East Japan Projectより東北地方の工芸を用いた製品企画の話を受けた際、複数の異なる工芸品を紹介いただいた中、我々は伝統的な製作法を用いるこけし- 東北地方の職人が百年前より制作し続ける木製の人形-を選んだ。 幾たびのろくろの回転より削り出されるその柔らかな形は昔からほぼ変わらない。その不動の人形に我々は関節を一つ与えることにより動きを吹き込んだ。木は生を宿し、そして親しげな日本の挨拶を模倣する。 その道に長けたノウハウを持つこけし職人の佐藤英之さん、藤里木工所との共同製作により、このKokeshiの実現を可能にした。
A few years ago, during a trip to Japan, we saw an exhibition about Japanese animal figurines. These small statues with different expressions made from different materials connected us with the craftspeople ? the creators, and we were deeply moved by the simple and affectionate presence of their art, which has been passed on from their ancestors. We are also passionate collectors of books about Japan’s popular objects. We love to look them through to discover the quiet sophistication of objects. When some years ago we designed the Oiseau for Vitra, it was in some way a continuation of this bestiary.
When East Japan Project proposed us to work with a different kind of crafts, we chose traditional Kokeshi manufacturing – wooden dolls created a hundred years ago by craftsmen in Tohoku region in northern Honshu. Their roundness, which we see emerging from each of the spins of the woodturning, has barely changed since. We breathe movement into the doll with a single articulation; wood comes alive and mimics the movement of a friendly Japanese greeting. The know-how of craftsman Fujisato Woodcraft and master Eihiro Sato made it possible.