something irreplaceable. The direct feedback between hand, tool, and material reminded me that true craft requires the alignment of body and mind, where proper posture and technique emerge from listening to the sound of the plane, feeling the wood grain, even noting the scent of the shavings. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/09/2025-Koppa-chopsticks-workshop-x-Wagumi-LDF25-by-Gianfranco-Chicco-01.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/09/2025-Koppa-chopsticks-workshop-x-Wagumi-LDF25-by-Gianfranco-Chicco-02.jpg) Chopsticks workshop with Shintaro Oku of Koppa. Photos by Gianfranco Chicco and David Gorrod ### Aliveness (what machines can't make) URL: https://www.gchicco.com/aliveness-what-machines-cant-make/ Last updated: 2025-08-03T11:58:34.000Z Have you ever held an object and felt the maker's presence in your hands? In art they call it 'aura'. It's what distinguishes an original painting from its reproduction, what you hear in Miles Davis or Nina Simone’s live jazz performances, what you taste in the dishes that ignite happy childhood memories (for me it’s my mother’s take on pasta all'Amatriciana). The work carries something of its creator that no machine can replicate, at least not yet. And even if they could, why would we want them to? Oliver Burkeman captures this brilliantly with the term 'aliveness'. In his newsletter [The Imperfectionist](https://ckarchive.com/b/zlughnhk8772ma7qrr9qehwzgng00f6?ref=gchicco.com) he frames aliveness within the context of Artificial Intelligence (AI) and its alleged threat to our jobs or how some tech moguls propose addressing our crisis of solitude with artificial friends. He writes: “\[...\] aliveness is so central to meaningful human experience that there’ll always be a market for those who can cultivate it, embed it in what they create, foster it in institutions and organisations, and bring people together to experience it. \[if\] the direst predictions about AI disruption come true, then navigating through life by aliveness is still the right choice, because that’s what makes life worth living.” I think of aliveness as part of an ‘ineffable trio’ alongside taste and beauty, qualities that distinguish great craftsmanship but resist easy definition. ### Are we solving the wrong problems? During my engineering studies and soon after when I started working in a startup just as the dot-com era was about to burst, friction was the enemy. Things like publishing and selling online were cumbersome, and the associated logistics almost impossible for all but big companies. Over the last two decades we've achieved remarkable convenience for mundane digital tasks. Now, on the verge of yet another technological paradigm shift it looks like we've optimised in the wrong direction. > "I want AI to do my laundry and dishes so that I can do art and writing, not for AI to do my art and writing so that I can do my laundry and dishes." - Joanna Maciejewska We're solving for convenience in areas that should remain human whilst ignoring where efficiency would genuinely help. AI-generated music floods Spotify because it makes more money for shareholders, not for musicians nor because it enriches human experience. Meta proposes artificial friends to cure loneliness whilst keeping us tethered to screens rather than fostering genuine personal connections. You can use Generative AI (GenAI) tools to write content that makes you sound smart on LinkedIn although no one could possibly care to read any of it. We're stripping the soul from human creativity in service of shareholder returns. This reminds me of Pixar's [WALL-E](https://www.imdb.com/title/tt0910970/?ref=gchicco.com), a post-apocalyptic scenario where corporations have trashed Earth and the surviving population has lived for 700 years on a cruise-like spaceship. Humans have become passive consumers, lying in floating beds with screens covering their faces, every desire induced by constant advertising and satisfied by an invisible AI through hordes of robots. Genuine human needs remain unmet until an accidental hero, a trash-compacting robot named WALL-E, triggers a series of events that awakens the ship's denizens to what they've lost. As the captain exclaims: "I don't want to survive, I want to live!" 0:00 /0:19 1× “I don’t want to survive, I want to live!” A few weeks ago I visited the newly opened exhibition '[More than Human](https://designmuseum.org/exhibitions/more-than-human?ref=gchicco.com)' at London's Design Museum. The show champions elaborate solutions - new materials, art, designs and architecture practices - that shift the point of view from that of people to the other beings we share the world with, like plants, birds, insects and marine life. It’s all very well done and the result of thoughtful curation. Yet most of the environmental issues that are preventing the planet from thriving could be solved with tools and methods that we already have if only we cared enough. It appears that collectively, we simply don't want to if it means reducing our convenience and comfort. The same pattern emerges with AI: if we cared more about preserving human creativity and connection, we wouldn't be automating away the very things that make life meaningful. Perhaps what we have is a crisis of care, of optimising for the individual at the cost of society and the planet as a whole. Burkeman posits that when facing a tough decision we could ask ourselves "Does this feel like it's taking me in the direction of greater aliveness?" ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/08/Twonks---I-don-t-care.jpg) Cartoon by [Steve Nelson, AKA Twonks](https://www.twonks.co.uk/?ref=gchicco.com) ### The craft response The early 19th-century Luddites weren't anti-technology, they opposed the corrosion of human labour through mechanisation that benefited factory owners while displacing skilled workers. Today's challenge is similar: not all automation is inherently wrong, but we must question who benefits and what we lose. Craftsmanship sits between utility and art. The act of making, whether creating an object or buying from an independent maker rather than a faceless corporation, brewing coffee slowly rather than pressing a button, cooking for loved ones instead of ordering takeaway, or learning to repair rather than replace, connects us to materials, other people, and the satisfaction of meaningful work. The process generates aliveness, not just the end result. Not everybody can be a professional artisan and adopting a craft mindset is not the one and only solution to all our problems, but it can foster responsibility towards the systems we’re a part of. Sparking aliveness could also inspire us to search for something similar in other aspects of our lives, including work and the role we play in society at large. As Burkeman concludes: "I think it's good to stay fully, even slightly foolishly, committed to the idea that humans doing human things, with other humans, is and will remain at the vital heart of human existence. Because otherwise what on earth's the point?" --- Like the content of *The Craftsman*? Share it with a friend! You can support my work by [offering me a virtual coffee](https://www.gchicco.com/#/portal/support) ☕️ つづく ### Summer Special 2025 URL: https://www.gchicco.com/summer-special-2025/ Last updated: 2025-07-01T13:55:34.000Z Last year’s summer special proved to be pretty popular so here I am at it again with highlights of what to read, listen, watch and visit in the next few months, all of them relating to craft and design in one way or another. But I’m also curious about what are *your* must see/read/attend for this season (Southern hemisphere recommendations are welcome too). Let me know by replying to this email, on [Instagram](https://www.instagram.com/gchicco/?ref=gchicco.com), [LinkedIn](https://www.linkedin.com/in/gchicco/?ref=gchicco.com) or [BlueSky](https://bsky.app/profile/gchicco.com?ref=gchicco.com). --- ## The Summer Sessions: Craft & Design [![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/07/Tarragon-Smith---selection-03.jpg)](https://www.gchicco.com/off-the-hump-poetry-of-clay-with-tarragon-smith/) Work by Tarragon Smith This summer I'm hosting a series of online conversations with craftspeople, designers, academics and storytellers. These dialogues will look into the human stories behind exceptional work, exploring not just technique but why makers choose their paths and how their craft speaks to our moment. The first session was [**Miracle Fibres: From Patagonia to London with Cindy Lilen** (watch the video)](https://www.gchicco.com/miracle-fibres-from-patagonia-to-london-with-cindy-lilen/). The next one will be [**Off the Hump: Poetry of Clay with Tarragon Smith** (register now)](https://www.gchicco.com/off-the-hump-poetry-of-clay-with-tarragon-smith/) on Thursday 10 July, 12:00pm UK time. --- ## Podcasts & Videos ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/07/The-Crit-by-Disegno.jpg) The Crit, a podcast by Disegno [***The Crit* by Disegno**](https://disegnojournal.com/podcasts/the-crit?ref=gchicco.com) is a podcast that “invites designers to review their own careers, picking out their highlights, lowlights and ambitions for the future”. Never banal, recent favourite episodes include Nipa Doshi, Nina Tolstrup and Jay Osgerby. [***How an American became Japan's foremost boatbuilding expert* by Unpacking Japan**](https://www.youtube.com/watch?v=No0Hi094Zhs&ref=gchicco.com)**.** A video-podcast with Douglas Brooks, an American boatbuilder and writer specialised in traditional boats from several Japanese regions. It's fascinating to hear him describe the differences between teaching methods in the West and Japan, in particular the principle of “watch and learn” (見て分かる, *mite wakaru*) and how, although less efficient, it might prove to offer a much deeper learning experience. **Ken Sakata** is a doctor turned fashion entrepreneur who shares compact but rich research videos on [TikTok](https://www.tiktok.com/@frontoffice.co?ref=gchicco.com) and [Instagram](https://www.instagram.com/frontoffice.co/reels/?ref=gchicco.com) and is documenting the process of developing his own brand, Front Office, on [YouTube](https://www.youtube.com/@FrontOfficeCo?ref=gchicco.com). [***Forget hustle culture. Behold the Artist Corporation* by Yancey Strickler**](https://www.ted.com/talks/yancey%5Fstrickler%5Fforget%5Fhustle%5Fculture%5Fbehold%5Fthe%5Fartist%5Fcorporation?ref=gchicco.com). This recent TED Talk (hold your judgement!) by one of Kickstarter’s co-founders is both timely and radical in presenting a new economic model that could allow creative people to build sustainable careers and thrive in an economy that tends to favour giant corporations. Must watch! --- ## Makers ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/07/2025-cockipt-open-studios-deptford.jpg) Live bronze pour by and work by Jasmine Bradbury (left and centre), Mini globe by Randon Burns (right). Photos by Gianfranco Chicco [**Jasmine Bradbury, artist and sculptor**](https://www.jasminebradbury.com/?ref=gchicco.com)**.** Jasmine invited me to Cockpit’s Open Studios in Deptford for a [live bronze pouring demonstration](https://www.instagram.com/s/aGlnaGxpZ2h0OjE3OTk3NjQ5MjA1ODAxNDI0?story%5Fmedia%5Fid=3654193806806376239&igsh=MXZzamZ0Y2o3bmpzMw==&ref=gchicco.com). I like the organic feel of her sculptures and it’s always a pleasure to see how things are done. [**Randon Burns, woodturner**](https://www.instagram.com/randon.craft.design/?ref=gchicco.com)**.** Another maker whose work I was delighted by at Cockpit’s Open Studios. He makes wooden mini globes with metal inserts, a dot to represent the North Pole and a line indicating a route between two cities. Obviously [the one that caught my attention](https://www.instagram.com/s/aGlnaGxpZ2h0OjE3OTk3NjQ5MjA1ODAxNDI0?story%5Fmedia%5Fid=3654195899864926554&igsh=MXZzamZ0Y2o3bmpzMw==&ref=gchicco.com) featured a connection between London and Tokyo. --- ## Books & Articles ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/07/2025-books-july-by-Gianfranco-Chicco-01.jpg) Part of my summer read-list. Photo by Gianfranco Chicco [***Thousand Cranes* by Yasunari Kawabata** ](https://www.penguin.co.uk/books/177348/thousand-cranes-by-kawabata-yasunari/9780241752098?ref=gchicco.com)is a novella from 1952 that Penguin has recently re-released as part of their playful (and affordable) Penguin Archive series. The reason I feature it in this craft and design-related list is because ceramics, in particular Japanese tea utensils, play an important role in this delicate story of love, loss and yearning. [***Draw* by Kenya Hara, published by Lars Müller**](https://www.lars-mueller-publishers.com/draw?ref=gchicco.com)**.** This is the least philosophical of Kenya Hara’s books so probably not the first one to start with. What’s interesting about it is that the Japanese designer shares the sketches, illustrations and detailed storyboards that originated many of his projects, including several that never materialised. He writes: “Sketching is the process of making a vague idea floating in your mind and bringing it into the dimensions of this physical world.” Disclaimer: Lars Müller Publishers sent me a free review copy. > “With clumsy line drawings, I delve into the unknown” - Kenya Hara [***Compelling Minimalism* by OEO Studio, published by Rizzoli New York**](https://www.rizzoliusa.com/book/9788891842237/?ref=gchicco.com)**.** I’ve known Anne-Marie Buemann and Thomas Lykke of OEO Studio for several years, and I’ve always admired their ability to synthesise the essence of Danish and Japanese craftsmanship in their designs, with utmost respect for materials, an intuitive feeling for culture and just pure good taste applied to architecture, interiors and products. But this book is not a catalogue of their work, although it’s featured too. Instead, they put together a collection of their inspirations, curiosities found along the way and four conversations (one with René Redzepi of Noma). The photography is superb and you can tell it’s not led by ego by the fact that their manifesto is at the end of the book. Disclaimer: they sent me a free copy. I recently sat down with Thomas to talk about the publication of their first book. Read it on [Musubi Academy: Reimagining Tradition](https://www.musubi.academy/reimagining-tradition/?ref=gchicco.com) [***‘I was brought in to be bold’: the women driving change in Danish design*, article in the Financial Times**](https://on.ft.com/4kBqqFr?ref=gchicco.com)**.** It features a cohort of female talent bringing change to Denmark’s historically male-dominated design sector, including Els Van Hoorebeeck (Creative Director at Fritz Hansen), Marie Kristine Schmidt (CEO at Gubi), Maria Bruun (Head of Design at Fredericia) and Paula Gerbase (Creative Director at Georg Jensen) among others. > “When a brand has more than 150 years of history, almost everything you could suggest has, in some form, already been done,” says Els Van Hoorebeeck, recently appointed creative director at Danish design company Fritz Hansen. “It’s not about reinventing the wheel; it’s about knowing where that wheel has been before deciding where it rolls next.” --- ## Exhibitions ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/07/2025-do-ho-su-at-Tate-modern---by-Gianfranco-Chicco.jpg) Details from the exhibition by Do Ho Suh at Tate Modern. Photos by Gianfranco Chicco [***Nawageshō* \- Buaisou 10th anniversary at Ryosokuin Zen Temple, Kyoto**](https://www.buaisou-i.com/nawagesho?ref=gchicco.com)**.** This mischievous collective of natural indigo dye farmers and artisans celebrates its tenth anniversary with an exhibition running until 13 July 2025\. [***Across the Spooniverse* at the Mingei International Museum in San Diego, California**](https://mingei.org/exhibitions/across-the-spooniverse?ref=gchicco.com)**.** I wish I could visit this one! On show until 17 August 2025\. From the official description: “This exhibition presents over 100 spoons from across the globe, each a reflection of a specific cultural context–between intimate traditions of home and family, celebratory preparations of food and drink, and the spiritual gestures of giving thanks for sustenance.” Listen to [this short interview with the curator on Monocle Radio](https://monocle.com/radio/shows/monocle-on-design/odx-12-6/?ref=gchicco.com). [***Morris Mania: How Britain’s greatest designer went viral* at the William Morris Gallery, London**](https://www.wmgallery.org.uk/event/morris-mania/?ref=gchicco.com)**.** Until Sunday 21 September 2025\. From the official description: “Morris Mania explores a complicated legacy. Over 125 years since his death, Morris’s work continues to grow in popularity. His patterns are now affordable, well-loved and available to people across the globe, something he failed to achieve in his lifetime. However, this has been achieved in the context of mass-production, computer-generated design, global capitalism and environmental crisis. Morris Mania considers the ongoing impact of Britain’s most iconic designer in our increasingly cluttered and commodified world.” [**Do Ho Suh: Walk the House at the Tate Modern in London**](https://www.tate.org.uk/whats-on/tate-modern/the-genesis-exhibition-do-ho-suh?ref=gchicco.com)**.** Until 19 October 2025\. “Is home a place, a feeling, or an idea? Suh asks timely questions about the enigma of home, identity and how we move through and inhabit the world around us.” I liked it a lot and it made me reflect on my own homes from past and present, and what a future one might look and feel like. [**Arti Fiant Summer Exhibition in London featuring Tomoo Hamada, Kan Matsuzaki and Kei Shimaoka**](https://www.instagram.com/p/DK%5F03hzIMRH/?ref=gchicco.com)**.** These three living master potters from the renowned town of Mashiko in Japan belong to prestigious lineages and are outstanding makers in their own right. This will be a small and intimate exhibition, and if their previous show serves as a guide, it’ll feature some stunning pieces (all for sale). Saturday 1 July and Sunday 13 July, 2025\. [***The Shakers: A World in the Making* at the Vitra Design Museum in Weil am Rhein**](https://www.design-museum.de/en/exhibitions/detailpages/shaker.html?ref=gchicco.com)**.** This exhibition might be the right excuse to finally make the trek to this wonderful place to check out the architecture and their collection archives. From the official description: “The Shakers were a religious group for whom design and architecture were an expression of beliefs surrounding community, labour and social equality. The new exhibition \[...\] examines how this resulted in meticulously crafted furniture and vernacular architecture that continue to resonate centuries later.” Until 28 September 2025. [**Tadao Ando / Youth at the VS. Grand Green in Osaka**](https://www.tadao-ando.com/youth%5F2025/en/?ref=gchicco.com)**.** Until 21 July 2025\. A dear friend gave me a copy of this exhibition’s catalogue (signed by Ando himself!), which is nice consolation for the fact that I won’t be able to visit it. Although Ando is in his 80s, he doesn't seem to be slowing down even after several operations in which he lost five internal organs ("My body is now lighter!" he says). The show features many of his greatest hits, including full-scale reproductions. Among Ando’s latest projects are libraries for children called 'Kodomo Hon no Mori' (Children's Book Forest). He funds and designs them himself before donating them to local governments in Japan. The exhibition title relates to the poem 'Youth' by Samuel Ullman, a favourite of Ando's. The first line reads: > "Youth is not a time of life; it is a state of mind; it is not a matter of rosy cheeks, red lips and supple knees; it is a matter of the will, a quality of the imagination, a vigor of the emotions; it is the freshness of the deep springs of life." --- ## Workshops, Events & More ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/07/2025-serpentine-pavilion-by-marina-tabassum-by-Gianfranco-Chicco-01.jpg) Detail of Marina Tabassum's Serpentine Pavilion. Photo by Gianfranco Chicco [***A Capsule in Time, Serpentine Pavilion 2025* by Marina Tabassum**](https://www.serpentinegalleries.org/whats-on/serpentine-pavilion-2025-by-marina-tabassum/?ref=gchicco.com)**.** The latest iteration of the Serpentine Pavilion is fabulous, even on an overcast day. Tabassum shared how the inspiration came from her native Bangladesh and the Bengal Delta, where architecture embraces adaptability and ephemeral stances to deal with the consequences of climate change. What I always love about the Serpentine Pavilions is that they have no doors and are thus open to all, becoming a gathering space during the summer. Until 26 October 2025. [**Chawan & Tea Ceremony Experience. A Two-Day Masterclass with Taiga Mori (Bizen), organised by ceramic artist Magali Kivatinetz**](https://linktr.ee/mkpotterystudio?ref=gchicco.com)**.** Hosted in Ry (Denmark) on 23-24 August 2025 and in London on 6-7 September, it’s an incredible opportunity to learn about Japanese tea ceramics and the rich tradition of Bizen, one of Japan's Six Ancient Kilns. It includes learning to hand-build (no wheel) a chawan using techniques rooted in Bizen's clay traditions. They will also host ceramic workshops in Japan in November 2025. [***Sparkling cold brew tea* by Postcard Teas**](https://www.instagram.com/reel/CPXnWp-AETg/?ref=gchicco.com)**.** London is going through a heatwave, so drinking cold tea becomes more appealing than its hot brethren. This recipe by my friends at the best tea shop in the world is a must. Another personal favourite is a [Matcha affogato](https://www.instagram.com/p/DLVGBAJxDAo/?img%5Findex=1&ref=gchicco.com). [***Once at Studio134 Fundraising: Restoring a High Street Gallery* by Anna Stewart**](https://www.crowdfunder.co.uk/p/once-at-studio-134?ref=gchicco.com)**.** I collaborated with Anna for a project during my time at the London Design Festival and was happy to find out that she’s launching a [new contemporary crafts gallery and shared ceramics studio](https://www.instagram.com/once%5Fat%5F134/?ref=gchicco.com) in London. She’s currently running a fundraising campaign to make her dream come true. [**GO FOR KOGEI 2025 Symposium at the V&A South Kensington**](https://www.vam.ac.uk/event/yAgOXVlmPV/go-for-kogei-2025-symposium?ref=gchicco.com)**.** This event will examine contemporary Japanese craft through the lens of women artists and makers working outside traditional institutions, challenging established notions of Japanese craft and tradition. It features speakers including women artists, diaspora creators, and craft experts who present fresh perspectives on Japanese craft in a global context. Entry cost is just £5\. I’ll be in attendance, let me know if you’ll be there too. Thursday, 24 July 2025 --- Like the content of *The Craftsman*? Share it with a friend! You can support my work by [offering me a virtual coffee](https://www.gchicco.com/#/portal/support) ☕️ つづく ### Off the Hump: Poetry of Clay with Tarragon Smith URL: https://www.gchicco.com/off-the-hump-poetry-of-clay-with-tarragon-smith/ Last updated: 2025-06-27T11:29:35.000Z *This webinar is part of *The Summer Sessions: Craft & Design*, a series of online conversations with craftspeople, designers, academics and storytellers. The previous one was on* [*miracle fibres from Patagonia with Cindy Lilen*](https://www.gchicco.com/miracle-fibres-from-patagonia-to-london-with-cindy-lilen/)*.* --- [Tarragon Smith](https://www.instagram.com/tarragonsmith/?ref=gchicco.com) is a thoughtful person. Before I met him, his tea bowls 'spoke' to me through Instagram. At first, it was the shapes and decorations on his pots that caught my attention, but then I started reading his lyrical captions with stories of making and everyday life. Water and waves run through both his life and work. He lived by the sea in his native Nova Scotia, Canada, and now lives by the river in Cambridgeshire, England. In between he moved to London to further his art studies at Central Saint Martins, first as a painter and then by happenstance in ceramics. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/06/Instagram-post.jpg) It was three or four years ago that I decided to purchase one of his summer chawans to enjoy matcha during the hot season, occasionally with an ice cube or two in it. Then, in May of this year we met in person at a big ceramics exhibition, where we talked about his inspirations and tools. His approach to work, using a momentum potter's wheel, experimenting with local river clay and ash glazes, reminds me of the Taoist concept of wu wei, effortless action that flows with natural rhythms rather than forcing outcomes. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/06/My-cups-and-bowls-by-Tarragon-Smith.jpg) Chawan and guinomi by Tarragon Smith from my collection. Photo by Gianfranco Chicco This philosophy extends to his broader artistic vision. Tarragon's pots speak of migration, memory and the stories held within objects that for millennia nomads used to carry commodities, aesthetics and ideas. For example, his amphora project references ancient Mediterranean trade routes whilst addressing current refugee experiences, where vulnerable people become commodities in the hands of traffickers. [Join us for an online conversation with Tarragon Smith](https://us06web.zoom.us/webinar/register/1117500660515/WN%5FyzuEg2ABQ6CAj9Fzd60Dgw?ref=gchicco.com) about his journey to pottery and how water, movement, and memory shape his work. ****Off the Hump: Poetry of Clay with Tarragon Smith** Join us for an online conversation with Tarragon Smith about his journey to pottery and how water, movement, and memory shape his work. **Thursday 10 July, 12:00pm UK time* (Duration: 60 minutes) [Register ](https://us06web.zoom.us/webinar/register/1117500660515/WN%5FyzuEg2ABQ6CAj9Fzd60Dgw?ref=gchicco.com) ### Miracle Fibres: From Patagonia to London with Cindy Lilen URL: https://www.gchicco.com/miracle-fibres-from-patagonia-to-london-with-cindy-lilen/ Last updated: 2025-06-25T19:49:41.000Z What happens when ancient Andean wisdom meets contemporary design on one of London's most prestigious stages? The answer lies in a darkened room at Somerset House where visitors sit on felted benches, touching raw vicuña wool while listening to ancestral sounds. Textile artist [Cindy Lilen](https://www.cindylilen.com/?ref=gchicco.com) co-created 'SUR ANDINA', Argentina's acclaimed entry at the [London Design Biennale 2025](https://londondesignbiennale.com/pavilions/2025/argentina?ref=gchicco.com) (on show at Somerset House until 29 June 2025), alongside sound artist Iliana Díaz López, through their studio Madre Tierra Designers. > "When you make something, there is a triangulation between your brain, your hands, and your heart." - Cindy Lilen Working with merino, vicuña, alpaca, and guanaco, fibres that indigenous communities have relied on for centuries, Cindy creates installations that bridge ancestral knowledge with contemporary design. Her approach follows natural cycles and sustainable methods, exploring how these materials reconnect us to landscape and cultural memory. I invited Cindy to talk about this and much more as part of **The Summer Sessions: Craft & Design**. ### Portrait from the Family Album, 1878ca URL: https://www.gchicco.com/portrait-from-the-family-album-1878ca/ Last updated: 2025-05-10T12:53:39.000Z This is an old photo from the family album. The boy in uniform was probably my grandfather (Ernesto Chicco), and the man next to him my great-grandfather. Unfortunately, I don't know for sure. The last person who likely knew was my late father. The photo, an albumen print, was taken in the late 1800s or very early 1900s, possibly around 1878, well before the Italian Republic came to be. The photographers - A. Bertelli & A. Sotteri, Sucessori Montabone - were also photographers to the King of Italy, Umberto I. The photo was likely taken in or near Turin (Torino), my father's birthplace. The images are slowly fading, but at over 120-140 years old, they have outlasted most of our current digital photos ever will. The first image is a scan I've converted to black and white, and you can see the current colour on the front and back of the original photo in the following ones. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/05/20200314-proyecto-orignenes-Man-and-boy-in-uniform---front-2-1.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/05/20200314-proyecto-orignenes-Man-and-boy-in-uniform---front-1.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/05/20200314-proyecto-orignenes-Man-and-boy-in-uniform---back-2.jpg) ### The playful guinomi URL: https://www.gchicco.com/the-playful-guinomi/ Last updated: 2025-05-01T11:29:01.000Z *This is the second essay in a three-part series that started with* [*The humble yunomi*](https://www.gchicco.com/the-humble-yunomi/)*.* In Japanese drinking culture, the container often matters as much as what fills it. May is my birthday month so in the spirit of celebrating life, I thought it would be appropriate to write about guinomi, the little cups used for drinking sake. If the yunomi is cheap and reliable, the workhorse of everyday life, and chawans are the *ne plus ultra* of a potter's oeuvre, what role does the guinomi play in the universe of Japanese drinking vessels? ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/04/2025-The-Playful-Guinomi-by-Gianfranco-Chicco-03.jpg) Three cousins, from left to right: Chawan, Yunomi, Guinomi. Photo by Gianfranco Chicco Guinomi are the most playful and smallest of the trio, although their prestige is second only to that of the chawan. They can be tall or short, elaborately decorated or plain, made of glass, metal, lacquered wood or, most commonly, ceramics. You can hold a guinomi with just three fingers and when you're at a restaurant they're often presented on a tray for you to pick your favourite to drink from. Sake is not intended to be gulped in one go like a tequila shot. It's meant to be sipped and the average guinomi will contain 20 to 40 ml of liquid, or about two to three sips (other sake drinkware are even smaller, like the *o'choko* or the formal *sakazuki*, akin to a tiny saucer). ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/04/2025-The-Playful-Guinomi-by-Gianfranco-Chicco-05.jpg) Guinomi come in all shapes and styles. Photo by Gianfranco Chicco Unlike Western drinking culture that often celebrates excess with oversized pint glasses and wine goblets, guinomi represent measured pleasure, slowing the drinker's hand and focusing the mind on each taste. They also add a touch of tangible beauty to the table, elevating the value of a good drink by pairing it with an equally beautiful cup. There's only one rule that applies to the use of guinomi and more generally to enjoying sake. It doesn't matter if you're at a ceremonial kaiseki meal or at the local izakaya with friends: you don't pour drink into your own cup. That would be like calling out those around you for being inconsiderate, one of the worst insults in Japan. Likewise, you must always keep an eye on your fellow diners and ensure theirs aren't empty. If yours is and you don't want to be rude, just pour into someone else's and they will dutifully reciprocate, unless you're in the company of barbarians. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/04/2023-The-Playful-Guinomi---picking-a-guinomi-by-Gianfranco-Chicco-01-1.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/04/2023-The-Playful-Guinomi---picking-a-guinomi-by-Gianfranco-Chicco-03-1.jpg) Picking a guinomi to drink from, at my friend's home and at the restaurant. Photo left by Athico Ilye, right by Gianfranco Chicco And if you rarely consume sake, you can use guinomi to drink tea *gongfu* style. This refers to the Chinese and Taiwanese custom of brewing small amounts of tea and transferring it into a "fairness jug" (*gong dao bei*) from which you'll serve into small cups just like guinomi. When I last mentioned this, several Japanese friends objected that they had never seen anyone doing so but it's common practice in the tea community. I frequently use my guinomi for delicate green teas like long jing and gyokuro. Guinomi offer new collectors an entry point to Japanese ceramics without demanding the space or expense of chawan while maintaining their flair. Their versatility makes them practical additions to any home, whether filled with sake as tradition dictates or repurposed for tea, espresso, or even as holders for the first spring flowers. But at least for my upcoming birthday, I'll make sure to follow tradition. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/04/2025-The-Playful-Guinomi-drinking-sake-by-Gianfranco-Chicco.jpg) There's an artfulness to pairing guinomi with sake. Photos by Gianfranco Chicco --- Like the content of *The Craftsman*? Share it with a friend! You can support my work by [offering me a virtual coffee](https://www.gchicco.com/the-butterfly-effect-sori-yanagi-and-the-art-of-appreciation/#/portal/support) ☕️ つづく ### Crafting Memory: Alessi's Funeral Urns URL: https://www.gchicco.com/crafting-memory-alessi-funeral-urns/ Last updated: 2025-04-22T13:36:52.000Z I returned from Milan's Design Week with my head buzzing from good conversations, pretty sights and delicious food. As in previous years, what touched me were not the slick booths in the gargantuan pavilions nor the glitzy brand-extending exercises of luxury houses (although I did like[ Loewe’s teapot exhibition](https://www.loewe.com/eur/en/pd/stories-collection/loewe-teapots.html?ref=gchicco.com), minus the long queues), but rather the smaller, often overlooked showcases that continue to linger in my mind a week later. In 2023, it was a display of walking sticks at Triennale Milano ([Lars Müller just published a book about it](https://www.lars-mueller-publishers.com/walking-sticks?ref=gchicco.com)). This year it was [*The ~~Last~~ Pot*](https://alessi.com/blogs/news/the-last-pot-milano-design-week-2025?ref=gchicco.com), a series of funerary urns by Alessi (the crossed "last" representing a refusal of absolute endings). Held at *Biblioteca Ostinata*, a small library next to the *Statale* University of Milan, it featured vessels for human and pet ashes designed by ten international designers including Michael Anastassiades, David Chipperfield, Michele de Lucchi, Audrey Large, Naoto Fukasawa and Philippe Starck. Visiting at lunchtime, I found myself nearly alone, able to admire each object in a calm space and chat with Francesca Appiani, curator of the Museo Alessi. > *"Even when you die, you want to be at home." - Naoto Fukasawa* ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/04/2025-Alessi-The-Last-Pot-at-Milano-Salone-by-Gianfranco-Chicco-12.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/04/2025-Alessi-The-Last-Pot-at-Milano-Salone-by-Gianfranco-Chicco-04.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/04/2025-Alessi-The-Last-Pot-at-Milano-Salone-by-Gianfranco-Chicco-02.jpg) Urns by Naoto Fukasawa. Photos by Gianfranco Chicco Having a loved one's ashes on display at home is common in East Asian cultures like the Japanese *Butsudan*, but it's not so common to find urns as part of the home decor in the West. Alessi is famous for its kitchenware, like the outstanding 9090 coffee maker by Richard Sapper we had at home when I was a child. This collection was presented as a cultural project exploring what company president Alberto Alessi characterises as "borderline objects." He writes in the accompanying book: "In essence, our entire journey has been about creating containers \[...\] Yet there was one container we hadn’t explored, a design category that had received surprisingly little attention: the funeral urn, the vessel meant to hold our ashes." ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/04/2025-Alessi-The-Last-Pot-at-Milano-Salone-by-Gianfranco-Chicco-03-1.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/04/2025-Alessi-The-Last-Pot-at-Milano-Salone-by-Gianfranco-Chicco-11.jpg) Left, urns by Michele de Lucchi. Right, urns by Daniel Libeskind, Michael Anastassiades and Giulio Iacchetti. Photos by Gianfranco Chicco The urns were one-offs crafted from wood, ceramic, marble, metal and resin. De Lucchi's were inspired by his handmade models, using ash with *yakisugi* charring and wax finish. Large's example was modelled digitally following her hand movements, featuring a small metallic bowl for offerings. Despite the taboo topic, nothing felt macabre. Cremation rates keep rising, Japan 99.97%, Britain 80.79%, Italy 38.16%. EOOS, the Austrian design team who proposed the project in 2010, approached it with pragmatism, developing a formula to estimate its potential: **Number of urns = population × death rate × percentage of cremated** Their analysis "revealed the lack of imagination and aesthetic quality in the existing urn offer", an assessment I unwillingly verified when my father was cremated. Over two decades ago, I received his ashes in a sealed plastic bag inside a kitsch wooden box. The process felt clinical. Though I lacked headspace then for considering anything better, I understand the appeal now. While Milan's Salone worships spectacle, this modest exhibition tucked away in a quiet library posed questions about our final vessel with rare dignity. "These are not mere containers," wrote de Lucchi, "they are sanctuaries to honour the feeling that accompanies absence." ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/04/2025-Alessi-The-Last-Pot-at-Milano-Salone-by-Gianfranco-Chicco-05.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/04/2025-Alessi-The-Last-Pot-at-Milano-Salone-by-Gianfranco-Chicco-09.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/04/2025-Alessi-The-Last-Pot-at-Milano-Salone-by-Gianfranco-Chicco-14.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/04/2025-Alessi-The-Last-Pot-at-Milano-Salone-by-Gianfranco-Chicco-15.jpg) Urns by (clockwise from top left) EOOS, Audrey Large, Mario Tsai, Giulio Iacchetti. Photos by Gianfranco Chicco ### Ink, Stone, Brush, Paper and Tea URL: https://www.gchicco.com/ink-stone-brush-paper-and-tea/ Last updated: 2025-03-10T13:30:28.000Z This weekend I returned to calligraphy after months away. Grinding ink on stone offers a welcome relief from screens. In contrast to the numbness of touching glass on a smartphone, you feel the scent of the ink forming, the sound and feeling of friction rubbing on the inkstone, applying soft and hard pressure on the brush. As the muscle memory gradually returned, I practiced two expressions: ### 職人 (Shokunin) Artisan, craftsman. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/2025-Shodo-Shokunin-by-Gianfranco-Chicco-01-1.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/2025-Shodo-Shokunin-by-Gianfranco-Chicco-02.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/2025-Shodo-Shokunin-by-Gianfranco-Chicco-03.jpg) ### 喫茶去 (Kissako) A Zen phrase that translates to "go drink tea" or "have a cup of tea". ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/2025-Shodo-Kissako-by-Gianfranco-Chicco-07.jpg) I always emerge from my shodō practice session with a feeling of mental clarity that lasts until the evening, like moving meditation. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/2025-Shodo-Tools-and-Tea-by-Gianfranco-Chicco-01.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/2025-Shodo-Tools-and-Tea-by-Gianfranco-Chicco-02.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/2025-Shodo-Tools-and-Tea-by-Gianfranco-Chicco-03.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/2025-Shodo-Kissako-by-Gianfranco-Chicco-01.jpg) Tools of the trande and tea ### The Butterfly Effect: Sori Yanagi and the Art of Appreciation URL: https://www.gchicco.com/the-butterfly-effect-sori-yanagi-and-the-art-of-appreciation/ Last updated: 2025-03-04T11:00:19.000Z The saying goes that you shouldn't meet your heroes, but what about celebrating them? In November last year, a diverse group of people working in the UK's design industry gathered at the Vitra showroom in London to launch the [Sori Yanagi Appreciation Society](https://syas.uk/?ref=gchicco.com) (SYAS). Industrial designers worldwide and most Japanese households know Yanagi's work. So why did British designer Jasper Morrison once call him "the best designer you've never heard of"? This question prompted Michael Marriott and Duncan Riches to establish SYAS in summer 2024. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/2024-Sori-Yanagi-x-The-Craftsman-Newsletter-by-Gianfranco-Chicco-10.jpg) At the launch of the book of the SYAS in London. Photo by Gianfranco Chicco Growing up with a father who founded the Mingei folk craft movement gave Yanagi an appreciation for handcraft and honest materials. His interactions with Charlotte Perriand in the 1940s, when she advised the Japanese Ministry of Commerce and Industry on modernising Japanese design, shaped both designers profoundly. Sori later served as the Mingeikan (Japan Folk Crafts Museum) director for 29 years. Currently, the Mingeikan operates under Naoto Fukasawa, who has an affinity to Yanagi's philosophy of design, craftsmanship and simplicity. Naomi Pollock's book [*Japanese Design Since 1945: A Complete Sourcebook*](https://thamesandhudson.com/japanese-design-since-1945-a-complete-sourcebook-9780500022214?ref=gchicco.com)captures Yanagi's essence: "Bridging the gap between Japan's Mingei folk art movement (launched by his father, Soetsu) and international Modernism, Yanagi (1915-2011) occupies a unique position among Japanese designers. He embraced machine-driven mass production yet approached each project like a traditional craftsman. Relying on his hands as much as his eyes, he had an intuitive feel for form and championed its relationship to function. For Yanagi, form was not something to be created; it was something to be coaxed out through the design process." ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/2024-Sori-Yanagi-x-The-Craftsman-Newsletter-by-Gianfranco-Chicco-07.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/2024-Sori-Yanagi-x-The-Craftsman-Newsletter-by-Gianfranco-Chicco-11.jpg) The Sori Yanagi Appreciation Society book. Photos by Gianfranco Chicco The founders of SYAS argue that Yanagi hasn't received the European recognition afforded to contemporaries like Italian architect Ettore Sottsass (1917-2007), despite his profound impact. > "Anyone can start an appreciation society" In the SYAS book's preface, they write: "Anyone can start an appreciation society, and a cursory search will inform that there are many, appreciating a great variety of things, from objects, places and people, to specific foods, obscure music and ancient methodologies. Our intention in creating one for Sori Yanagi, is both with the aim of increasing awareness and discussion of his life and work, but also to advocate for the notion of appreciation itself." ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/2022-Sori-Yanagi-x-The-Craftsman-Newsletter-by-Gianfranco-Chicco-04.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/2025-Sori-Yanagi-x-The-Craftsman-Newsletter-by-Gianfranco-Chicco-07.jpg) Sori Yanagi, an alchemist harmonising hand and machine-made creations. Marriott notes how "Sottsass made things that were mostly collected by museums and rich collectors. \[...\] Whereas Yanagi's stuff is sold in kitchen shops in the back end of wherever. \[...\] he didn't design for show, he designed for use." Yet ironically, Yanagi's iconic Butterfly Stool from 1954 won the Gold Medal at the 1957 Milan Triennale, the city where Sottsass developed his career. Yanagi’s use of unadorned materials and commitment to harmony between form and function parallels the work of American contemporaries Ray and Charles Eames. His prominence in Japan was such that he designed the Olympic Torch for the 1964 Tokyo Olympics, yet his name remains unfamiliar to many outside design circles. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/2022-Sori-Yanagi-x-The-Craftsman-Newsletter-by-Gianfranco-Chicco-01.jpg) Many of Yanagi's homewares are still being produced today. Photo by Gianfranco Chicco It's worth noting that Japanese designers weren't without recognition. The Memphis Group (1981-1987), co-founded by Sottsass, featured Japanese designers Shiro Kuramata, Masanori Umeda, and Arata Isozaki. So why hasn't Yanagi received similar acclaim in Western design circles? Perhaps his focus on utility over showmanship kept his name from the spotlight, even as his ideas spread widely. Yanagi's legacy continues, with about 20% of his household goods still in production. His approach permeates MUJI products (with Fukasawa shaping MUJI's catalogue significantly), though one wonders whether Philippe Starck's 'Alla Occasional' table pays homage or simply copies. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Alla-by-Philippe-Starck.jpg) 'Alla Occasional' by Philippe Starck. Homage or rip-off? ### **Why Yanagi matters today** "True design lies in a realm counter to trends," Yanagi once said. His philosophy that "traditional style exists for the cause of creation. Design without tradition and creation is inconceivable" and that "true beauty is 'born', not created" offers guidance in turbulent times driven by technological change. To me, Yanagi's most vital contribution was his ability to connect craft and industry. As Morrison writes, he succeeded in "reconciling the two worlds of craft and industry by adapting the benefits of the handmade with the advantages of industrial production, with a mind and an eye trained from an early age to know how to do it." ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/2023-Sori-Yanagi-x-The-Craftsman-Newsletter-by-Gianfranco-Chicco-06-1.jpg) Yanagi's workshop in Tokyo is as nonchalant as his work. Photo by Gianfranco Chicco This connecting role resonates powerfully in today's design landscape. Yanagi linked the handmade era with the machine age, preserving the human essence while embracing technological progress. As we transition from human thinking to artificial intelligence, we urgently need designers with Yanagi's sensibility, those who can honour tradition while navigating radical change, maintaining our humanity in increasingly digital experiences. Yanagi understood that "design cannot be achieved alone" and that good design requires what he called "productmanship", business leaders who value their products as highly as handcrafted articles. Perhaps this collaborative spirit offers guidance for our AI-augmented future. **Is there someone whose work you admire that deserves wider recognition?** Consider starting your own appreciation society! Share who it would be and why - [email me](mailto: TheCraftsman@gchicco.com) or comment on [Instagram](https://www.instagram.com/p/DGxmKCyIGvZ/?ref=gchicco.com), [LinkedIn](https://www.linkedin.com/posts/gchicco%5Five-been-thinking-about-designers-who-balance-activity-7302641632460378112-K77w/?ref=gchicco.com) or [Bluesky](https://bsky.app/profile/gchicco.com/post/3ljkbzrj3rk2t?ref=gchicco.com). ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/2025-Sori-Yanagi-x-The-Craftsman-Newsletter-by-Gianfranco-Chicco-14.jpg) Nice detail: a patch featuring the logo of the SYAS. A seamstress was available at the launch event to attach it to our garments. Photo by Gianfranco Chicco --- Like the content of *The Craftsman*? Share it with a friend! You can support my work by [offering me a virtual coffee](https://www.gchicco.com/born-elsewhere-made-in-japan/#/portal/support) ☕️ つづく ### Born Elsewhere, Made in Japan URL: https://www.gchicco.com/born-elsewhere-made-in-japan/ Last updated: 2025-02-12T09:06:35.000Z Most Japanese crafts knowledge could disappear within a generation. The country is growing old and depopulating at incredible speed, and as lifestyle has become more westernised throughout the last hundred years, fewer people are interested in becoming a *shokunin*, a craftsman. According to [JapanCraft21](https://www.japancraft21.com/?ref=gchicco.com), an organisation founded by Steve Beimel with the mission to ‘reverse the rapid decline of traditional Japanese crafts’, in 1979 there were about 300,000 people employed in traditional crafts. By 2028 this number will be only 20,000\. The move from countryside to big cities has made long, manual-work apprenticeships unappealing against the immediacy of digital jobs. Artisans are not only struggling to find successors but also raw materials and tools. Could foreign makers offer a solution to this situation? Here are the stories of three artists-artisans who moved to Japan to study pottery, woodturning, lacquerware and metalworking, adding a new link to a long chain of craft making. ### **From Glasgow to Niigata: A Metalworker’s Journey** I met Kathleen Reilly during her first solo exhibition at the London Design Festival in September 2024\. She was presenting *Oku*, an elegant metal knife with a folded handle paired with a wooden board, the result of years collaborating with Tsubame-Sanjo artisans and Karimoku Furniture. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/02/Kethleen-Reilly---Photo-by-Kakeru-Ooka.jpg) Kathleen Reilly. Photo by Kakeru Ooka After graduating from The Glasgow School of Art Silversmithing & Jewelry and a Masters in Jewellery & Metal at the Royal College of Art in London, Kathleen visited the “Biology of Metal: Metal Craftsmanship in Tsubame-Sanjo” exhibition at Japan House London in 2018\. (I wrote about the exhibition [here](https://www.gchicco.com/the-tsubame-sanjo-factory-festival/)). Seeing the work and meeting several of the shokunin involved inspired her to follow them back to Niigata Prefecture, an area with over 400 years of metalworking tradition. The prestigious Daiwa Scholarship supported her move in 2019, but first came facing one of the biggest barriers for those wanting to work in Japan: learning Japanese. “I’m a huge nerd so I really enjoyed studying. But it was so difficult, I made so many mistakes.” Her determination was fuelled by her goal: “I was passionate about making work with Japanese craftsmen but if I can’t understand even the nuances of body language, I knew it would be really difficult to succeed.” ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/02/Oku-by-Kathleen-Reilly---Photo-by-Kakeru-Ooka.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/02/Oku-by-Kathleen-Reilly-at-Tsubame-factory---Photo-by-Kakeru-Ooka.jpg) Oku by Kathleen Reilly. Photos by Kakeru Ooka From 2020 to 2022, Kathleen trained with these shokunin, culminating in the launch of Oku, a design that showcases both technical skill and artistic ingenuity, embodying the heritage of Japanese craftsmanship and the innovation of contemporary design. "\[...\] Being in Tsubame-Sanjo and having these dialogues \[in person\] really influenced the outcome of the product a lot so if I couldn't communicate and have these conversations I don't think that the product would have ended up how it is." Being a young, foreign female artist in a traditionally male-dominated industry created further challenges, but shared values of material authenticity and form simplicity helped bridge cultural gaps. Today, she experiments with new artistic forms from her Tokyo studio. You can have a peek on her [website](https://www.kathleenreilly.co.uk/?ref=gchicco.com) and [Instagram](https://www.instagram.com/kathleenleen/?ref=gchicco.com). ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/02/Oku-by-Kathleen-Reilly---Photo-by-Riyo-Nemeth-1.jpg) Photo by Ryo Nemeth ### **Crafting Partnership: Wood, Clay and Innovation** As craftspeople, [Ido Ferber](https://www.instagram.com/idoferber/?ref=gchicco.com) and [Rabea Gebler ](https://www.instagram.com/rabea.gebler/?ref=gchicco.com)couldn’t be more different and that’s what makes their partnership, professional and as a married couple, so interesting. They shared their stories with me over coffee in London’s Spitafields amidst their European and American workshop tour in the summer of 2024. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/02/Ido-Ferber-01.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/02/Rabea-Gebler_Artist_Picture.jpg) Left: Ido Ferber / Right: Rabea Gebler Ido struggled with traditional education in his youth. At 15, an ultimatum from his father led him to try ceramics and that’s how he discovered peace and structure through working with his hands: "When I’m working from muscle memory, my mind is free. I’m existing in two parallel places at the same time. And that's something that I really, really enjoy." He later tried carpentry and blacksmithing before studying product design, ultimately finding his way to Japan through a government scholarship to pursue a research master degree in ceramic craft at the Tokyo University of the Arts. This was followed by six months in the pottery town of Mashiko working under the famed Ken Matsuzaki. For Rabea, who trained as a product designer, the revelation came unexpectedly at a music festival’s craft tent, where she carved her first spoon. "It blew my mind - it was the first time I made something useful with my hands. I had never had that experience. Just the fact that I had full control and that I saw over the whole process from beginning to end really impacted me," she recalls. In her native Germany, Rabea felt that, as a woman, society discouraged her from taking manual work. Using a knife to carve that first spoon gave her the motivation to actively do other things. "It's like, okay, I can handle a knife. So I might as well handle an axe. And now suddenly I have the confidence to pick up a chainsaw. It's just something I use to achieve something. And I understand the outcome. I understand how to use it, how it works." After joining Ido in Japan, she discovered woodturning and urushi lacquerware, and enrolled in the Ishikawa Prefectural Institute for Yamanaka Lacquerware initiated by the Living National Treasure Ryozo Kawagita. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/02/Pottery-by-Ido-Ferber-01.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/02/Pottery-by-Ido-Ferber-02.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/02/Pottery-by-Ido-Ferber-03.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/02/Pottery-by-Ido-Ferber-04.jpg) Work by Ido Ferber The couple’s work straddles the distinct boundary between art and craft in Japanese culture. "In Japan, you have art and you have craft. Everything has a name, everything is very well catalogued," Ido explains. While traditional apprenticeships required decades, today’s system has adapted. "Because fewer people want to do apprenticeships, they created technical schools to teach the basics," Rabea notes. Rabea decided not to follow up her woodturning training with a traditional apprenticeship. She was already making and selling her products online and preferred doing shorter stints to acquire specific skills. This independent spirit led to the launch of [Sentomono](https://www.sentomono.com/?ref=gchicco.com), an online shop that now supports several young Japanese makers lacking international reach. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/02/Rabea-Gebler_blossom-katakuchi-2023.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/02/Rabea-Gebler_keyaki-urushi-dinner-plate.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/02/Rabea-Gebler_tools-02.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/02/Rabea-Gebler_tools.jpg) Rabea Gebler's work and tools. ### **Preserving Tradition Through Fresh Eyes** These three young artisans exemplify how international craftspeople can contribute to Japan's traditional craft sectors. Their success stems from genuine community engagement and respect for centuries-old techniques while bringing fresh perspectives. As they settle into their respective workshops - Ido and Rabea in Yamanaka Onsen, Kathleen in Tokyo - they demonstrate that now might be an opportune time to pursue artisanal work in Japan. If you want to follow their steps, though, you should start studying Japanese now. --- Like the content of *The Craftsman*? Share it with a friend! You can support my work by [offering me a virtual coffee](https://www.gchicco.com/#/portal/support) ☕️ つづく ### Feeling More x Musubi Academy URL: https://www.gchicco.com/feeling-more-x-musubi-academy/ Last updated: 2024-12-17T14:37:58.000Z [Musubi Academy](https://www.musubi.academy/?ref=gchicco.com), a platform dedicated to exploring Japanese wisdom and its relevance to contemporary life, is the brainchild of [Laurens van Aarle](https://www.linkedin.com/in/laurensvanaarle/?ref=gchicco.com). We bonded through our shared appreciation of Japanese culture, and when the website launched in April 2024, he asked me if I would like to contribute an essay based on my experience making ceramics at Asahiyaki, a renowned pottery in Uji, Japan. Since meeting in Kyoto in 2023 we have had many long conversations, especially on what he wants to achieve with Musubi Academy. He said “\[it\] was born from my deep affinity with Japan and a belief that many of the wisdom pieces we crave, but have lost touch with in contemporary life, still sit at the very heart of many Japanese forms of spirituality, crafts and arts. These often create exquisitely beautiful and innovative forms to convey them, from Zen to the way of tea, from Shinto to aikido, from craft to contemporary design.” ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/12/Gianfranco-Chicco_web-14.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/12/Gianfranco-Chicco_web-12.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/12/Gianfranco-Chicco_web-39.jpg) Photos by Taran Wilkhu Laurens’ career has been a balancing act between coaching, education and entrepreneurship. It will be exciting to see how these elements come together in 2025 when Musubi Academy launches its immersive programmes that “aim to uncover those insights and make them accessible for a global audience to inspire how they steward their lives and our planet.” Why now? “Like you unpack and describe in your essay, many of us struggle to keep up and experience life with a profound sense of presence, connection and purpose. For all its other shortcomings and shadows, I feel Japan still has the richest treasure trove of insights, practices and inspiring people to help us do just that.” One example Laurens offers is “the value and necessity of thinking long term”. [During a conversation with Hosai Matsubayashi XVI from Asahiyaki](https://www.musubi.academy/welcoming-uncertainty/?ref=gchicco.com), who was my host during my own making experience in Uji, Laurens was introduced to the concept of ‘un-son’ (雲孫). This term, meaning a descendant eight generations ahead, is the furthest word in the Japanese language for thinking of future generations. “Imagine a world where we all allow such a long perspective to inform how we act now,” Laurens reflected, highlighting the profound impact this concept could have on our decision-making and actions in the present. I invite you to use the quieter days that lead to the new year to explore the rich archive of Musubi Academy and reflect on how the wisdom it contains could shape our future. --- Here’s my essay, ‘[Feeling More](https://www.musubi.academy/feeling-more/?ref=gchicco.com)’: ### Disconnected In a culture obsessed with speed and growth at all costs, many of us are living from the neck up, disconnected from our bodies, other people and the natural world. Convenience and efficiency seem to have trumped meaning and feeling. I often feel like I’m living in a binary state, behaving more like the digital devices that permeate every aspect of my life than the complex and multilayered human that I am. It’s as if the more capable our gadgets become and the higher the definition of our screens, the lower the resolution of our actual lives. To fight back and stop living inside my head full-time, I embarked on a month-long research trip to Japan to learn how to feel more from the shokunin, craft masters. The trip was a continuation of my ongoing research into Japanese craftsmanship as a possible guide to live and work better. After many years of visiting Japan, spending time with its artisans, and helping to promote their work abroad, I have come to believe that they are stewards of knowledge that can help us all, not just craftspeople, lead more fulfilling lives. This is largely because of the artisan’s need to maintain a balance between the thinking that happens in their mind and the thinking that happens through their body. There’s also an element of circularity involved. Continue reading on Musubi Academy: [musubi.academy/feeling-more](https://www.musubi.academy/feeling-more/?ref=gchicco.com) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/12/Gianfranco-Chicco_web-10.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/12/Gianfranco-Chicco_web-18.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/12/Gianfranco-Chicco_web-43.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/12/Gianfranco-Chicco_web-4.jpg) Photos by Taran Wilkhu A behind the scenes moment with the photographer, [Taran Wilkhu](https://www.taranwilkhu.com/?ref=gchicco.com). ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/12/Gianfranco-Chicco_web-48.jpg) --- Like the content of *The Craftsman*? Share it with a friend! You can support my work by [offering me a virtual coffee](https://www.gchicco.com/#/portal/support) ☕️ つづく ### Kamon, the Original Logos of Japan URL: https://www.gchicco.com/kamon-the-original-logos-of-japan/ Last updated: 2026-07-11T20:21:44.000Z **Traditions are living entities. The Hatoba family enriches and evolves the role of the *Monsho Uwaeshi*, the artisans of Japanese family crests, ensuring that the thousand-year-old craft of *mon* making remains relevant in the 21st century.** I come from an Italian family on my father’s side with a noble heritage rooted in the Renaissance through our ancestor [Baldassarre Castiglione](https://it.wikipedia.org/wiki/Baldassarre%5FCastiglione?ref=gchicco.com) (1478–1529), and as such we have a coat of arms. It mixes elements like Baldassarre’s rampant lion and the Habsburg Empire’s double-headed eagle from his time serving Emperor Charles V. Since Italy abolished nobility in 1946 and I was born and raised in Argentina, this legacy holds only historical value. But I have always loved our coat of arms. When I was twelve, my father gave me a ring with a simplified version on it, which I still wear often. When he passed away, I became custodian of the family ring with a more elaborate version, which I use on special occasions. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/11/2024-Chicco-coat-of-arms-by-Gianfranco-Chicco-01.jpg) My family's coat of arms. Photo by Gianfranco Chicco In 2022, I decided to create a new family crest that was my own, with a nod to the past while facing my present and future. My friend, technology and design journalist [Nobuyuki ‘Nobi’ Hayashi](https://nobi.com/?ref=gchicco.com), suggested that given my strong interest in Japanese culture, I could commission Shoryu Hatoba and his son Yoho (formerly Yoji), third and fourth generation Japanese family crest designers known as *Monsho Uwaeshi*. ### **The Origin of *Kamon*** Japanese family crests are called *mon* (紋, crest) or *kamon* (家紋, family crest). Inspired by natural phenomena, they emerged during the Heian period in the late 11th century as a visual shorthand for identity and artistry. Aristocrats used them on ox-drawn carriages to indicate ownership, rank and right of passage. By the Kamakura period (1185–1333), samurai clans adopted *kamon* in battle to distinguish friend from foe. After Tokugawa Ieyasu unified Japan in 1603, establishing a long period of peace, *kamon* usage spread to townsfolk, who could have a family crest despite not being allowed to have surnames. Merchants displayed them on shopfronts, kabuki actors on costumes, and designs expanded beyond plants and animals to include tools, abstract patterns and wordplays. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/11/Image-of-Tokugawa-Ieyasu-by-Kano--Tan-yu--.jpg) Detail of image of Tokugawa Ieyasu by Kanō Tan'yū (1602–1674). The shōgun's **kamon* appears at the top five times. Source: [Wikipedia](https://en.wikipedia.org/wiki/File:Tokugawa%5FIeyasu2%5Ffull.JPG?ref=gchicco.com) During the period of rapid westernisation known as the Meiji Restoration (1868-1912), people abandoned kimonos for Western attire. However, *kamon* persisted in other areas. Today, Japanese people still wear *montsuki* (meaning *with mon*) kimonos featuring crests for formal occasions. The Emperor’s *kamon*, a chrysanthemum flower, appears on every Japanese passport cover. Although there are no official records, it’s speculated that Georges Vuitton’s iconic monogram for Louis Vuitton in 1896 might have been inspired by Japanese *kamon*, popularised in Europe by the artistic movement known as Japonisme. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/11/2024-Kamon-catalogues-by-Gianfranco-Chicco-06.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/11/2022-Kamon-on-the-roof-of-Ryoan-ji-by-Gianfranco-Chicco-02.jpg) **Kamon* in catalogues and on the roof of Ryōan-ji in Koyto. Photos by Gianfranco Chicco ### **Designing My Kamon** Nobi introduced me to the Hatobas online. The process began with an interview where they asked about meaningful symbols like plants for vitality, animals for strength, or numbers with particular significance. I prepared a brief with the story of my current coat of arms and included a photo of a flower whose shape and smell represent home to me: Star Jasmine (*Trachelospermum jasminoides*). ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/11/Trachelospermum_jasminoides_flowers.jpg) Can you feel the scent of Star Jasmine? Source: [Wikipedia](https://commons.wikimedia.org/wiki/File:Trachelospermum%5Fjasminoides%5Fflowers.jpg?ref=gchicco.com) Shoryu began apprenticing at 18 and has since created a vivid mental encyclopedia of *mon*. He estimates over 50,000 historical patterns exist, many documented in thick catalogues he consults for inspiration. The reveal happened in November 2022 at their 90-year-old workshop in Ueno, Tokyo. After discussing their work’s origins, they presented their proposal. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/11/2022-Shory-Hatoba-presents-the-design-of-my-kamon---photo-by-Gianfranco-Chicco.jpg) Shoryu Hatoba presents his designs for my kamon. Photo by Gianfranco Chicco To create my unique *kamon*, they combined three elements based on our initial interview. They adapted the Habsburgs’ eagle wings using hawk feathers from the *Takanoha* (鷹の羽), one of the five major historic designs known as *Godaion* (五大紋). They thinned the feathers and added 17 lines for my special number. In the centre they drew a big jasmine flower, a design that as far as we know is new in the *kamon* canon. Though these motifs aren’t native to Japan, their application follows strict graphic design rules using just straight lines and circles using the seven “secret weapons” of *Monsho Uwaeshi*: - Bamboo compass with brush tip (分廻し, *bun-mawashi*) - Ruler - Superfine brush - Glass rod (for tracing straight lines) - Ink-stick - Inkstone - Water dropper Attention to detail is key. Yoho explained that “*kamon* designs have very delicate lines with constant thickness. For us, this and the gap between lines are most important.” ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/11/2022-The-seven-tools-of-a-Monsho-Uwaeshi---photo-by-Gianfranco-Chicco.jpg) Shoryu Hatoba's seven “secret weapons”. Photo by Gianfranco Chicco ### **Evolving Tradition** The tools displayed in front of me at the workshop were those *Monsho Uwaeshi* have used for centuries, true for [Kyogen](https://www.kyogen-kamon.com/?ref=gchicco.com) too, the Hatoba family business since 1910\. However, in 2010 they added a new arrow to their quiver: Adobe Illustrator. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/11/2022-Shoryu-Hatoba--Gianfranco-Chicco-and-Hoyo-Hatoba-at-the-Kyogen-studio-in-Tokyo---Photo-by-Nobi-Hayashi.jpg) Left to right: Shoryu Hatoba, Gianfranco Chicco and Yoho Hatoba at the Kyogen studio in Tokyo. Photo by Nobi Hayashi Shoryu began using Adobe Illustrator at age 54 by pure happenstance when a client requested their work be delivered as an Illustrator file. Yoho, then 26, went to a local bookshop to purchase a how-to manual and installed a 30-day free trial of the software. It took more than a month to get the hang of it (Shoryu told me he needed a month and a half to master it) but after that they went beyond classic designs. This led to explorations like *Mon Mandala* patterns showing the hundreds of circles usually erased in traditional *kamon*. (Adobe visited the Kyogen studio after hearing about this). Since adopting digital tools and facing declining demand for kimono applications, Shoryu and Yoho expanded into other design fields. This followed Shoryu’s father’s precedent of pioneering into art by displaying framed *mon* for the first time at the renowned Mitsukoshi department store in 1964. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/11/2024-Mon-Mandala-on-sake-bottle---by-Gianfranco-Chicco.jpg) A bottle of sake featuring a **Mon Mandala* by Kyogen. Photo by Gianfranco Chicco Shoryu and Yoho are dedicated to preserving the essence of *mon* making. They sometimes encounter tension when clients request logo-like designs, as logos and *kamon* serve different purposes. While logos represent companies like Nike or Apple, *kamon* embody familial identity and tradition. Despite these differences, there can be overlap, as both can symbolize identity and heritage in their respective contexts. This blend of tradition and modernity led to work with companies like Ferrari, where the Hatobas contributed to the [Ferrari Roma in collaboration with Coolhunting](https://ferrari.coolhunting.com/?ref=gchicco.com) by integrating Japanese aesthetics with luxury design elements. ### **Preserving Kamon for Future Generations** *Kamon* are more than decorative patterns; they are living symbols of Japan’s cultural heritage. Shoryu and Yoho see their work as both safeguarding and reinventing this tradition by applying its principles of symmetry, simplicity, and balance to modern contexts. As for me, I’m very happy with my *kamon*. If you ask nicely, I might send you a letter or postcard stamped with it. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/11/2024-Kamon-on-letter-by-Gianfranco-Chicco.jpg) Photo by Gianfranco Chicco --- Like the content of *The Craftsman*? Share it with a friend! You can support my work by [offering me a virtual coffee](https://www.gchicco.com/#/portal/support) ☕️ つづく ### Craftsmanship and Circularity Are One URL: https://www.gchicco.com/craftsmanship-and-circularity-are-one/ Last updated: 2024-10-17T11:09:17.000Z When I’m asked about my interest in craftsmanship, especially that of Japan, I explain that at its core is the fact that circular principles are inherently baked in. Modern designers rightly focus on using sustainable materials, reducing waste, ensuring repairability, and promoting recycling. Japanese crafts go beyond this, intertwining material sustainability with social systems and the passing down of knowledge. Let me explain. ### Materials Before synthetic materials, craftspeople sourced directly from nature. They had to know when and how much to extract without depleting resources. While some materials, like minerals, can’t regenerate, today we can substitute scarce resources by mining waste products rather than virgin sources, such as extracting gold from old electronics. Waiting for a material to reach its peak requires patience. Tango Tanimura is the 20th generation in a 500-year tradition of making bamboo tea whisks, ‘chasen’, in Takayama. He uses bamboo dried for two to three years, or soot-stained bamboo, ‘susudake’, from old houses. Much cheaper knock-off versions use bleached green bamboo that’s still humid, often packed with silica gel. Chasen by Tanimura-san perform better, last much longer, and are more beautiful too. ### Longevity, Repairability & Upcycling Quality, longevity, and repairability were once essential, especially for the working class. In Denmark, a country with a rich craft culture, families saved to buy well-made furniture that was passed down through generations. You’ll still find Danish homes with mid-century pieces like the Finn Juhl 108 chair or Louis Poulsen PH 5 lamp, which outlast most products today. In Japan, broken items weren’t discarded. The Japanese aristocracy used ‘kintsugi’ to repair ceramics with ‘urushi’ lacquer sprinkled with gold or silver dust, while the poor embraced upcycling with ‘sashiko’, reinforcing cloth with visible stitching. 'Boro', patched up clothes that were once a sign of poverty, have now become fashionable, with brands mimicking its look to create artificially distressed garments (similar to the trend with jeans in the 90s). ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/10/Boro-kimono-Karun-Collection_by-Gianfranco-Chicco_s.jpg) A boro coat from the Karun Thakar Collection. Photo by Gianfranco Chicco ### Toolmakers Artisans rely on a broader network of toolmakers. For many, their tools are an extension of their body. While all the attention falls on the craftsperson making beautiful objects, their work wouldn’t be possible without those who create tools of equal quality. I recently met again with Noh theatre mask-maker Hideta Kitazawa, who lamented the retirement of Tokyo’s last blacksmith making the chisels he needed. He was in his 70s and the manual work was taking its toll, especially in a city prone to heatwaves with temperatures often exceeding 40°C. (Kitazawa-san asked him to make one final set of chisels before he retired). ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/10/2024-Hideta-Kitazawa-Noh-Masks-by-Gianfranco-Chicco-02_s.jpg) Hideta Kitazawa's chisels. The one on the left is the newest, and thus longest. The others have been shortened through many years of sharpening. Photo by Gianfranco Chicco ### Maker-Customer Relationships Before online marketplaces and international trade became the norm, you often knew the maker of your products. If dissatisfied, you could return to them directly. Now, products might come from far away under questionable conditions, through transactions that are convenient but impersonal. Kaikado makes my favourite tea caddies in their Kyoto workshop. They also repair caddies—some sold over a century ago—that customers bring back. Master craftsman Takahiro Yagi often travels with his tools to repair caddies for loyal customers in other cities, and I’m eager for his next London visit to touch up mine. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/10/My-Kaikado-tea-caddies-by-Gianfranco-Chicco.jpg) My Kaikado tea caddies are in need of a touch up. Photo by Gianfranco Chicco ### Passing Down Knowledge Circularity also applies to knowledge. In my career, I’ve seen companies lose valuable information when team members leave due to poor documentation. There was no formal record of either how to do things or why certain decisions were made at different times, in what designer Andy Polaine calls “organisational amnesia.” There are many ways to pass on knowledge from one generation to the next. Some are through formal written instructions, like in the case of Tango Tanimura (see the scrolls pictured below); other times, it’s oral or ‘from hand to hand’. In some cases, key information is withheld for the craftsperson to figure out themselves, thus adding a personal element. The Raku family of potters follows ‘Shuhari,’ a method of mastery through imitation, innovation, and transcendence. Here’s an excerpt from [an article I wrote on how they keep their tradition alive](https://www.gchicco.com/traditions-from-copying-to-rebellion-to-transcendence/): *“Shuhari establishes three phases to reach mastery. The first one, Shu, is to copy the master, to learn and follow the fundamentals of the tradition. Next is Ha, to challenge the received knowledge, breaking away to create something new by exploring new paths. Following and challenging are like a pendulum that swings back and forth. The third phase, Ri, is not automatic or easy to achieve. It’s about transcendence, the kind that frees the maker from the dualism of Shu and Ha. It's a leap onto a higher level, a new creative pursuit that allows the tradition to evolve without denying its essence.”* ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/10/Scroll-by-Tango-Tanimura---Gianfranco-Chicco.jpg) This scroll compiled by the family of Tango Tanimura contains centuries-old instructions on how to make the preferred chasen used by different tea schools. Photo by Gianfranco Chicco ### Good Business Circularity isn’t just altruistic. Making good things that last while respecting nature and the community you serve can also be good business. I thought about this when visiting the Vitsœ HQ in Royal Leamington Spa. It's a company that combines brilliant craft and design principles to make modular furniture systems, like the Dieter Rams-designed 606 Universal Shelving System, which has remained largely unchanged for the last sixty years. You can add and subtract different elements to change the configuration and purpose of your shelves, with almost complete certainty that the same pieces will be available decades from now. It’s not uncommon for children to inherit pieces from their parents. Since 1999, they’ve been using simple wooden stillages for moving parts between multiple suppliers, and reusable cabinet bags to deliver their product to customers in the UK and Europe. This reduces packaging waste and saves the customer from dealing with massive cardboard boxes. Both containers are individually more expensive than their disposable counterparts, but considering they are easy to repair and remain in use for many years, it translates into significant savings for the company, and the environmental benefits are a bonus for us all. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/10/Vitsoe-reusable-packaging.jpg) Vitsœ uses these containers for moving products between different suppliers and to customers. Photo courtesy of Vitsœ Craftsmanship rooted in circularity not only preserves materials and traditions, it also fosters lasting relationships between makers, their tools, and the people they serve. In a world obsessed with fast production and consumption, I hope we can take inspiration from craftspeople to value creating with intention, care, and sustainability. *Thank you Leanne Cloudsdale from* [*Concrete Communities*](https://concretecommunities.com/?ref=gchicco.com) *for organising the visit to Vitsœ and to its CEO Mark Adams for welcoming us. Read more about* [*Vitsœ’s history*](https://www.vitsoe.com/gb/about/history?ref=gchicco.com) *and* [*Dieter Rams’ ‘Ten principles for good design’*](https://www.vitsoe.com/gb/about/good-design?ref=gchicco.com)*.* --- Like the content of *The Craftsman*? Share it with a friend! You can support my work by [offering me a virtual coffee](https://www.gchicco.com/#/portal/support) ☕️ つづく ### Fabrico, ergo intellego URL: https://www.gchicco.com/fabrico-ergo-intellego/ Last updated: 2024-10-07T15:10:59.000Z Enzo Mari was passionately opposed to consumerism and criticised mediocre objects not made to last. He believed that to truly appreciate the value of an item—like a chair or sofa—consumers needed to learn how to make it with their own hands, gaining a deeper understanding of what goes into creating a good product. ### I make, therefore I understand In *Proposta per un’autoprogettazione* (translated as *Proposal for a Self-Design*), a booklet still available for purchase, Mari offered a series of “easy-to-assemble furniture using rough boards and nails”. These designs taught everything from basic carpentry to finishing details. Paraphrasing Mari, everyone has used a hammer and nails at some point and would not be intimidated by the designs in *autoprogettazione*, which required no fancy materials or specialised tools—just things you could find at home or in any DIY shop. I was fortunate enough to visit the exhibition at London’s Design Museum dedicated to Enzo Mari, curated by Hans Ulrich Obrist and Francesca Giacomelli, just before it closed. (I had already missed it when it was shown at the Triennale in Milan between 2020 and 2021.) It featured a wide range of objects and interviews that highlighted the evolution of Mari’s career until his final days. From the exhibition’s caption on *autoprogettazione*: *A radical proposal* *Perhaps Mari's most overt attempt to democratise design and subvert the market was his seminal project Proposta per un'autoprogettazione ('Proposal for a self- design'). He devised instructions for the self-design of 19 models of furniture comprising only wooden boards and nails, using the simplest carpentry techniques.* *Mari published them as a catalogue, available to any individual for the price of postage. Later, a few of the technical drawings were distributed through manufacturer Simon International.* *Of the project, he said: 'In 1974, I thought that if people were encouraged to build a table, for example, with their own hands, they would be able to better understand the underlying thinking that has gone into it.’ Today this project is recognised as an important precursor to the open-source movement.* ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/09/Enzo-Mari-building-a-chair.jpg) Enzo Mari assembing a 'Sedia 1' in Helsinki during the shooting of the documentary 'Enzo Mari per Artek: omaggio ad Autoprogettazione' - 2010 However, Mari considered the project a failure, as very few people—both users and critics—grasped its true purpose. In one video recording, he explained how the blueprints for *Autoprogettazione* were taken literally to create “designer objects,” and professional versions were sold at high prices—precisely the opposite of what he intended! Another caption explained: *He encouraged people to send photographs of built variations, but was disappointed that 'only 1% understood what the project was about. The majority praised him for the rustic aesthetic of the models or took it as an endorsement of DIY. A resurgent interest in the project led to the manual being republished in 2002.* The philosophy of learning by doing wasn’t unique to Enzo Mari. Leonardo da Vinci, for instance, created models and prototypes of his inventions, and architects, designers, and engineers have long used this practice to test concepts before finalising them. In the digital world, it's common practice to develop a “minimum viable product” (MVP) to test an idea or pitch it to others. Mari’s intention with *Autoprogettazione* was to make this designer-oriented approach accessible to everyone so that users could gain a deeper understanding of craftsmanship and develop a more discerning eye for products on the market. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/09/Enzo-Mari-Autoprogettazione.jpg) First edition of Enzo Mari's 'Proposta per un'Autoprogettazione' In another caption, Francesca Giacomelli explains: *According to Mari, critical reflection is always based on hands-on practice, on direct experience, and for this reason he decided to involve the user of the commodity- the potential consumer -in the designing process and in the making of the object, materially experimenting the contradictions of design. Mari made precise choices: the production tools would be hammer and nails, which in his view were already part of everybody's culture because "everybody has at least tried to hammer ni a nail"; the material would be basic wooden boards; the technical culture would be carpentry, the easiest to learn in his view.* An unexpected result of visiting this exhibition was that it gave me peace of mind about my own curiosity and learning experiences. Throughout my life, I’ve enjoyed attending workshops on all sorts of topics, from visible mending to screen printing, wearable technology, terrariums, and many more I can’t even recall. While I genuinely enjoy the act of learning, it’s often followed by frustration, knowing I won’t be able to keep up or apply all of these new skills. What I’ve now realised —thanks to Enzo Mari’s philosophy— is that I’m driven by a curiosity about how things work and a deep appreciation for craftsmanship, which I can only fully grasp by trying it myself. Learning by doing has also been vital for my professional growth. A few months ago, [I wrote about making ceramic bowls at a 400-year-old pottery in Kyoto](https://www.gchicco.com/talking-by-making-pottery-in-the-heart-of-uji/) as part of my research for a book on Japanese craftsmanship. I wanted to (re)learn how to think with my whole body. Similarly, learning to build simple websites in HTML and design email newsletters early in my career gave me invaluable insight into managing complex web projects and shaping marketing strategies for the companies I’ve worked with since. Making things first hand has taught me why attention to detail matters. Risking overindulgence in quoting those no longer with us, here’s a relevant one from Steve Jobs: > "When you're a carpenter making a beautiful chest of drawers, you're not going to use a piece of plywood on the back, even though it faces the wall and nobody will ever see it. You'll know it's there, so you're going to use a beautiful piece of wood on the back. For you to sleep well at night, the aesthetic, the quality, has to be carried all the way through." The same principle applies to growing your own vegetables, even on a windowsill, or learning to cook—it makes you value food more and waste less of it. The key takeaway? To appreciate things more, try doing them, even if you don’t aim for mastery. I now realise my curiosity doesn’t need to be frustrating; it deepens my connection and enjoyment of each experience. --- Like the content of *The Craftsman*? You can support my work by [offering me a virtual coffee](https://www.gchicco.com/#/portal/support) ☕️ つづく ### Prefecture Makes Perfect URL: https://www.gchicco.com/prefecture-makes-perfect/ Last updated: 2026-08-11T13:01:59.000Z *This article was first published in the London Design Festival 'Red Book' (print) and* [*website*](https://londondesignfestival.com/stories/prefecture-makes-perfect?ref=gchicco.com) *in 2024.* ## Designers, technologists and artisans breathe new life into Japanese craft at the V&A How can centuries-old Japanese craft techniques be preserved for another hundred years? For Hideki Yoshimoto and Maria Cristina Didero of the exhibition Craft x Tech, the answer lies in uniting designers, technologists and artisans to create collectible design objects that elevate Japanese craft in the eyes of international audiences. After an initial presentation in Tokyo, Craft x Tech was showcased at Design Miami Basel and now London Design Festival at the V&A. “Until about five years ago, I didn't know much about Japanese craft. I thought of it as the kind of objects you find at your parents’ or grandparents’ house or on the seventh floor of a department store in Tokyo, not as something relevant to my job as a designer,” says Yoshimoto, founder and creative director of Craft x Tech. However, a decade spent studying and working in London gave Yoshimoto a newfound appreciation for his country’s heritage. His urge to breathe new life into Japan’s cultural treasures was sparked by a visit to an *urushi* lacquerware workshop in Akita prefecture, northern Japan. *Kawatsura Shikki* was originally used to protect samurai sword sheaths and armour about 800 years ago. Today, its main products are wooden bowls and plates covered in multiple layers of high-strength natural lacquer, often decorated with unique designs. “After my first encounter with the Kawatsura lacquerware artisans, my understanding of the craft changed 180 degrees. I found it artistic and alive. Suddenly, a miso soup bowl looked like a sculpture.” ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/05/craftxtech_Tsugaru-Nuri----Ini-Archibong.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/05/craftxtech_studio-swine.jpg) (L) Artifact VII by Ini Archibong, (R) Metropolis by Studio Swine. Photos courtesy of Craft x Tech > “It’s about collaboration and human exchange – to melt, associate and link in innovative ways to rejuvenate Japanese craftsmanship and take it to the next level” The first edition of Craft x Tech features six collaborations with makers based in the Tohoku region of Japan’s main island: ‘Yōkan’ by Kawatsura Shikki and Sabine Marcelis; ‘Metropolis. I’ by Sendai Tansu and Studio SWINE; ‘Artifact #VII’ by Tsugaru Nuri and Ini Archibong; ‘ヌベルニ庵 / Null-Beni-An / Nouvelle Néant’ by Oitama Tsumugi and Yoichi Ochiai; ‘Blossom Links’ by Nambu Tekki and Michael Young; and ‘Rain’ by Aizu Hongo Yaki and Hideki Yoshimoto. Didero, the curatorial director of the initiative, explains: “From the start, we wanted a heterogeneous selection of designers. Some were all about high tech, like Michael Young; others preferred analog solutions, like Ini Archibong, who built a synthesiser into a lacquerware piece, or Yoichi Ochiai, whom I think is a guru of our time, working across so many media with a big following among young people.” According to Didero, the brief was simple. “It was really about collaboration and human exchange, to melt, associate and link their experiences in innovative ways to rejuvenate Japanese craftsmanship and take it to the next level. Even if most of these people didn’t speak a common language, they managed to establish deep, hands-on collaboration on a pretty articulated project.” For the artisans, it was exciting to apply techniques honed over such a long period to new challenges that gave them a fresh perspective. Craft x Tech aims to be more than a fleeting success. More one-off collaborations are planned, along with products that could be produced in larger quantities to revitalise these industries. The initiative also has the potential to promote tourism beyond Tokyo, Kyoto and Osaka. “We learned so much during this first edition. Our goal is to eventually cover all the regions of Japan, so I’d say we have eight or nine years of work ahead of us,” concludes Didero. - [Craft x Tech Tohoku Project at the V&A Museum](https://www.vam.ac.uk/event/lEewgBJ93P/ldf-craft-x-tech-sept-2024?ref=gchicco.com) - [Craft x Tech website](https://craft-x-tech.com/?ref=gchicco.com) ### People Power URL: https://www.gchicco.com/people-power/ Last updated: 2026-08-11T21:21:16.000Z *This article was first published in the London Design Festival 'Red Book' and* [*website*](https://londondesignfestival.com/stories/people-power?ref=gchicco.com) *in 2024.* ### POoR Collective channels the youth of Wandsworth in a multifaceted show at an industrial icon "The ambition of all of our projects is to challenge what design is, what design can be, what the designer is and what a designer can be," says Larry Botchway, architect and co-founder of London's POoR Collective. This spirit animates 'Together in Battersea', one of LDF's 2024 Festival Commissions, designed by POoR and hosted at the Battersea Power Station. The goal is to explore the essence of community and connection within this area of Wandsworth since the site's reopening almost two years ago. POoR, which stands for Power Out of Restriction, was founded in 2019 by Botchway along with fellow architects Shawn Adams and Ben Spry and accountant Matt Harvey-Agyemang. Their work aims to foster new skills and provide access to the design industry for young people, especially those from underrepresented backgrounds. For many participants, these projects represent their first exposure to disciplines like design and architecture and allow them to imagine being part of that community. "We're really keen for these young people to understand that they're the designers of the future, even if the future doesn't currently look like them." This approach earned POoR the 2023 LDF Emerging Design Medal. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/bps-x-poor-collective_02.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/bps-x-poor-collective_03.jpg) Photos Charlie Round Turner, courtesy London Design Festival > "We're always interested in the tangible, because we think that when you've created something, it's almost spiritual" 'Together In Battersea' is inspired by the ideas and designs of Wandsworth residents under the age of 18 who attended a series of workshops in August 2024 themed around the question: "What does Battersea Power Station mean to you?" The first workshop focused on upskilling, from looking behind the scenes to what architecture and design are to learning basic orthographic drawing. The second session involved applying these new skills to envision what togetherness meant to the participants. Some spoke about family, others about friendship or what a community space should offer. Their creations, which included collages, patterns and models, were then translated into a physical manifestation with POoR's guidance. Botchway explains: "We're always interested in the tangible, because we think that when you've created something, it's almost spiritual, right? It's a reward for the effort. You can see it. You can touch it." For POoR, the significance of this project is multilayered. Three of the founders were born and are based in south London; Botchway recalls the feeling of seeing Battersea's iconic structure on his journey to work from Mitcham to Victoria. It also represents a full-circle return to the collective's origins, as one of their first projects was a mural done with Carney's Community Centre on the opposite side of Battersea Park. The Battersea Power Station, a Grade II\* listed structure, has often been an inspiration to artists, from musicians to film-makers. The final installation will be revealed in September during LDF, hosted inside the bright Art Deco space of Turbine Hall A, designed by Sir Giles Gilbert Scott, who went on to design another London landmark, the Tate Modern. "I'm hoping that this installation demonstrates that this is a space that can be freely accessed and is for everyone," says Botchway. "That it encourages people to actually take ownership and that it acknowledges the sense of agency of the young people involved." ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/LDF24-Redbook_POoR-Collective.jpg) ### Newsletter Summer Special 2024 URL: https://www.gchicco.com/newsletter-summer-special-2024/ Last updated: 2024-07-13T11:15:02.000Z When I started [The Craftsman Newsletter](https://www.gchicco.com/the-craftsman-newsletter/) in 2017 it was about recommending craft-related objects and people I encountered through my frequent travels. In time it evolved into original long-form stories that went behind the scenes. When lockdowns hit in 2020 and my plans to go to Japan to do research for a book were put on hold, the newsletter took another turn and has since then focused mostly on Japanese craftsmanship as a way to channel some of the topics I’ve been diving deeper into. Today’s ‘Summer Special’ is a temporary return to the newsletter's original mission. I made a selection of interesting things I have experienced recently or that people in my network have recommended. You’ll notice that several are connected to Mingei (Japanese folk-craft), which at the moment is going through a vibrant revival albeit with a more critical view. Here we go... ### Knowledge [**Musubi Academy**](https://www.musubi.academy/?ref=gchicco.com)**. Laurens van Aarle** has launched Musubi Academy as “an online educational platform designed to uncover the essential wisdom, creativity and beauty underlying Japanese culture”. It features essays and interviews with some of my favourite contemporary craftspeople and *craft-patrons* including ceramic artist [Hosai Matsubayashi XVI](https://www.musubi.academy/welcoming-uncertainty/?ref=gchicco.com), designer [Shinichiro Ogata](https://www.musubi.academy/cultivating-a-timeless-way-of-being/?ref=gchicco.com) and Zen priest [Toryo Ito](https://www.musubi.academy/discovering-the-true-potential-of-life/?ref=gchicco.com). In his interview Ito reminds us that: > The truth is that we are all cut from the same cloth. Accepting our ordinariness in this way can be liberating. You don’t have to become someone special to be important. There is no need to be “number one” or “the only one”. These concepts don’t really matter. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/07/Afro-Mingei-Theaster-Gates-Mori-Art-Museum-Tokyo.jpg) Afro-Mingei by Theaster Gates at the Mori Art Museum in Tokyo. ### Exhibitions [**Art Without Heroes - Mingei**](https://wmgallery.org.uk/event/art-without-heroes-mingei/?ref=gchicco.com). The William Morris Gallery in London is hosting a brilliant exhibition on ‘Mingei’, Japanese folk-craft (until 22 September 2024). Last month I invited the curator, **Róisín Inglesby**, to discuss five of her favourite stories behind the objects and the people being presented and the influence of Mingei craft culture in today’s world. We also touched on how Mingei relates to the work of William Morris who once stated that one should “have nothing in your house that you do not know to be useful, or believe to be beautiful.” [Watch the video of our conversation](https://www.gchicco.com/art-without-heroes-mingei-with-roisin-inglesby/). [**Theaster Gates: Afro-Mingei**](https://www.mori.art.museum/en/exhibitions/theastergates/?ref=gchicco.com). You can consider this exhibition at Tokyo’s Mori Art Museum as a complement to the one at the William Morris Gallery, which also features works by **Theaster Gates**. The exhibition imagines “a New Hybrid of Black and Japanese Cultures through Ceramics, Architecture, and Music”. I won’t be able to see it in person (it runs until 1 September 2024) but[ this interview with Gates by the NHK](https://youtu.be/eaN5ircbtAU?si=T%5Ff5bf6wVWaEuN6h&ref=gchicco.com) offers a good overview. [**MINGEI: The Beauty of Everyday Things**](https://tad-toyama.jp/en/exhibition-event/5094?ref=gchicco.com). Mingei-related exhibitions are popping up everywhere. At the Toyama Prefectural Museum of Art and Design you can explore 150 objects through the themes of clothing, food and housing. It also hosts an installation merging Mingei and modern lifestyle by MOGI Folk Art directors **Terry Ellis** and **Keiko Kitamura**. On show until 23 September 2024\. [**Japanese Ceramics from Mashiko and Karatsu**](https://keikouchida.com/blogs/news/the-japanese-ceramics-exhibition?ref=gchicco.com). **Keiko Uchida** is showcasing a selection of objects she brought back from her recent visits to Mashiko and Karatsu at TOTO’s showroom in Clerkenwell, London. Handle (and buy!) pieces by Tomoo Hamada and his grandfather Shōji Hamada of Mingei fame, and others from the famous town of Karatsu. She’s also offering a small selection of Japanese teas including shincha - first harvest green tea - and matcha. It’s up until 18 July 2024. [**Yoshida: Three Generations of Japanese Printmaking**](https://www.dulwichpicturegallery.org.uk/whats-on/exhibitions/2024/june/yoshida-three-generations-of-japanese-printmaking/?ref=gchicco.com)**.** I haven’t visited it yet but my friends have been raving about this exhibition at the Dulwich Picture Gallery in London (until 3 November 2024). It features the work of “three generations of woodblock print artists including Yoshida Hiroshi, Fujio, Tōshi, Hodaka Chizuko and Ayomi, tracing the evolution of Japanese printmaking across two centuries.” ### Online Galleries and Directories [**JapanCraft21 Gallery**](https://gallery.japancraft21.com/?ref=gchicco.com). **Steve Beimel** has been a long time resident of Kyoto and together with his team he has launched an online gallery - which he clarifies is not an online shop - to showcase Japanese craftsmanship to inspire and connect Japanese craftspeople with architects, interior designers, product designers, curators, gallery owners and other professionals. [**WeMake**](https://wemake.co/?ref=gchicco.com)**. Ephrem Hernandez** created We Make as a place for makers to connect with the people that support their work. He makes the point that the platform is managed by people, not algorithms. The online community focuses on discovery by type of craft, through photos of beautiful objects and by [geography](https://wemake.co/makermap/?ref=gchicco.com). ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/07/Louis-Poulsen-book-by-TF-Chan.jpg) Louis Poulsen: First House of Light by TF ChanLouis Poulsen. ### Books & Magazines [**Precious Beyond Measure: A History of Korean Ceramics**](https://press.uchicago.edu/ucp/books/book/distributed/P/bo214800129.html?ref=gchicco.com). I became interested in Korean ceramics through Japanese tea culture and its appreciation of Korean bowls, so I can’t wait to get my hands on a copy of this book by **Beth McKillop** and **Jane Portal** to educate myself more about it. I’m lucky that London has the [Han Collection Gallery ](https://www.hancollection.co.uk/?ref=gchicco.com)and [Lloyd Choi Gallery](https://www.lloydchoi.com/?ref=gchicco.com) where I always learn from their directors, **Jinsoo Park** and **Lloyd Choi**, respectively. [**Louis Poulsen: First House of Light**](https://www.phaidon.com/store/design/louis-poulsen-first-house-of-light-9781838667801/?ref=gchicco.com). **TF Chan** has written this massive tome celebrating 150 years of Danish lighting company Louis Poulsen, from its origins to the iconic products created through collaborations with design superstars like Arne Jacobsen, Nendo, Verner Panton, GamFratesi and Olafur Eliasson. [**Sankaku Volume 02 - Ramen**](https://www.sankaku.is/volume-02?ref=gchicco.com). You could waste your time arguing if making ramen can be considered a craft or not (I think it’s a rotund yes!), or you could just dig into this beautiful magazine that features stories, photos and illustrations on topics such as “the challenges of halal ramen and the rise of a tiny family-run noodle-making business, to meditations on searching for home in a bowl of ramen and the experience of eating ramen in space”. On their website you can also find craft-related stories like this [interview with Yuki Sakamoto](https://www.sankaku.is/articles/yuki-sakamoto-on-the-road-to-becoming-an-artisan?ref=gchicco.com) on his path to become an Edo Kiriko (cut glass) artisan. ### TV & Video [**Omnivore**](https://youtu.be/dwUaHDc1LL0?si=AFnLYvdTLaiO%5Fb4j&ref=gchicco.com). This docu-series by revered chef **René Redzepi** (Restaurant Noma in Copenhagen) will debut on 19 July. It presents itself as a “globe-spanning odyssey, unveiling intricate stories behind the ingredients that have shaped societies, cultures, beliefs and the course of human history.” It will do all of this by focusing on the role that bananas, chilies, coffee, corn, pork, rice, salt and tuna have had in different cultures. I’m already hungry… [**The Art of Traditional Japanese Wood Joinery: A Kyoto Woodworker Shows How Japanese Carpenters Created Wood Structures Without Nails or Glue**](https://www.openculture.com/2020/12/the-art-of-traditional-japanese-wood-joinery.html?ref=gchicco.com). This is an online course of sorts by Open Culture. Interesting even if you’re not planning to become a carpenter. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/07/Sakuho-Ito-x-Yuzemi.jpg) Sakuho Ito presenting her work at the Tom Falukner Gallery in May 2024\. Image courtesy of Yuzemi ### Products & Online Shops [**Sabi Washi x Yuzemi**](https://www.yuzemi.com/washi?ref=gchicco.com). My friend **Ana Gervasio** selects beautiful artistic and everyday objects rooted in Japanese craft and also does kintsugi repairs. In May she exhibited at Tom Faulkner’s gallery in London the fabulous work of washi (Japanese paper) artist Sakuho Ito. Ito-san created [Sabi Washi](https://sabiwashi.jp/?ref=gchicco.com) \- rust paper - a way of using handmade paper which she mixes with copper, iron, sand and other ingredients to create textures that look and feel nothing like paper. What’s fascinating is that the surfaces change with the passage of time due to the natural oxidation of the minerals used. Ito-san then fixes the result at the point she finds it most beautiful by applying multiple layers of *dousa* (a mix of alum and animal glue) and persimmon juice. A side project of hers is the rock series called Kokkuu (as in the micro season 穀雨), where she moulds paper around rocks inspired by how Daruma dolls are made. [**Studio Shifuku**](https://www.studioshifuku.com/?ref=gchicco.com). **Kyle Whittington** has been recently awarded the title of Fukuro-shi (袋師, Bag Master) in recognition of his *shifuku* work. Shifuku are the beautiful pouches tied with a braided cord used to protect precious tea wares. They’re particularly popular in Chanoyu, the Japanese tea ceremony. Kyle creates them using a vast selection of textiles from different cultures and makes his own cords too. [**Suigenkyo**](https://suigenkyo.store/?sca%5Fref=6501386.d5gvfpIZmJ&sca%5Fsource=tcn&ref=gchicco.com). I recently found this online store that specialises in traditional Japanese crafts and ships worldwide. They have good [explainer videos](https://suigenkyo.store/en-gb/pages/youtube?sca%5Fref=6501386.d5gvfpIZmJ&sca%5Fsource=tcn&ref=gchicco.com) for many of these crafts. As I’m increasing my practice of shodō, Japanese calligraphy, I’ve been looking for a better, larger inkstone and I’m fascinated by [their selection](https://suigenkyo.store/en-gb/collections/inkstone?sca%5Fref=6501386.d5gvfpIZmJ&sca%5Fsource=tcn&ref=gchicco.com). Please note that these are affiliate links, which means I earn a small commission if you buy one of their products by clicking on them (it doesn’t affect the price you pay). [**POJ Studio**](https://pojstudio.com/?ref=gchicco.com). I’ve been a fan of **Tina Koyama**’s shop since she launched a few years ago, where I bought a beautiful *noren* curtain by Masao Kiyoe for my living room. POJ carries a great collection of contemporary crafts suitable for modern living. They also [teach kintsugi](https://pojstudio.com/pages/kintsugi-apprentice-program?ref=gchicco.com) and have a [shop in Kyoto](https://maps.app.goo.gl/Dmxx9ySPfnLLs2US9?ref=gchicco.com). [**Korean Craft and Design**](https://koreancraft-design.com/collections/all?ref=gchicco.com). It does what it says on the tin: a selection of beautiful Korean wares for everyday life accompanied by insightful articles, like this dialogue between **Sung Wook Park** and **Xavier Mañosa** on Buncheong ceramics. I find their [Traditional Korean Craft Index](https://koreancraft-design.com/pages/craft-index?ref=gchicco.com) a super useful resource to learn more about Koran craft. [**Koyori Uribo Stool**](https://www.koyori-jp.com/products/uribo%5Fstool27%5Fwooden%5Fseat.html?ref=gchicco.com). **Munetoshi Koda** has been criss-crossing Europe presenting the latest furniture by Japanese brand Koyori. At Copenhagen’s 3daysofdesign in June they unveiled a new wooden seat designed by **GamFratesi** which draws inspiration from Sori Yanagi butterfly stool (Sori was the son of Sōetsu Yanagi, co-founder of the Mingei movement). I love its simple, clean lines and muted celebration of great craftsmanship. ### The genius of Raku Jikinyū URL: https://www.gchicco.com/the-genius-of-raku-jikinyu/ Last updated: 2024-06-25T06:00:47.000Z “He’s clearly a genius” one of the collectors in attendance at the exhibition told me a few weeks ago. However, the work of *Raku Jikinyū* was not always seen that way. Jikinyū rejects labels like ‘artist’, ‘artisan’ or ‘potter’ and would rather be called a *chawanya*, a maker of *chawan* (tea bowls). Until 2019, he was known as Raku Kichizaemon XV. Born in 1949, at age 70 he retired from leading the 400 year old Raku lineage by passing on the head-of-family mantle to his son Atsundo (now Kichizaemon XVI). Jikinyū then moved out to the lush countryside of Kuta village, a mountainous area in Kyoto prefecture where he keeps making tea bowls with as much intentionality as ever. Throughout his lifetime he has been called many things. When his breakthrough exhibition *Tenmon* (天問), ‘heavenly questions’, took place in 1990, a large number of visitors commented that he had single handedly killed the Raku tradition by stamping on it with self-indulgent bowls that were not good for *chanoyu*, the tea ceremony. Jikinyū also severed other ties with the past by rejecting the hegemony of the *San Senke* (三千家), the three main tea schools derived from the teachings of *Sen no Rikyū* (1522-1591), for many the greatest Japanese tea master that ever lived. The San Senke had become the gatekeepers of the tea world, dictating everything from the style, shape and value that tea utensils should have to the names they should carry. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/06/_2024-Raku-Jikinyu-Black-Rock-and-White-Rock-in-London-by-Gianfranco-Chicco-12s.jpg) Yakinuki-type ‘Black Rock’ tea bowl named **Kai (are things that are tall and steep also grand?)* by Raku Jikinyū, 2023. In his autobiographical book from 2012, *Chawanya*, masterfully translated into English by Dr. Rupert Faulkner and his wife *Ando Kyoko*, Jikinyū reflected on how chanoyu had become driven by novelty, market forces and “devoid of anything nurtured through the long history of tea.” > What, therefore, of the future of chanoyu? Without an underlying philosophy, without the questioning of nature, life and spirituality, chanoyu will degenerate from something extraordinary into a hollow form of demotic Japanese style tea time entertainment. The essence of tea is not to do with liberty of form but the choosing of constraints from out of which true creativity and freedom spring. Jikinyū went on to describe the frenetic fervour that possessed him during the time of Tenmon: > The distorted rim rises to a spike. My mother, usually sympathetic muttered with a sigh ‘Why can’t you smooth out the mouth with an extra stroke or two?’ No way, I thought. Was it arrogance? Something wild and fiery was erupting inside me. Red hot and glowing in the darkness of the universe. ‘That patch of red, it looks like blood’, was the criticism. That very blood began to flow out of me. Searching urgently for someone who would understand. There must be others who bleed like me. All I want is for this teabowl to find its way to you. War is declared, for a friend yet to be found. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/06/2024-Raku-Jikinyu-Black-Rock-and-White-Rock-in-London-by-Gianfranco-Chicco-04s.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/06/_2024-Raku-Jikinyu-Black-Rock-and-White-Rock-in-London-by-Gianfranco-Chicco-05.jpg) The foot of the tea bowl is so subtle that it seems to be floating. ### Back to the source What many see in Jikinyū as an uprising against the powers that be I see as him returning to the essence that motivated the original Raku potter, *Chōjirō* (?-1589), who started it all when Rikyū challenged him to create vessels that would better reflect the essence of *wabi-cha*, an understated kind of tea practice that emphasises modesty and subtle imperfections in contrast to the lavish, shiny and perfectly symmetrical preference of the time. The black bowls that came out from Chōjirō’s workshop were akin to rebellious punk music and some say that this and other transgressions were the reason why the Japanese de-facto ruler of the time, *Toyotomi Hideyoshi*, ordered his tea master (Rikyū) to commit *seppuku*, ritual suicide. (In a recent [webinar with Joi Ito we discussed Rikyū’s rebellious spirit](https://youtu.be/Z6%5FIPc5DD4s?si=Ro2MW5o0XME91sgy &ref=gchicco.com)). In Chawanya, Jikinyū recalls how during an exhibition in 1988 at the Raku Museum commemorating the 400th anniversary of the death of Chōjirō he had an epiphany that would mark the resolve of his work from then on: > Each day, after the museum closed, I wandered around the gallery. Time and again I found myself stopping in front of the same bowls. As I looked at them I felt some inexplicable feeling rising up inside me*. Ōguro, Muichimotsu, Mukiguri, Ichimonji*… This was when I got to know Chōjiro and through him to encounter Rikyū. I couldn’t suppress my emotion as tears welled up inside me. Through the small and quiet volume of the teabowl he lay waste in an instant to the values of society. He infused his bowls with an intense creativity that broke all accepted norms. Can you imagine how radical Rikyū’s philosophy was and how it led to his being forced to take his own life, how the uncompromising stance of his creativity took the form of an unavoidable destiny? ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/06/2022-Raku-Chojiro-by-Gianfranco-Chicco-01s.jpg) A black bowl named **Yorozuyo (Thousands of Years, Eternity, All Generations)* made in the 1580s by Chōjirō, on show at the Annely Juda Fine Art gallery in 2022. ### New work, same spirit Jikinyū's latest work is currently on show at the Annely Juda Fine Art gallery in central London until 6 July 2024 (don’t miss it!). It features 15 ‘Black Rock and 15 ‘White Rock’ tea bowls that Jikinyū made in response to the music of Alban Berg (black) and *Toru Takemitsu* (white). When I entered the room the energy of the pieces was palpable. Jikinyū himself was standing there, surrounded by guests, emanating an aura of calm transcendence beyond labels and judgement. After David Juda and Japanese Ambassador to the UK *Hayashi Hajime* offered some introductory words, we, the audience, looked at Jikinyū for a follow up speech but instead he just smiled. There was no need to add anything. The objects were already speaking loud and clear. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/06/_2024-Raku-Jikinyu-Black-Rock-and-White-Rock-in-London-by-Gianfranco-Chicco-13s.jpg) 2024 exhibiton of Raku Jikinyū at Annely Juda Fine Art gallery in London. I visited it three times. The first one was too crowded to enjoy it properly. During the second one I was practically alone and benefitted from the sun beaming through the gallery’s skylight. The third one was to listen to a discussion between Dr. Faulkner and Tim D’Offay, the owner of Postcard Teas who has been a kind guide in my learning journey regarding Japanese ceramics. Seeing them handling the bowls, each one costing fifty to sixty thousand pounds, sent a chill down my spine. The thirty tea bowls are massive, larger than any other Raku chawan I have ever seen. If you consider that clay shrinks between 10 and 20% it means that they were even bigger when Jikinyū was sculpting them. They will hardly - if ever - hold any tea. Collectors consider them objets d’art rather than cups to drink from, which is a pity but understandable given their quasi-architectural build. I asked a friend in Japan who moves fluently in serious tea circles and he confirmed that one *Yakinuki-type* chawan by Jikinyū did indeed show up at a recent gathering. (Yakinuki is a technique where the bowls are fired one at a time in a small kiln for about thirty minutes while the maker and their assistants frantically operate the bellows to raise the temperature quickly to up to 1,200 degrees celsius). The Black Rock bowls have a military feel, in part because of the green and brown colours that adorn them and the groggy roughness of the clay. The bowl called ‘*Tan (things that exhaust themselves by pushing themselves to the limit)*’ pictured at the top of this essay has a chevron-like decoration that reminded me of the sleeves of an army officer. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/06/_2024-Raku-Jikinyu-Black-Rock-and-White-Rock-in-London-by-Gianfranco-Chicco-07s-1.jpg) The white ones are made of porcelain, another departure from what’s expected within the Raku tradition. They are also big but with gentle curves and markings in brilliant hues of blue and purple. The walls squeezed in an oval shape reminded me of a conch, with the narrow sides inviting you to drink from them. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/06/_2024-Raku-Jikinyu-Black-Rock-and-White-Rock-in-London-by-Gianfranco-Chicco-03.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/06/_2024-Raku-Jikinyu-Black-Rock-and-White-Rock-in-London-by-Gianfranco-Chicco-10s.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/06/_2024-Raku-Jikinyu-Black-Rock-and-White-Rock-in-London-by-Gianfranco-Chicco-11s.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/06/_2024-Raku-Jikinyu-Black-Rock-and-White-Rock-in-London-by-Gianfranco-Chicco-08s.jpg) The 'White Rock' tea bowls have gentle shapes and colourful details. The music of Alban Berg and Tōru Takemitsu has influenced how Jikinyū finished these bowls. The former a proponent of the avant-garde of the early 20th century, the latter a mid-century master of timbre and its relationship with silence, Jikinyū’s describes the effect they had in his work in the exhibition catalogue published by Annely Juda: > When I started working on my *Rock* tea bowls for this exhibition my inclination was to work with blackness. The results - metaphors for what lies beyond language and the other side of silence - were quieter than my other recent work. By contrast, my *White Rock* tea bowls were experiments in the very opposite direction. I left nothingness behind me and sought to recapture beauty. Colours gushed into empty white space. I made these more expressionistic tea bowls not in response to Berg but in homage to Takemitsu. His world is one in which a single sound rings out in a white void. Seeing Raku Jikinyū’s most recent creations sent me into a rabbit hole of exploration of his legacy through books in my shelves and those of Tim D’Offay. Jikinyū is not just an accomplished chawanya but also a profound philosopher, poet and photographer. His words moved me as much as his bowls. They invited me to pierce through the surface of the establishment to pay more attention to the essence of the things we do. It’s unlikely I’ll ever be able to afford a Raku tea bowl. If I’m lucky, I’ll be invited to drink tea from one of them sometime soon. For now, my only consolation are these books - and a lapel pin I got during a visit to the Raku Museum. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/06/2024-Raku-books-by-Gianfranco-Chicco-18s.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/06/2024-Raku-lapel-pin-by-Gianfranco-Chicco-18s.jpg) --- Last year I wrote about [Shuhari, the philosophy that the Raku family uses to pass on knowledge while navigating generational change](https://www.gchicco.com/traditions-from-copying-to-rebellion-to-transcendence/). All photos by Gianfranco Chicco. つづく ### Art without heroes: Mingei with Róisín Inglesby URL: https://www.gchicco.com/art-without-heroes-mingei-with-roisin-inglesby/ Last updated: 2024-06-20T13:52:46.000Z On Friday 14 June 2024 I hosted an online session to dive into Japanese folk-craft culture. The **William Morris Gallery** in London is hosting the brilliant exhibition: [‘Art Without Heroes: Mingei’](https://wmgallery.org.uk/event/art-without-heroes-mingei/?ref=gchicco.com) (running until 22 September 2024), so I invited the curator, **Róisín Inglesby**, to discuss five of her favourite stories behind the objects and the people being presented and the influence of Mingei craft culture in today’s world. We also touched on how Mingei relates to the work of William Morris who once stated that one should “have nothing in your house that you do not know to be useful, or believe to be beautiful.” ‘Mingei’ refers to the folk-craft movement that grew in Japan in the 1920s and 1930s spearheaded by philosopher and critic Yanagi Sōetsu and a series of influential makers like the potters Bernard Leach, Hamada Shōji and Kawai Kanjirō. They highlighted the work of unnamed makers that allegedly represented a simpler way of life through their functional aesthetics, and was in contrast to the rapid industrialisation of the country. The exhibition at the William Morris Gallery does an excellent job of exploring the origins of the movement and its influence on craft and manufactured products, as well as how these were/are consumed. It also offers a critical view into some of the aspects of Mingei that are worth revisiting, such as the tension between craft and capitalism, the relationship with the colonialist expansion of the era, or the effect of the anonymity of the makers. As Róisín points out in the publication that accompanies the exhibition, "Anonymous objects are disproportionately made by women, the poor and other marginalised groups; attaching a name can therefore be an act of restitution, rescuing a maker from the unmarked grave of a forgotten attic or museum store." ### A Tale Of Two Orin - Part 1 URL: https://www.gchicco.com/a-tale-of-two-orin-part-1/ Last updated: 2024-04-01T21:01:02.000Z It's November 2023 and I’m in Takaoka, Toyama prefecture. There’s a sleepy atmosphere despite it being a Monday. The city is famous across Japan for its copperware and decorative lacquerware. It’s raining and I’m here to visit the workshop of Shimatani Yoshinori, a 4th-generation ‘orin’ craftsman owner of the [Shimatani Shoryu Studio](http://syouryu.co.jp/?ref=gchicco.com). A rin (りん）or orin (おりん) is a type of bell, sometimes called a ‘singing bowl’, used in Buddhist ritual that originated in China and further developed in Japan. Orin are also a fixture of the ‘Butsudan’, a small shrine found in many Japanese homes to commemorate deceased family members. Orin can be as small as a few centimetres to about a metre in diameter and they are played by hitting them softly with a mallet. When you do so, you not only hear it ring but also feel it vibrate, especially with bigger ones. When you’re with other people it’s as if you’re all resonating at the same frequency. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/04/Orin-by-Shimatani-Shoryu-Studio_web.jpg) A brass orin. Photo courtesy Shimatani Shoryu Studio I’m accompanied by Takano Kyoko from [Mizu to Takumi](https://mizutotakumi.jp/?ref=gchicco.com), an organisation devoted to the promotion of the Toyama area through its many wonders, especially those related to craft. Kyoko acts as my interpreter during a visit that’s motivated by my research into ‘shokunin’ - craftspeople - culture. The workshop is similar to many others I’ve visited. Small and crammed with objects in a fine equilibrium, accompanied by the constant hammering of two apprentices. Shimatani has been making orin for twenty three years but he was hesitant to follow in the family footsteps. “I didn’t think it was a smart thing to do after seeing my father and grandfather go through the daily grind of the job” he tells me. He changed his mind while working at a restaurant as a university student. There he learned to cook and realised that making customers happy through his service was something he wanted to do. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/04/20231120-Orin-maker-Shimatani-Shoryu-Studio-Takaoka-4_web_photo-by-Gianfranco-Chicco.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/04/20231120-Orin-maker-Shimatani-Shoryu-Studio-Takaoka-5_web_photo-by-Gianfranco-Chicco.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/04/20231120-Orin-maker-Shimatani-Shoryu-Studio-Takaoka-10_web_photo-by-Gianfranco-Chicco.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/04/20231120-Orin-maker-Shimatani-Shoryu-Studio-Takaoka-9_web_photo-by-Gianfranco-Chicco.jpg) Details from the workshop His training was classic shokunin: Shimatani’s father and grandfather didn’t offer precise instructions. He had to “watch, listen and learn” from their toiling away. Looking closely was followed by trying out, noticing new details and repeating the process over and over again. When his father shows up during the interview I ask him about his teaching method to which he simply replies “look, try, repeat”. It took Shimatani about twelve years to be satisfied with the quality of his work. In the years before that, his father and grandfather would adjust Shimatani’s bells. Orin are made of three brass segments. Only the upper part is thick, very important for obtaining the right sound. The middle and the bottom are very thin. They haven’t changed much since his grandfather’s time except that back then metal was a precious resource and manpower was cheap, the opposite of today. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/04/20231120-Orin-maker-Shimatani-Shoryu-Studio-Takaoka-8_web_photo-by-Gianfranco-Chicco.jpg) Shimatani Yoshinori, 4th-generation ‘orin’ craftsman The metal is made wider through hammering, which also increases the density of the material. A higher density helps obtain a softer sound and will make the bell resonate for longer. However, the constant beating makes the brass harder. To restore the ductility and reduce the hardness, each piece is heated through direct fire, a process called annealing. The hammering and annealing cycle is repeated thirty to forty times until the desired shape and thickness are achieved. Then the three pieces are welded together. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/04/20231120-Orin-maker-Shimatani-Shoryu-Studio-Takaoka-14_web_photo-by-Gianfranco-Chicco.jpg) A staff member annealing an orin The final part of the process is the sound tuning, which Shimatani mastered after seven years. He doesn’t tune according to musical notes (do, re, mi, fa, et cetera) but by feeling. The technique is a family secret but it essentially consists of ringing the bell with a special hammer, remembering the sound and then hitting it again somewhere else. If Shimatani feels that the sound has improved, then he tries another part and listens. If he feels this is not good, he hits the inside and outside of the same spot until he’s satisfied. From time to time an orin can fall out of tune and they’re brought back for adjusting. He tests me by striking two bells, one before and the other after tuning, and asks me to identify which is which. I get it wrong. He offers me a second chance together with a hint: “The purpose of orin is for praying, so the sound should make the mind more calm. The tuned one has a more rounded sound and lasts longer”. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/04/20231120-Orin-maker-Shimatani-Shoryu-Studio-Takaoka-3_web_photo-by-Gianfranco-Chicco.jpg) Making different types of orin requires one hundred different types of hammers, all made to order. Because the local blacksmith that made Shimatani’s tools has passed away, he now has to source them from further afar An orin can remain in use for several decades, even up to a hundred years if taken care of. The country is going through a sharp decline in population and the demand from Buddhist temples is dwindling. Young people in the big cities are renouncing the use of the Butsudan. So who’s buying them today? Shimatani tells me that in Japan, people associate the sound of an orin with Buddhist ceremonies. Abroad that notion is not so rooted and thus customers are getting them for yoga and mindfulness, or just because they like the sound of it. “My orin studio is the largest in Japan by market share. But because the demand of orin has been declining, it’s difficult to maintain the craft alive by just doing that.” This urged a search for other applications of their core skill, which is making objects by hammering metal. It took years of experimenting with different materials to come up with a new product, supported by the collaborative effort of a group of shokunin from Takaoka who every year come up with new ideas to better serve society’s needs and show them at an exhibition in Tokyo. In 2013, Shimatani released 'Suzugami', sheets of pure tin that have been hammered into thin squares. These can be folded like an origami and used for serving food or to hold accessories, and easily rolled back to its original flat shape for storage. The texture on each piece has poetic names like ‘Arare’, “ice hails from the sky with rustle left behind traces of their fierceness”, or ‘Kazahana’, “snowflakes dancing in cloudless sunny day left behind this ephemeral layer”. Suzugami has been very popular since its launch and has allowed the Shimatani Shoryu Studio to stay active. The constant banging I heard throughout my visit was indeed due to the making of Suzugami to keep up with the demand. It’s been a smart solution to preserve the hammering skill but I wonder what will happen to the tuning techniques? ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/04/2024-Suzugami-plate-by-Shimatani-Shoryu-Studio-Takaoka-1_crop_web.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/04/2024-Suzugami-plate-by-Shimatani-Shoryu-Studio-Takaoka-2_web.jpg) I use Suzugami at home to serve sweets to accompany tea ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/04/20231120-Orin-maker-Shimatani-Shoryu-Studio-Takaoka-6_web_photo-by-Gianfranco-Chicco.jpg) Shimatani Yoshinori and yours truly. Photo by Takano Kyoko In the next issue I’ll share the story of another orin maker who has taken a different approach to keep their craft alive and relevant in the 21st century. All photos by Gianfranco Chicco except where noted. つづく ### Talking by making: pottery in the heart of Uji URL: https://www.gchicco.com/talking-by-making-pottery-in-the-heart-of-uji/ Last updated: 2024-02-17T17:14:24.000Z In November 2023 I embarked on a research trip to Japan for my book on what we could learn from Japanese craftspeople, *shokunin*, to improve how we live and how we work. This is the second in a series which started with [Talking by making: soba noodles in Tokyo](https://www.gchicco.com/talking-by-making-soba-noodles-in-tokyo/). --- ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/02/Asahiyaki-Uji-2s.jpg) The Asahiyaki gallery seen from across the Uji river Uji is a town on the outskirts of Kyoto that’s renowned for its tea, producing the best matcha in Japan and credited with inventing sencha in the 18th century (while matcha was reserved for the aristocracy, higher echelons of the warrior class and religious clergy, sencha - steeped green tea - was accessible to all). The Tale of Genji, a classic novel written in the 11th century by Murasaki Shikibu, is set in Uji. It’s also where the [Asahiyaki Pottery](https://asahiyaki.com/?ref=gchicco.com) was established 400 years ago under the patronage of the multitalented tea master Kobori Enshu. The current head of Asahiyaki is Hosai Matsubayashi XVI. Ceramics and tea culture are both close to my heart so when Hosai san invited me to practise pottery at his workshop it felt like a dream come true. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/02/Asahiyaki-Gallery---Hosai-Matsubayashi-XVI-1s-1.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/02/Asahiyaki-Pottery-in-Uji---Nov-2022---Photo-by-Gianfranco-Chicco-23s.jpg) Vessels by Hosai Matsubayashi XVI inspired by the Tale of Genji and Asahiyaki's Genyo climbing kiln ### **To Know and not do, is not yet know** I must confess that as the date to visit Uji grew closer, the prospect of working under the watch of a 16th generation master craftsman made me anxious. ‘Will I waste his time?’ I thought. I’ve been making wonky pots on and off for a couple of years without too much continuity. My mind understands how to make them but my body hasn’t retained much of the knowledge required to obtain the results I want. The good news was that this dichotomy between mind and body was exactly what I was interested in researching for my book. When I first touched the local clay I found out it was much softer than what I was used to in London. Asahiyaki’s ‘hanshi’ clay is collected from the river and mountains surrounding Uji and aged for several decades before it’s ready to use. Very little water is required when handling it and to keep things running smoothly you just coat your fingers with the slip, liquid clay, that’s generated during the process. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/02/Doing-pottery-at-Asahiyaki-in-Uji-Nov-2023-1s.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/02/Doing-pottery-at-Asahiyaki-in-Uji-Nov-2023-2s.jpg) The learning area at Asahiyaki In pottery, ‘throwing’ refers to the process of creating vessels by manipulating the clay on top of a rotating wheel. In the UK it rotates in an anticlockwise manner, in Japan it does so clockwise. I was glad that I would be using a standard electric potter’s wheel rather than a more traditional kick-wheel which is operated with your foot. To make matters more challenging, throwing was done ‘off-the-hump’, a technique where you put a big pile of material on the wheel to make multiple objects in a row as opposed to using just the amount of clay required for a single pot. I was also encouraged to practise using very few additional tools in order to develop a better technique. For most of my stay I was the only person in the area designated for students. Hosai san and his team, Suzuki san and Endo san, would give me guidance from time to time or answer any practical questions I might have. Otherwise I was left alone to do my thing. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/02/Doing-pottery-at-Asahiyaki-in-Uji-Nov-2023-12s.jpg) Getting things done ### **Hyper-focus and flow** Sitting at the wheel for six hours during three consecutive days was conducive to feeling and thinking with the whole body. It’s as if my brain had moved from the inside of the head to the tips of the fingers, in direct communion with the clay. My basic Japanese vocabulary meant that instead of talking with words, any time I needed help or advice I would have to speak through what I was making. I soon experienced the main advantage of throwing off the hump: it favours a state of flow. Not needing to stop and reset the wheel continuously means that you can carry on making with less interruptions. I wonder why it’s not common practice in the West. The second day my nerves subsided. I was no longer embarrassed by the lopsided bowls that formed under my hands. I was getting at least one percent better by using each piece as feedback and carrying on those learnings onto the next one. Very much like in Zen Buddhism tradition, cleaning plays an important part in the life of a potter. When I started at Asahiyaki, Endo san noted how much clay I was discarding (or getting onto my clothes), a sign of having poor technique. The better I became at making the less there was to clean. At the end of each session I measured the level of improvement by how much less messy my working station was. Although Endo san was not there to see it, I was proud that when my residency came to a close I had reduced the amount of wasted clay by almost two thirds! ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/02/Doing-pottery-at-Asahiyaki-in-Uji-Nov-2023-19s.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/02/Doing-pottery-at-Asahiyaki-in-Uji-Nov-2023-22s-clean.jpg) Making and cleaning ### **An exercise in critical thinking** In the end I produced about two dozen pots, out of which I selected a dozen to be glazed and fired while the others would be destroyed and the material reclaimed. I was encouraged to be critical and keep only what I thought were the best pieces. It was an exercise in letting go: it’s hard to avoid being attached to what you make, but it would be unsustainable to keep everything. Because there was not enough time to apply all the different combinations of glazes I wanted to try and fire the pots before I had to return home, I left notes with instructions to the staff that would finish them on my behalf. This provided further training in patience, a quality all craftspeople must have. If all goes well, I will see the result of my effort in the next few months. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/02/Doing-pottery-at-Asahiyaki-in-Uji-Nov-2023-15s.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/02/Doing-pottery-at-Asahiyaki-in-Uji-Nov-2023-16s-1.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/02/Doing-pottery-at-Asahiyaki-in-Uji-Nov-2023-20s-discarded-1.jpg) Final pots, discarded pots ### **A lesson in slowing down** At a time when we’re overstimulated by the dazzling speed of digital technologies and ephemeral creations that overstimulate us from the neck up, pottery forces you to slow down and get your whole body and mind in sync. It’s humbling and keeps the ego in check. If you’re lucky, you might also carry home a new bowl, plate or vase to brighten up your daily life. ([I do believe that eating on a well made plate makes food taste better!](https://www.gchicco.com/tomatoes-on-japanese-ceramic-plates-taste-better/)) My visit to Asahiyaki provided invaluable work and life lessons which I hope to carry on, and practising pottery in Uji had other benefits too. Apart from the beautiful views and calming atmosphere, my lunch breaks were accompanied by delicious soba, tempura, curry rice and an incredible pizza that combined the best Italian technique with a Japanese twist. And of course tea. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/02/Eating-and-drinking-in-Uji---Nov-2023-1s-Tsuen.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/02/Doing-pottery-at-Asahiyaki-in-Uji-Nov-2023-13s.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/02/Eating-and-drinking-in-Uji---Nov-2023-3s-pizzeria.jpg) Matcha and dango at Tsuen, the oldest tea house in the world, happy Gian and Pizzeria L'asinello つづく ### Talking by making: soba noodles in Tokyo URL: https://www.gchicco.com/talking-by-making-soba-noodles-in-tokyo/ Last updated: 2024-02-17T16:56:11.000Z In November 2023 I embarked on a research trip to Japan for my book on what we could learn from Japanese craftspeople, *shokunin*, to improve how we live and how we work. The COVID-19 pandemic lockdowns had limited my means of exploration to doing online interviews, which gave me the opportunity to talk with extraordinary makers about their work and lifestyle. The video series [*The Essence of the Shokunin*](https://youtube.com/playlist?list=PL5moj5i59WG7MINm1LIqaxE%5FmP4MMKlMQ&si=pTCkwudkefBpRwJ%5F&ref=gchicco.com) was the result of some of these conversations. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/02/Tsukiji-Soba-Academy-Nov-2023-1.jpg) Water first, everything follows. However, when it comes to doing a deep dive into craftsmanship, especially from a culture as different to my own as the Japanese one, the reach of words is extremely limited. Tacit knowledge and mastery are almost impossible to transmit with words alone. The way forward was to acquire knowledge through direct experience, to talk by making. Other than visiting workshops in different towns, I decided on two specific activities to get my hands dirty with: soba (buckwheat noodles) and pottery. What follows is the first in a multi-part series regarding my craft travel adventures. ### Making Noodles at the Tsukiji Soba Academy Soba noodles became a staple of Japanese cuisine in Edo, old Tokyo, during the days of the Tokugawa shogunate between 1603 and 1868\. In the 1800s it turned into a popular snack accessible to all, with ubiquitous pop-up market stalls and deliveries handled by vigorous joggers and later bike riders too (in the 1960’s deliveries by bicycle were banned due to the increasing number of accidents involving cars). While the most traditional soba are made with 100% buckwheat, more often than not they have a 2:8 ratio of wheat to buckwheat. Soba can be enjoyed hot or cold depending on the season. My favourite way is as *zaru-soba*, cold noodles accompanied by a dipping sauce - *tsuyu* \- made with soy sauce, mirin, sugar and *dashi*. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/02/soba-noodles-deliveryman-tokyo-1935-ccedf2.png) Delivering soba noodles in Tokyo in 1935\. [Source](https://jenikirbyhistory.getarchive.net/media/soba-noodles-deliveryman-tokyo-1935-ccedf2?action=download&size=1024&ref=gchicco.com) Following the recommendation of my friend Nobi, I signed up for a class with renowned soba specialist Akila Inouye. Akila sensei runs the [*Tsukiji Soba Academy*](https://soba.specialist.co.jp/aboutus.html?ref=gchicco.com) in Tokyo. A fan of molecular cuisine, his teaching method relies on getting to know the history of soba, grasping the underlying chemistry of its preparation and of course cooking and eating them in different ways. The Tsukiji Soba Academy was set up in 2002 and in the early 2000’s, Apple’s Steve Jobs sent his private chef to train in soba-making with Akila sensei. Soon after, Apple started offering soba to its employees at the *Caffè Macs* (allegedly you could order noodles topped with sashimi, something you’ll never see in Japan). Akila is as much of a rigorous scientist as he is an artist. We started by studying what defines great soba which, no pun intended, boils down to producing slurpable noodles that are uniform, stable, flexible and long enough, and marrying them with, as he puts it, “an awesome sauce”. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/02/Tsukiji-Soba-Academy-Nov-2023-3-1.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/02/Tsukiji-Soba-Academy-Nov-2023-4.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/02/Tsukiji-Soba-Academy-Nov-2023-17.jpg) Making soba is as much art as it is science. Akila sensei would make sure the measurements of every single ingredient were just right. The academy’s studio overlooks the Sumida river close to what used to be the Tsukiji Food Market. The space is compact, full of books and any imaginable cooking utensil arranged in a delicate equilibrium. On the walls, printed aphorisms like “Water first, everything follows” and “Less is more” reminded me of a design studio rather than a kitchen, but the chef stands by those as key tenets of his cooking style. The reason why I had chosen soba was because I’m already experienced at preparing Italian-style pasta, although I would later discover that soba is much more complex. The ingredients are easy to find at any well stocked Asian grocery store. The *soba kiri*, a specialist knife, might be the only specialty tool involved, but you could still manage with what you have in your kitchen. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/02/Tsukiji-Soba-Academy-Nov-2023-5.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/02/Tsukiji-Soba-Academy-Nov-2023-8.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/02/Tsukiji-Soba-Academy-Nov-2023-10.jpg) The soba-kiri is a special knife used for cutting the noodles. The one picture here was co-designed by Akila Inouye. Making good soba requires understanding the culinary principles involved and a solid technique. Above all, it relies on your mind and five senses working in unison. Akin to other crafts like woodturning or ceramics, the quality and provenance of the source materials is of utmost importance. During five hours we (me and two friends) put our hands to work during key parts of the process like mixing, kneading and cutting the dough and cooking. The result of our effort would be evident straight away… and it was really tasty! ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/02/Tsukiji-Soba-Academy-Nov-2023-12.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/02/Tsukiji-Soba-Academy-Nov-2023-13.jpg) The final step is to cook and taste your own creation. Before embarking on this trip I half-joked with friends that one day I will open a *soba yatai*, a mobile food stall, under a bridge in London. The city has plenty of decent udon and ramen shops but no soba that I know of. Because this was a participatory demonstration rather than a fully fledged professional course, I didn’t learn enough to handle the whole process from beginning to end by myself. But the good news is that Akila also runs a professional course over ten to twenty consecutive days and I’m considering a prompt return to Tokyo to carry on with my training. My dream of becoming a soba cook might not be that far away after all. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/02/Tsukiji-Soba-Academy-Nov-2023-14.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/02/Tsukiji-Soba-Academy-Nov-2023-photo-by-Nobi-2.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2024/02/Tsukiji-Soba-Academy-Nov-2023-photo-by-Nobi-3.jpg) Making soba is serious business! つづく ### London Design Festival URL: https://www.gchicco.com/london-design-festival/ Last updated: 2025-08-12T12:30:46.000Z I was the Head of Content & Digital of [London Design Festival](https://londondesignfestival.com/?ref=gchicco.com) (LDF), overseeing the 2021, 2022 and 2023 editions. Founded in 2003, London Design Festival celebrates and promotes the city as a design capital on the global stage and is one of the world's leading design events. In 2022 the festival attracted more than 360,000 visitors, 50% involved with the creative industries, making 1.48m visits. 0:00 /0:58 1× Landmark Project 'Aura' by Pablo Balbuena at St Paul's Cathedral in 2022 I led the team responsible for storytelling and content (print and digital), communications (including PR and media), marketing and branding. I played a key role in updating the festival's strategy, relaunching its online presence (website, newsletters and social media), new print publications (Red Book, Listings, notebooks) and supporting operations and partnerships. Key partners included renowned design studio [Pentagram](https://www.pentagram.com/search/?query=london%2520design%2520festival§or=&discipline=&clients=&page=1&ref=gchicco.com) (Domenic Lippa's team), the Mayor of London, Bloomberg Philanthropies, the Victoria & Albert Museum, and digital studios [Koto](https://koto.studio/?ref=gchicco.com) and [ON (case study)](https://madebyon.com/case-studies/london-design-festival?ref=gchicco.com). I was involved in LDF's four key pillars: 1. Festival Projects, public exhibitions curated and commissioned in-house in collaboration with designers and brands and located in some of London's best-loved spaces like the V&A Museum, Southbank Centre and St Paul's Cathedral. 2. Global Design Forum, LDF's curated thought leadership programme, celebrating design and the minds shaping its future. 3. Partner Activities and Design Districts, the foundation of the LDF by connecting the city with more than 300 independently staged activities, including exhibitions, installations, talks and product launches. 4. London Design Medals, accolades that recognise the contribution made by leading design figures and emerging talents to London and the industry. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/LDF21_Medusa-by-Tin-Drum.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/LDF22-Swivel-SabineMarcelis-Credit_EdReeve-15.jpg) Left: 'Medusa' by Tin Drum at the V&A, 2021\. Photo by Tin Drum / Right: 'Swivel' by Sabine Marcelis at Centre Point, 2022\. Photo by Ed Reeve 0:00 /2:07 1× Landmark Project 'Into Sight' by Sony Design at Cromwell Place, 2022 ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/NebbiaWorks-BFAS-V-A-credit-Ed-Reeve-03.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/GDF-at-V-A-photo-by-Gianfranco-Chicco.jpg) LDF at the Victoria & Albert Museum. Photos by Ed Reeve and Gianfranco Chicco ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/LDF21-Bring-London-Together---Yinka-Ilori-and-Mayor-of-London-Sadiq-Khan.jpg) Landmark Project 'Bring London Together' by Yinka Ilori (left), and the Mayor of London, Sadiq Khan (right) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/LDF22_medal-winners-1.jpg) London Design Medal Winners 2022\. From Left to Right: Jocelyn Langdon, Sandy Powell, Don McCullin and Indy Johar ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/LDF21-posters-by-Pentagram.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/LDF22-notebook-by-Pith-and-Pentagram.jpg) Posters by Pentagram, Notebooks by Pith and Pentagram ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/LDF21_medals_gianfranco-chicco.jpg) Me looking smug ### Moving at human speed URL: https://www.gchicco.com/moving-at-human-speed/ Last updated: 2023-10-01T19:41:59.000Z You can tell that September was the busiest time at work when all I could manage to write about was putting [tomatoes on handmade ceramic plates](https://www.gchicco.com/tomatoes-on-japanese-ceramic-plates-taste-better/) and sharing daily [Instagram Stories about preparing matcha](https://www.instagram.com/stories/highlights/18111914758320304/?ref=gchicco.com) (抹茶, Japanese powdered green tea) in a proper teabowl using a bamboo whisk. Truth is, these things were a palliative to a hectic period. Running events like [London Design Festival](https://londondesignfestival.com/?ref=gchicco.com) and [London Design Biennale](https://londondesignbiennale.com/?ref=gchicco.com) is inherently stressful. Once I walk into the workplace I have little control on how the day is going to turn out: open office space, last minute changes, getting things done across multiple areas always on a tight deadline and dealing with hundreds of different partners. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/10/matcha-at-home-1.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/10/matcha-at-home-2.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/10/matcha-at-home-5.jpg) My morning ritual of taking fifteen minutes to prepare matcha is a way to create an oasis of calm before venturing into the desert. Making the time to partake in the way of tea rather than drinking it on the go from a paper cup or using a tea bag offers the opportunity to slow down, to be present and feel more. Either as a solo practice or as part of a gathering with others, tea allows me to increase the resolution at which I experience life. Craft moves at human speed and the tea utensils (茶道具, chadōgu) I use have been carefully developed by craftspeople moving at the right tempo. Some of the materials have been patiently aged, cured, allowed to dry before they could be transformed. Each day I choose the tea bowl, whisk or scoop that matches the mood I’m in (or want to be in) and the time of year. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/10/matcha-at-home-15.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/10/matcha-at-home-16.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/10/matcha-at-home-22.jpg) I love tea, ceramics, photography and writing. Taking a moment to enjoy them all before I go out into the world provides a sense of accomplishment and boost of emotional energy that favours the kind of attitude I would like to cultivate throughout the following 12 hours, even though I know I won’t be able to remain in that serene status for as long as I’d want. Today is the 1st of October and I’m embarking on a new professional path, one of change and regeneration. Although everything around me moves at the lightning pace of technology and finance, I’ve decided to go deeper into a phase that encourages mindful, constant progress. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/10/matcha-at-home-7.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/10/matcha-at-home-13.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/10/matcha-at-home-14.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/10/matcha-at-home-18.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/10/matcha-at-home-25.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/10/matcha-at-home-26.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/10/matcha-at-home-31.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/10/matcha-at-home-30.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/10/matcha-at-home-29.jpg) つづく ### London Design Biennale URL: https://www.gchicco.com/london-design-biennale/ Last updated: 2025-03-10T11:09:06.000Z I served as Head of Content & Digital for London Design Biennale (LDB) during the 2021 and 2023 editions. Established in 2016, London Design Biennale is a three-week international exhibition and thought leadership programme located at historic Somerset House, in the heart of London. It showcases global design innovation, creativity and research, highlighting design's relevance in contemporary culture. The Biennale features a programme of events, talks, debates, tours and workshops exploring design as a transformative global tool. 0:00 /1:52 1× Somerset House, one of the UK's finest and most beautiful 18th century buildings, is of international historical and architectural importance and a cultural powerhouse for contemporary arts and culture. It’s one of London's most visited attractions with 3.2 million visitors annually. I led the team responsible for storytelling, content, communications, marketing and branding. Early on, our priority was to relaunch the Biennale after it had been postponed in 2020 due to the COVID-19 pandemic. I played a key role in updating its online presence with a new website that documented past editions, developed print publications including playful catalogues, and supported operations with over 50 international exhibitors. Partners included Pentagram (Domenic Lippa's team), Chatham House, Brunswick Arts, Somerset House, Bloomberg Philanthropies (Bloomberg Connects), Koto and ON. > **"We believe design is an international language which everyone understands."** — Sir John Sorrell, President and Co-Founder, London Design Biennale ### London Design Biennale 2021 LDB 2021 ran from 1-27 June with the theme 'Resonance', chosen by the Artistic Director, multi-award-winning artist and designer Es Devlin. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/LDB21---Somerset-House-welcome---credit-Ed-Reeve.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/LDB21_Poland_2__Credit-Ed-Reeve.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/LDB21_Taiwan_1_Credit-Ed-Reeve.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/LDB21_Japan_6__Credit-Ed-Reeve.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/LDB21_Greece_1b__Credit-Ed-Reeve.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/LDB21_Germany_5__Credit-Ed-Reeve.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/LDB21_Finland_1__Credit-Ed-Reeve.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/LDB21_CzechRepublic_3_Credit-Ed-Reeve.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/LDB21_Chile_2_Credit-Ed-Reeve.jpg) Photos by Ed Reeve ### London Design Biennale 2023 LDB 2023 ran from 1-25 June with the theme 'The Global Game: Remapping Collaborations', selected by the Artistic Director, Nieuwe Instituut, the Dutch national museum for architecture, design and digital culture, led by General and Artistic Director Aric Chen. 0:00 /1:00 1× ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/LDB23_AiDa_2_Credit-Taran-Wilkhu.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/LDB23_Austria_2_Credit-Taran-Wilkhu.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/LDB23_Dubai_2_Credit-Taran-Wilkhu.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/LDB23_India_2_Credit-Taran-Wilkhu.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/LDB23_Saudi_4_Credit-Taran-Wilkhu.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/LDB23_Turkey_2_Credit-Taran-Wilkhu.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/LDB23_UnderWater_1_Credit-Taran-Wilkhu.jpg) Photos by Taran Wilkhu During LDB we hosted a reception at the Prime Minister's Office, 10 Downing Street, a welcome occasion to wear a tie and take the obligatory photo at the famous black door. 0:00 /0:09 1× In the end, LDB is about bringing people together and an opportunity to connect with leaders in the international design world like the brilliant Es Devlin, Paola Antonelli and Shigeru Ban. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Gian-and-Es-Devlin-at-LDB21.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Vincent---Gian---Shigeru-Ban---Clare-Farrow-at-LDB23.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Gian-with-Paola-Antonelli_LDB23_Medals_Credit_IonaWolff-230.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/LDB23_Medals_Credit_IonaWolff-252.jpg) Left to right: Gian with Es Devlin ; Vincent Haiges, Shigeru Ban and Clare Farrow; Paola Antonelli (photo by Iona Wolff); attendees during the Medal Ceremony (photo by Iona Wolff) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/LDB23_team_Lucy-Ranson.jpg) With members of the London Design Biennale 2023 team. Left to right: Jess Gilchrist, Carolyn Addelman, Victoria Broackes, Elise Bousquet, Sophie Clark, Angela Bourderye-Munoz, Sujata Burman and myself. Photo by Lucy Ranson ### Tomatoes on Japanese Ceramic Plates Taste Better URL: https://www.gchicco.com/tomatoes-on-japanese-ceramic-plates-taste-better/ Last updated: 2026-07-11T20:21:25.000Z Do tomatoes taste better when eaten from a nice Japanese ceramic plate? Objectively, no. But the experience of serving and eating the tomatoes does improve. That is because human experience is not limited just to the physical characteristics of the food but how we interact with it, from the sensorial stimulation to the meaning we ascribe to the occasion where such experience takes place. The research of [Charles Spence](https://www.psy.ox.ac.uk/people/charles-spence?ref=gchicco.com), Professor of Experimental Psychology at Oxford University, demonstrates that wine can taste better when we’re on holiday or when drinking from a heavier glass, highlighting the effects not only of the objects we use but also the place and context we’re in and the people we might be with on the food we consume. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/08/20230730-tomato-on-ceramic-plate-by-kimura-morinobu-001-DSCF7033_1920x1080.jpg) Italian tomato on a ceramic plate by Kimura Morinobu It is said that it was the mercurial polymath [Kitaōji Rosanjin ](https://en.wikipedia.org/wiki/Rosanjin?ref=gchicco.com)(1883-1959) - artist, epicure, restaurateur - who popularised the tasteful pairing of food with crockery to elevate both. His pursuit for the perfect match for a given culinary moment, an equivalent to adding the right frame to a great painting for it to stand out, became an inspiration for chefs and refined diners alike. (Fun note, the character of Kaibara Yūzan, artist and founder of the *Gourmet Club* and curator of the ‘Supreme Menu’ in the manga Oishinbo was inspired by Rosanjin). > "It’s not about eating tasty things but eating with a sense of taste." - Rosanjin (allegedly) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/08/20230805-french-ananas-noire-tomato-on-plate-by-morinobu-kimura-001-DSCF7108.jpg) French 'ananas' tomato on a plate by Morinobu Kimura ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/08/20230826-tomatoes-on-Japanese-ceramic-plates_s-001-DSCF7244.jpg) Italian 'costoluto' tomato on a plate by Morinobu Kimura For me, pairing food and plates or tea and cups at home is rooted in the celebration of everyday moments. I like food, ceramics and photography and this series of tomatoes on Japanese plates started to take shape almost by chance. The last six months have been hectic at work and these little moments of simple joy have been a means to slow down. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/08/20230826-tomatoes-on-Japanese-ceramic-plates_s-007-DSCF7278.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/08/20230826-tomatoes-on-Japanese-ceramic-plates_s-009-DSCF7290.jpg) Italian 'cherry vine' and Dutch 'kuma' tomatoes on plates by Asahiyaki Good tomatoes are not always easy to find in London but my local greengrocer carries a good selection. I also realised I had taken photos of Argentinian-style alfajores on Japanese ceramics but those are more difficult to come by, although more effective to keep stress at bay. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/08/Alfajor-by-Sur-Chocolates-on-plate-by-Kimura-Morinobu.jpg) Special edition 'Argentina Campeón! - Limited Edition' alfajor by Sur Chocolates to commemorate Argentina's Football World Cup 2022 win on a plate by Kimura Morinobu つづく ### How to Bring the Fun Back to Technology URL: https://www.gchicco.com/how-to-bring-the-fun-back-to-technology/ Last updated: 2026-08-11T20:33:02.000Z *This article was first published in the London Design Festival 'Red Book' (print) and* [*website*](https://londondesignfestival.com/stories/how-to-bring-the-fun-back-to-technology?ref=gchicco.com) *in 2023.* For the last decade, the smartphone industry has been launching new models following the same formula. So how can you bring something fresh to this saturated and highly competitive market? That's the question that the design team at tech company Nothing asked themselves when they created their second-generation flagship device, Phone (2), which debuted in mid-2023. A central aspect of Nothing's ethos is collaboration. Case in point: it merges both its industrial design and operating system development teams together in one office in London's King's Cross. This allows them not only to work very closely but access the city's creative community. "London has a great talent pool, not just in the area of design and technology, but in the arts and creative industries," says Nothing's design director Adam Bates. "London is at the cutting edge of many creative pursuits." One of Phone (2)'s key updates is a new Glyph interface on the back of the device which helps users access essential information at a glance without looking at the screen. "Our focus is about bringing some fun to technology," explains Bates. "As users, the primary reason that we have phones was to be in touch with loved ones, but we've all been in that situation where you go to check a message on your phone and the next thing you know, you're checking an email and different apps, so we looked into ways to filter out the rest of the information that our phones can carry". ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/ldf23-nothing-phone-01.jpg) Image courtesy Nothing The glyphs create a type of language to indicate the things you don't want to miss by combining animated light patterns and sound. For example, you can assign a unique light and sound sequence to your key contacts, see how much time is left in a timer, or that your taxi is on its way. "Our users wanted to get involved with the glyphs, so for Phone (2) we created a glyph composer. It's almost like a music app where you can record your Glyph pattern, synchronised with lights and sounds," Bates explains. "Users can also download pre-made sound packs, opening the possibility for the brand to work with different artists to enrich the experience." Music to our ears. ### From artificial to artisanal intelligence URL: https://www.gchicco.com/from-artificial-to-artisanal-intelligence/ Last updated: 2023-05-21T11:03:45.000Z Unless you’ve been living under a rock, anything Artificial Intelligence (AI) related is top of the newscycle. Even my local florist will go to great lengths to share his thoughts on how AI is going to either make us miserable or be the end of the human race. However, beyond all the hype and doomsday by improvised soothsayers, I’m interested in looking at AI through the lens of craft and design. The conversation about it often lacks two dimensions: 1) how can natural and artificial intelligence work together and 2) what real value it could bring into the world outside technology and business speculation. I use the term natural intelligence to represent that of humans, not just what happens in the mind but what’s embedded in the body, like tacit knowledge. I also use natural intelligence to refer to that of Gaia, the natural world seen as a giant organism. ### What makes a spoon a spoon? In 2022 Matteo Loglio and Simone Rebaudengo from [oio.studio](https://oio.studio/?ref=gchicco.com) launched an experiment to explore how different forms of intelligence could work together to create something, for example a spoon. The result was the *Spawns* collection, real silver plated spoons co-designed by a series of algorithmic digital tools, a jewellery designer and an Italian silverware factory. They call this human-machine collaboration Artisanal Intelligence. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/05/oio-studio-spawn-spoon-1_credit-PEPE-fotografia.jpg) Spawns collection by oio studio. Photo by PEPE Fotografia The process from ideation to final product revealed how much human intervention and decision making is often hidden behind things allegedly created by AI, and I would posit that’s especially true with objects for human use, where natural intelligence becomes an indispensable step in the creation process. For oio, the starting point was to create a visual database of spoons to teach an algorithm (- a GAN, or generative adversarial network - what a spoon is. They then created another tool to determine how much of a spoon - the “spoonness factor” - a certain object is. This was followed by human curation to select the most interesting outcomes. These 2D images were then transformed into 3D digital designs that would be shared with the silverware makers. The experience of the craftspeople was invaluable to create a spoon that was usable rather than just an artistic artefact. It was not just about how well it would perform its function but also adapting the shape based on how it would feel in the hand, the weight balance and the aesthetics, details that are not negligible when considering human users. For a detailed description of the Spawns collection: - [spawns.pages.dev](https://spawns.pages.dev/?ref=gchicco.com) - [designforam.com/p/artisanal-intelligence-vs-artificial](https://www.designforam.com/p/artisanal-intelligence-vs-artificial?ref=gchicco.com) - [videos.theconference.se/simone-rebaudengo-artificial](https://videos.theconference.se/simone-rebaudengo-artificial?ref=gchicco.com) ### Tools that extend our abilities Since the invention of rudimentary stone tools and the domestication of fire millions of years ago, humans have always relied on tools to shape the environment they live in. In that respect, AI could be seen just as another instrument in the human toolbox. What differentiates it from things like a hammer or the kind of computer-aided-design (CAD) software that we’ve been using for the last few decades is that until recently our tools were a straightforward extension of our body and in some occasions our mind. They were tools that we fully understood how they function and how to put them to good use. The challenge that AI presents is that it could extend our minds into realms we don’t yet understand and, maybe one day - and here’s where most of the anxiety lies - might even extend our souls, a feature that has been so far reserved to all sorts of supernatural gods. In craftsmanship, different kinds of knowledge are already at play. Intellectual knowledge residing in our brain and tacit knowledge residing in our body. What AI adds is the possibility for a different, non-human kind of intelligence to have a role. Third generation master woodworker Shuji Nakagawa once told me that he used traditional wood planes not because he disliked using machines, but because so far he hasn’t found one that could do the job better than a skilled craftsperson. However, he’s already using software to design variations of the traditional ki-oke, the wooden barrel used for storing miso or rice, that are too difficult if not impossible to design by a human mind alone. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/05/Shuji-Nakagawa---photo-by-Masuhiro-Machida.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/05/ki-oke-by-Shuji-Nakagawa---photo-by-Masuhiro-Machida.jpg) Shuji Nakagawa surrounded by different variations of ki-oke. Photos by Masuhiro Machida ## Why we create What often gets lost in the current narrative about AI is the *why* we do what we do. The act of creation, of bringing something into this world that didn’t exist before is not just a transactional act to favour convenience or reduce friction. We create because it’s a way to manifest our humanity, to understand the world and our role in it, and to connect with fellow humans. Removing that creation from our beings, outsourcing it onto another entity - in this case AI - because it can make it easier or even better is to miss the point completely. As musician and poet Nick Cave commented to song lyrics created using AI tool ChatGPT to imitate his style: > Songs arise out of suffering, by which I mean they are predicated upon the complex, internal human struggle of creation and, well, as far as I know, algorithms don’t feel. Data doesn’t suffer. ChatGPT has no inner being, it has been nowhere, it has endured nothing, it has not had the audacity to reach beyond its limitations, and hence it doesn’t have the capacity for a shared transcendent experience, as it has no limitations from which to transcend. ChatGPT’s melancholy role is that it is destined to imitate and can never have an authentic human experience, no matter how devalued and inconsequential the human experience may in time become. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/05/Nick-Cave_photo-by-Ester-Segretto.jpg) Nick Cave. Photo by Ester Segretto Cave went on to describe the bond between the creator and the user: > *What makes a great song great is not its close resemblance to a recognizable work. Writing a good song is not mimicry, or replication, or pastiche, it is the opposite. It is an act of self-murder that destroys all one has strived to produce in the past. It is those dangerous, heart-stopping departures that catapult the artist beyond the limits of what he or she recognises as their known self. This is part of the authentic creative struggle that precedes the invention of a unique lyric of actual value; it is the breathless confrontation with one’s vulnerability, one’s perilousness, one’s smallness, pitted against a sense of sudden shocking discovery; it is the redemptive artistic act that stirs the heart of the listener, where the listener recognizes in the inner workings of the song their own blood, their own struggle, their own suffering. This is what we humble humans can offer, that AI can only mimic, the transcendent journey of the artist that forever grapples with his or her own shortcomings. This is where human genius resides, deeply embedded within, yet reaching beyond, those limitations.* I encourage you to read Nick Cave’s full answer here: [theredhandfiles.com/chat-gpt-what-do-you-think](https://www.theredhandfiles.com/chat-gpt-what-do-you-think/?ref=gchicco.com) A song or a poem created by AI could fool us into appreciating them because we pour our thoughts and emotions into something we believe was created by other humans. However, in this domain there is no absolute best. If we knew that the *perfect* love song was created without human intervention (something currently not possible as these algorithms are trained using songs created by humans), would we be able to relate with it? [A story of love and loss by Nick Cave](https://www.youtube.com/watch?v=LnHoqHscTKE&ref=gchicco.com) touches you because of the human emotion in it, not because of some absolute golden ratio of songwriting. ### People caring about people In his keynote “[Design in Tech 2023: Design and Artificial Intelligence](https://designintech.report/sxsw2023?ref=gchicco.com)”, technologist and designer John Maeda makes the point that designers, and I would add that this applies to craftspeople too, “tend to care about people as people, Instead of just as prospects or customers.” He also resurfaced something I had once read at an exhibition at the V&A Museum in London: > *“\[William\] Morris was not entirely against the use of machines, but felt that the division of labour – a system designed to increase efficiency, in which the manufacture of an object was broken into small, separate tasks, meaning individuals had a very weak relationship with the results of their labour – was a move in the wrong direction.”* \- Source: [V&A introduction to theArts and Crafts movement](https://www.vam.ac.uk/articles/arts-and-crafts-an-introduction?ref=gchicco.com) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/05/John-Maeda-at-SXSW2023_image-by-Jayme-Harris.jpeg) John Maeda at SXSW 2023\. Image by Jayme Harris ## Coda What I like from oio’s take on artisanal intelligence is that it’s about co-existence with, and not replacement by, other forms of intelligence. I’m excited to see how (if) craftspeople might embrace artificial intelligence and how it might allow us to develop our natural intelligence further by creating things (objects, ideas, environments) that make life better, not just for humans but for Gaia as a whole. ### Turning a banal conference badge into a collectible item URL: https://www.gchicco.com/foi-conference-badge/ Last updated: 2024-07-02T21:40:34.000Z Throwback to 2010 when I was leading marketing and communications at the PICNIC Festival in Amsterdam during the day, and the Conference Director of Frontiers of Interaction in Rome at night. The first decade of the 2000s had been a fervent period for innovative media-tech-creativity conferences to rise and refresh what had been a stale space run mostly by corporate event organisers. DLD, PICNIC, Le Web, Barcamps and a re-energised TED (through their period of radical openness) changed the format, feel and content of business-related events. Back then I was also running a blog - Conference Basics - covering these exciting times. I was asked to join Frontiers of Interaction (known colloquially as “Foi” or “Frontiers”) to turn it from a free, high quality amateur event created in 2005 by Leandro Agrò and Matteo Penzo into a professional conference that could grow into a business of its own. While my job at Frontiers was to manage the whole process, from curation to execution alongside with the founders, I also made sure that we put time and effort into the details that our audience, designers and technologists from all walks of life, cared about. One such detail were the mediocre attendee badges that most conferences relied on, often a printed piece of paper inserted into a cheap plastic holder. > “The details are not the details. They make the design.” > – Charles Eames, designer, architect and filmmaker Think about it, the badge is the only thing that remains from an event once it's over. A trophy of sorts with your name and the date on it that’s often displayed at one’s working place. So why not invest in making them memorable? ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/05/20230409-Frontiers-Badge-2010-010-DSCF7203_small.jpg) The Robot badge starting to take shape in my Moleskine. With this in mind, I doodled in my little notebook what a more meaningful conference badge could look like. Some of the features I came up with were that it would: - Have a particular shape relating to the content of the event - Feature a distinct front and back, with the attendee’s details on the front and the programme on the back - Have two holes so that the badge could always stay facing front when hooked with a lanyard - Be somehow personalisable by allowing for perforations or stickers that would mark different features - Include novelty features like a QR code or an RFID chip to access extra information - Be well made either of recycled cardboard or plastic, and definitely not require a plastic holder! I came up with the idea of making them in the shape of robots, although I also considered planets and other anthropomorphic alternatives. For the final design I engaged Florencia Rodriguez Daniel, a graphic designer friend, who turned my concept into a real thing. Printing and delivery was managed by Fabio Tassinari and his team at IMD. We had to compromise on the number of perforations for the lanyard, probably because they were provided by a sponsor with just one hook. If you look at the designs, the place for the two holes was clearly marked on them. The badges came in four versions: Geek (all attendees), Speakers, Staff and Students. All of them had different needs and had to be easily identified from a distance. We didn’t use QR codes (too early) nor RFID chips and preferred low-tech little stickers that could be applied on the front to identify sub-categories of participants, like sponsors and press. Mine had my profile photo on it. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/05/20230409-Frontiers-Badge-2010-004-DSCF7190_small.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/05/20230409-Frontiers-Badge-2010-007-DSCF7195_small-1.jpg) Little stickers were used to identify sub-groups of participants, like Press and Sponsors. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/05/20230409-Frontiers-Badge-2010-006-DSCF7193_small.jpg) When we opened the doors of the venue, a Roman aquarium from the 1880s turned into an events space, the attendees’ reactions were incredibly positive. Some participants even tried to get hold of the other versions, and just like that a banal conference badge turned into a collectible item. As a side note, we created a low-cost visual record of the attendees by taking a photo of them with their badge next to their face in what we called a “Faceroll”. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/05/Faceroll-Frontiers-2010-Heather-Knight.jpg) Frontiers of Interaction 2010 speaker Heather Knight Although I decided to leave Foi after that edition (to move to a new role in Madrid), I stayed on board as an Advisor for a few more years. I was happy to see that the new team, led by Marcello Merlo, carried on the concept of the special badges, carrying what had become a tradition of Frontiers of Interaction. ### Slow prosperity: empathy and (small) business URL: https://www.gchicco.com/slow-prosperity-empathy-and-business/ Last updated: 2023-05-01T17:17:24.000Z On April 14th 2023 I hosted an online session called **“Slow prosperity: Empathy and Business”** with 6th generation Japanese master craftsman Takahiro Yagi of [Kaikado](https://www.kaikado.jp/?ref=gchicco.com). Kaikado has been making tea caddies - 茶筒, chazutsu - since 1875\. The wide-ranging conversation followed some of the topics covered in Taka’s book, “共感と商い” (“Empathy and Business”), published in March 2023, and this was the first time he was talking about it in English. From the essence of his work to why he vows for an alternative model to extreme consumerism, from experimenting with alternative materials like plastic and carbon fibre to superfans (押し, oshi). We even talked about ChatGPT! Below I highlight a few of the topics that stood up to me. However, I encourage you to watch the whole conversation (or listen to it during your commute). --- ## Why write a book now Taka decided to write the book because he felt that following a “big business” playbook, one solely focussed on scale and profit, was not suitable for craft companies. If craftspeople want to double their scale of production they need to double the people working on it. If profit was Kaikado’s only goal, they would have stopped making high quality tea containers that can last for 100 years or more. To this day, they have customers bringing back their tea caddies to be repaired so that they last for another century. What has kept Taka and his forebears going is the feeling of uniqueness of these objects. ## Family, small business and feelings The title of the book is “共感と商い” (Kyōkan to akinai), which I roughly translated as “empathy and business”. However, Taka pointed out that he consciously avoided using the word “business” which in Japanese is written ビジネス using katakana, the syllabary for foreign words. Business is often used for corporations and big companies. Instead he chose 商い, akinai, which has a meaning closer to “small business”. Taka reflects on how in the beginning, exchanges were human-to-human. Money came later as a practical tool to transact but he feels that in today's way of doing business money comes before human values. That’s why he uses the concept of family throughout the book, to highlight that the first step should be the exchange of feelings, then comes the passing of physical things, and money comes later to allow the trade to happen. Case in point, when I first met Taka a decade ago at the Salone del Mobile in Milan, he gave me a small copper tea scoop in which he inscribed my name with a chisel. I realise now that throughout the years our mutual exchange has been about feelings, not money (even if I’m a customer of Kaikado and have purchased several tea caddies and spent time at the Kaikado Cafe in Kyoto). Today we consider each other friends. > *“In the book I talk about family, of thinking of the world as a family. If I do so, then I don't have to take all the profits for myself, you know, we can share it with all the family \[members\] in the world.”* ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/05/Kaikado-copper-tea-scoop_photo-by-Gianfranco-Chicco.jpg) My first exchange with Taka was through this copper tea scoop with my name inscribed on it. ## Thinking beyond your own lifetime Thinking and acting long term is embedded in the work of Kaikado and many other Japanese craftspeople. For example, after WWII Taka’s grandfather saw that the market was being inundated by foreign machine-made tea caddies. At the time the perception was that machine-made was the future while handmade was old-fashioned. If his grandfather had put profit first, he would have gone into machine-made tea caddies and eventually these skills would have disappeared from Japan. *“My grandfather thought about the future and the uniqueness of handmade \[things\] and also I think he was proud of making good quality products by hand. That’s why he never got into machine made tea containers. That’s why we can exist right now. Whenever I have to make an important decision I think about my grandfather and I think about my children and grandchildren. And then I try to think about what we should do right now.”* ## The essence of the work What is the essence of Kaikado? *“The tea container itself is not the strong point of Kaikado. I think it’s the feeling \[you get\] when opening the tea container. If when you open the tea container you have a good feeling and when you have tea it has a good taste, that means that the container performed its function of keeping the tea fresh correctly. That is the core value for the tea container and for Kaikado.”* Creating that feeling is the core value of Kaikado and it's the one thing they don’t want to change. All the rest can be adapted to the current era. > *“I make other objects so that I can continue making tea containers for the next hundred years.”* ## Thinking in ecosystems Different crafts can act as a mirror to each other. In the world of tea, the tea container cannot exist in isolation. You need other tools like the strainer, the tea bowl, the scoop, the kettle and more. *“I think that everything that we bring into this world doesn't happen in isolation, right? And understanding what is your contribution to that ecosystem is important because, even ourselves, we cannot live our lives alone. You know, even if you focus on your own things you require everything that's around you to live, to thrive. What you do has an impact on others and it can be good and it can be bad. I think that's something that often we forget in the business world where it's all about, you know, benefit for ourselves as quickly as possible without realising that the benefits are connected to other things and have consequences.”* ## The personality of objects If people can continue using an object instead of disposing of it immediately, that could be part of the solution to the environmental crises. *“If you continue using \[that object\] you can also find out a thing’s 者柄 (monogara), the personality or character of that thing.”* Kaikado’s tea caddies age beautifully through use in a way akin to how one’s personality changes and evolves throughout life. *“We often say that the wisdom of the present is based on our failures or mistakes of the past, and we need that period of growth and evolution, and why shouldn't our products follow us in that same sense?”* ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/05/kaikado-old-and-new-caddies.jpg) Kaikado tea caddies through the years. Photo courtesy of Kaikado. ## Changing/Not changing In 2025 Kaikado will celebrate its 150th anniversary. Taka imagines the company-family’s history as a line made of 150 tea caddies. To help make this line longer one by one, they’ve been taking small jumps, like a portable speaker created for Panasonic or a coffee container. The small jumps are like adjusting to the current era. *“But before making a new jump I look at this line of past tea containers. The products we create are an extension of ourselves, are an extension of our society, are an extension of our body.”* ## Collective imagination and sustainability Taka and a group of local craftspeople have opened an exhibition at the Kyoto Kyocera Museum where they imagine the future of Kyoto in 100 years. The show has the goal of stimulating the collective social imagination. The starting point is seeing Kyoto as a crafts city with a craft-mind, populated by spaces where things can be fixed so that they are used again and again. Fixing and repairing for continuous use offers a different lens to look at the price that these objects sell for. If you can use it ten-times longer, or even pass it onto those that come after you, then the price is not high even when compared to cheap, disposable items. > *“We created a workshop for fixing and adjusting, rejuvenating the things we have so they can last for 100 more years. \[...\] If things are not made to be disposable, we can make smaller amounts of them. This can also be part of the solution to the environmental crisis.”* ## Lived experience is more than words The Kaikado Cafe was created as a place for the customers to experience the brand naturally without the need to know about the narrative behind what the company does. This learning by experience, not by words, is similar to how Taka learned his craft from his father, not by oral teaching but by doing. > *“My father never taught me. He just asked me to watch and learn. So we always pass our philosophy \[to the next generation\] by hand-to-hand, not by words. It takes a long time, but once you experience it you never forget.”* --- **PS: If you’re left wanting to know more about Kaikado and their philosophy, check out [this other conversation we had in December 2020](https://youtu.be/%5FE8VkrWc554?ref=gchicco.com).** ### The connection between maker and owner URL: https://www.gchicco.com/the-connection-between-maker-and-owner/ Last updated: 2023-04-15T15:38:18.000Z I love product catalogues. When I was a kid I spent hours flipping through the LEGO booklets that my parents would bring back from their trips abroad (LEGO was not widely available in Argentina in the ‘80s). I would check out every detail of the sets featured in those pages, especially spaceships and fire brigades, daydreaming of which one I would ask for my next birthday. Physical product catalogues are rarer now but I recently picked one up from Japanese gardening tools shop [Niwaki](https://www.niwaki.com/?ref=gchicco.com) in London. The opening letter by the company founder, Jake Hobson, caught my attention by turning into words the feeling I have with the objects I own and cherish. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/04/niwaki-garden-shears.jpg) Niwaki Garden Shears. Photo: Niwaki Talking about the tools they sell and those who make them, Hobson writes: *“\[...\] Why does it matter that the blades of your secateurs were hand-forged by a 4th generation blacksmith, the spring was fitted by his wife and their son fashioned the handles, all under one roof? \[...\] The answer, in one word: connection. \[...\] Without getting too mystical, part of that connection comes from recognising that a skilled craftsperson made my shears. That knowledge imparts a degree of responsibility on to me - if he or she used their expertise to make the finest tool they could, don’t I, to some extent, owe it to them (and by them, I’m not sure if I mean the maker, the tool or a mixture of the two) to look after them?* *What’s more, they were made to be looked after. They can be sharpened and oiled, the nut can be tightened, the handles can be lightly sanded and oiled, and none of this is accidental: it’s the result of the maker’s careful choices of design, materials and technique.* *So somewhere along the line, I’ve switched from being a consumer to an owner. Or maybe even a custodian, if I look after them well enough to pass them on to my children: not inconceivable the way they’re going.”* ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/04/Jake-Hobson-of-Niwaki.jpg) Jake Hobson, founder of Niwaki. Photo: Niwaki The concept of stewardship of objects is often used in reference to art in museums and not to gardening tools. However, making objects that last beyond one's lifetime used to be the norm when resources are scarce and a huge amount of skill is needed, from furniture by Danish woodworkers made to be inherited to buildings that have endured through the centuries like the Roman Pantheon. In a recent conversation with Takahiro Yagi, 6th generation master craftsman of [Kaikado](https://www.kaikado.jp/english/?ref=gchicco.com) in Kyoto, he told me how the tea caddies they’ve been making since 1875 still find their way back to the workshop to be repaired so they can be used for a hundred more years. *Fewer, better things* or *Less, but better* has been the mantra of many makers, designers and owners. We are now rediscovering the obvious, that well made, long lasting things are a fundamental requisite to counteract the effects of our rabid consumerism on the natural environment. But what’s been missing from that equation to make it effective is acknowledging the importance of the connection between the maker and the owner. This is what Hobson describes in the catalogue, reminding the prospective owners, or stewards if you prefer, of Niwaki products that buying a new pair of made in Japan shears comes not only with the warranty of being high quality and fit for purpose, but also with the obligation to tend to them well so that a future generation will enjoy using them too. ### The Humble Yunomi URL: https://www.gchicco.com/the-humble-yunomi/ Last updated: 2026-07-11T20:44:00.000Z Broadly speaking, Japanese tea cups and bowls can be classified as chawan, yunomi and guinomi. The chawan is at the apex of the hierarchy. Simply meaning tea bowl, it’s revered as the centre of the universe of cha-do, the way of tea. Chawans are also the biggest of the three and drinking from them requires that you hold them with both hands. Every aspect of a chawan has a name and has been endlessly discussed by makers, collectors and scholars. The guinomi is the smallest of them all but comes second in prestige. They are more commonly used to drink sake but can also function as a small cup for precious teas like gyokuro or in the gongfu style of tea associated with China and Taiwan. Because you can’t pour much liquid into a guinomi (there’s no definite number, however 20 to 40 ml of liquid would be a good reference), it’s the perfect vessel for gatherings where serving tea (or sake) to the guests is part of a social ritual, like during a tasting session or as part of a kaiseki meal consisting of multiple courses. A guinomi can look like a miniature chawan, being often wider than tall. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/03/20230331-The-Humble-Yunomi-003s.jpg) Three cheap, mass produced "made in Japan" yunomi purchased 20 years ago in Milan. And then there’s the yunomi, the workhorse of Japanese tea. Made to drink steeped teas like sencha, bancha or hojicha, it’s the cup where you’ll be offered tea at a shop, a restaurant, an office or when visiting someone’s home. You’ll find it in daily use by people of all classes and backgrounds. Like the other two, the yunomi does not have a handle. Its size sits in-between that of a chawan and a guinomi but it tends to be taller than wide and with straight walls, although some of my favourites have a plump “waist”. Its shape and size contributes to keeping its contents hot and make it easy to drink one-handed. In Japan, the yunomi shape is the first one that a potter learns to make on the potter’s wheel (in the west it’s throwing a cylinder). Because of their everyman connotation, yunomis are significantly cheaper than chawans and guinomis, as the price of a tea bowl is not directly related to its size but to the meaning that it carries. An inexpensive and hastily made object like the bowl that a farmer might use to eat rice can be elevated to precious tea stardom like with the famous Ido-style Korean chawans. That would never happen with a yunomi. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/03/20230331-The-Humble-Yunomi-002s.jpg) Two yunomi made by Tomoo Hamada to celebrate the 100 years since the founding of the Leach Pottery in St Ives, Cornwall. I like yunomis because they are utilitarian and unpretentious. Because a maker will often use the same materials and techniques they use for chawans to create a yunomi, it’s a great way to acquire the work of a craftsperson that you admire even if you don’t have much money. That’s how I got hold of a pair made by Tomoo Hamada to commemorate the 100 years since the establishment of the Leach Pottery in St Ives, Cornwall. Tomoo-san is grandson of Shōji Hamada, who was a Japanese Living National Treasure, a leading figure of the Mingei folk craft movement, and co-founder with Bernard Leach of the Leach Pottery in 1920\. These cups came in their own signed *kiribako*, the paulownia wood boxes that are typically used to identify and store higher quality objects. My daily rotation also includes a few cheap, “made in Japan”, mass produced yunomi that I acquired at a shop in Milan’s Chinatown twenty years ago. When a friend taking their first steps into Japanese ceramics asks me where to start from, I always recommend a yunomi. It is said that you can find the whole cosmos in a tea bowl. While not part of the major arcana of ceramics, to me, the humble yunomi outshines its more famous siblings by being practical and bringing people together in daily life. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/03/20230331-The-Humble-Yunomi-005s.jpg) Yunomi of different shapes and sizes by British potters, from left to right, Joseph Ludkin, John Webb and John Jelfs. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/03/20230331-The-Humble-Yunomi-007s.jpg) More yunomi-style cups. From left to right, a chipped cup from Astier de Villatte in France, a cup from Viter Ceramics in Ukraine and a brute vessel made by me in one of my first attempts at ceramics. ### The Ukrainian Tryzub URL: https://www.gchicco.com/the-ukrainian-tryzub/ Last updated: 2023-03-01T22:46:08.000Z Ivan Hryhorchuk of [Viter Ceramics](https://www.instagram.com/viterceramics/?ref=gchicco.com) is a young Ukrainian potter whose work is inspired by Japanese ceramics and tea culture. As a fellow Japanophile, I found his teaware very relatable and [bought some of it](https://www.instagram.com/p/B1bcX3Ahtr%5F/?ref=gchicco.com) in 2019\. When Russia invaded Ukraine in February of 2022, Ivan’s life and that of most Ukranians turned upside down. Overnight, Ivan’s attention turned to survival, to protecting his young family and finding ways to fight back the oppressors. Constantly changing locations, his ceramics practice had to take a step back. But whenever possible, or at least when it felt safe enough and he could find the materials to do so, Ivan would attempt to make and sell pots to support the resistance. That’s how last year I bought another one of his teacups at an online auction. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/03/Viter-Ceramics-cup-trident-02---gianfranco-chicco.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/03/Viter-Ceramics-cup-trident-03---gianfranco-chicco.jpg) Blue and yellow accents recall Ukraine's national colours. Photo by Gianfranco Chicco The cup’s glazing had blue and yellow accents representing Ukraine's flag. It also had a potter's mark, a trident - tryzub in Ukrainian - that was not present in his earlier work. When I asked him via an Instagram DM if this was a new addition, he replied “Oh, it’s as almost new as our written history is.” > “ \[The\] Trident is an ancient symbol of \[the\] Ukrainian country, and its simplified shape was used as a symbol of our long fight for freedom for centuries. And now it’s on the top again, it’s everywhere, as \[an\] easily recognizable mark. So I decided to use it for my works made during war, because it’s something that says more than any personal seal, and also because we use our works to support \[the\] defence of our land.” In September 2022 Ivan made a statement teabowl - a wartime chawan - using local clay mixed with shrapnel and pieces of artillery ammunition that have become a part of everyday life: “This tea-bowl is not utilitarian, but more of an art object and reflection, a piece of consolidated experience stabilised in a material medium which is expressed through a form that’s so usual for me and for tea lovers in general." ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/03/Viter-Ceramics-wartime-chawan-01---Viter-Ceramics.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/03/Viter-Ceramics-wartime-chawan-02---Viter-Ceramics-1.jpg) The making of a wartime chawan. Photos courtesy of Ivan Hryhorchuk > I needed to put the incompatible things together, to intersect my teaware making techniques and actions of war as we lived through it in direct contact. All the particles were picked up in the neighbourhoods in our Bucha district - they were laying everywhere around when we returned to our home in April. Sharp rusty spots, left after shots, became parts of our landscape and integrated into it. \[It acts\] as an anchor of time when everything seems both very real and surreal. But what’s always real, what’s the most grounding and motivating - it’s that deep knowledge that we will win, because there’s no other way for Ukrainians to live further.” ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/03/Viter-Ceramics-wartime-chawan-03---Viter-Ceramics.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/03/Viter-Ceramics-wartime-chawan-04---Viter-Ceramics.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/03/Viter-Ceramics-wartime-chawan-05---Viter-Ceramics.jpg) A wartime chawan. Photos courtesy of Ivan Hryhorchuk I drink from my Viter Ceramics cup often. The trident looks like a scar reflecting the suffering of the Ukrainian people. When I hold it in my hand it makes me think of Ivan and his family, and wish that the war will soon end in favour of Ukraine. *Sláva Ukrayíni!* つづく ### Tea Ensō URL: https://www.gchicco.com/tea-enso/ Last updated: 2025-05-05T11:00:47.000Z This morning I did a sloppy job at transferring new matcha tea from its original container onto a tea caddy using a sift that was wider than the opening of the caddy (sifting matcha is important to avoid powdery lumps and obtain a smoother drink). The unintended effect of my actions resulted in a strand of tea powder accumulating around the cylindrical tea caddy which, once removed, left a green circle resembling an ensō, the celebrated circular form in Zen Buddhism, on the indigo cloth of the table runner. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/02/20230226-matcha-enso-_small-003-DSCF6481.jpg) An open Zen circular form or ensō - Photo by Gianfranco Chicco In Zen and Japanese calligraphy, drawing ensō circles on paper using a continuous brushstroke is often used as a part of a meditative practice to reflect the current state of one’s mind. An open or closed circle might represent different states of nothingness or completeness, imperfection or perfection, which reminds me of the key passage of the Heart Sutra that says (translation by Alex Kerr): > Oh Shariputra! > The material world does not differ from emptiness. > Emptiness does not differ from the material world. > The material world is itself emptiness. > Emptiness is itself the material world. > Sensation, Thought, Action and Consciousness > Are all just like this. And there I was, performing a mundane action before preparing a bowl of matcha when I got transported into a brief moment of calm and reflection before the busyness of the day began. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/02/20230226-matcha-enso-_small-004-DSCF6492.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/02/20230226-matcha-enso-_small-006-DSCF6503.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/02/20230226-matcha-enso-_small-005-DSCF6499.jpg) Tomoshiro no mukashi matcha by Rishouen, tea caddy by Kaikado, chawan by Hosai Matsubayashi XVI of Asahiyaki - Photos by Gianfranco Chicco. ### Traditions: from copying to rebellion to transcendence URL: https://www.gchicco.com/traditions-from-copying-to-rebellion-to-transcendence/ Last updated: 2023-02-05T14:12:28.000Z When we think about traditional craft objects, the first image that comes to mind is that of old things, vintage looks, nostalgia and remote origin stories. However, traditions are living entities. They have to be born before they get a chance to establish themselves, they grow and evolve, and sometimes they die too. The evolution of a tradition can take different shapes and forms, perhaps it’s the technique that subsists and gets applied to other industries, like the katana sword makers from Kyoto that over the last two centuries have pivoted to making kitchen knives as sharp as the battle tools of yore. The end for a tradition might come through a shift in external market forces that dictate it’s no longer valuable to society. Or it could be that there are no new apprentices to keep it alive. Another kind of death for can happen when a tradition becomes the victim of its own success, gets stuck in a specific moment in time, and continues its existence in a zombie-like state, hardly changing at all. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/02/Chawan-by-Raku-Cho-jiro--I---Photo-by-Gianfranco-Chicco.jpg) Black chawan by Chōjirō, the originator of the Raku tradition - Photo by Gianfranco Chicco Craftspeople are responsible for carrying on traditions through successive generations by nurturing them in such a way that they stay relevant to the world they inhabit. This is often driven by the craftsperson's relentless intuition and curiosity while surfing the waves of constant transformation. The change it goes through might be imperceptible to the untrained eye, a sort of Darwinian natural selection that is visible only across large spans of time. Some traditions have codified mechanisms to proactively deal with change by embracing it, such as the Japanese concept of *Shuhari*, often associated with martial arts, although it had its genesis in *Noh* theatre and the Way of Tea. Last November I was able to explore the meaning of Shuhari through an exhibition at the Raku Museum in Kyoto called "Following, Challenging, Transcending: The Roots and Legacy of the Rikyū Style". It looked back at the evolution of dozens of tea bowls, chawan in Japanese, made by the Raku family, from the 16th Century iconic ones by the originator of the Raku dynasty, *Chōjirō I*, to those created by the current head, *Kichizaemon XVI* and his father, who assumed the name *Jikinyū* upon passing the baton in 2019. *Rikyū-style*, or *Rikyū-gata*, refers to the kind of objects that were preferred by the most famous Japanese Tea Master of all time, *Sen no Rikyū* (1522 – 1591), who was also a prominent, trendsetting merchant and a confidant of warlord *Toyotomi Hideyoshi*, second of the three great unifiers of Japan. Rikyū promoted a tea practice known as *wabi-cha* which emphasised simplicity, the use of humble tools and had a focus on the relationship between the host and the guests above all things. The Raku tradition was born after Rikyū picked Chōjirō, a tile maker working at Hideyoshi's Jurakudai palace, to create a rustic-looking black bowl free of all the tropes of the aristocratic style of the day. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/02/Tea-bowl-named-Aoyama---Donyu---Photo-by-Takashi-Hatakeyama.jpg) Chawan named Aoyama by Raku Dōnyū - Photo by Takashi Hatakeyama Shuhari establishes three phases to reach mastery. The first one, *Shu*, is **to copy the master**, to learn and follow the fundamentals of the tradition. Next is *Ha*, **to challenge the received knowledge**, breaking away to create something new by exploring new paths. Following and challenging are like a pendulum that swings back and forth. The third phase, *Ri*, is not automatic or easy to achieve. It’s about **transcendence**, the kind that frees the maker from the dualism of Shu and Ha. It's a leap onto a higher level, a new creative pursuit that allows the tradition to evolve without denying its essence. > "To keep the tradition does not mean merely to stick to it but to inherit the spirit of creativity and make it connect with the epoch you live in." - Raku Kakunyū XIV (1918-1980) To explore the different creations of Raku masters check out the Raku Museum instagram feed: [@rakumuseum\_kyoto](https://www.instagram.com/rakumuseum%5Fkyoto/?ref=gchicco.com) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/02/Tea-bowl-named-Juei-by-Raku-Kakunyu----Photo-by-Takashi-Hatakeyama.jpg) Chawan named Juei by Raku Kakunyū - Photo by Takashi Hatakeyama The Raku tradition is anchored in Shuhari. While each new generation learns directly from the previous one through what’s called *Isshi-sōden*, the passing of the secrets from parent to heir, not all things are taught in detail. For example, each Raku head has to develop their own formula for a black glaze using stones from Kyoto’s Kamo river. > “The Raku family draws a clear distinction between fundamental techniques handed down from generation to generation and individual techniques that each successor masters by himself. This is to foster the originality of each individual artist and avoid being excessively constrained by the legacy of the past. For example, the preparation of glazes is considered an individual technique, and a master teaches nothing to his successor even if the successor is his own child.” - Raku Kichizaemon XV and Raku Atsundo in Raku - A Legacy of Japanese Tea Ceramics ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/02/Chawan-by-Raku-Jikinyu---Photo-by-Gianfranco-Chicco.jpg) Chawan by Raku Jikinyū - Photo by Gianfranco Chicco Shuhari is one of the many processes through which a tradition can renew its purpose and continue to live on, and it's applicable beyond traditional crafts. As sociologist Richard Sennett pointed out in his seminal book *The Craftsman*, the notion of craftsmanship applies to all kinds of professions, including doctors, programmers, artists and even parents. With that in mind, I aspire to achieve Ri in my own pursuit of mastery as a knowledge worker. But for now, I’m still swinging back and forth between Shu and Ha. つづく ### WIP: new website URL: https://www.gchicco.com/wip-new-website/ Last updated: 2023-01-15T23:07:47.000Z I moved my website gchicco.com (this one!) to a new platform (Ghost) and I’m in the process of transferring content from the old version. It contained articles, work news and photos spanning over 15 years… tempus fugit! Reviewing all that content is proving to be quite cathartic and will take time. Stories I wrote back in 2007 or while I was living in Japan over a decade ago have served their purpose and feel less relevant in today’s world. They won't be coming back. Others will get a much deserved dose of TLC. For now, I’ve re-published a handful of articles keeping their original dates. I’ll add more soon, and new content too. ### Step Into Sony Design’s New Virtual Reality URL: https://www.gchicco.com/step-into-sony-designs-new-virtual-reality/ Last updated: 2026-08-11T13:06:14.000Z *This article was first published in the London Design Festival 'Red Book' (print) and* [*website*](https://londondesignfestival.com/stories/prefecture-makes-perfect?ref=gchicco.com) *in 2022.* > “Our role is not to create eccentric, one-off concepts just for the sake of it but, through the power of design, to envision new paradigms, give meaning to ideas and develop new standards” Sony has always been at the forefront of design and became one of the first companies to create an in-house creative studio. Sony's design division was established in 1961 and has since been generating new concepts and ideas to support the businesses of the Sony Group. Today their contribution has expanded beyond purely product design to a wide range of design activities, including user experience, communication, entertainment and more. One of their latest areas of interest is virtual production, a cinematography solution enabled by super realistic virtual scenery using Sony's Crystal LED display systems. It has become one of the most interesting developments in film production of the last few years, replacing green screen technology. On a practical level, the advantages of virtual production are that it lowers costs and reduces CO2 emissions by removing the need to travel long-distance for filming. But, its benefits go far beyond that. For example, when using typical green screens, actors perform in front of a coloured background without knowing what's really happening around them; the rest of the scene is completed later using computer-generated images. Virtual production creates a physical environment using Crystal LED displays to show digital backgrounds that the actors can actually see and react to. It could be the scenery of sand dunes in a desert, an alien planet – anything really. And, the actors would feel immersed in it, reacting to what's happening in their physical space. "Using green screens can be challenging for actors when they can't really see what's going on and need to rely on their imagination. Now, they can perform in a real environment that – even if it's generated through a screen – they can interact with, see their own shadows on, and other things that until now would be done mostly in post-production. In a way, they can be better actors," explains Hirotaka Tako, creative director and head of Design Centre Europe at Sony Europe. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/ldf22-intosight-sony-design-02.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/ldf22-intosight-sony-design-05.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/ldf22-intosight-sony-design-08.jpg) Images courtesy Sony Design This kind of experience is at the heart of INTO SIGHT, the bespoke installation that Sony's Design team is showcasing at London Design Festival. The goal is to uncover new insights regarding the coexistence of physical and virtual realities. INTO SIGHT is a life-sized media platform, consisting of a tunnel featuring a 220-inch Crystal LED screen, see-through glass walls, and mirrors on the floor and ceiling. Inside, designers transform the simple boundaries of the container into infinite vistas through shifting light, colour and sound. Stepping into the installation unveils multiple stories and transparent surprises, accompanied by a generative soundtrack. Creating such a unique sensorial experience requires a full spectrum of design disciplines coming together: product and spatial design, interaction and sound design, 3D CGI and graphic design. But, above all, it relies on the emotional connections that the designers create with their visitors. This is something that Sony has a consolidated track record of doing across the board, from its audio devices to game consoles, virtual fan experiences and even robot dogs. 0:00 /2:07 1× ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/ldf22-intosight-sony-design-06.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/ldf22-intosight-sony-design-04.jpg) Images courtesy Sony Design "Whether we're creating a product like the WALKMAN® music player, a Handycam® camcorder or the UI, UX and motion of a robot, empathy is the most important thing for us," says Daisuke Ishii, head of Creative Center at Sony Group Corporation in Japan. "\[It's always about\] the emotional value created between our designs and the users." Ishii sums up the mission of 'Sony Design' neatly: "Our role is not to create eccentric, one-off concepts just for the sake of it but, through the power of design, to envision new paradigms, give meaning to ideas, and engage with global audiences to develop new standards." ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/LDF22_Red-Book_Cover.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/LDF22_Red-Book_Sony.jpg) London Design Festival - Red Book 2022\. Design by Pentagram ### Meet the Woodworkers of Hida Takayama URL: https://www.gchicco.com/meet-the-woodworkers-of-hida-takayama/ Last updated: 2026-08-11T20:23:38.000Z *This article was first published in the London Design Festival 'Red Book' (print) and* [*website*](https://londondesignfestival.com/stories/meet-the-woodworkers-of-hida-takayama?ref=gchicco.com) *in 2022.* **A great way to learn about other civilisations is through their material culture, and since its inception, Japan House London has been hosting exhibitions on exactly that. Its latest exhibition, 'The Carpenters' Line: Woodworking Heritage in Hida Takayama', opens a door into the extraordinary craftworking legacy of central Japan.** The Hida region is covered with trees. During the Nara period (710-794 CE), local authorities were unable to pay their taxes in rice (a common currency back then), so they offered to fulfil their duties to the Emperor with woodwork instead. As a consequence, Hida no Takumi, the craftspeople of Hida, would travel to the capitals of Nara and later Kyoto to build everything from temples to palaces, or create objects like the shaku, a sceptre made of yew wood used during the Emperor's official enthronement ceremony. With time, these skills went from being an essential means of livelihood to highly sought after, renowned throughout the country. The tools and techniques developed in those early years didn't remain stagnant. In the early 20th century, the technology of bentwood was introduced to the region and companies like Hida Sangyō started using it to make furniture out of buna (beech). This wood was abundant in the hills of Takayama, largely because until then it was considered useless for making things compared to sugi (Japanese cedar), hinoki (Japanese cypress) and ichii (yew). ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/the-carpenters_japan-house-london_04.jpg) Photo courtesy Japan House London "What has happened, especially since WWII and the increase in consumerism, is that companies like Hida Sangyō have expanded their efforts to feed into this new lifestyle that Japan was pursuing," explains Simon Wright, director of programming at Japan House London. "So, just like the Tokyo Olympics of 1964 were a turning point for the popularity of electronics and technology, products for the home like furniture \[for\] your television set and your refrigerator, became aspirational lifestyle signifiers." The exhibition looks into the material, of course, but also the people, the techniques – such as chigiri, the famous butterfly joint used to hold two or more pieces of wood together – and products. It highlights how the growth and ongoing success of these businesses is based on turning early craft practices into innovative industrial technology, where designers make new things to meet the changing needs of a domestic, and now global user base. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/the-carpenters_japan-house-london_01.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/the-carpenters_japan-house-london_03.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/the-carpenters_japan-house-london_05.jpg) Photos courtesy Japan House London ### I fell down a moon jar rabbit hole URL: https://www.gchicco.com/moon-jar-rabbit-hole/ Last updated: 2023-04-23T16:24:03.000Z Earlier this year I fell down a moon jar rabbit hole. My interest in Korean ceramics had been growing over the years, at first as a way to better understand its Japanese counterpart, and later based on its own merit. While Japanese emperors, aristocrats and rulers like Toyotomi Hideshoshi had a penchant for karamono, elegant and luxurious tea wares and other objects originating in China, it was tea masters like Murata Jukō, Takeno Jōō, and Sen no Rikyū that recognised and elevated the simple beauty of more humble objects like Korean rice bowls. They gave birth to a style of tea ceremony called wabi-cha. In the late 16th century, Hideshoshi was so obsessed with Korean wares (and with everything and anything related to the Tea Ceremony) that during successive invasions of Korea he ordered the kidnapping of many local craftspeople who were resettled in Japan. These forced relocations gave birth to a rich series of traditions that produced some of the country’s most regarded ceramics. Korean buncheong wares, stoneware vessels decorated with white slip, became a point of reference for Mingei, folk craft. Even the utmost exemplifier of Mingei as described by Sōetsu Yanagi (1889 – 1961) is the humble Korea-made Kizaemon Ido bowl (which is not Buncheong). ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/04/Moon-Jars-at-the-British-Museum-009-1.jpg) A moon jar once owned by Bernard Leach and Lucie Rie at the British Museum. Moon jars are a classic Korean form usually made of milky white porcelain resembling a full moon floating over a rice field. They are made by merging two half domes, with a foot that is narrower than the mouth, giving the impression that they could topple down with just a little push. ⁣⁣Its smooth curves make them a delight to hold. Their primordial function as a container for salt, soy sauce or fermented foods is still reflected in their shape, but it has since taken an ornamental role. ⁣⁣ As it often happens, when you focus your attention on something you start to see that thing all over the place. A London gallery owner told me that moon jars were popular among millennials and Gen Z, a possible reason why I was suddenly coming across them everywhere. Maybe it's their minimalistic, hypnotic form that looks good on Instagram that makes them attractive to younger people, or maybe they’re an extension of the trailblazing K-wave that's permeating everything from music to film, food and cosmetics. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/04/Moon-Jar-Han-Collection-Collect-2022-Somerset-House.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/04/Moon-Jar-Han-Collection-Collect-2022-Somerset-House-2.jpg) Detail from an exhibition by Han Collection at Collect 2022 in Somerset House. To learn more about moon jars, I visited places that have old and new versions. The British Museum's Korean collection (Room 67) is small compared to those dedicated to its Chinese collections, but nonetheless it leaves a mark. The muted luxury of celadon wares from the Goryeo period (918 - 1392 CE) and the disarming simplicity of buncheong wares from the Joseon period (1392 - 1897 CE) complement each other so well that it feels like one could not exist without the other. ⁣⁣You can see why Yanagi and Bernard Leach (1887 – 1979) were obsessed with the work of Korean potters. One of the moon jars in the room was acquired by Leach during a visit to Korea and later given to Lucie Rie (1902 – 1995), who kept it until her death. It was at the [Han Collection](https://www.hancollection.co.uk/?ref=gchicco.com) gallery just outside the British Museum that I was able to appreciate moon jars up close. The owner, Jinsoo Park, and a regular visitor and collector, Peter the "[Korean Ceramics Fan](https://www.instagram.com/koreanceramicsfan/?ref=gchicco.com)", helped me to better understand their form and history, and YouTube offered a deep dive into how they are made. I learned for example how a jar's sharp shoulder or a gentler slope identify them with a male or female character respectively. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/04/Moon-Jars-by-Adam-Buick-at-Sarah-Myerscough-Gallery-001.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/04/Moon-Jars-by-Adam-Buick-at-Sarah-Myerscough-Gallery-005.jpg) Adam Buick's Inclusions at Sarah Myerscough's gallery. ### Beyond traditional Moon jars have inspired non-Korean makers in a similar vein to how chawans, Japanese tea bowls, have influenced potters all over the world. Purists might snigger at this but art and craft has always relied on imitation and inspiration to evolve. In mid-May I visited Sarah Myerscough's gallery to examine the work of Wales-based Adam Buick, who first encountered moon jars at the V&A Museum in London and later honed the craft of making them in South Korea. ⁣His series "Inclusions" consists of Korean-style moon jars thrown with pebbles from the Welsh coast. ⁣ Seen from behind, assuming that moon jars have a front and a back, the vessels are sublime and reminiscent of the classic shapes beloved by the Korean royal court of yesteryear. But walk around them and their special features come to the fore without losing that sense of calm and radiance that a moon jar can transmit when done well. ⁣ ⁣ As with many Korean wares, a moon jar doesn't need to be symmetrical and faultless to be perfect. Its personality relies on the acceptance of 'what is' rather than the impossible ideals of 'what could be'. During firing in the kiln, the pebbles incorporated by Buick break through the porcelain, some shedding metallic tears, as if asking for a gentle caress to heal the scars left by the irregular contractions of the different materials. Despite these 'faults', they each stand with elegance, reflecting the room's light as if it were coming from within. ⁣ ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/04/My-moon-jar-by-Shin-Won-dong-at-home-01.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/04/My-moon-jar-by-Shin-Won-dong-at-home-02.jpg) My moon jar, made by Shin Won-dong. ### My precious My infatuation with moon jars had only one natural conclusion, owning one. It became a goal for my birthday. With only a modest budget available and limited space at home, I seeked a small to medium sized one with classic proportions. I saw it as putting a foot on the ladder of Korean ceramics rather than as an arrival point. At first, I was enamoured by a vessel by the well known Kim Pan-ki. I checked it out several times, reduced any unnecessary everyday expenses to make it more affordable, and was ready to make the purchase when I came across another jar by a young artist, Shin Won-dong. Kim is already a recognised master. Shin is on his way to become one. What attracted me to his work was the slight variations that he had brought into the form. The rim or lip of his moon jar doesn't stick out as much, the waist tapers very gently into the foot. And then there's the glazing: it's matt rather than glossy. As far as I understood, the pot was glazed in the canonic way and then Shin scrapped it away to leave a lustreless finish. My new moon jar is too big to keep kimchi or soy sauce in it but it's just perfectly imperfect to hold flowers and dreams of visiting the Korean Peninsula in the near future. ### Third-wave coffee oasis in Milan URL: https://www.gchicco.com/third-wave-coffee-oasis-in-milan/ Last updated: 2024-02-04T23:50:12.000Z Finally back in Milan for Salone. The city was hot and humid as expected (it was June after all and not April, Salone’s usual month). Long work days criss-crossing from North to South and East to West to meet people, check out exhibitions, trade shows and attend talks. I didn’t have time for much else, not to hang out with friends nor walk around some of my favourite spots from when I lived there between 2002 and 2008\. On Sunday morning though, I made an exception before heading to the airport. Last year my friends Francesca and Marco had introduced me to a new cafe-oasis in town: [Onest Milano](https://www.onestmilano.com/?ref=gchicco.com). ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/image.png) Onest Milano - Photo by Gianfranco Chicco Onest oscillates between serving specialty coffee during the day and wine in the evenings, both accompanied by delicate good food. They pride themselves in putting sustainability and traceability at the top of their offering. Italy in general, and Milan in particular, has a strong coffee culture, However, despite having given coffee products some of their most recognisable names and formats (espresso, cappuccino, latte, americano, the stovetop moka, etc) at some point it lost its way and the coffee at any average bar became not only no-frills but also not particularly well made. I remember drinking burnt cappuccinos with watered down milk at train stations, bleak cups of espresso at highway stops and at many bars and restaurants. Yes, great coffee could still be found, but mediocrity had triumphed (something similar happened with pizza). Probably around the time of the Expo in 2015 the tide started to turn on mediocre coffee. Today even at Milan’s Central Station you can have good coffee while waiting for your train to be announced. What the city never fully embraced were certain experiences often associated with the Third Wave of coffee championed by the culture of the likes of Australia, New Zealand and Japan. One example is single origin pour over (which goes by different names, often associated with the equipment you use, like Hario’s V60, Kalita or Chemex). What Onest does complements Italy’s classic coffee culture with wonderful additions from the specialty coffee movement, all housed in a relaxed and colourful space with a small garden that is perfect for catching up with friends or – like I did – just taking a break from the “tran tran quotidiano”, writing letters to people in faraway lands. Thank you Lorenzo and Alessio for the good vibes. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/20220612-Onest-Milano_smaller-013-DSCF4997.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/20220612-Onest-Milano_smaller-014-DSCF4999.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/20220612-Onest-Milano_smaller-016-DSCF5003.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/20220612-Onest-Milano_smaller-007-DSCF4959.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/20220612-Onest-Milano_smaller-008-DSCF4960.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/20220612-Onest-Milano_smaller-010-DSCF4981.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/20220612-Onest-Milano_smaller-009-DSCF4964.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/20220612-Onest-Milano_smaller-011-DSCF4983.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/20220612-Onest-Milano_smaller-004-DSCF4952.jpg) Onest Milano - Photos by Gianfranco Chicco ### Are You a Collector or a Maker? URL: https://www.gchicco.com/are-you-a-collector-or-a-maker/ Last updated: 2026-03-22T20:25:58.000Z > I'm what you guys call a User. - Kevin Flynn,[ Tron](https://youtu.be/EtyHX7z8fi8?ref=gchicco.com) (1982) 'Are you a collector or a maker?' a chatty chap asked me during a ceramics exhibition a few months ago. He then went on to tell me how proud he was of his Japanese collection. 'I’m a user' I uttered without too much thought, and my answer has been lingering in the back of my mind ever since. If you have more than one item of anything that’s non-essential (to you), you're a collector. It could be pebbles, records, stamps, anything really. In that sense, I should have said that I was indeed a collector, even if I don't identify as one. I have more cameras, fountain pens and tea bowls than I need. Not that many mind you, and I use most of them regularly. At the start of 2022 I signed up to a pottery course to learn how to make things on the potter's wheel (I'm not very good at it). Even then, I wouldn’t call myself a maker but rather a curator. I like putting together objects and ideas of different nature, *in conversation* with each other just as[ Jim and Helen Ede](https://www.kettlesyard.co.uk/collection/jim-h-s-ede/?ref=gchicco.com) did at Kettle's Yard, alas with less good taste. The snobbishness of my answer aside, how we think about craft is plagued with false dichotomies. Is it art or utilitarian? By a renowned maker or an unknown craftsperson? Cheap or expensive? Collecting, making, using… labels don't really matter. Instead, craft is akin to a state of mind where all these characteristics can coexist in harmony. Maker, user, collector and curator. They are all interrelated. Oh and by the way, some of the [cups I made](https://www.gchicco.com/with-my-own-two-hands/) in the ceramics course came out just alright and bring me lots of joy whenever I pour tea or coffee in them. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/04/Ceramics-collection-at-the-Ashmolean-Museum.jpg) Display of the ceramics collection at the Ashmolean Museum in Oxford. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/04/Lucie-Rie-bowl-at-Kettle-s-Yard-Feb-2022.jpg) A bowl by Lucie Rie at Kettle's Yard in Cambridge. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/04/Drinking-tea-in-a-cup-I-made-myself.jpg) Drinking tea in a cup I made myself. ### With my own two hands URL: https://www.gchicco.com/with-my-own-two-hands/ Last updated: 2023-04-09T18:49:36.000Z Workweeks have been pretty intense so I spent the weekend recharging. I finally picked up the pots and cups I made over the last couple of months at Tokobo Pottery. They are raw and unrefined, even ugly. But you know what? Tea and coffee taste better in them just because of the pleasure I took in shaping each one with my own hands. ⁣ ⁣ This blue and white guinomi came better than expected. Here it’s surrounded by some of my favourite tea utensils, old and new. The tea is a Summer Miaoli Oolong from Taiwan by Postcard Teas. The indigo kyusu (teapot) is by Shinya Take of the collective Kasama Potters, the gong dao bei (fairness jug) is by the Peng family (also via Postcard Teas), the copper chazutzu (tea caddy) is by Kaikado, and the tea scoop is by Mihai Teascoops.⁣ ⁣ The cookbook is “Cooking With Scorsese”, a brilliant new publication by HATO Press and the little 3D printed fox, aka “Von Quintiero” was a gift by Monita.⁣ > I can change the world > With my own two hands > Make a better place > With my own two hands > Make a kinder place > Oh, with my > Oh, with my own two hands > \- With My Own Two Hands, Ben Harper, 2003 ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/20220410-Tea-session-with-a-cup-I-made-myself-002-DSCF4222.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/20220410-Tea-session-with-a-cup-I-made-myself-010-DSCF4243.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/20220410-Tea-session-with-a-cup-I-made-myself-004-DSCF4227.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/20220410-Tea-session-with-a-cup-I-made-myself-007-DSCF4233.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/20220410-Tea-session-with-a-cup-I-made-myself-014-DSCF4255.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/20220410-Tea-session-with-a-cup-I-made-myself-013-DSCF4254.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/20220410-Tea-session-with-a-cup-I-made-myself-008-DSCF4239.jpg) ### Discover The World Of Mixed Reality URL: https://www.gchicco.com/discover-the-world-of-mixed-reality/ Last updated: 2026-08-11T13:41:15.000Z *This article was first published in the London Design Festival 'Red Book' (print) and* [*website*](https://londondesignfestival.com/stories/prefecture-makes-perfect?ref=gchicco.com) *in 2021.* Last year, Japanese architect Sou Fujimoto’s work was seen in non-physical form for the first time. This was thanks to production studio and technology developer [Tin Drum](https://www.tindrum.io/?ref=gchicco.com) who created from ‘Medusa,’ from his design, a mixed reality project examining structure, nature and visualisation at the V&A’s Raphael Court. Mixed reality blends physical and virtual worlds into spaces where tangible and intangible objects interact in real time. This project explored the relationship between architecture and nature, bringing to life features that morph and evolve based on the movement of audiences in the space. Yoyo Munk is Tin Drum’s chief science officer and the director of ‘Medusa’. He describes how, in general, architecture concerns itself with the physical structures, intended to enclose spaces for human interaction and shelter — which often implies separation from nature. “This virtual architecture cannot provide real shelter. But on the other hand, the virtual nature of the structure also means that it is released from any obligation to adhere to the laws of gravity, or to physically support itself,” explains Monk. How did Medusa come to life? Here we dive into the guiding principles for great mixed reality according to Tin Drum. > 'In mixed reality there is no physicality to the structures, so any solidity exists only in how we perceive it visually.' - Yoyo Munk ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/LDF21-Medusa---audience-with-AR-glasses---Photo-by-Gianfranco-Chicco.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/Medusa_Yoyo_Munk_Tin_Drum.jpg) ## Three Guiding Principles for Great Mixed Reality ### 1\. Avoid technical constraints "We create for real-world spaces: a crucial distinction from virtual reality. We utilise headsets that are 'optical pass-through,' meaning that the glasses are transparent and do not block your view of the real world around you. As such, the pieces we create are added to the world, designed to inhabit real spaces. We do not create virtual environments to replace the real world, but rather digital objects that inhabit and draw energy from real spaces. While there is no technical constraint that requires mixed reality experiences to be created for specific real-world environments, we find that this is essential to realising the power and depth of the medium." ### 2\. Build for an audience "We create experiences that are designed to be shared by an audience. The transparent nature of the technology permits members of the audience to see one another as they are. Building for an audience allows us to transcend the isolation and solipsism of virtual reality, to create shared human experiences that contain the intention of elevating connections. In mixed reality, we can move further into this space, creating a structure that is dynamic, shifting and organically responsive to the way the audience moves through it." ### 3\. Create human-centred experiences "Finally, and most importantly: while all Tin Drum experiences make use of emerging technologies, we aspire to make experiences that are fundamentally human, as opposed to technological. We avoid pure spectacle and our goal is always to ensure that the technology layer makes as minimal an impact on the entire experience as possible. This involves a design process that extends far beyond what happens within the glasses, incorporating subtle choreography intended to pull focus away from the technology itself, allowing for a direct connection to creative space. Our goal is to use technology to create human experiences – hopefully ones that extend well beyond the point when the glasses come off." ### The Influence Of The Wood Is Everything URL: https://www.gchicco.com/the-influence-of-the-wood-is-everything/ Last updated: 2025-05-14T19:03:02.000Z Sven Mihai lives somewhere in the mountains of Central Europe (he asked me to keep the location vague), where he goes on long hikes to collect wood to create unique teawares that have a cult-like following. Getting hold of one of his products is not as easy as your average online shopping. He does occasional product drops in small batches, 10 or so pieces, that are announced on Instagram ([@mihai.teascoops](https://www.instagram.com/mihai.teascoops/?ref=gchicco.com)) and sell out in a matter of minutes. What’s interesting is that he doesn’t have a big number of followers, he’s at about 5,000 at the time of this interview in late 2021, but those who do follow him are eager to own a *Mihai* tea scoop. The relationship that Sven has with these people is akin to Kevin Kelly’s “1,000 true fans” theory. He uses a mix of found and donated wood and East Asian cutting, carving and shaping techniques. I consider myself among the lucky ones as I’ve recently managed to buy a gorgeous scoop made out of storm torn beech wood treated with yakisugi (a Japanese technique where you protect the wood by charring it). --- ### What’s your craft and how did you get started**?** My craft is focused on handmade wooden teaware. Be it utensils for loose leaf tea like tea scoops and picks, or bamboo chashaku that are used in traditional matcha ceremony. Woodworking is just one part of my life and work. The other most significant ones being contemporary ink art based on *bokushо̄* tradition as well as traditional Japanese *tо̄ji* bookbinding, in both of which I have been trained for the last two decades. This all started in the early 2000‘s when there was an unprecedented rise of interest in tea culture and my skills were naturally useful to supply my friends with different tea-related items. My full time job was graphic design for years. However, being fed up with computer work, I quit completely, returned to my abandoned birthplace mountain cottage to pursue traditional arts & crafts fully. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/05/Sven-Mihai-x-The-Craftsman-02.jpg) ### What materials and tools do you use and how do they influence the work you do? To answer the question I would probably divide my wood stock into four main divisions. The first one is wood inherited after my forefathers, mostly local European kinds that were seasoned for long decades, and are now perfectly ready to be turned into tea-ware that will last a lifetime. Secondly, being a keen hiker, I always have my *kataba* saw with me, ready to salvage nice pieces of wood that hit my eye. These then wait several years in my woodshed before I use them. For sure, no matter how beautiful, some pieces are best to be left at their natural spot. There are places that would really be disturbed by a jarring saw cut left behind. The third part are exotic woods. While I do strictly avoid buying endangered & rare woods to be used exclusively for my scoops, I am happy to accept or buy leftover pieces from luthiers, guitar makers and alike. Last but not least are old and ancient woods which I am a bit obsessed with. These comprehend woods like bog oak that is millennia old, reclaimed wood from broken antique furniture as well as wooden parts of old, damaged buildings, preferably from the medieval period. These are sometimes relatively easy to obtain, as at the time of eventual restorations many of these are just dumped. The influence of the wood on my work process is everything. I simply follow the characteristics of each individual wood piece till a finished scoop emerges and shouts “Hey man, I am complete now!“ This stands for the vast majority of my work, called by some as my signature “raw style“. If I am working on a piece of exotic wood, usually cut flat on all its surfaces, I then employ some of the traditional *senchadо̄ charyo* shapes and carve the scoop from all sides into a prescribed form. Each piece needs different treatment, just like tea, just like people. The tools I use are fairly well known to everybody. Saws, planes, chisels, knives, wire brushes and scrapers. Some are family heritage, hundreds of years old, others are Japanese tools I acquired or were given to me as presents. I do not own any excessive number of these, but I have all that I need. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/05/Sven-Mihai-x-The-Craftsman-03.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/05/Sven-Mihai-x-The-Craftsman-06.jpg) ### Does living in the mountains have any effect on your work? My mountains are very dear to me. I think this bond is common for all mountain people around the World. I guess the influence of mountains stretches far wider than only on my work. Mountain life is slower, rawer, humbling, challenging and harsh at times, as well as soothing and calm on the other hand. I hope part of that is reflected in my work. ### Your tea scoops are presented with a Japanese-style box and calligraphy. How did you get interested in tea and Japanese culture**?** I grew up in a multinational family with both granddads being keen nature lovers and craftsmen. Besides that, one was an oriental antiquities collector and the other one a lifetime bookworm and tea lover. So, after spending a few happy decades learning woodwork and other crafts from them there was literally no escape for me. To be honest I am not exclusively interested in Japanese culture. I enjoy and read a lot about many other distinct cultures like those found in the Himalayan region, South America, Caucasus and more. I hope these will not be washed away in future decades or become just a painfully awkward spectacle for tourists. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/05/Sven-Mihai-x-The-Craftsman-07.jpg) A Japanese-style 'chashaku' ### How was your learning process to get to the point you’re at now? I acquired most of the required knowledge and skills by learning from my granddads. As far as I have studied our family tree, there were quite some painters, cabinetmakers and woodcarvers even in previous generations, so genetics may also play a role here. Actually, these woodworking tools I inherited obviously didn’t fall from the sky, right? However, I still feel like a beginner. I can name you dozens of other people crafting better tea-ware than I do. ### What’s your relationship with digital tools to promote your work, and if those weren’t available do you think you could still thrive? I do not enjoy modern inventions a lot, but I must agree some are very useful. For example, I have to admit being obsessed with music and I cannot imagine a world without YouTube. As I am based in Europe, I would probably be crafting different stuff than tea-ware if there was no Instagram. Most likely tables, chairs and cabinets. Or I would be a professional gardener. Planning the composition, positioning stones, choosing, planting and pruning all different kinds of trees, shrubs and flowers, that really is my big pleasure. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/05/Sven-Mihai-x-The-Craftsman-04-1.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/05/Sven-Mihai-x-The-Craftsman-05-1.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/05/Sven-Mihai-x-The-Craftsman-08.jpg) ### It seems the demand for your work is such, it is actually quite hard to get any of your pieces. Does it give you more freedom to create what you want? All the credit in this regard goes to my followers, friends and all tea people who like my work. I started my online presence just two years ago, so the interest honestly is rather a nice surprise for me. My aim was never to be known or make big money, so to do anything else than what I want was always out of question. We have been making simple scoops for fun with my friends since the late ‘90s and I could never have imagined there could be such an interest in my humble creations. I simply carve scoops that I would be happily using myself and that should last a lifetime. That’s all my secret. All images courtesy Sven Mihai. --- Like the content of *The Craftsman*? Share it with a friend! You can support my work by [offering me a virtual coffee](https://www.gchicco.com/the-playful-guinomi/#/portal/support) ☕️ つづく ### How Design Changed the Olympics Forever URL: https://www.gchicco.com/how-design-changed-the-olympics-forever/ Last updated: 2026-08-11T21:07:38.000Z *This article was first published in the London Design Festival 'Red Book' (print) and website in 2021.* The Tokyo 1964 Summer Olympic Games marked several world firsts. It was the first Olympics to be hosted in Asia, the first to feature an Olympic Torch Relay across the whole host country and the first to use the word Paralympic. It was also a significant Olympics in terms of design, pioneering a completely different approach. 1964 saw the creation of a consistent graphic identity, the use of photography in promotional material and the development of pictograms to represent the different sporting disciplines. "The Tokyo 1964 Olympics committee had this very conscious policy to put design and architecture at the front of how they would create these games," says Simon Wright, director of programming at Japan House London, which is hosting the 'Tokyo 1964: Designing Tomorrow'. The exhibition presents original artefacts and records that tell the story of how a group of architects and creatives brought Japan's design-forward culture to the world stage. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/Japan-House-London-Tokyo-Olympics-1964-01.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/Japan-House-London-Tokyo-Olympics-1964-03.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/08/Japan-House-London-Tokyo-Olympics-1964-02.jpg) Photos courtesy Japan House London From the get-go, the Tokyo 1964 committee set a very clear goal for the games to be perceived as uniquely Japanese. From the inauguration of the Shinkansen high-speed railway line to the monorail from the airport into the city, the split-second accuracy of Seiko timepieces and the first colour broadcasting using geostationary satellites, these Olympics made a statement. The approach was intended as a catalyst to change the global narrative regarding Japan following WW2. The organisers gathered a group of well-known architects whose work endures. It's not uncommon for Olympic venues to fall into disrepair in the years that follow the games. In contrast, the Olympic Control Tower at the Komazawa Olympic Park by Yoshinobu Ashihara, the Yoyogi National Gymnasium by Kenzo Tange and the Nippon Budokan by Mamoru Yamada, are still active today. While architecture and technology had long been considered effective means to increase a country's soft power, the use of design for these games was particularly interesting. A thorough design guide was devised to ensure coherence in the application of logos, typefaces and colours (although it was developed almost in parallel with the actual work, due to how busy the design team were). Graphic design was employed to overcome cultural and language barriers. Take for example the use of pictograms — similar to today's emojis — to represent each of the sporting activities. They were simpler and faster than words to convey the message and have since then become a mainstay of the Olympics. ## From the logo to typography and 'emojis', 1964 pioneered a new graphic identity. One of the rising stars of the design team was Yusaku Kamekura, who came up with the iconic red and gold logo. Kamekura was influenced by the modernist zeitgeist of the time, so it's no surprise that he chose Neue Haas Grotesk (now better known as Helvetica) as the official typeface. His promotional posters feel as fresh today as they were back then, blending imagery and typography in a way that's reminiscent of traditional Japanese paintings. Many of the young talents that worked with him would later become big names in the world of design, too. Japanese history is divided into intervals named after special events and the ruling emperors, like the Edo period or the Meiji era. In a similar way, 1964 marked the start of a new age for the Olympic Games that's still going strong: the era of design. ### How Yiying Lu bridges art and technology across cultures with Adobe Illustrator on the iPad URL: https://www.gchicco.com/how-yiying-lu-bridges-art-and-technology-across-cultures-with-adobe-illustrator-on-the-ipad/ Last updated: 2026-09-05T11:19:57.000Z *This article was commissioned by Adobe and first published on the* [*Adobe Blog*](https://blog.adobe.com/en/publish/2020/10/19/bringing-sanrio-puroland-to-life-with-adobe-illustrator-on-the-ipad?ref=gchicco.com) *in 2021.* Meet Yiying Lu, the designer behind the Twitter Fail Whale, popular food emojis & learn about her upcoming children's book "The Very Hungry Red Panda." "Creating emojis is not my job, it's my calling," says artist and entrepreneur Yiying Lu. If you have ever messaged your friends about food, then it's likely that you've used her work. That's because Lu is the designer of the dumpling emoji among many others, including, for all you lovers of bubble tea, the Boba emoji. Lu's work is not just a bunch of tiny illustrations on your phone, but rather they are a tool that has given a voice to countless Asian communities around the world. Food is culture, something you can share with others even if you don't speak the same language. "It's an honor to be able to do that. After I created the dumpling and other food emojis, I realized the cultural impact that online art such as emojis can have on people." 0:00 /2:31 1× Yiying Lu on the BBC World Service ([originally on Twitter](https://x.com/bbcworldservice/status/1368177041783263236?ref%5Fsrc=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1368177041783263236%7Ctwgr%5E6c612f488a3c23beeda85b1fb0ce4cf068149717%7Ctwcon%5Es1%5Fc10&ref%5Furl=https%3A%2F%2Fblog.adobe.com%2Fen%2Fpublish%2F2021%2F03%2F15%2Fhow-yiying-lu-bridges-art-and-technology-across-cultures-with-adobe-illustrator-on-the-ipad&ref=gchicco.com)) If there's a common thread to Lu's work it's that it has an impact across cultures, touching the lives of millions of people. She created the Twitter Fail Whale, a whimsical illustration of a whale being lifted by a flock of birds that the social media giant showed on its error page every time the service crashed due to overcapacity (which used to happen very often in the early days of Twitter). "The original name of the Fail Whale was 'lifting a dreamer,' and I designed it to send my good wishes to a friend who lived far away. Through serendipity and fate, Biz Stone (a co-founder of Twitter) found it and it resonated with him in a technological way." The image had a second life when it later inspired hundreds and thousands of Twitter users to create their own creative expressions. Yiying Lu was also commissioned to create the "Conan O'Brien Pale Whale" art piece for Conan O'Brien's Team Coco website & its Twitter page. "Conan's 'Work hard and be kind' quote has been an important motto in my life. He also shows that you can integrate both fun and professionalism in your work. I hope this is going to be the future of everybody's life." ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/09/yiyinglu-x-adobe_07.jpg) **The Conan O’Brien Pale Whale, courtesy of Yiying Lu* This year, Yiying Lu received funding from the Adobe Creative Residency Community Fund to support the creation of a children's book called The Very Hungry Red Panda. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/09/yiyinglu-x-adobe_08.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/09/yiyinglu-x-adobe_09.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/09/yiyinglu-x-adobe_14.jpg) **Endangered animals for The Very Hungry Red Panda project, by Yiying Lu* ### Every child is born an artist Lu's name means "happy and creative" in Chinese, which makes sense in retrospect given the work that she creates. A true global citizen, she was born and raised in Shanghai, lived and studied in Australia and the United Kingdom, and is now based in San Francisco. She has worked with clients from all over the world, including Disney China and 500 Startups. Her superpower is being able to create things that break through cultural barriers. "The keys to tapping into another culture are curiosity and respect. You can only create something that resonates with others if you actually care about the feeling of people who are going to be receiving it." Although she has pursued both technical and artistic studies, a big part of Lu's inspiration comes from children's books that reach far and beyond her home country. It was the early exposure to myriad stories from realities diverse to her own that shaped how she relates to different cultures. "The books I read and the resources I grew up with allowed me to see how it was to be a global citizen." To this day, her work is influenced by that of the Italian writer Gianni Rodari (two of her favorite stories by Rodari are The Telephone Tales and One and Seven, the latter of which she read to me during our conversation), and the Argentinian illustrator Mordillo. Before visiting a place for the first time, Lu will research its children's books and folk tales to pick up cultural references. "The reason why I love children's books is that the people who are creating them are doing it from a place of love. Children's book creators are usually not driven by commercial intentions but by human spirit, and the preservation of culture for the next generation. And thus that content is very nurturing." Another important aspect of Lu's work is the reliance on an element of play (or as she puts it, FUNction), something that raises the energy levels of those involved. "In my work, I define fun as the idea that will make you feel better than in your current state. We eat every day because we need to increase our energy, having fun is the same thing, it increases your energy. It's a positive loop. If you're having fun, you feel better, and you do better work too." ### The Very Hungry Red Panda The Very Hungry Red Panda is a visual journey about an endangered red panda that eats its way through the world, meeting other animal friends, and trying food that is unique to their countries. It's a celebration of all the things Lu is most passionate about: food, animals, and art, with an overall message promoting biological diversity, cultural diversity, and belonging. She gave me a scoop into the origins of this project. In May 2019, Airbnb decided to celebrate Asian Pacific American Heritage Month by hosting an Asian-style night market at its headquarters in San Francisco. It would showcase Asian Pacific Islander singers, dancers, comedians, and local street vendors, with a thousand people slated to show up. "I was creating these designs for the event on a volunteer basis, after a very last-minute request from my friend Mable Huang who leads Asians@Airbnb. Therefore, I had the creative freedom to create what I envisioned. I chose the Red Panda not only because it is cute, but also because of its uniqueness to Asia and its 'Endangered' status: its wild population is fewer than 10,000 on earth and continues to decline. The red panda is also a lighthearted metaphor for the Bay Area artists and small business owners who need our support. Like the red panda, they are endangered because the tech companies provide breakfast, lunch, and dinner to their employees, which doesn't help the local small businesses and 'mom-and-pop' shops. This event was aiming to showcase and support the local artists and small businesses and was run entirely by volunteers from the Airbnb Asians Employee Group. Later on, I discovered that the Airbnb event happened to fall on UNESCO's World Day for Cultural Diversity, and the following day was the International Day for Biological Diversity. It's almost like the universe was trying to tell me something that resonated with what I always care about: diversity, nature and culture. I felt guided into doing something more than a one-off art piece." ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/09/yiyinglu-x-adobe_01-1.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/09/yiyinglu-x-adobe_12.jpg) Photos **courtesy of Yiying Lu* In early 2020, Lu received an Award of Honor from the United Nations for her logo design of the United Nations' COP 15 Convention on Biological Diversity, which motivated her to create more art to advocate for biological diversity. Yiying Lu's Adobe residency project started on August 4, 2020, which happened to be International Clouded Leopard Day. This motivated her to draw the leopard using Illustrator on the iPad. "Because I'm such a natural procrastinator, I let the universe show me the way by picking the animals for me. I never even knew that there was a clouded leopard until a spontaneous thought came to me: 'Let's google what is celebrated on 4th August?' Turns out, it happened to be International Clouded Leopard Day!" Other animals followed, including the lion, the wolf, the orangutan, the whale shark, and the sloth. "I basically looked at the date on the calendar and went, 'well alright, this is what the universe wants, I'm just going to create that animal on that day.'" For this project, Lu decided to do a calendar book first, and later a formal children's book, featuring the endangered animal associated with any given month. Spoiler alert! Much like in Rodari's stories, The Very Hungry Red Panda is about finding human connection in a playful way. At the end of the book, all these animal characters will take off their mascot costume to reveal that they were children from different parts of the world. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/09/yiyinglu-x-adobe_10.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/09/yiyinglu-x-adobe_13.jpg) Photos **courtesy of Yiying Lu* ### Yiying Lu's tips for using Illustrator on the iPad Lu's first tip for creating using Illustrator on the iPad is a very practical one: "A.B.C., always be charging!" To her, having Illustrator on the iPad provides more fluidity to exercise her creativity, especially in places where she usually wouldn't be able to work. This is because she wants to be as close as possible to her source of inspiration. "I went to the zoo and used the iPad to capture photos of the animals, input them directly into Illustrator and draw on top of it. I would also take notes and do quick sketches." She also values being able to switch between different apps and keeping everything in sync on Adobe Creative Cloud. "I often use both Adobe Illustrator and Adobe Fresco to draw on the iPad, and Adobe Photoshop Fix to remove the backgrounds of the photos. The beauty of having Adobe Creative Cloud is that I can start a project on the desktop, and then go to the zoo to continue editing on the iPad closer to my source of inspiration." > "Having Illustrator on the iPad gives you an extra option for creative expression." — Yiying Lu Lu believes that having Illustrator on the iPad will allow creators to get closer to their natural state of creativity. "It's something I've dreamed about since I started using Illustrator in the late nineties. It's wonderful that the tool has become more humane, more natural, and it will definitely encourage more creators to get into digital illustration because they can feel more comfortable with the tool." ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/09/yiyinglu-x-adobe_06.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/09/yiyinglu-x-adobe_05.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/09/yiyinglu-x-adobe_04.jpg) Photos **courtesy of Yiying Lu* To learn more about Yiying Lu and her work, check out the links below: - [https://www.yiyinglu.com](https://www.yiyinglu.com/?ref=gchicco.com) - [https://www.instagram.com/yiyinglu](https://www.instagram.com/yiyinglu?ref=gchicco.com) - [https://www.linkedin.com/in/yiyinglu](https://www.linkedin.com/in/yiyinglu?ref=gchicco.com) ### Kintsugi: The Poetic Mend URL: https://www.gchicco.com/kintsugi-the-poetic-mend/ Last updated: 2025-03-06T09:06:09.000Z Kintsugi (金継ぎ, 金: gold and 継ぎ: joint, joining) has taken the West by storm over the last decade. The hype has been fuelled by the visual dominance of platforms like Instagram and pop-psychology. Google it and you'll find innumerable photos, DIY kits, famous - if slightly taken out of context - quotes, and articles on self healing. Common knowledge says that kintsugi is that Japanese thing where broken objects are repaired with gold. But kintsugi is more about urushi, Asian lacquer, than gold itself. Viscous urushi is used alone or mixed with other materials to fill the gaps between and stick together the broken pieces. Only after the object has been effectively repaired a thin layer of gold dust (or other metals like silver, brass, or pewter) is applied to make the fault lines stand out. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Makienaoshi-mino-ware-tea-bowl.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Paul-Scott--Scott-s-Cumbrian-Blue-s---The-Syria-Series-No-9--Aleppo--2016..jpg) Antique and modern examples of kintsugi. Left: Seto or Mino ware tea bowl, Muromachi period (1510-1530). Freer Gallery of Art, Smithsonian Institution, Washington, DC. Right: Paul Scott, Scott’s Cumbrian Blue(s), The Syria Series No:9, Aleppo, 2016. Bonnie Kemske's latest book - [Kintsugi: The Poetic Mend](https://www.bloomsbury.com/uk/kintsugi-9781912217991/?ref=gchicco.com) \- is all about kintsugi, from its origins to a step-by-step how-to, from the poetic stories to the concrete metaphors that surround it. As the author notes early on, kintsugi never hides the story of an object's damage. Instead, it traces the memories of real or imagined occurrences. The book features a great selection of photos that show the many faces of this craft that started as an extension of maki-e (蒔絵: sprinkled picture), a Japanese decoration technique in which lacquer is applied with a brush to draw pictures, patterns, and text on the surface of an object. Last month I reached out to Bonnie to discuss the book during a live online conversation, which you can [watch on my new YouTube channel](https://youtu.be/PiqcOcIDlB4?ref=gchicco.com). In it we talk about the origins of kintsugi, some of her favourite stories from the book, cultural appropriation, and how kintsugi has transcended from a repair technique into an artistic language. --- **Kintsugi: The Poetic Mend** by Bonnie Kemske Published by Herbert Press on February 18, 2021 [bloomsbury.com/kintsugi](https://www.bloomsbury.com/kintsugi?ref=gchicco.com) *Disclaimer: I was sent a review copy of the book by Bloomsbury.* ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Raku-Fujiko-with-Bonnie-Kemske-and-nekowaride-teabowl---Photo-by-Hatakeyama-Takashi.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Nekowaride-teabowl-1985-by-Raku-Kichizaemon-XV.jpg) Raku Fujiko (right) points out the features of the teabowl Nekowaride made by her husband, Raku Kichizaemon XV. Photo by Hatakeyama Takashi ### Bringing Sanrio Puroland to Life with Adobe Illustrator on the iPad URL: https://www.gchicco.com/bringing-sanrio-puroland-to-life-with-adobe-illustrator-on-the-ipad/ Last updated: 2026-06-07T21:25:41.000Z *This article was first published on the* [*Adobe Blog*](https://blog.adobe.com/en/publish/2020/10/19/bringing-sanrio-puroland-to-life-with-adobe-illustrator-on-the-ipad?ref=gchicco.com) *in 2020.* Sanrio characters such as Hello Kitty are perhaps the most iconic global champions of kawaii culture. Kawaii (pronounced “kah-wah-eeeh”) is difficult to explain, but you know it when you see it. Although it’s often translated as “cuteness,” kawaii means so much more than that. As Tokyo-based writer Matt Alt puts it in his recent book Pure Invention: How Japan’s Pop Culture Conquered the World, kawaii “has evolved into a hyperbolic, all-purpose superlative for the young and young at heart, for all ages and genders and orientations: a Platonic ideal of the concepts of innocence and positivity.” Hello Kitty and many others all come to life at the company’s indoor theme park in Tokyo, Sanrio Puroland, and it’s there that the team is making innovative use of Adobe Illustrator on the iPad. Earlier this year we met with Keito Kojima and Hirotaka Sakai, members of Sanrio Entertainment’s in-house design team, to learn how they’re using Adobe Illustrator on the iPad and Adobe Creative Cloud to innovate at the legendary brand. ### Designing for Kawaii The main challenge for Kojima and Sakai is to make sure that their creations express kawaii in its very different forms. Sanrio Puroland, also known as Hello Kitty Land, is in constant evolution following seasonal events and special occasions, in person and online. For example, for Halloween, the designers have to create three-dimensional decorations, seasonal characters, costumes, installations, as well as digital materials to keep the website fresh and up to date. > "This may be a little too pragmatic, but I feel like kawaii is the sense of a desire building in you to buy that thing or to have it around you. When creating products, my aim is to have a design that people will want to have for their own." - Keito Kojima, designer in the Content Design Section at Sanrio Entertainment Co. Ltd. “My personal feeling is that the word kawaii has a sort of helplessness built into it,” says Hirotaka Sakai, producer in the Entertainment Planning Group at Sanrio Entertainment Co. Ltd. “Imagine a character with very short arms and legs that struggles to move. Even though they can’t reach something, they’re trying hard to get it, and that’s really kawaii.” ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/02-sanrio.jpg) Image credit: Sanrio ### Designing on Location One of the biggest impacts of using Illustrator on the iPad at Sanrio Puroland is that Kojima and Sakai can now take their designs out of the office and right into the theme park. Since they are constantly drawing and designing new content, for things like seasonal events, seeing how an installation or a piece of signage sits in its environment makes it easier and faster to try different things or move them around until they feel just right. “I can now create my rough sketches and designs in the exact place where they will be used, which lets me compare them with the actual atmosphere around them.” - Keito Kojima As an added bonus, this flexibility allowed Kojima to keep on working when the COVID-19 pandemic started: “I can now easily use my iPad to work on my designs on the train, during meetings inside and outside the company, or from home.” ### Better Drawing and Design Workflows Illustrator on the iPad has also improved workflows at Puroland. For example, when creating new interior decorations for the park, Kojima and Sakai traditionally start by taking measurements, photos, or by simply sketching their ideas on paper. Then, they were adding these elements together on the desktop version of Illustrator and designing from there, with a constant back and forth between the office and the park to check and recheck that they were on the right track. With Illustrator on the iPad, they are now able to take pictures from many different angles and draw and design on them in real time, all without having to return to the office. > "In the past, we usually used paper sketches as a starting point, and I would digitize everything by taking photos with my smartphone or scanning them. But now, I can take pictures with Illustrator as-is, and sketch right there without any interruptions. Not only can I sketch, but I can also trace, which has made things extremely convenient. Since I can also undo as much as I want, I feel like organizing the sections using the history panel has made things a lot easier, too." - Hirotaka Sakai, producer in the Entertainment Planning Group at Sanrio Entertainment Co. Ltd. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2026/06/03-sanrio.jpg) Image credit: Sanrio ### Show and Tell at Sanrio Using an iPad in this drawing and design workflow also makes it easier to walk into a meeting and share your actual designs, showing how things could look like by overlaying sketches on top of photos of the space. This makes the process more efficient by showing your colleagues exactly what you have in mind, and reworking designs together while walking around Sanrio Puroland. “When I want to put something in a specific spot, I just go there to make the materials, and I can have a quick meeting right there,” Sakai says. “By opening Illustrator on the iPad and sharing my concept directly, I’ve cut down the time needed probably by one third since we don’t have to have two, three, or a dozen meetings; we just all get together to take a look and discuss.” ### Easy access and perfect balance The flexibility of using the iPad as a central part of their drawing and design workflows, and having all assets linked through Creative Cloud Libraries, has further reduced Kojima and Sakai’s time requirements to create content; it’s also made cooperation with other teams throughout the company seamless. The designers are now creating sketches and capturing raw data on location on the iPad, then opening those sketches in Illustrator on the desktop to create cleaner, more detailed documents. These are then sent to external vendors that will build the installations that bring those designs into the real world. New features in Illustrator, such as radial, symmetrical, and grid repeats, have also opened up new forms of creativity. Many of the original products sold at Sanrio Puroland, like paper card holders, postcards, and stationery, use lots of patterns, which can be easily created using the Repeat Radial and Repeat Grid functions. “Saving to Adobe Creative Cloud lets me use that data both on the desktop and iPad versions, and I can share it with other accounts too, which is useful for job handoffs and tasks where we’re working together as a team,” Kojima says. “I can create a gradient on the desktop and later use it on the iPad to set up more complex object gradations. Another useful feature is that, since it’s linked with the Adobe libraries and Adobe Fonts, I can take an Adobe font created in Illustrator on the iPad and convert it to the desktop version as-is.” With the addition of Adobe Illustrator for iPad to their workflow, Kojima and Sakai have not only improved their productivity, but also created an environment that fosters better collaboration between colleagues and teams. This has unleashed their creative thinking beyond the physical barriers of the office. Their relentless search for kawaii is now, quite literally, boundless. ### The Social Life of Objects URL: https://www.gchicco.com/the-social-life-of-objects/ Last updated: 2025-05-31T16:43:16.000Z *Republished and updated from The Craftsman Newsletter from October 2020* As my Summer went by without much of an actual summer-vibe, I found myself — like many others — spending more time at home. It was akin to being in a spaceship like in *2001: A Space Odyssey* (without the evil computer), although I felt closer to the title character, a bus-driver turned spaceman, in Luis Alberto Spinetta's song [*El anillo del capitán Beto*](https://youtu.be/38jG%5F1bELEs?ref=gchicco.com). Lockdown made me notice, or finally act upon, small things I could do to improve my home environment. As I sorted, decluttered, re-cluttered, and investigated every single corner of the flat I also came across loved objects that I had been neglecting. In the same vein that William Morris exhorted us to *have nothing in your house that you do not know to be useful or believe to be beautiful*, or Marie Kondo with her 'does it spark joy' principle, I decided to give them a more prominent role in my everyday life. Rediscovering some of the pieces that I had lying around made me consider what makes an object meaningful. What makes an object valuable? It could be the materials it's made of, the fame of the maker, its relevance in a given environment, or the perceived value granted by the community. The quality and the longevity could add to it too, although these have become less important in our throwaway and fast-fashion dominated culture.There's another value-adding component that is likely more important to people. It's a combination of the social bonds that the object has created during its lifetime, the meaning it carries from taking part in special occasions, and the history of the object itself. Given the endless hours I've spent in the last couple of months at the British Library diving into Japanese craftsmanship, I'll refer to examples from it to talk about the social life of objects. ### The sense of time The famed 16th century Japanese tea master *Sen no Rikyū* is credited with consolidating a way of tea, *wabi-cha*, that emphasised the sense of time passing. During Rikyū’s tea ceremonies he would pick objects that expressed beauty through their simplicity, provided solace through their imperfections, and were attuned to the seasons and the guests gathered in the tea room. Everything that exists in the present moment is grounded in the perception of its past, which can be mythical, factual, or cultural. A tea bowl can be a functional vessel or an artistic object (or both). A typical Asian handmade bowl has no handle. You hold it in your hands, touching the same clay that the potter touched, the maker’s presence literally imprinted in it. The object’s imperfections reflect the irregularities of our own lives. In Japanese crafts it’s readily accepted that a handmade object is infused with the creator’s spirit. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/05/my-hasselblad-503cx.jpg) My trusted Hasselblad 503CX. Photo by Gianfranco Chicco ### Objects with history Beyond the maker's touch, the history of an object adds another layer to its social life. Sometimes the maker is famous or belongs to a family with a long heritage. Or it can be made by an anonymous craftsman, like with the ordinary functional objects celebrated by the folk-craft or *Mingei* movement. The story of the objects could be rooted in troubled origins too, like the Korean potters kidnapped to work in Japan five hundred years ago by orders of the warlord *Toyotomi Hideyoshi*, which gave birth to many revered Japanese ceramic traditions. ### Social bonds An object forges a relationship with the person that uses it, or even just stares at it, regularly. That’s why many give a name to their car. When I wear my late father’s watch I’m not seeking for a tool to tell the time, after all my phone can do that more efficiently, but a physical closeness that keeps the memory of a loved person alive. Some tea bowls that have been handed down through the centuries are considered National Treasures of Japan, and have been given individual names, like *Unohanagaki* or *Kizaemon Ido*, the latter being a simple Korean-made bowl currently resting in a Zen temple in Kyoto after a long life of service.If giving loved things a name wasn’t enough to create a social bond, there’s a belief in Japanese folklore that household objects that have served their owners for 99 years are rewarded by obtaining a soul. They become a *Tsukumogami* (referencing the Kami spirits from Shintoism). I guess that from this point onwards you could have an actual conversation with these self-aware beings, although there’s the risk that they could turn out maleficent if treated badly, like the *Bakezōri*, discarded straw sandals that create a rumpus among humans. I own a fountain pen that was gifted to my grandfather in 1922\. I hope I’ve treated it well enough or else I’m in for some trouble. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/05/Chawan-by-Mako-Nishimori.jpg) Chawan by Mako Nishimori. Photo by Gianfranco Chicco ### A dependable friendship This relationship we forge with objects deepens when they prove reliable companions over time. Maybe one of the reasons we love old analogue things is not because of nostalgia or a preference for vintage looks, but because they offer respite from the relentless speed of digital technology. They remain usable, understandable, even more reliable as time passes. My Hasselblad and Nikon cameras from the ’80s are two such objects. Their familiarity and dependability lingers on way past that of my digital cameras.In a [London Craft Week digital talk streamed during lockdown](https://londoncraftweek.com/digital-talk-craft-matters-at-cox-london/?ref=gchicco.com), antique dealer Max Rollitt defined his restoration work as dealing with things that have developed *“a character over time. You have the original piece and with time it’s had a life, it’s lived in the sun, it’s lived in damp, it’s been handled, it’s been loved, and it’s been used.”*Things are not valuable to us because they are expensive, but because we have built a social relationship with them through our life together. In December 2018 I was in New York on a business trip. Just before heading back to the airport I went to a tea house for a comforting bowl of matcha. You could have it prepared in any of the vessels exhibited by the front window, and I picked one by New York-based Japanese potter *Mako Nishimori*. It had a rough surface, a milky white colour that would allow the matcha’s bright green to stand out, and it sat in my hand with a comforting gentleness. On its bottom, the clay had cracked in the shape of an *Ura Manji* cross, an important symbol in Buddhism. The tea prepared by Tea Master *Souheki Mori*, the peaceful atmosphere of the place, and the conversation I had with another customer on the tatami all made this moment memorable, so much so that I decided to bring the tea bowl back home with me. I haven’t given it a name yet. However, whenever I use it, I’m transported to that moment and place in time, and a smile lights up my face. ### A box of wonders URL: https://www.gchicco.com/a-box-of-wonders/ Last updated: 2023-01-15T20:29:41.000Z I have a box full of postcards that I’ve collected over the years. The oldest are from 1992, from a Pink Floyd special edition boxset I loved. Many are from when I moved to Europe in the early 2000s. I’ve picked them up during work trips, holidays, and in places where I’ve lived, from Amsterdam to Buenos Aires, from Beijing to New York. I particularly like the vintage ones that you can find in old shops. They also come from galleries and museums, featuring my favourite pieces from whatever exhibition was on show. With rare exceptions, I don’t intend to keep them for myself. They are for friends, family, and the occasional acquaintance. I still make an effort to send them as often as possible to celebrate birthdays and new babies, the start of a new year, or just because I was thinking of that person. I didn’t want to let the Covid19 pandemic disrupt yet another small ritual of mine. If before I used to send a handful of cards during each of my travels, I now open the postcard box at random to examine the treasures it holds, and when I find a card that reminds me of someone, I’ll send them that, usually using nice stamps that I keep in a second box (but that’s a story for another time). Other times, a conversation or a particular situation will remind me of a card I know I have, and I’ll send them that too. Not all of the postcards reach their destination, but it makes me extremely happy when they do, especially if they’re an unexpected surprise. Who gets paper mail these days that’s not bills to pay or junk mail? These are a few I’ve sent in recent months: ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/snail-mail-20190918-IMG_0812.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/snail-mail-20200602-IMG_4124.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/snail-mail-20200602-IMG_4125.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/snail-mail-20200817-IMG_4676.jpg) ### A happy birthday in lockdown URL: https://www.gchicco.com/a-happy-birthday-in-lockdown/ Last updated: 2023-01-15T20:29:30.000Z For my birthdays, I like to bring together friends from different walks of (my) life to break bread (and drink wine!). This year eating together was not an option, as I found myself in lockdown like many, many others. I had been self-isolating for the previous two months without having any meaningful contact with other humans. I wasn’t really in the mood for too much of a fuss either, yet I yearned for connection. I decided to make a low effort proposition: I would open a live-video window in the afternoon, keep it up for four hours (unfortunately, it ended up being too late for those in Australia), and invite my friends to join at their own convenience, for as little or as long as they could or wanted to. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/May-2020-a-birthday-in-lockdown---cake-1.jpeg) This is how the cake looked the third time we sang “happy birthday”. I had been inspired to create this sort of video experience by a visit to a Fablab in Amsterdam 10 years prior, where they kept a constant live feed with their peers in Barcelona. I upgraded my Zoom account (a video conferencing platform that has become incredibly popular during the 2020 Covid19 pandemic), sent out an email invite, shared it privately on Facebook, on an Instagram story, and didn’t think too much about it. On the day (May 17th in case you’re wondering), I prepared a matcha and almond sponge cake, lined up the ingredients for Spritz cocktails, and made sure good snacks were handy. When the time arrived, I just hit “Start” on Zoom. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/May-2020-a-birthday-in-lockdown---singing-1.jpeg) “Happy birthday to you 🎶” in 2020 – Photo by [Domitilla](http://www.domitillaferrari.com/?ref=gchicco.com). I could see that seven or eight people were already waiting to be admitted into the call. But something wasn’t right. Long story short, after multiple reboots and trying every possible solution, I found out that Zoom was down. Following a frantic look for alternatives, we moved onto Skype. The next challenge was to inform everybody about the change. I didn’t know who was planning to show up, so I sent the new link to those that had already tried to join the Zoom party, and to those that were reaching out through chats, emails, and phone calls to complain that they couldn’t get in. This was far from perfect, and unbeknownst to me a handful were left out. In the end, the birthday call lasted for five hours, and almost thirty people joined at different times. Some of my earliest friends from kindergarten and primary school in Argentina were there, as well as other loved ones from Italy, Spain, Japan, Portugal, the United Kingdom, the United Arab Emirates, and the United States. We ate cake (well, I did), sang Happy Birthday multiple times (both lovely and cringeworthy), I shared old photos, and we engaged in friendly banter. The thrill was such that I forgot to prepare the Spritz, and didn’t take a toilet-break either! I felt loved. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/May-2020-a-birthday-in-lockdown---superman.jpg) Superman showed up to light up the candles at my birthday in 1985. Whenever I celebrate my birthday in person there’s a practical limit to the number of people that can take part. The norm is six to eight, with a few exceptions with just two of us or a dozen in Buenos Aires in 2005\. As a child we hosted bigger parties with all my friends from school, and there were always surprises… like Superman showing up to light the candles on a kryptonite cake, or building a funfair in the garden featuring a pony. I’m often bullish about how most digital events happening today, especially during lockdown, are dull and soulless, a mediocre attempt to emulate a physical gathering. My birthday in 2020 was not well planned, technology didn’t work out as expected, but it was a huge success, it felt second to none. As Yúnmén Wényǎn, the legendary Chinese Zen master said **“Everyday is a good day”**. However beautiful my 2020 birthday was, I do hope the next one will be more of the ordinary kind, with friends once again reunited around good food. ### Virtual events need to break the fourth wall URL: https://www.gchicco.com/virtual-events-need-to-break-the-fourth-wall/ Last updated: 2025-03-06T12:44:28.000Z When COVID-19 pulled the rug from under event organisers’ feet, forcing them to postpone or cancel, they scrambled to find new experiences that would fill up the void. Naturally, the quickest way to replace them was through live-streaming sessions on Zoom, Instagram Live, YouTube, etc. Virtual events can be great for many things, but now that the novelty factor is wearing off (enough of taking screenshots showing a grid of attendees staring at their own screens), and many of us are suffering from [*zoom fatigue*](https://www.bbc.com/worklife/article/20200421-why-zoom-video-chats-are-so-exhausting?ref=gchicco.com), it’s time to reflect on what makes a good online event experience, especially if you business depends on it. For the last 15 years I’ve been creating, curating, and running business conferences, workshops, and festivals, that bring together from two people to six thousand participants, and if there’s one thing I’ve learned, it is that knowledge transfer is just one small reason why we attend an event. We gather to: - Acquire new knowledge - Feel part of a community or tribe - Meet others (peers, prospects, etc) - Exchange thoughts and ideas - Build consensus - Be inspired - Discover new things (discovery and serendipity) - Immerse yourself in the zeitgeist of your industry - Escape from the office, family, routine, etc - Status signalling - Take an undercover holiday - Ironically, hide in a dark room and catch up with emails In the context of business events, all of the above are valid reasons. But most virtual events cover only the first two, and they’re not even great at it. They rely on a flat, screen mediated experience, often incongruent with the participant’s environment (their home, surrounded by spouses, kids, and pets). They are boring, prone to distraction and numbness. > **“Do not confuse motion and progress. A rocking horse keeps moving but does not make any progress.” - Alfred A. Montapert\*** We need to create richer experiences that address real needs through a variety of media and modes, engaging our mind and canonical five senses more deliberately. Going to the theatre is different from watching a play (live or recorded) on YouTube, right? The same applies to events. ### Sense And Setting Borrowing an expression used to describe the conditions for successful psychedelic experiences, we need to foster the right [sense and setting](https://en.wikipedia.org/wiki/Set%5Fand%5Fsetting?ref=gchicco.com) for our events. While I don’t have a definitive set of rules on how to create better virtual events – my experience has taught me to consider each case on an ad hoc basis – I would start by asking questions like: - Who am I creating this event for? - What does the participant want to get out of it? - What do I want to get out of it? - What mindset and environment are the participants in? - How can I create a mindset and environment that’s aligned with that? - How can I make the experience unique, and either relevant, useful, or entertaining? - How can I create a stimulating experience, encourage active participation, and avert the distractions associated with sitting passively in front of a screen? ### Rethinking A One Day Seminar For example, twice a year I host a 7-hour long marketing seminar at a prestigious organisation in London. With the March edition being cancelled barely 10 days before its starting date, the organiser asked me what valid alternative could we replace it with. It made no sense to make it into a day-long online seminar. Who has seven undisturbed, focused hours at home anyway? My proposal\*\* was to create a hybrid experience to cover a similar curriculum. It included: - A mix of live and recorded short video talks, no longer than 25-45 minutes each, including a brief Q&A session. - One or more review sessions following the concept of the [*flipped classroom*](https://en.wikipedia.org/wiki/Flipped%5Fclassroom?ref=gchicco.com), where the participant reads or watches the lesson in their own time, and later gathers with the instructor and other attendees to discuss in real time. - One workshop session to allow participants to work with and learn from each other. Before all of that, each attendee would be sent a physical kit (a branded box) and a digital kit explaining how it would all work, and containing learning and support materials, and goodies. ### Physical Kit - Reading material: required and recommended books (2-3), workbook with slides, white papers, etc., essential for a deeper dive into the topic beyond what’s presented in the talks. - A block of post-its and a sharpie, or other materials required for the workshop session. - [A 45-minute sand timer](https://amzn.to/3aJx0VM?ref=gchicco.com). This would have a double goal. First, and inspired by the [*Pomodoro time management technique*](https://en.wikipedia.org/wiki/Pomodoro%5FTechnique?ref=gchicco.com), it would be used to mark the duration of each learning slot. Second, but not less important, it would signal to others around the participant (spouse, kids, flatmates) that they are not available. An alternative to the hourglass would be a nice scented candle with a similar burning time. This would stimulate the sense of smell, favouring a positive association between the specific scent and being in learning mode. ### Digital kit - A checklist and tutorial to get the right setup (links to necessary software, required equipment like a webcam and headphones, recommendations to improve the quality of video conferencing, etc). - A custom made [background](https://support.zoom.us/hc/en-us/articles/204674889-Zoom-Rooms-Customized-Background?ref=gchicco.com) to give some branding to the gathering. - A selection of complementary recommended articles, videos, etc. - Links and promo-codes to access other perks (discounts for online services, gadgets, etc). The duration of the seminar would still be of about 6-7 hours, distributed over one week. The opening lecture, workshop, and live Q&A, would require for everybody to connect synchronously (for an hour or less), while the other activities could be done asynchronously. This would better accommodate for the demands of working from home, family duties, home schooling, etc. I also proposed inviting guest experts, as the logistics of inviting others to an online session are relatively low. ### On Scale I’m aware that a *thicker* virtual or hybrid experience requires more effort and is less scalable than just streaming your content online. Here we’re not optimising for easy but for value and relevance, two things of utmost importance if you’re planning to charge money for your events. I ran some back of the napkin numbers with ex-colleagues with whom we ran big conferences. These have very high production costs (venue, speaker fees and logistics, tech requirements, catering, etc), and in order to be profitable they require at least one thousand paying attendees (the average ticket price being in the low four figures). You could achieve a similar profit, and at a lower risk, with just a few hundred participants in an online environment. But the catch is that it’s not enough to translate a live two-day conference into live streaming. It has to be special, it has to add real value. ### The Opportunity We have a natural drive to gather, and while live, in-person events won’t go back to normal in the short to mid term (if ever), we can use this chance to create something better, use the constraints that we are presented with to rethink what a valuable event is. I’m convinced that the answer lies in experiences that embrace the best of physical and digital. *\* Variations of this quote have been attributed to different people.* *\*\* Unfortunately, after I sent my proposal I found out that the organiser had been furloughed and the organisation was temporarily winding down its activities.* ### OEO Studio: Breathing New Life Into Craftsmanship URL: https://www.gchicco.com/oeo-studio-breathing-new-life-into-craftsmanship/ Last updated: 2025-03-08T13:44:23.000Z Thomas Lykke's grandfather was a carpenter. He transmitted to his grandson a passion for wood, the knowledge of how to use the tools, a genuine care for quality and, of course, the aesthetics of a well made object. Many years later, after training as a fashion designer in San Francisco and working as an Interiors Editor at Wallpaper\* Magazine, Thomas would start [OEO Studio ](https://www.oeo.dk/?ref=gchicco.com)together with Anne-Marie Buemann, and put those early lessons in craftsmanship to good use. Denmark is well known as a design country. This legacy is visible in Danish homes, where it's not uncommon for people to grow up surrounded by icons of design and architecture. *"\[In Denmark\] a bridge was thrown across the chasm that has long kept handicraftsmen and designers in industry apart. \[Danish architects\] embraced and understood both the hand and the machine and could and did employ both"*. – Bernard Leach in the introduction to *The Unknown Craftsman* by Sōetsu Yanagi ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/20190411-Cabinet-of-Love---OEO-Studio-DSCF6146.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/OEO-Studio-Cabinet-of-Love.jpeg) ['Cabinet of Love', part of the Wallpaper\* Handmade X](https://www.wallpaper.com/design/making-of-cabinet-of-love-oeo-studio-garde-hvalsoe-bergmann-audio-gato-audio-dahlman-1807?ref=gchicco.com) exhibition during Salone del Mobile in Milan in 2019 ### Breathing New Life Into Danish Craftsmanship From the very beginning, Thomas and Anne-Marie had a vision of revitalising things through design. Sometimes working behind the scenes redefining the strategy of industry leaders like the historic Georg Jensen, founded in 1904, others helping create startups like the environmentally minded brand Mater (*Mother* in Danish, like Mother Earth), they are in a constant search of the *"reason for being"* of the space, object, or communication campaign they're involved with. Sustainability is one of OEO Studio's main traits, and it goes well beyond just being *green*. For Mater, it's about producing furniture, lighting, and accessories supporting Scandinavian craft traditions, and a philosophy centred on caring instead of just taking. *"What we do is always about pushing the boundaries. So it doesn't become always about comfort or making money, but it should be about making good things. Making something that is meaningful, something that is good for the community or good for the craftsman, good for their families, good for society. Sometimes it has a bigger dose, sometimes it's a smaller dose, but there is always that OEO signature."* – Thomas Lykke The Danish craftsmanship scene has shrunk dramatically due to the blind obsession with turnover and profit, which caused the outsourcing of manufacturing. However the trend is shifting and craftsmanship is becoming popular again. Seven years ago Thomas and Anne-Marie started working with local furniture firm Brdr. Krüger (Krueger Brothers), which has been around since 1886 and is now run by the fifth generation. They've always been an OEM manufacturer producing for others, so they never really had a brand. OEO formalised a new strategy and designed some pieces rooted on a fresh perspective on craftsmanship which has put Brdr. Krüger on the map within Denmark and abroad, and while doing so earned several Best Furniture Designs at the Danish Design Awards. *"When we started working with \[Brdr. Krüger\] they were 7 people: mom and dad, sister and brother, and three employees. Now they're fifty people, and they've become a magnet for craftsmen from all over Denmark that want to come and work with them."* ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/OEO-Studio-Ki-Oke-Stool.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/INUA-Tokyo---OEO-Studio.jpg) Left: Ki Oke Stool with Shuji Nakagawa / Right: Private dining room at restaurant INUA in Tokyo, featuring the signature JARI chair co-designed with Brdr. Krüger, November 2018 ### Big in Japan OEO Studio's reach goes well beyond Scandinavia. They have done many projects in Japan, where they're considered experts and even protectors of the local culture. Their first Japanese client was Masataka Hosoo, 12th generation of a Kyoto-based kimono textile maker. The use of kimono has had an abrupt decline in the last fifty years. Little by little, OEO defined a strategy anchored in the alternative use of these precious textiles in interior and fashion design, developing a collection that maintained a clear sense of Hosoo's 1,200 year old heritage while being more global in reach. The increase in popularity abroad made it also more relevant at home to a younger generation that until then hadn't found it interesting at all. *"Working with Masataka is like being his right hand, helping him achieve his vision. We don't feel we have a client relationship. We're friends and we work for the same goal. That is actually very important for us."* Another project they are very proud of is Japan Handmade, a joint collaboration of six crafts companies from Kyoto to make modern objects steeped in traditional techniques for an international market. In this case, it's not about the design but its effect: what it does to these families with long traditions, to other craftsmen, and to society. It's been like throwing a stone in the water and watching the rings spread out. Makers all over Japan have heard about how these young guys in Kyoto are doing something different and it's working. Projects life Japan Handmade generate unexpected ramifications too. The set of tea and coffee pots which OEO designed with 6th generation tea caddy maker Kaikado lead to the launch of the Kaikado Café in Kyoto a few years later, opening a new path for their craft to thrive. ### Materials & Durability When I ask Thomas about the relationship between craftsmanship and elitism, he reflects on how products used to be made to last a long time, for about three generations, and people would save up to buy a certain piece of furniture. They knew they could later give it to their sons and daughters. That's also a sustainable way of thinking, and it's why there were all these classics in most Danish homes. Using the right materials also guarantees that the objects will develop a beautiful patina through the wear and tear of everyday use. In contrast, if you make a floor out of plastic, it's probably going to be there for fifty years but it won't get more beautiful nor more valuable. *"What excites us is when we see that someone has put some energy and thought into making something that's made to last, that's not just about making fast money, or making a building that's not going to be there in 10 years time. The human touch. Places where you feel welcome."* Right now OEO is exploring how to upcycle *B-materials* and waste, like shorter woodcuts considered less valuable by the industry, using as little effort as possible to keep the prices down. ### Going Beyond Design Thomas shares how their efforts have an urge to find meaning and relevance through something that is bigger than just design. *"We have a shelf where we put our dreams and we go and get them out from time to time. There's that big thing that I don't know what it is yet, that will give meaning to everything we do. Maybe it's finding how to merge craftsmanship and technology, and creating value not for just a few but for society at large."* ### Teachings from Japanese Craftsmanship: What Is Enough? URL: https://www.gchicco.com/teaching-from-japanese-craftsmanship-what-is-enough/ Last updated: 2026-07-11T20:22:03.000Z *This essay has been adapted from a short talk I gave at the Grande Finale of the* [*House of Beautiful Business*](https://houseofbeautifulbusiness.com/?ref=gchicco.com) *in Lisbon on November 6th, 2019 (*[*watch the video*](https://youtu.be/uL8QWZCLbD0?ref=gchicco.com)*).* In March of this year I quit my job. I was feeling exhausted physically and mentally, and there was something else. For years I have been travelling all over the world to meet the most interesting creatives working in digital, and many of us were sharing the same symptoms. We were living from our neck up, heavily identifying with our brains and disconnected from the rest of our bodies and senses. With over 100 million neurons in our gut, a “gut feeling” is more than just a saying. We’re also disconnected from the people around us, despite having so many digital ways to interact with them, and from nature and the seasons. I lived in Japan back in 2008, and since then I’ve been fascinated by Japanese craftsmanship. A few years ago, I started a side-project to explore the people and the stories behind the work (check out [The Craftsman Newsletter](https://www.thecraftsman.email/?ref=gchicco.com)). The more I looked into it, the more it seemed that these men and women had already found a way to counterbalance many of the struggles of the times we are living in. With my newly found [free time](https://www.gchicco.com/2019/04/23/the-serendipity-engine/), I decided to double down on the research of what we could learn from Japanese craftsmen to improve how we live and how we work. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/2018-Takahiro-Yagi-Kaikado.jpg) Takahiro Yagi in his workshop in Kyoto, 2018\. Photo by Gianfranco Chicco. Take for example Takahiro Yagi, a 6th generation master craftsman that makes [tea caddies](https://www.kaikado.jp/history%5Fen/?ref=gchicco.com), those airtight metallic containers used to keep tea leaves fresh. The first time I came across Taka’s work, about 7 years ago, I was impressed not just by the workmanship that went into the object, but by how they were made to become better with time. A newly minted tea caddy is beautiful. However, a 10 or 40 year old one is significantly more attractive, with a gorgeous patina made by oxidation and usage over time. This was not a random occurrence, it was intended by design. It got me thinking about what of my own work – if any – will be around in forty years from now, and if it will have become more beautiful at all. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/kaikado-tea-caddies.jpeg) Kaikado tea caddies changing through time (on the left, a brand new tin caddy, on the right a 40 year-old tin caddy). Image courtesy of Kaikado. But you see, while Taka’s work is rooted in a long lasting tradition, he is not a person living in the past. Last month he launched a new product – a portable speaker – in collaboration with Panasonic, using his expertise in metalworking and a deep understanding of how air flows, and Panasonic’s electronics know-how. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/kaikado-panasonic-1568x1046.jpeg) Kaikado x Panasonic portable wireless speaker. Image courtesy of Kaikado. And if you notice how the tea caddies slowly close with that satisfying *“fuuup”* made by the displacement of air between the lid and the body of the container, you’ll understand what inspired Steve Jobs in the design of the iPhone’s box. Kaikado copper tea caddy closing. Video by Gianfranco Chicco. Now, when you think about Japanese craftsmen – the *shokunin* – you probably imagine a person who dedicates their whole life to doing one thing extremely well. While this is often true (but not necessary, I’ve met plenty of shokunin who found their calling later in life), the Japanese master craftsmen have more depth than that. The goal of my research is to bring light to these dimensions and find ways to make them part of our own way of living and working. So far I’ve identified about eight different characteristics beyond being very good at what you do, and I want to share three of them with you. ### We Do Not Work Alone The first one is, in the words of the famous potter Kanjiro Kawai, that “we do not work alone”. Recognising that we don’t – and can’t – work alone has a humbling effect. We cannot manifest our gifts in a vacuum, our work depends on the many systems that we belong to. Spiritually, we draw inspiration and ideas from those that came before us. Then, there’s the material systems which support our own effort, in the form of tools and processes made by others, or elements and raw materials provided by nature. Finally, there’s a social system made by colleagues, clients, the people around you. You need them to be you, and to be able to share back your magic with them. We need others to thrive and shine. We do not work alone. ### Passing On The Knowledge The second dimension I want to share is that of passing on the knowledge. Master woodworker Shuji Nakagawa, a third generation shokunin and son of a Living National Treasure, once told me that it takes more than a lifetime to refine one’s work. For a shokunin, success is defined not just by the level of the craft achieved within their days, but by the ability to pass it on to the next generation. It’s not about you, you’re not the hero. ### I Only Know Plenty The third principle I want to leave you with today is one that I reflect on often, and has changed how I see the world. These days we’re obsessed with scale and growth at all costs (and in nature the only thing that follows that dynamic is cancer). We’re binge-watching shows online, we’re hoarding stuff, we can’t seem to be satisfied by what we have and are constantly craving for more. The question that arises — and is common to most of the Japanese craftsmen I’ve been meeting through my research — is: What is enough? And the answer is about contentment, rooted in the buddhist teaching *Ware Tada Taru wo Shiru* (吾 唯 足 知) — I only know enough, I am content with what I have because that is all I need. What is enough? How much do I need to achieve to be content? How many hours do I need to work? How much time do I want to share with my loved ones? How much do I need to eat to be satisfied? And so on. Our life is made of all these singular moments, and how we approach them, how we reflect on these things could — maybe — help us to reconnect with the rest of our body from the neck down, with the communities we belong to, with nature and the natural cycles. So the only thing I want to leave you with is *Taru wo Shiru*: What is enough? Thank you. ### Tanimura Tango and Japan's Vanishing Chasen Craft URL: https://www.gchicco.com/tanimura-tango-and-japans-vanishing-chasen-craft/ Last updated: 2025-03-17T10:16:17.000Z In Takayama, Nara prefecture, Tanimura Jun, professionally known as [Tanimura Tango](https://www.tango-tanimura.com/?ref=gchicco.com), continues a legacy that few others have maintained. As the 20th generation chasen master craftsman, he creates bamboo whisks essential for preparing matcha tea. Growing up, he showed no interest in the family tradition, nor was he pressured to follow it. Many craft patriarchs actively discourage their children from continuing these traditions due to the demanding work and modest returns. Tanimura chose his own path, working as a salaryman and running a shop in Osaka until, at 28, he returned to Nara to care for his parents. Only then did he begin to study the craft his family had practised for centuries. At first it was not easy to memorise all the steps required to make a chasen. Tanimura-san spent day after day looking at his father working. It took him 10 years to finally find the right rhythm and become a master himself, and has been at it for the past 26 years. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/20190923-tanimura-tango-IMG_0875s.jpg) Demonstration at Postcard Teas by Tanimura Tango. Photo by Gianfranco Chicco Will his son want to become the 21st generation? Tanimura-san is not sure but believes that how he approaches the pleasures and sorrows of daily life as a craftsman, is the best way to prove to him that this is a path worth pursuing. It takes about two hours for Tanimura-san to make a chasen all by himself, that’s about 4 units per day. However, running the family business has many other requirements and he currently employs 15 other artisans, bringing the daily production to roughly 50\. It’s not easy to find new apprentices and it takes them one-two years to conquer the necessary skills. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/20190923-tanimura-tango-DSCF7303s.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/20190923-tanimura-tango-DSCF7308s.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/20190923-tanimura-tango-DSCF7322s.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/20190923-tanimura-tango-DSCF7325s.jpg) Photos by Gianfranco Chicco As an object, the chasen has been perfected over centuries and remained mostly the same for the last 500 years. Up to about a hundred years ago, they were made at night using candlelight to keep the process secret. When fluorescent light came about, the method had to be tweaked to take into account that light reflected differently on the cutting tools. While the overall shapes (there’s more than 100 different ones) haven’t changed, Tanimura Tango is known for adjusting the delicate balance between strength and flexibility of each whisk to the customer’s style of preparing tea. The shape of a whisk also affects how you prepare matcha. A chasen with straight tines, like the one that renowned tea master Sen no Rikyu used, produces less foam than a chasen with rounded ones. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/20190923-tanimura-tango-DSCF7337s.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/20190923-tanimura-tango-DSCF7339s.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/20190923-tanimura-tango-DSCF7341s.jpg) This scroll contains many of the shapes of the bamboo tea whisks that the Tanimura family has been making for the last 500 years. Photos by Gianfranco Chicco ### Types of Bamboo Used in Chasen Making A good chasen is defined by the carving hand and the quality of the bamboo used: - **Aotake** (green bamboo): Fresh and used for new year celebrations. After a few uses its colour will change from green to yellow and there is beauty in that too. - **Shirotake** (white bamboo): The most widely used and is preferred by the Urasenke school of tea. - **Kurotake** (black bamboo): My favourite, used by the Mushakōjisenke school of tea. - **Susudake** (smoked bamboo): Used by the Omotesenke school of tea. Obtained from stems that have been exposed to the smoke of the irori, the open hearth typical of old houses, and is deemed to eventually disappear, forcing the Omotesenke school to find an alternative. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/20190923-tanimura-tango-DSCF7348s.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/20190923-tanimura-tango-DSCF7330s.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/20190923-tanimura-tango-DSCF7290s.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/20190923-tanimura-tango-DSCF7292s.jpg) Chasen by Tanimura Tango. Photos by Gianfranco Chicco When Tanimura-san was born, Japan had 55 chasen-making families. Today, only 18 remain, with numbers likely to decrease as cheap imports flood the market. Yet he remains confident that authentic craftsmanship will survive. Despite mass production trends, the hands that craft these bamboo whisks continue their work, maintaining a connection to Japan's heritage that machines cannot replicate. *Thank you to* [*Postcard Teas*](https://www.postcardteas.com/site/?ref=gchicco.com) *for hosting and facilitating the interview with Tanimura Tango.* ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/20190923-tanimura-tango-IMG_0895s.jpg) Fanboy moment, posing with the master ### Endings Summit at Techfestival 2019 URL: https://www.gchicco.com/endings-summit-at-techfestival-2019/ Last updated: 2025-03-06T20:21:14.000Z In September 2019, I co-curated the **Endings Summit** at Techfestival in Copenhagen, an event focused on designing better endings for products, services, relationships, and life. I was also the producer and host of the Studio Stage and official Techfestival podcast. The third edition of Techfestival took place 5-7 September 2019 in Copenhagen's Meatpacking District. Its participatory nature set it apart from conventional technology conferences. Rather than featuring dark rooms and hype talks glorifying technology, it fostered conversations about technology's societal impact and our role within it, welcoming more than 10,000 people. Keynotes included Wikipedia founder Jimmy Wales (US), hashtag inventor Chris Messina (US), 'the Robin Hood of data' Francesca Bria (IT), Center for Humane Technology Co-founder Aza Raskin (US), author Payal Arora (IND), Wired journalist Clive Thompson (CAN) and 'Europe's most wired politician' Marietje Schaake (NL). ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Techfestival-2019_01.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Techfestival-2019_02.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Techfestival-2019_03.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Techfestival-2019_04.jpg) Techfestival 2019 in Copehagen's Meatpacking District ### **The Endings Summit: Designing Better Endings** On Saturday, 7 September 2019, I co-hosted the Endings Summit with design researcher [**Joana Casaca Lemos**](https://www.joanacasacalemos.com/?ref=gchicco.com). We were joined by three experts on endings: - [**Shoshana Berger**](https://www.linkedin.com/in/shoshanaberger/?ref=gchicco.com), Editorial Director at IDEO and author of *A Beginner's Guide to the End: How to Live Life to the Full and Die a Good Death* - [**Joe Macleod**](https://www.andend.co/?ref=gchicco.com), former design director at UsTwo, Founder of Andend (the world's first customer ending business) and author of *Ends.: Why we overlook endings for humans, products, services and digital. And why we shouldn't* - [**Francesca Desmarais**](https://www.linkedin.com/in/francescadesmarais?ref=gchicco.com), systems thinker and strategist specialised in environmental and social design, and Venture Lead at the Copenhagen Institute of Interaction Design (CIID) Though Christopher Bullock wrote in 1716 that "'Tis impossible to be sure of any thing but Death and Taxes", the summit acknowledged that while taxes can be dodged, death cannot. We examined how not only life but companies, products, services, and relationships all eventually end yet we often find ourselves unprepared for these conclusions. Drawing inspiration from the ancient Greek Fates (Clotho who spun the thread of life, Lachesis who measured it, and Atropos who cut it), the summit addressed how modern society tends to focus on beginnings and growth while neglecting endings. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Endings-Summit-at-Techfestival-2019_02_team.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Endings-Summit-at-Techfestival-2019_03_gian-presenting.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Endings-Summit-at-Techfestival-2019_04_shoshana-presenting.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Endings-Summit-at-Techfestival-2019_05_workshop_-photo-by-Rasmus-Sigvaldi.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Endings-Summit-at-Techfestival-2019_06.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Endings-Summit-at-Techfestival-2019_07.jpg) The Endings Summit: presentations, workshop and dicussions ### **The Day's Structure** The Endings Summit took a hands-on workshop approach, requiring active participation from all attendees. The day was structured around four short talks on endings in products, services, relationships and life; two creation sessions where participants designed better endings; a collective review of the output; and a wrap-up session that formulated protocols for handling endings in each area. The summit formed part of the broader Techfestival experience, which included over 200 conversations, workshops and events centred on the relationship between humans and technology. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Endings-Summit-at-Techfestival-2019_12_studio-stage-podcast.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Techfestival-2019_03_studio-stage-podcast.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Techfestival-2019_01_studio-stage-podcast.jpg) I hosted the Studio Stage with live podcast recordings that proved very popular and offered direct interaction with Techfestival's audience ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Endings-Summit-at-Techfestival-2019_01_team.jpg) The brilliant Endings Summit team. Left to right: Joe Macleod, Joana Casaca Lemos, Gianfranco Chicco, Francesca Desmarais and Shoshana Berger ### Ritual: Printing One Photo A Day URL: https://www.gchicco.com/ritual-printing-one-photo-a-day/ Last updated: 2025-03-12T11:43:25.000Z A few years ago I came to the conclusion that a printed photograph is worth hundreds, if not thousands of digital photos stored on your phone or hard drive. I started digital photography in 2002 with a Nikon Coolpix 2500, followed by a Nikon D70 DSLR in 2004, and then an iPhone 3GS in 2009\. My output has ballooned to thousands of photos per year, scattered across my phone, various hard drives, Instagram, and Flickr. My current iPhone alone holds about 13,000 images. As taking photos became easier, my love for photography didn't increase at the same rate. Many images are merely ephemera I save for reference, and I rarely curate them properly. I love both taking and viewing photos, but when you have tens of thousands stored away, finding a specific one becomes like searching for the proverbial needle in a haystack. > Paraphrasing a well known philosophical riddle, if a photo is stored digitally and no one ever looks at it, does it even exist? ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/20190504-one-photo-a-day-albums-small-DSCF6552.jpg) To counter this I started to print photos again, one a day to be precise, and collect them in albums that I keep in a bookshelf. This became a mindful daily ritual I've been practicing so far for 487 days in a row. Picking each photo is a conscious act that makes me slow down and reflect on what happened that day. Browsing through a year of photos by flipping the album pages brings me joy. The *human interface* is physical and this practice is not a denial of digital photography – I love it! – but giving it a physical presence in my everyday life. ### The Ritual The daily ritual is very simple. Before I go to bed I select one photo to represent the day that has just passed. It doesn't have to be the absolute highlight or the best photo of the day, as that would put too much pressure on capturing every possible moment just in case. No, I'd rather enjoy being present with others or fully engaged in whatever I'm doing. Sometimes, when I remember to do so or the moment is right, I take that one special photo. I then add the photo of that day, of that particular year, to a dedicated album on my iPhone. If I've taken the photo using another camera, I'll transfer it to the smartphone to keep an orderly record. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/20190504-one-photo-a-day-albums-small-DSCF6541.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/20190504-one-photo-a-day-albums-small-DSCF6551.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/20190504-one-photo-a-day-albums-small-DSCF6555-2.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/20190504-one-photo-a-day-albums-small-DSCF6560.jpg) ### Printing & Storing The Photos I print each photo with a Fujifilm Instax Share SP-2 Printer, using the same film as regular Instax cameras. With pencil, I note the date, number (X/365) and a brief caption. The business card-sized prints (54 × 86 mm) fit perfectly in Muji albums that hold 200 photos each, so I need two for a complete year. When I'm travelling I either keep the photos in the appropriate album on my phone and print them in batch when I get back home or, if I'm carrying the tiny printer with me I'll print and store them in a small business card holder until I'm able to put them into the year's album. ### PS: I Still Love Analogue Photography I still enjoy film photography. Sometimes it takes months to finish a single roll, while other times I travel exclusively with film cameras. My fridge holds boxes of film rolls and Instax Mini cartridges from Japan. My analogue trifecta includes a Nikon F3HP (35mm), a Hasselblad 503CX (medium format), and a Fujifilm Instax Mini 50 that uses the same cartridges as the SP-2 printer. ### The Serendipity Engine URL: https://www.gchicco.com/the-serendipity-engine/ Last updated: 2026-01-14T22:23:05.000Z Earlier this year I left my job. I felt a strong urge to recharge physically and, more important, mentally. The role had created a series of positive connections and had me embark on an intense public speaking spree, but I was exhausted and creatively stuck. On top of that I wanted to stop doing certain things (like chasing people), and start doing others. In the note I sent out to my friends and network I mentioned that I’d be undertaking a *Serendipity Break*, which wasn’t a nice way to announce that I wasn’t going to work for a few months but that I wanted to actively explore different possible paths. The concept of taking a serendipity break is based on my belief that luck doesn’t exist and that new, unexpected opportunities can be the result of feeding the *Serendipity Engine*.The Oxford English Dictionary defines serendipity as “the occurrence and development of events by chance in a happy or beneficial way”. The term was coined in the 1700s and inspired by the Persian fable of *The Three Princes of Serendip*, where said princes made discoveries via a mix of unplanned accidents and chance. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/muscle-car.jpg) Dodge Challenger – archetypical American muscle car, found while wandering around NYC The Serendipity Engine works just like an internal combustion engine and, like with a high performance muscle car, you need to feed it with the right kind of propellant. In this analogy, the fuel is made of different activities, skills, and conversations. In my case, I select them so that they are deliberately out of, or tangential to, my current professional domain. The engine also requires maintenance and fine-tuning via iterations and changes to any activities or skills I become involved with. Catering for my Serendipity Engine is not exactly a strategy, but a way to discover doors that I didn’t know even existed. If it sounds like something out of a Neil Gaiman story or akin to Douglas Adams’s [*Infinite Improbability Drive*](https://www.youtube.com/watch?v=UIUIO1ImtJo&ref=gchicco.com), it’s because I’ve always been fascinated by the unexpected, often absurd worlds both actors created. Renowned designer Stefan Sagmeister started his personal tradition of taking a sabbatical every seven years because, despite all the success achieved with his work, he[“was bored. The work became repetitive”](https://sagmeisterwalsh.com/answers/stefan/?ref=gchicco.com), and he found that in the long run his creative output benefited from those off-work explorations. Author Steven Johnson uses the concept of the *adjacent possible* to describe how different elements and ideas can be combined in various ways to create new elements and ideas, which expand the adjacent possible itself, allowing even more new creations to emerge in a virtuous circle of sorts. The Serendipity Engine operates in a similar way, adding new stimuli into my life, and alllowing new and unexpected things to emerge. > *“The strange and beautiful truth about the adjacent possible is that its boundaries grow as you explore those boundaries.” -* Steven Johnson, *Where Good Ideas Come From* ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2023/01/Serendipity-Engine-Book-of-Beautiful-Business.jpeg) This essay was published in The Book of Beautiful Business by The Business Romantic Society, 2019\. Photo by Gianfranco Chicco. In his book *The Craftsman*, the sociologist Richard Sennett describes how “skill builds by moving irregularly, and sometimes by taking detours”, which is akin to keeping the Serendipity Engine in perpetual motion to encourage the strengthening of current skills and allowing the development of new ones. During my current serendipity break I’m feeding the engine with: research for a book project that has been in the back-burner for about a year (and is not related to my previous job); curating a summit in Copenhagen about endings in life, work, and relationships; learning new skills like pottery, painting with watercolours, dancing Salsa, and taking writing courses on Masterclass; eclectic reading, both for the book project but also following other oft-neglected interests; going to events, conferences, and exhibitions (like the Fuorisalone in Milan) as well as visiting London’s vast museum offerings; traveling to a handful of cities I’ve always wanted to visit; hanging out with friends and acquaintances I haven’t seen in a while; being open to meeting up with strangers via intros or just random encounters while doing all of the above; slowing down and renewing the commitment to a series of personal rituals. On a final note, when I started my degree in industrial engineering back in the mid-90s, we were required to attend an assessment session with the university’s psychologist. (I can’t really remember why we had to do it, but it was compulsory for all freshmen). At a certain point she asked me about my hobbies and interests, and upon hearing my reply, observed, with a concerned tone, that I had too many of them and that that was not a good thing. Well, I can’t say whether it’s a good thing or not, but in the 24 years since that meeting, I have become who I am professionally by following my curiosity. ### The Webby Awards & The Lovie Awards URL: https://www.gchicco.com/the-webby-awards-the-lovie-awards/ Last updated: 2025-03-10T12:03:25.000Z From 2016 to early 2019, I served as the European Marketing Director of the [Webby Awards](https://www.webbyawards.com/?ref=gchicco.com) and the [Lovie Awards](https://www.lovieawards.com/?ref=gchicco.com). The Webby Awards is the leading international award honouring excellence on the Internet. The New York Times called the Webbys the "Oscars of the Internet". The Lovie Awards recognises the unique and resonant nature of the European Internet community – from Europe's top web and creative networks and content publishers, to cultural and political organisations and individual creators. In my role, I led B2B Marketing, international relationships and development across Europe. Public speaking formed a core part of my responsibilities, delivering over 100 talks annually at major organisations and advertising agencies in London, Paris, Amsterdam, Berlin, Copenhagen, Milan and Stockholm. ### The Webby Awards ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Webby-Awards-2018.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Webby-Awards-2018_2.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Gian-and-Webby-Award.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Webby-Awards-at-Vice.jpg) The Webby Awards ### The Lovie Awards 0:00 /2:42 1× ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Lovie-Awards_03.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Lovie-Awards-6-_Gwendoline-Christie.jpg) The Lovie Awards ### Public Speaking & Evangelism ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Gian-speaking-at-agency-in-London-1.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Gian-speaking-at-Universal-Music-London-2018-1.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Gian-speaking-at-WP-Engine-Summit-London-2018-b-1.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/gian-webby-talk-havas-paris-9-december-2016-1.jpg) Sharing the latest triends and work in digital ### My LEGO Wall - From Work Tool to Art Installation URL: https://www.gchicco.com/my-lego-wall/ Last updated: 2025-03-09T10:35:50.000Z If you've visited my home in the last 5+ years or had a video call with me, you've noticed my LEGO Wall. It's a conversation starter for adults and a magnet for kids. What you might not know is how it got started. Yes, I'm a long time AFOL (Adult Fans of LEGO) and was lucky to have many sets as a child, which my brother later expanded. But my current collection began because I'm not a good illustrator. 0:00 /0:24 1× I started buying LEGO minifigures for client pitches while running my experience design practice. Hiring designers and illustrators to visualise concepts was expensive, so I took photos of minifigures representing people in the experience, explaining scenes with captions and speech bubbles. For this reason, I sought out minifigures that resembled "regular" people rather than fantastic creatures or superheroes. The LEGO store's build-your-own-figure option was perfect for getting the characters I needed. At the time I was going through a rather minimalist nomadic lifestyle and it was difficult to carry all the pieces with me, so I went on buying them and storing them here and there. Around those years LEGO started issuing special edition "mystery bag" figures and I got hooked by those too. When I moved to London and finally gathered all my belongings, I fixed a couple of LEGO baseplates to my living room wall to display the characters I'd collected. As my collection grew, I adjusted what had become an art installation rather than a business tool. My LEGO Wall now comprises 420 minifigures, with several more stored for an eventual expansion (I need bigger walls!). ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/20190112-lego-wall-DSCF5460s.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/20190112-lego-wall-DSCF5450s.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/20190112-lego-wall-DSCF5462s.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/home-DSCF3790-20180321s.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/20190112-lego-wall-DSCF5451s.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/20190112-lego-wall-DSCF5459s.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/20190112-lego-wall-DSCF5441s-1.jpg) Some of the characters are probably NSFW :) ### Velocitize interview on storytelling, great digital work, and personal vs. personalised experiences URL: https://www.gchicco.com/velocitize-interview-on-storytelling-great-digital-work-and-personal-vs-personalised-experiences/ Last updated: 2025-03-06T12:44:38.000Z Back in November 2018 I sat down with Andy North from [Velocitize](https://velocitize.com/2018/11/05/velocitize-talks-gianfranco-chicco-lovie-awards-creativity/?ref=gchicco.com), a publication by WP Engine that shares strategic insights on digital experiences to marketers and agency folk, to discuss marketing trends and how brands can approach the constant evolution of how we converse and tell stories online. > *Some trends, such as voice, transcend markets, said Chicco. “Voice is happening globally,” he said. “It’s a very natural way to communicate.” But personalization is one area where craftsmanship will make a difference.* We also talked about the natural evolution of voice technology, how culture shapes great digital work, emoji being the spice of text communications, and the difference between creating personalised experiences versus a personal experience for your customers/users/audience. [Here](https://velocitize.com/2018/11/05/velocitize-talks-gianfranco-chicco-lovie-awards-creativity/?ref=gchicco.com) you can read/watch excerpts from my conversation with Andy. ### The Tsubame-Sanjo Factory Festival URL: https://www.gchicco.com/the-tsubame-sanjo-factory-festival/ Last updated: 2025-02-11T17:04:00.000Z When our attention is being sucked away by digital gadgets, how can you help people understand the value of well made products and create a closer connection to their makers? For the Japanese manufacturing district of Tsubame-Sanjo, the answer was rooted in the simplicity of direct human experience: to organise a festival and invite everybody to visit the factories. This was the origin of the Tsubame-Sanjo Factory Festival, also known as Kouba no Saiten, back in 2013. Located in the Niigata Prefecture of Japan, the area surrounding the cities of Tsubame and Sanjo is responsible for the production of 90% of Japan’s cutlery and a vast number of different tools and products. Since the Edo period in the 1600’s, blacksmithing and metalworking craftsmen have been passing on the tradition of how to make things as varied as Japanese nails, kitchen knives, Japanese razors, *kiseru* tobacco pipes, and all kinds of hoes. But as in most of the industrialised world, and particularly in Japan, the craftsmen are growing older, the youths are migrating to the big cities and no one is left to take on the knowledge. Industrialisation has also meant the proliferation of lesser quality, cheaper products. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/02/Biology-of-Metal---Japan-House-London---02.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/02/Biology-of-Metal---Japan-House-London---03.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/02/Biology-of-Metal---Japan-House-London---04.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/02/Biology-of-Metal---Japan-House-London---05-.jpg) Biology of Metal exhibition. Photos courtesy of Japan House London Shop Producer Yu Yamada and SPREAD, the creative studio by Hirokazu Kobayashi (Koba) and Haruna Yamada (Haru), were tasked with creating an annual gathering that would increase the awareness of local products, produce and craftsmanship from large scale industrial factories to one-person artisan workshops. SPREAD took an unconventional approach which included adding colour to what’s per se a very grey area due to its industrial nature and harsh weather. They noticed that the colour of the fires in use was pink rather than red, and the factories themselves embodied different hues of silver, so they adopted these two colours to identify the new initiative. Haru and Koba designed a pink t-shirt and soon realised it made them feel more cheerful, creating an emotional reaction similar to that of the traditional happi, the light coat used by participants at Japanese festivals. During their own visits, they found that while factories and workshops looked quite dull and uninviting from the outside, once you stepped into them the dullness was replaced by awe. As designers, their goal became that of getting people excited about visiting the area by using a digital experience that revealed just enough to make them catch a train. Once there, they only had to open the doors and allow the guests to feel it all with their own senses, from the temperature of the ovens to the smells of the metal, from the sounds of the hammering to the light being reflected on the metallic surfaces. To stimulate the active involvement of the local craftsmen, SPREAD created the template for an identifiable “mark” that used pink tape and cardboard boxes that each maker could assemble and pile up in front of their factories.This cheap solution using everyday products allowed visitors to find out which factories were taking part of the festival. Kouba no Saiten’s reach is supported by exhibitions in big cities around the world, like the one held at Japan House London in late 2018\. Entitled *Biology of Metal,* it left me with a vivid impression thanks to the broad display of products, guided tours with Yu Yamada, SPREAD, and Simon Wright, Director of Programming at Japan House London, elegantly made videos that gave a peek into the factories, and talks and meetings with the actual makers. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/02/Biology-of-Metal---Japan-House-London---06.jpg) A crew of craftspeople in Tsubame-Sanjo. Photo courtesy of Japan House London \-- The Tsubame-Sanjo Factory Festival takes place in the Autumn. For more information visit [kouba-fes.jp](https://kouba-fes.jp/?ref=gchicco.com) Special thanks to [Japan House London ](https://www.japanhouselondon.uk/?ref=gchicco.com)for facilitating the interview with [SPREAD](https://www.spread-web.jp/?ref=gchicco.com) during the exhibition [Biology of Metal: Metal Craftsmanship in Tsubame-Sanjo](https://www.japanhouselondon.uk/whats-on/biology-of-metal-metal-craftsmanship-in-tsubame-sanjo/?ref=gchicco.com). This post is part of Issue n.011 of [The Craftsman Newsletter](https://www.thecraftsman.email/?ref=gchicco.com). ### Taking a break: Breathing and Zen URL: https://www.gchicco.com/taking-a-break-breathing-and-zen/ Last updated: 2025-03-08T12:35:48.000Z I often need to create space and change things up a bit to counterbalance the "busy-ness" of work, submerged in emails, chats, and the stress that comes with the daily sense of urgency. Luckily, it's not all screen time and I get to do a decent amount of public speaking, which means I get to meet plenty of interesting people face to face. Today I needed a break from all things digital and to feel more grounded. I would usually go for a run or yoga to clear my mind, though after some persistent pain due to injury and 3 days in a row of practice I decided to postpone that for a day. So instead I attended a short lecture by Toda Seizan, the head priest of Daiji-in Daitokuji temple, part of the Zen Buddhism Rinzai sect. As I often find with Zen monks, they have a contagious sense of humour and playfulness that disarms the false expectations of seriousness that people have about Zen. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/IMG_4058-1s.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/IMG_4052-1s.jpg) Toda Seizan and his assistant. Photo by Gianfranco Chicco Toda Seizan started as an accountant and after five years he enlisted to become a Zen priest. Funnily enough, when asked why he decided to become a priest, he candidly explained how he married a woman whose dad was a Zen priest so that was it: "I became a monk because I married a woman". (Laughs) We talked about the Heart Sutra and its importance in Zen practice. I became acquainted with it years ago when I started to practise Sōtō Zen and we would recite it as a chant at the end of Zazen. While I don't chant it as often now, I do listen to it after my daily meditation practice (the lightly musicalised version by [Kanho Yakushiji](https://youtu.be/sXC3S3kb4Rg?si=xA6QVVedUPFiKQrZ&ref=gchicco.com)). Towards the end of the talk, Toda Seizan shared how his own ascetic practice of the tea ceremony (Sado) is more about gathering the fellow priests together to share a cup of tea and less about the formality of the ritual as codified by most tea schools today, where it's seen more as an art form than as people sharing a cup of tea. It was Kūkai, considered the creator of what evolved into today's Japanese tea ceremony, who 12 centuries ago wanted to move away from the formality, exclusiveness and lushness of the tea tradition that had been imported from China and go back to the essential practice of gathering wood to make a fire, boil water, prepare and share tea with others. Samadhi, that meditative state of mind that arises during Zazen, often compared to the calmness that makes ripples of water settle in a turbulent pool, was an important topic of the discussion too. Our desires prevent the achievement of Samadhi, and eventually act as an obstacle to Satori, enlightenment. Toda Seizan referenced the 5 commandments of Buddhism (do not kill, do not steal, do not lie, do not have sex and do not drink alcohol) and how we all do them (laughs). But these rules exist because our desires take us away from Samadhi. ### Social Media Week London URL: https://www.gchicco.com/social-media-week-london/ Last updated: 2025-03-12T19:26:00.000Z I served as Executive Director of Social Media Week London from 2013-2016, leading the 2014 and 2015 editions. (I was also the Conference Director of Social Media Week Milan for the 2013, 2014, 2015, and 2016 editions.) Social Media Week operated as a prominent media platform and worldwide event with local presence across five continents: Europe, North America, South America, Africa and Asia. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Social-Media-Week---Day-2---Image-by-Dan-Taylor_heidi-blake.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Social-Media-Week-London---Day-1---Image-by-Dan-Taylor_will-hayward-buzzfeed.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/SMW-London-2014_rory-sutherland.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Social-Media-Week---Day-2---Image-by-Dan-Taylor_panel.jpg) Photos by Dan Taylor My responsibilities included building the local team and overseeing curation, strategy, programming, marketing, sponsorships, partnerships and operations. During the event, I hosted selected keynotes and panels. The event attracted thousands of visitors from the UK and abroad, featuring speakers from numerous companies including BuzzFeed, Nokia, Microsoft, Facebook, Twitter, Pinterest, Frog Design, leading advertising agencies like Ogilvy and Publicis, emerging startups and pioneers in the Internet of Things, virtual reality and other innovative fields. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Social-Media-Week---Day-1---Image-by-Dan-Taylor_gianfranco-chicco.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Social-Media-Week---Day-1---Image-by-Dan-Taylor_gianfranco-chicco-and-will-hayward.jpg) I also acted as host, presenter and moderator of selected sessions. Photos by Dan Talyor I secured Victoria House, previously unused for conferences, and transformed it into multiple functional spaces: a main conference hall, masterclass area, demo room and an expansive networking and coffee break lounge. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Social-Media-Week---Day-1---Image-by-Dan-Taylor_conference-room.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Social-Media-Week---Day-2---Image-by-Dan-Taylor_masterclass-room.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Social-Media-Week---Day-1---Image-by-Dan-Taylor_demo-room.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Social-Media-Week---Day-1---Image-by-Dan-Taylor-_networking-lounge.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/SMW-London_creative-space-with-Microsot.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/SMW-London-2014_victoria-house.jpg) We transformed the venue into rooms for different activities. Photos by Dan Taylor ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Social-Media-Week-London---Day-3---Image-by-Dan-Taylor-_team.jpg) Core members of my team during Social Media Week London 2015\. Photo by Dan Taylor ### Social Media Week Milan URL: https://www.gchicco.com/social-media-week-milan/ Last updated: 2025-03-13T11:54:18.000Z I served as Conference Director of Social Media Week Milan for the 2013, 2014, 2015, and 2016 editions, leading a team from digital agencies Hagakure and later Doing. Social Media Week (now part of Adage) was a prominent media platform and worldwide event with local presence across five continents: Europe, North America, South America, Africa and Asia. My responsibilities included building the local team and overseeing curation, strategy, programming, marketing, press relations, sponsorships, partnerships and operations. During the event, I hosted selected keynotes and panels as master of ceremony. 0:00 /1:53 1× Recap of Social Media Week Milan 2016 Each edition featured more than 150 local and international speakers and attracted over 6,000 participants. The event received official support from the City of Milan and Expo 2015, with opening ceremonies held at the Mayor's office, Palazzo Marino. We organised talks, workshops, masterclasses, demonstrations and outdoor activities in Milan's city centre, with the Duomo cathedral as the epicentre. Venues included Palazzo Reale, the Urban Center in Galleria Vittorio Emanuele, the Mondadori events space in Piazza del Duomo and Base Milano (in 2016). ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/SMWmilan16_base_venue.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/SMWmilan16_01.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/SMWmilan_venue_urban-center.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/SMWmilan_venue_palazzo-reale.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/SMWmilan_venue_palazzo-reale_02.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/SMWmilan_venue_palazzo-marino.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/SMWmilan_venue-mondadori.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/SMWmilan_harald-neidhardt.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/SMWmilan_cooking.jpg) Key sponsors and partners included Coca-Cola, Europ Assistance, Fiat, Lavazza, Microsoft, Nescafé, Nokia, Philips, Rock Communications, TIM (Telecom Italia), Widiba, Yahoo. Media partners included Corriere della Sera, Mondadori, Radio Deejay, Wired. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/SMW-Milan_coca-cola.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/SMWmilan_nokia.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/SMWmilan16_ford-cars.jpg) Sponsor branding and activations 0:00 /1:20 1× Together with Philips we created a bespoke light interaction for the launch of the Hue bulbs ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/SMWmilan-Mobile-Media-Room.jpg) We launched the FIAT 500L by creating a 'Mobile Media Room' with live-streamed conversations with speakers ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/SMWmilan_party.jpg) The event wouldn't be complete without an official party ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/SMWmilan-2016-team.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/SMWmilan15_team.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Team-SMW-Milano-2013.jpg) Some of my wonderful team members between 2013 and 2016 ### Taking It Slowly: Why I Love to Send (Paper) Postcards URL: https://www.gchicco.com/taking-it-slowly-why-i-love-to-send-paper-postcards/ Last updated: 2026-08-16T21:45:44.000Z > “Slowing down could be the single most effective action to save the world.” *\-* [Donella Meadows](http://www.sloth.gr.jp/meadows.htm?ref=gchicco.com) During a recent lunch with a good friend who works as a digital strategist, I casually mentioned that I like to send postcards, to which she commented quite baffled *“you still send postcards?”*. My natural reply was *“dozens, probably hundreds, of them each year”*. I’ve been consistently sending postcards during my whole life, and the frequency has increased since I moved out of my native Argentina in late 2001\. I guess that prior to ubiquitous social media and “always on” connectivity, sending postcards was a normal thing to do. Despite the fact that I can *poke* any of my friends in real-time through Email, Facebook, Twitter, Instagram, or WhatsApp, I find myself sending more postcards now than ever. Reflecting on this practice I came to the conclusion that the main reason why I send so many postcards is because we are so digitally connected that receiving a slow, old-school, message from somewhere around the world has become more significant than ever before. I like to take time to think of whom I’d like to write to, pick a card, write down on it with a fountain pen, and markit with one or several rubber stamps collected throughout my travels (it’s no surprise that my preferred ones tend to be Japanese). To send a postcard and have it randomly show up in your mailbox is my way of saying “I’m thinking about you”. While we might be more digitally connected than ever, we’re still made of flesh and bones and I think there’s some value in receiving a physical object to remind us of our connectedness beyond bits and bytes. Writing a postcard is not multitasking-friendly. It requires time and attention to manifest your thoughts and the recipient’s address on paper, walk to the post office, and finally insert it into a mailbox that often looks as if it belonged to a long forgotten universe. An added bonus is that post offices still produce stamps with different and often limited artwork. The fact that it might take days, weeks or months for this object to reach its destination – if it ever does so – provides this whole ritual with a wishful patina. Sending physical postcards is a way to reconnect with friends and family. For example, in Japan the practice of nengajō (年賀状), sending New Year’s postcards, is still quite popular and if the postcards are presented in time to the post office, they will be delivered during the first day of the year all at once. So friend, if you’re travelling somewhere interesting or maybe you’re just at home but we haven’t connected in a while, then why don’t you send me a postcard and I’ll certainly reciprocate sooner than later! (For practical reasons I would rather not write down my home address here but reach out in private if you need it). ### Why Conferences Should Have an Expiration Date URL: https://www.gchicco.com/why-conferences-should-have-an-expiration-date/ Last updated: 2025-08-27T15:19:39.000Z I’ve been involved in designing, marketing and managing events — mostly conferences in the management, technology, design and creative sectors — for more than ten years now, and I’ve come to the conclusion that conferences need to have an expiration date, like food. A sort of *“best before dd/mm/yyy”*. ### What Does It Mean This means that when you decide to run a conference with specific goals (or if you are currently running one), you also set a date by which you will cease such an event because you consider that by that time its mission should have been achieved or that a stop should be made to reassess the future steps. Of course, it could happen that after a first edition the venture proves unsuccessful and does not go on, that the goal is achieved before the deadline or that when the date comes the motivations to organise it are still valid and you decide to endure for one or more editions. **What an expiration would prevent is that you go on out of inertia while the experience and significance of the gathering dilutes into irrelevance, waning into a shadow of what it used to be.** ### Why Have An Expiration Date Events are products of their time. The good ones catalyse a particular mood in a group of people, be it in a specific industry, sector, or society, and offer something that that these people find valuable. But as with physical products, events follow cycles and what is novel, interesting, useful, relevant or entertaining today might not be so tomorrow. When an event goes beyond its expiration date one of two things can happen: One, it is still relevant and can go on for a bit longer. Two, it starts to decay despite the passion, energy, resources and effort of a great team. In this second case, I believe that it's healthy to take a break and decide whether it's better to insist or rather apply that passion, energy, resources and effort to something else. Thinking about my own professional career, I've gone through that kind of cycle a few times: I was involved in the organisation of large — now rather traditional — executive education congresses (think 3,000+ attendees) where we brought together an at-the-time unheard-of roster of academics, industry and world leaders who offered their vision and ideas in 1.5 hour long sessions each, for two days. I still can't believe how much money we generated with the first editions in cities like New York, Milan, Buenos Aires and other major business hubs around the world. It felt fresh in 2004, in a pre-social media and startup craze world. I left in early 2008 and now, in 2013, this series of events still exist but are no longer perceived as the must-attend for the business community, at least not those under 40. I've also worked in an amazingly creative and experimental event that had as a goal to transform a particular city into a creative hub, a point of reference for the creative industries in Europe. It had the financial support of the city (plus other industry sponsors) and pioneered a set of formats and interactive installations that were among the most original I've ever experienced. In my opinion, after 5 editions (I was involved in n.4 and n.5) the reason for which this event had been created had been grandly achieved and following that its originality reached a peak and the following ones were still good but felt direction-less, became smaller and — again in my very own personal opinion — less relevant to the local and international community. Barcamps had all the buzz back in 2006-2007 and gathered droves of people interested in the exploration of the nascent space of social media (at least the first bunch of them, later the un-conference format was applied to many other topics and industries). Back then the conditions were just right for them to happen. However today you barely come across one (as a community thing, not as a format). Another example that comes to mind is the [Universal Exposition](http://en.wikipedia.org/wiki/World%E2%80%99s%5Ffair?ref=gchicco.com), which started in the mid-19th century and was considered a driving force to expand international industrial and cultural exchange. Nowadays it still takes place but it's hardly such a relevant occasion anymore, especially for the Western countries. Nonetheless, if you consider the influence of time and location, the "expo" that took place in Shanghai in 2010 had a majority of the attendees come from mainland China, and for most of them it was the first time visiting Shanghai and being exposed to other international cultures. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/08/LDF22-IntoSight-SonyDesign-Credit_EdReeve-23.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/08/LDB21_The-Global-Goals-Pafilion_1_Credit-Ed-Reeve.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/08/Lovie-Awards_03.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/08/Webby-Awards-2018.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/08/Endings-Summit-at-Techfestival-2019_03_gian-presenting.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/08/Social-Media-Week-London---Day-1---Image-by-Dan-Taylor_will-hayward-buzzfeed.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/08/red-innova-2011_header.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/08/PICNIC-Festival_westergasfabriek-08.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/08/WBFmilano_conference-room.jpg) A selection from my [Portfolio of events](https://www.gchicco.com/tag/portfolio/) ### Effects of Having an Expiration Date The effects of having an expiration date would allow you to: - **Break hype cycles** — there's an expectation that an event should be always better than the past edition, which at a certain point becomes hardly sustainable. Take for example the presentation of the iPhone 5s in September 2013\. Several analysts considered it a boring event and featuring an unsurprising product, albeit an excellent one. Well, we're no longer in 2007 when the introduction of the original iPhone was revolutionary and launched the era of the modern smartphones with touch screens. And that's ok. - **Avoid diminishing returns** beyond a point where it somehow damages the event, the credibility of the brand or the relationship with the community. - **Prevent wasting resources** (financial, human resources, etc) on a cause that no longer has a meaningful impact, whatever that used to be. - **Create time to think**, re-focus and plan what comes next without the pressure of the inertia created by a cycle that is no longer relevant (i.e. the next edition). - **Find new goals** and have the freedom to decide what instruments are needed. - **Avoid exhausting the experience**, limited by the formula (format, content, city, etc) used in the past, even if it was a successful one. - **Keep the memories of past editions in high regard**, as Sir Paul Smith says,"You're as good as the last thing". - **Escape decadence,** all that rises must come down. - **Move on**, because that's life. ### Change Is The Only Certainty Surprise, originality and excitement only last for a certain period of time, and the same can be said for impact and relevance. It's not easy to detach yourself from a successful conference. It takes courage, vision and the understanding that everything in life moves in cycles. People, things and habits are born and die. It might also create uncertainty on what comes next. That's normal and must be embraced. This doesn't mean that you shouldn't invest in the longevity of the brand. The biggest asset of an event is (or should be) the relationship with the community of attendees, sponsors, partners and other stakeholders that it has — hopefully — created during its existence. Yes, it's a valid alternative to try to milk the most value out of a specific conference and figure out what to do next later. It's surely the most reasonable thing to do purely from the Return-On-Investment (ROI) point of view. But you're not running an event just for the ROI, or are you? ;-) --- Check out some of the [events I've worked on since 2004](https://www.gchicco.com/tag/portfolio/). ### TEDxSilkRoad URL: https://www.gchicco.com/tedxsilkroad/ Last updated: 2025-03-22T13:38:09.000Z TEDxSilkRoad was a one-day conference in Istanbul, Turkey, bringing together East and West to discuss global commerce, social innovation, future trends and storytelling. With 18 international speakers and 120 participants, it took place on 11 April 2012 at the Feriye auditorium, a historic 19th century Ottoman building on the Bosphorus shoreline, built when the Sultans relocated from Topkapı Palace to their new Bosphorus palaces. I managed marketing, media, production and showrunning, spending one month in Istanbul coordinating the local production team and supporting the event curator. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/TEDxSilkRoad-10.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/TEDxSilkRoad-08.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/TEDxSilkRoad-07.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/TEDxSilkRoad-06.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/TEDxSilkRoad-03.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/TEDxSilkRoad-09.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/TEDxSilkRoad-04.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/TEDxSilkRoad-02.jpg) ### Why Silk Road The historic Silk Road connected East and West through commerce, innovation and cultural exchange. Travellers shared beliefs, religions and traditions through music, food and storytelling despite personal hardship and risk. Today's Digital Silk Road transcends borders through mobile internet, fibre optic networks and growing e/m-commerce. It enables global communities via social networks, delivers education through tablet computers, and facilitates creative collaboration among millions without physical meetings. ### Programme **Innovation & Borderless Creativity:** Talks on Silk Road evolution, cross-border creativity and digital trust from speakers including Ferhan Cook (Curator of TEDXSilkRoad), Jessica Hand (British Consul General), Mark Norell (American Natural History Museum), Arvind Gupta (IDEO Asia), Joey Ellis (TED fellow), Karen Lancel (V2 Institute), Bora Bicer (Turkcell/Bogazici University) and Melda Goknel Bilal (Writer). 0:00 /18:06 1× The Real Currency of the New Silk Road - Arvind Gupta **Reach Out & Empower:** Exploration of technology for social innovation with presentations from Osmantan Erkir (STR), Didem Altop (Endeavor), Tulin Akin on digital farming markets, Heather Leson on civic mapping technology, Carlos Miranda Levy on Relief 2.0, and Gunduz Vassaf on the Digital Silk Route. **The Connected Future:** Insights into networked society through talks by Marie-Jose Montpetit (MIT) on Social TV, Patrice Slupowski (Orange) on quantified self, Ralph Simon (Mobilium) on global mobile adoption, and a wearable technology showcase by Francesca Rosella and Ryan Genz (CuteCircuit). ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/TEDxSilkRoad-11.jpg) Me, on the left, making sure things are working properly (as usual) ### Red Innova URL: https://www.gchicco.com/red-innova/ Last updated: 2025-03-14T16:22:10.000Z I served as Chief Operating Officer of Red Innova in Madrid, Spain for the 2011 edition, held on 15-16 June. Red Innova was the community on innovation, internet and entrepreneurship connecting Latin America with the world, bringing together influential entrepreneurs, developers, mentors, investors, executives and media to share projects, learn and build lasting business relationships. My responsibilities included leading strategy, programme development (especially by attracting international talent), operations and marketing, including the creation of a new website. 0:00 /3:38 1× The event focused on Latin American and Spanish entrepreneurship, featuring over 30 speakers and attracting more than 1,300 participants. Twenty startups from Latin America competed for a €100K prize. We held the conference at the historic Teatro Circo Price, a circus venue in central Madrid. Key speakers and partners included Al Jazeera, Amazon, BBVA, Evernote, Facebook, Google, Prisa, Telefonica and Wayra, Tuenti, Twitter and numerous others. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/red-innova-2011_like-williams.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/red-innova-2011_prisa.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/red-innova-2011_networking.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/red-innova-2011_phil-libin.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/red-innova-2011_martin-varsavsky.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/red-innova-2011_riyaad-minty.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/red-innova-2011-01.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/red-innova-2011_panel.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/red-innova-2011_team-02.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/red-innova-2011_team.jpg) The core team behind Red Innova ### Frontiers of Interaction URL: https://www.gchicco.com/frontiers-of-interaction/ Last updated: 2025-03-14T11:11:27.000Z I served as Conference Director of Frontiers of Interaction in 2010, joining cofounders Leandro Agro' and Matteo Penzo to lead business strategy, transforming the event from a non-profit academic initiative into a for-profit company. Founded in 2005 to explore Interaction Design, Frontiers of Interaction rapidly established itself as Italy's leading Innovation conference, connecting entrepreneurs, CEOs, academics, early adopters and trend-setters for information, inspiration and networking. It created a bridge between Europe and Silicon Valley by featuring inspiring international speakers alongside Italian talent. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Frontiers-of-Interaction-2010_acquario-romano.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Frontiers-of-Interaction-2010_Aldebaran-Robotics.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Frontiers-of-Interaction-2010_Heather-Knight.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Frontiers-of-Interaction-2010_luke-williams-2.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Frontiers-of-Interaction-2010_luke-williams.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Frontiers-of-Interaction-2010_Nao-Aldebaran-Robotics.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Frontiers-of-Interaction-2010_panel.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Frontiers-of-Interaction-2010_performance.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Frontiers-of-Interaction-2010_tech-team.jpg) My responsibilities included programme curation, business development, partnerships and experience design. The 6th edition took place in Rome in July 2010 at the Aquario Romano, designed in the late 1880s. The conference offered an immersive experience unusual for its time, combining music, interactive and artistic installations, demos and keynotes. Speakers addressed diverse topics including design leadership, social usability, augmented social reality, data visualisation, and human-machine interaction, featuring robot performances incorporating stand up comedy and dancing. Frontiers of Interaction was highly participatory, with the audience suggesting themes during preliminary brainstorming sessions, joining co-creation workshops and contributing to venue decoration with their personal geek memorabilia. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Frontiers-of-Interaction-2010_audience-gadgets.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Frontiers-of-Interaction-2010_audience-gadgets-3.jpg) The audience contributed to the event's decor with their own geek-gadgets We curated every touchpoint of the experience, from the stimulating venue to hosting one of the first iPad compatible live streamings following the device's launch earlier that year. Even participant badges were designed as collectible items ([read more about the badges](https://www.gchicco.com/foi-conference-badge/)). ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Frontiers-of-Interaction-2010_programme.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Frontiers-of-Interaction-2010_badges.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Frontiers-of-Interaction-2010_badges-2.jpg) [The badges became a collectible](https://www.gchicco.com/foi-conference-badge/) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Frontiers-of-Interaction-2010_Stewart-Brand.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Frontiers-of-Interaction-2010_Bruce-Sterling-2.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Frontiers-of-Interaction-2010_performance-by-korinami.jpg) Visionaries Stewart Brand, Bruce Sterling and live performance by Korinami and his band ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Frontiers-of-Interaction-2010_team.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/Frontiers-of-Interaction-2010_gianfranco-chicco.jpg) The core team and your's faithfully ### PICNIC Festival URL: https://www.gchicco.com/picnic-festival/ Last updated: 2025-03-13T13:00:40.000Z I served as head of strategy, marketing, digital (new website development), print (catalogues), ticketing and partnerships for the 2009 and 2010 editions of the PICNIC Festival in Amsterdam. The international PICNIC Festival was a pioneering platform for innovation and creativity in technology, media and design, establishing Amsterdam as a global creative hub. Our innovative formats and experimentation later became standard practice in other events around the world. 0:00 /3:14 1× PICNIC 2010 The name PICNIC originated from the concept that, like a real picnic, we set the blanket and everybody—speakers, audience participants, partners and sponsors—contributed by bringing something to the gathering. The festival attracted over 7,000 attendees and brought together visionaries, entrepreneurs and media leaders from international companies including BBC, Foursquare, Nike and others, featuring both renowned figures and emerging talent. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/PICNIC-Festival-2009_rachel-armstrong.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/PICNIC-Festival-2010_05.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/PICNIC-Festival-2010_aza-raskin.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/PICNIC-Festival-2010_fablab.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/PICNIC-Festival-2010_interactive-experiences.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/PICNIC-Festival-2010_yurt.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/PICNIC_IK-tag.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/PICNIC-Festival-2009_biotech-lab.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/PICNIC-Festival-2010_06.jpg) Much more than just talks All participants received RFID ID tags they could use for interactive experiences, digital-physical networking, voting for their favourite sessions and games throughout the event. We transformed Amsterdam's Westergasfabriek, a former gasworks complex, into conference halls, biotechnology labs, masterclass spaces, a fablab and a vast networking area, including a multi-level city inside the main 2500 m² gas tank. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/PICNIC-Festival_westergasfabriek.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/PICNIC-Festival_westergasfabriek-02.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/PICNIC-Festival_westergasfabriek-03.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/PICNIC-Festival_westergasfabriek-04.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/PICNIC-Festival_westergasfabriek-05.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/PICNIC-Festival_westergasfabriek-06.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/PICNIC-Festival_westergasfabriek-07.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/PICNIC-Festival_westergasfabriek-08.jpg) Turning an unconventional venue into a dreamscape Our programming combined conventional and experimental formats, all with distinctive elements that set them apart. Features ranged from real turf stages to yurts for biotech experiments. The festival celebrations included performances by international musicians such as Janelle Monae just before her global breakthrough. Key partners included the City of Amsterdam, Dutch National Postcode Lottery, Mediamatic, Microsoft, Vodafone and numerous others. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/PICNIC-Festival-2009_picnic-at-night-party.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/PICNIC-Festival-2009_music-on-stage.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/PICNIC-Festival-party_janelle-monae.jpg) Parties and performances were an integral part of the programme ### World Business Forum URL: https://www.gchicco.com/world-business-forum/ Last updated: 2025-03-14T17:12:23.000Z I served as Marketing Director & Business Manager of the Italian branch of HSM Group (now WOBI) based in Milan between 2003 and 2008. As the first employee in Italy, I managed the local office, coordinating activities with other countries. My responsibilities ranged from company startup operations—securing office space, banking and accounting services—to venue selection, audiovisual requirements, catering partnerships and media partnerships. The team eventually grew to approximately 16 members. We organised international conferences showcasing ideas from leading business minds, bringing together CEOs, entrepreneurs, innovators, thinkers, artists and sport leaders. Our flagship event was the World Business Forum, which continues to run in several countries today. We also organised the World Marketing Forum and World Innovation Forum as separate themed events within our portfolio. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/WBFmilano_michael-porter.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/WBFmilano_networking.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/WBFmilano_programme.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/WBFmilano_philip-kotler.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/WBFmilano_conference-room_wide.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/WBFmilano_tom-peters.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/WBFmilano_renee-mauborgne.jpg) We launched the World Business Forum globally in 2004, beginning with New York at Radio City Music Hall, followed by Frankfurt at the Alte Oper, Milan at Fiera Milano and Chicago at Navy Pier. Our sister event, Expomanagement, ran in Buenos Aires, Madrid, Mexico City and Sao Paulo. The format was innovative for its time, uniting the business community with each event attracting over 3,000 attendees. Speakers included international political figures such as Al Gore, Bill Clinton, Colin Powell, Madeleine Albright; CEOs like Jack Welch and Richard Branson; and management experts including Michael Porter, Philip Kotler, Renée Mauborgne, Stephen Covey and Tom Peters. ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/WBFnyc_gianfranco-chicco.jpg) ![](https://storage.ghost.io/c/01/d0/01d08198-2c67-4cdc-a041-7d7c7d50e709/content/images/2025/03/WBFmilano_gianfranco-chicco.jpg) My (very much) younger self addressing crowds of thousands