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Interview with tsugái eyewear Designer, TAKUYA KITAMURA


Takuya Kitamura, designer of tsugái eyewear

Brand tsugái eyewear, has opened a workshop and shop in Kyoto on June 6, 2024.

Designer Takuya Kitamura began his career as an eyewear craftsman in Sabae city, Fukui prefecture, a renowned eyewear-producing region in Japan. Subsequently, he worked as a craftsman at the long-established French eyewear workshop, Dorillat, where he crafted custom-made frames. Upon returning to Japan in 2019, he apprenticed under a master craftsman in Kyoto to learn the traditional art of "Nunome Zogan"(Japanese traditional metalsmithing technique). This technique, one of the world's oldest decorative arts, was once used for sword guards. It involves carving the surface of a metal base and inlaying 24-karat gold or other metals to create patterns.


While incorporating traditional craft techniques, Kitamura seeks new forms of expression. Under the concept of "Eyewear Craftsmanship x Traditional Crafts incorporating the Essence of Chemistry" he launched tsugái eyewear in 2024. This interview delves into tsugái eyewear's designs, Kitamura's experiences as a craftsman in both Japan and France, and his future aspirations.

(Above: Takuya Kitamura, designer of tsugái eyewear)

 

What is the meaning behind the name "tsugái eyewear"?


The brand name "tsugái" originates from the archaic Japanese verb "tsugafu" meaning "to pair up" or "to be a match for." I chose this name because I envisioned tsugái eyewear as a fusion of disparate concepts, such as the convergence of traditional craft techniques and the precision of eyewear manufacturing, or the collaborative process of combining a customer's unique vision with my craftsmanship.

tsugái eyewear frames on exhibit at Galerie Wa2 in Minami-Aoyama, Tokyo.

Above: tsugái eyewear frames on exhibit at Galerie Wa2 in Minami-Aoyama, Tokyo.

 

A distinctive feature of tsugái eyewear is the use of Nunome Zogan, a traditional Japanese metal inlay technique, on the metal parts of the glasses, and the fact that each pair is handcrafted.


Until 2023, you were trained under a master craftsman of traditional crafts in Kyoto, simultaneously honing your skills in metalworking and lacquerware. What inspired you to enter the world of traditional crafts?


It's difficult to explain in a single sentence, as there were various factors that led me to embark on this journey.

First of all, when it comes to manufacturing, the watch industry is my ideal. In the watch industry, there is a wide range of products, from low-cost watches like Swatch to mechanical watches, multi-million dollar timepieces, and the latest smartwatches. I find this industry to be very well-balanced. I wanted to see the eyewear industry develop in a similar way, and to achieve that, I decided to study Japanese traditional crafts.

The manufacturing of eyewear frames has become a highly developed industry. As a result, the tools and machinery for making glasses are so advanced that it's relatively easy to produce a frame. Because of this, the only way to differentiate products is by using high-quality or natural materials. I decided to study traditional crafts to differentiate my products through the skills of a craftsman.

The acetate front pieces have been carefully hand-carved. The frame on the top has been hand crafted to emulate the texture of stone.

Above: The acetate front pieces have been carefully hand-carved. The frame on the top has been hand crafted to emulate the texture of stone.

A tool that is handmade by Kitamura.

Above: A tool that is handmade by Kitamura.


How was your experience training under a craftsman in Kyoto? Is there anything in particular that stands out in your memory?


As an apprentice in Kyoto, I was so busy with part-time jobs that I barely had time to sleep. But that aside, I deeply realized why traditional crafts are called 'traditional'. Unlike industries like the eyewear industry that heavily rely on machinery, traditional crafts involve fewer mechanized processes. When I think about why machines aren't used, there are of course many tasks that can only be done by hand, but I realized that traditional crafts have become what they are today because the industries were simply too small to introduce machinery.

Handmade insect creations by Kitamura.

Above: Handmade insect creations by Kitamura.


I imagine it wasn't easy to fuse traditional craft techniques with eyewear manufacturing. Could you tell us about any particular challenges you faced and how you overcame them?


If I were only going to use traditional craft techniques partially, I could have collaborated with traditional craft artisans. However, I aimed to do something that couldn't be achieved through collaboration. Specifically, I embedded metal parts coated with lacquer into acetate material. This was based on a technique in the Japanese eyewear industry called "shinbari (core insertion)", but lacquer is hydrophobic and therefore unsuitable for this technique. To solve this problem, I incorporated knowledge of organic chemistry and developed a technique to firmly embed lacquer into the acetate material by adding chemicals to improve adhesion. In this way, I realized that a chemical approach was necessary to apply Japanese traditional craft techniques.

Each metal part is meticulously handcrafted. 24-karat gold is inlaid using Nunome Zogan technique. Additionally, textured finish using lacquer mixed with ashes is applied to create an aged appearance with a textured surface.

Above: Each metal part is meticulously handcrafted. 24-karat gold is inlaid using Nunome Zogan technique. Additionally, textured finish using lacquer mixed with ashes is applied to create an aged appearance with a textured surface.


The eyewear cases are also handmade. Could you tell us more about what you're particular about in their design?


I use paulownia wood boxes with a wax finish for our eyewear cases. Wax finishing(called "ro-biki" in Japanese) is a Japanese traditional woodworking technique used for finishing paulownia chests, and it gives the wood a glossy finish. When I considered outsourcing the production of eyewear cases, I couldn't find any that I thought is good, so I decided to make the cases myself. Initially, I used lacquer, but it was too costly, so I eventually settled on wax-finished paulownia wood cases.

Since I didn't want to compromise on the eyewear case, I spend time creating high-quality paulownia wood boxes. Although, we inform opticians and our customers about this, it's not really recommended for carrying around, but rather more for storing your eyewear at home.

tsugái eyewear's paulownia wood eyewear case.

Above: tsugái eyewear's paulownia wood eyewear case.


What kind of reactions have you received from shops and customers regarding incorporating traditional craft techniques into eyewear? Do you have any particularly memorable anecdotes?


I don't have any specific standout stories, but I've always aimed to create pieces that, while incorporating traditional craft techniques, don't feel overly traditional. It seems that our customers have been receptive to this approach.


I understand that you worked as a eyewear craftsman at the prestigious French eyewear workshop, Dorillat, for 4 years until 2019, creating custom frames.

Could you tell me more about the types of customers who placed orders and the kinds of frames they requested? Also, what do you find most appealing about custom-made eyewear?


It's difficult to mention any specific names, but I've come to realize that there are individuals, including presidents and kings, who cannot wear glasses from general brands. During my previous job, I created eyewear for such people. For those who cannot find suitable eyewear, or find satisfaction with products on the market, custom-made eyewear is perhaps the ultimate choice.


Additionally, ophthalmologists in France play a very active role. For example, when receiving a prescription at an ophthalmologist's office, they might recommend a specific type of eyewear based on the shape of your nose. This is something I don't see very often in Japan. The shape of the nose has a significant impact on the comfort of wearing eyewear frames. When taking this prescription to an optician and finding that there are no glasses with that specific nose shape or that the desired model doesn't fit the nose shape, customization becomes necessary.


There were also requests to recreate glasses that a grandmother used to wear. Even if the frame were worn out and the manufacturer was unknown, we would create a custom-made pair with the same design.


In France, there are Caucasians, Africans, and Asians with different nose shapes and other facial features. For example, a frame that fits a Caucasian person might not fit an African person. Therefore, in some cases, only the nose part was modified to create a custom fit. These are some of the cases I have encountered when I was in France.

View of the workstation when Kitamura was working as a craftsman at Dorillat, the long-established French eyewear workshop.

Above: View of the workstation when Kitamura was working as a craftsman at Dorillat, the long-established French eyewear workshop.


What differences have you noticed between Japanese and French craftsmen during your time working in both countries?


Meeting French craftsmen, especially the French folding fan craftsman I have met, had a big impact on me. Despite being a living national treasure in France, he was not only a fan artisan but also studied origami and Japanese papermaking techniques, incorporating them into his works. He had a very flexible attitude and, while his job was that of a fan artisan, he possessed a diverse range of skills and abilities. In Japan, it is considered a virtue for craftsmen to master a single technique. However, I believe that the style of combining multiple techniques, as seen in artisans in France, is a very important perspective in the modern world. I myself am fusing various techniques such as metalworking and lacquer. Sometimes, I may be criticized for taking what seems superficial approach in traditional Japanese craftsmanship. However, I believe this approach is very important.


What inspires you when designing eyewear frames?

As much as possible, I would like to avoid designs with names. Like Round, Wellington, Crown Punt, etc. However, many of the designs requested by opticians and customers have names like these, and I am faced with little dilemma when I design them.


Could you tell us about the future plans for tsugái eyewear?

We don't have any events planned at the moment. I want to commit to expansion of tsugai eyewear frames overseas!

Workshop and store, "tsugái eyewear" opened in Kyoto on June 6, 2024. Kitamura works on his creations in the shop.

Above: Workshop and store, "tsugái eyewear" opened in Kyoto on June 6, 2024. Kitamura works on his creations in the shop.

 

tsugái eyewear

【Eyewear Craftsmanship x Traditional Crafts incorporating the Essence of Chemistry】

In eyeglass manufacturing, metal parts are usually made by a pressing process. Unlike the pressing method, my glasses are made using a technique that was used as a part of Japanese sword in 200 or 300 years ago. 

Usually finishing of metal parts is polished (or plated), but I mainly use ”urushi"(japanese lacquer) and boiled for finishing.


tsugái eyewear Website: https://www.tsugai-eyewear.com

Instagram: @tsugai.eyewear

tsugái eyewear workshop & store: NOAH'sArc-Toji bldg.1F, 1, 3 Okuni-cho, Nishikujyo, Minami-ku, Kyoto City, Kyoto Prefecture

 

EYEWEAR CULTURE Staff afterwords:

I first had the pleasure of meeting Mr. Takuya Kitamura at the eyewear exhibition in autumn 2023. I was deeply impressed by his handmade eyewear frames, carefully housed in an original wooden case. I spent time admiring the craftsmanship of each frame. Through this interview, I gained a new appreciation for the intangible cultural heritage of Japan and France, and the differences between them. I believe Mr. Kitamura's handcrafted eyewear, made by a craftsman with experience in both countries, hold enduring value in our ever-changing world.


For the interview in Japanese please CLICK HERE.

インタビューの日本語版はこちらをクリック

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