Without this craftsman, this line would not come out. Inheriting craftsmanship
2019.04.28
Don't be bound by preconceived notions and live faithfully to your own aesthetic sense. The series "Seekers of Freedom" touches upon the thoughts of such "Seekers of Freedom" and evokes the power of images that effortlessly transcend the concept of known things and time.
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Thirteen years after its launch, the jewelry brand SIRI SIRI is now trying to pass on the techniques of the craftsmen who have worked on standard items to the younger generation of creators.
How do craftsmen engage in production and how do they pass on their techniques? Also, why did you start such an experiment? SIRI SIRI staff Chikatsu Fukuda interviewed veteran glass craftsman Toshio Yagihara and young glass artist Eri Nagaoka.
Toshio Yagihara｜TOSHIO YAGIHARA
Representative of Yagihara Manufacturing Co., Ltd. First-class technician. 35 years of professional experience. My grandfather started making physics and chemistry glassware in Sumida Ward, Tokyo, and is the third generation. In recent years, in addition to physics and chemistry glassware, he has also been involved in the creation of various glass works at the request of SIRISERI jewelry and artists.
Eri Nagaoka｜ERI NAGAOKA
glass artist. Born in Saitama Prefecture in 1991. After graduating from Tama Art University, Department of Crafts, majoring in glass, started oxygen burner work. Mainly using glass as a material, he freely expresses himself.https://erinagaoka.myportfolio.com/story-of-art
Chika Fukuda｜CHIKA FUKUDA
Production management staff / SIRI SIRI school "ATRIUM" charge. Born in Kagoshima prefecture. After graduating from a fashion school, worked as an intern at SIRI SIRI in 2013 after working in fashion sales and planning and sales at an accessory parts specialty store. For about a year and a half, I helped with parts assembly and sales assistance, and became a full-time employee in 2015. I am currently in charge of production management.
It is a job only if you can clear the first impression "I can't do it"
-- Ms. Yagihara, who has been cooperating with us since the launch of the brand, handles almost all glass items such as KIRIKO and CLASSIC bangles.
Yagihara: Yes. I was approached in 2005, and for the next several years I was mostly using glass, so I created each new piece.
Fukuda: Mr. Yagihara's items are so popular that they are said to be ``SIRI SIRI's glassware'', and even now they sell out as soon as they come in stock. It is no exaggeration to say that it was possible because of Mr. Yagihara's technology. But when Okamoto first approached you, you were quite surprised, weren't you?
Yagihara: Yes. My first impression was "I can't do it". I was also not very confident in my skills at the time, and I remember replying, "I will try, but I may not be able to do it." When I saw the design drawings for the NEROL (pierced earrings made of thin twisted glass rings) here, I thought, "What is this person talking about?" In a good way, Mr. Okamoto doesn't have the same common sense about glass as a craftsman does, so he designs with the desire to create the desired shape with glass as it is.
Fukuda: I think it's because we have the trust to respond. Now, 13 years later, Okamoto also thinks about the characteristics of the materials, and there are times when he makes adjustments with the craftsmen. However, I am particular about the design, so it must have been a lot of trouble at first.
Yagihara: I recognize that glass processing is a difficult job for me, so my first impression is that I can't do it every day. Rather, it is work only if you can clear it. Therefore, the difficulty of handling glass remains in my memory. When making NEROL, Mr. Okamoto wanted to make the same shape with glass as the other items he made with rope. So, I turned the heat-resistant glass into a thin stick with a burner, made a semicircle with a rope that was evenly twisted, and then connected it to form a shape.
Fukuda: You said that you started thinking about how to make it, but how long did it take?
Yagihara: It was relatively early. When I twisted the glass string like the rope, the twist remained neatly, so I had a guess that if I made it more precise, it would take shape. The reason why SIRI SIRI jewelry can be made into complicated shapes and delicately processed is because it is hard-to-break heat-resistant glass. There are designs that seem easier to mold, but the melting point of heat-resistant glass is too high to be suitable for molds.
Fukuda: I think these shapes and curves that are unique to human hands are SIRI SIRI. During the work, it is really detailed and processed while measuring the dimensions in millimeters. No matter how many times I watch it, I am deeply moved by the sight of the materials being confronted without sparing any effort.
Yagihara: However, delicate designs made from heat-resistant glass cannot be mass-produced. I think it's hard to balance the numbers.
Fukuda: That's right. While I think we should incorporate molding, it's a difficult question because there is a possibility that the goodness of manual work will be lost. I always wanted to deliver the products as soon as possible to the customers who were waiting for them to arrive. We ask that you make adjustments so that it does not put pressure on Mr. Yagihara's main business, the work of physics and chemistry laboratory equipment, but it is also true that we are unable to keep up with requests.
Therefore, in 2017, we started an experiment to have young craftsmen inherit Yagihara's item production procedures and techniques. I want to realize both the reduction of the burden of production and the increase in quantity.
"This line would not come out without this craftsman."Jewelry
-- It's very rare for a jewelry brand to ask a craftsman who is not an apprentice to guide them.
Fukuda: I think it was really well received. But I think there is no other jewelry that says, "This line can only be made by this craftsman." The identity of SIRI SIRI is that each piece is handled by a craftsman, and I believe that it is necessary to pass on the technology. Yagihara's products are currently on the waiting list for about six months, but there is no end to the number of customers who still want them. In order to keep the items that have been loved for many years, we will ask you to produce them within a reasonable amount, and at the same time we will pass on the technology and prepare the production system. In terms of production management, I think this form is the landing point at the moment.
-- The young creator is said to be a student of a class held by Mr. Kiyoshi Matsumura, a glass artist who has been associated with SIRI SIRI since its early days.
Fukuda: Yes. Craftsmen also have different personalities, technical skills, specialties and environments, so we mainly ask for small items first. The same is true for Eri Nagaoka, who commissions KIRIKO rings and earrings. At first, we sent samples for production, but we thought of a way to take over the work properly in a shorter period of time. I decided to accept it.
Nagaoka: In addition to the procedures, he carefully taught me the basics such as the importance of a clean work environment. For example, when I was stuck with the problem of dust sticking to the ring, I was told that dust was the cause. Once again, I realized the importance of basics.
Fukuda: Basic guidance is a suggestion from Mr. Yagihara. I feel that what Mr. Nagaoka has taught me over the past three months, from basics such as organization and how to deal with materials to how to proceed with work, is reflected in his current work. KIRIKO's ring will soon be ready to be shown to customers.
Nagaoka: I'm happy to hear you say that. But when I think about it now, I don't think I could have completed it with just a sample. What surprised me when he taught me directly was that the production process was organized in a very logical manner. If you proceed in order, it will be finished efficiently and beautifully, so if you can do it once, you can apply it. KIRIKO ring had to increase the thickness of the top a little, but thanks to that, I was able to adjust the line by myself. Also, I am currently making 1,000 glass beads for the production of HOBO SIRI SIRI, and I am deeply impressed by Mr. Yagihara's teachings.
Creating something that does not exist at all
-- By the way, do you have any items that incorporate the techniques of making physics and chemistry equipment?
Yagihara: Experimental instruments are molded glass tubes, and SIRI SIRI is mainly made of glass lumps, so in terms of shape, it's not so much. Rather, I think that the basics of work, such as how to adjust the heat and how to handle glass, are important commonalities.
Fukuda: Is it difficult to adjust the heat power?
Nagaoka: It's very difficult. If you heat it in a tube state, it will immediately collapse, and if you don't heat it evenly, it will swell into a strange shape.
Yagihara: That's a common technique for craftsmen involved in glass processing. Although the method of expression is different, the invisible precautions such as how to melt the glass and how to heat it are the same. I think that it is a part that people who have a deep understanding of technology are more aware of.
Nagaoka: Recently, I personally tried a KIRIKO bangle, but it ended in disastrous results.
Yagihara: The KIRIKO bangle is an important item for me, as I thought I could do other things by figuring out the procedure for this. From a production point of view, the KIRIKO ring is an application of the bangle, and the CLASSIC bangle was completed by adjusting the volume. At first, I had a lot of volume, so I postponed it because it was difficult, but I tried many times to get the shape. By the way, the KIRIKO series is processed by a kiriko craftsman in the final stage, but I put the pattern of CLASSIC one by one.
Fukuda: It's an unexpected tool, isn't it?
Yagihara: Yes, a knife for eating. It was cool that the master of Venetian glass skillfully made figurines with a kitchen knife, so I imitated him (laughs).
Fukuda: You are always trying to make use of whatever you have in your work.
Yagihara: That's right. Actually, around the time I started working with Mr. Okamoto, there was a boom in the craft world in Japan, and Pyrex burner work was booming for a while. Many great masters were invited from overseas, so I attended all of the demonstrations and workshops to get hints and techniques to shape Mr. Okamoto's designs. The idea of twisting the glass rod was also inspired by seeing a demonstration of Venetian glass.
Fukuda: The attitude of always trying to absorb something and the effort of trial and error to give form even if it takes time is really wonderful. In order to create something that does not exist at all, knowledge and energy, originality and ingenuity, and strong feelings are important.
-- In a good way, there is no common sense or mold for craftsman-level glass. Giving form to something that doesn't exist may be part of SIRI SIRI's style.
Yagihara: Yes. Mr. Okamoto's idea was something I had never seen before. There were people who made glass accessories as a hobby, but no one seriously wanted to turn it into a jewelry brand. That's why I thought I could really do it, but when it started, many customers followed me and said, "Yes, I can do it." After that, when I saw Mr. Okamoto's ideas, I started thinking, "Maybe I can do it." Even if you say "I can't do it", the premise is already "how to do it". That's why I sometimes regret that other craftsmen refuse to make bangles. Since there is a finished product, I think it would be nice to try it once.
Fukuda: Perhaps it's because of our strict standards, but there are certainly a lot of creators who are turned down. This is the basic quality for long-time buyers and customers, so even if it takes time, we want to deliver products of a level that all brands will recognize as beautiful. With that in mind, I am truly grateful that SIRI SIRI will be able to inherit the technology of Mr. Yagihara, who is one of the top class in the glass world.
The way we deal with each other is the same for manufacturing and passing on technology
-- Mr. Nagaoka must have had a great encounter with Mr. Yagihara.
Fukuda: I'm really happy to see that you've grown steadily and been active. The number of items that can be entrusted has increased, and if it is connected to Mr. Nagaoka's ability and experience, nothing would make me happier. Mr. Yagihara, who said that he had to teach properly, and Mr. Nagaoka, who said that he wanted to receive it properly.
Yagihara: Right now, I'm teaching two young craftsmen, including Mr. Nagaoka. Recently, I've come to think that the way we deal with each other is the same when it comes to making items and passing on techniques. The items are designed based on what Mr. Okamoto is looking for. In the same way, it is important for craftsmen who come to my workshop to learn techniques to understand what they need and want. Individuals differ in their current level and what they need to learn to grow, but I would like to keep that in mind and get involved in my own way.
Fukuda: Each time, he summarizes the craftsman's weak points and lacking parts and tells them what they should learn. Another young craftsman has also given me good advice, and I sometimes feel that the recipient is inspired to create. Mr. Yagihara is also very good at verbalizing things, so I'm sure it will be easy for young craftsmen to understand.
Yagihara: That may be because I myself had a hard time. My grandfather and father both did the same job, and I am the third generation. But I'm the type of person who can't move unless I understand the meaning of an action. After 30 years of continuous production, when I was able to produce at the same level as my predecessor, I began to see what they wanted to convey but could not put into words. It is precisely because I have been able to do it little by little over a long period of time that I have been unable to do it for a long time, so I can see the knowledge that I need to learn and look back on for the technical skills and growth of young craftsmen, and I think I can think about how to convey it. increase.
As a matter of fact, there is talk of fostering the next generation in the field of physics and chemistry equipment production as well. I don't have a system to learn things in order from the beginning, so I'd like to get involved with young craftsmen in the same way as SIRI SIRI.
Fukuda: The timing of SIRI SIRI was really good that you are moving in the same direction as other industries. I don't think it would be so wonderful as a brand if we could train young craftsmen and grow old together with them.
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SIRI SIRI's indispensable partner is the craftsman's sincere thoughts on the work through the technology that creates jewelry. And it was a conversation that I felt that the way of manufacturing in the future was a little unraveled.
Written by Sanae Kimura
Photo Go Itami