This is an executive interview conducted by Mio Shimamura, CEO of Premium Japan, featuring executives from companies with unique brand stories. Through the products and services they create, as well as their corporate philosophy, we will unravel the essence of the ``Japanese sensibilities'' and ``Japanese aesthetic sense'' that their brands express.

This time, we spoke to Mao Hosoo, the representative director and chairman of Hosoo, a long-established company that produces Nishijin-ori, a traditional Kyoto craft that developed as a costume for the imperial court and samurai families.

The beauty of Nishijin-ori, a traditional Japanese craft that I noticed from a distance

Founded in the first year of Genroku (1688), Hosoo is a long-established Nishijin textile company that uses a variety of threads to create picturesque patterns. Although Mr. Hosoo was born as the eldest son in a family that had been in business for generations, he actually left the family business after graduating from university.

``When I graduated from university in 1975, the Japanese economy was in the midst of globalization.However, the market for Nishijin-ori obi and kimono was basically only domestic.I wanted to work more internationally. I had a strong desire to try it.”

Instead of returning to the family business, he took a job at Itochu Corporation. After being assigned to the textile department, he was transferred to Milan, Italy, and spent about four years working at an apparel company in Milan. His experience dealing with textile products from all over the world, visiting artisans all over Italy on his days off, and being actively exposed to various traditional crafts has brought him unexpected benefits.

“My biggest takeaway from Italy was realizing the wonders of Nishijin-ori. For me, Nishijin-ori is something that comes naturally to me. Until then, I had never thought of it as anything special. I learned about textile products and the work of artisans from all over the world As I came into contact with it, I realized that there were no other beautiful textiles made with such amazing and intricate techniques anywhere in the world."

Overseas expansion started with setbacks

That realization turned into a fundamental question.

``Simply, I started to wonder why such beautiful textiles are only smoldering within Japan.It definitely deserves to be highly praised even if it goes out into the world.I want to introduce more and more Nishijin textiles. I started to think that people around the world should use this, and I wanted to make this my life's work."

At the same time, his predecessor fell ill, so he decided to return to the family business on the condition that Nishijin textiles be expanded overseas. When I returned, the kimono industry was booming. Just as it was customary for ordinary families to have a set of kimono as their wedding accessories, it was possible to sell the products if they were made, so overseas expansion was put on hold as the future was uncertain. However, after that, the domestic kimono market gradually declined after peaking in 1982, and Hosoo was no exception to this, and times were tough. While many of his peers gave up on textiles and turned to real estate, etc., Hosoo's new venture was overseas expansion.

Seeking a career overseas, in 2006 he exhibited sofas and tapestries made from Nishijin textiles at the international trade fair "Maison et Objet" held in Paris. However, when it was over, there were no orders, which was a disastrous result.

"People praise the Japanese beauty and say it's wonderful, but no one orders it.It took about a year to develop, but it never really took off."

Making Nishijin-ori the “Ferrari of textiles”

There were two big reasons for that. One is that people around me say, ``You can't win even if you compete with such high prices. The price was so high that they said, ``You should get one zero.''

“Nishijin-ori was originally commissioned by noble people, and our craftsmen spent a long time using the best materials to create the most beautiful products, and we focused our efforts on creating products that were more beautiful than expected.Exceeding expectations. In this world, people have continued to work for generations using the moral support of receiving compensation and honor based on the finished product.On the other hand, if you do bad work, you will be shamed for your children and grandchildren. This is the kind of culture where houses are no longer viable. Of course, if we streamline the work by using cheap materials and take some easy cuts, we might be able to reduce the price to just one, but that would be no different from fabrics that could be made elsewhere. It is no longer ``Nishijin-ori.''

What should we do to protect the quality and culture unique to Nishijin textiles, which are backed by a long history? Our goal was not to create a fabric that could be found anywhere, but to create a one-of-a-kind fabric that would satisfy our customers with its value.

``Then, we thought it would be a good idea to become a ``Ferrari of textiles.'' Even though Ferraris cost as much as a house, tens of thousands of them have been sold all over the world, and due to their rarity, they can be purchased easily. There are people who are looking forward to it, so we thought that's what we're aiming for: creating the best products that people can use for a long time and be satisfied with their existence."

World's first technology becomes a turning point for success

Another problem was the width of the fabric.

Famous architect Peter Marino approached me after seeing Hosoo's obi at an exhibition in New York. He wanted to use it for his own project, but the problem was the width of the fabric. Since Nishijin-ori is based on obi, the width of the weave is approximately 40cm. Mr. Marino says, ``I don't mind the price being high, but I would like the fabric to be 150cm wide for use in interior decoration.'' This is because the woven width of approximately 40 cm is a major limitation when used for interior decorations such as walls.

``In order to weave a 150cm wide fabric, we had to create a loom for that purpose.This was a challenge that the people who have been involved in Nishijin textiles in Japan for 1200 years had never done before. did"

While sales of kimonos and obi belts are sluggish, they are focusing their efforts on developing looms, which they do not know when they will be completed. Although there was some internal friction and opposition from those around the company, the hard work and high technical skills of Hosoo's engineers bore fruit, and it took about two years to complete the world's first 2cm wide Nishijin-ori loom. .

The wide Nishijin-ori textiles, which can only be made by Hosoo, have attracted worldwide attention due to their top-quality materials, skilled handwork, and unique designs, and are now used in fashion, such as in the interiors of luxury brands and hotels around the world, and as materials for haute couture. It has become widely used in the field of

``This was a really big turning point.I think it was the start of creating new Nishijin textile value that had not existed in the market before, such as its adoption in Lexus' product design and collaboration with contemporary art creators.'' ”

Decline begins the moment you start seeking stability.

"We want to express the most beautiful things in Japan and the world through textiles. The pursuit of beauty is at the center of our business, and that is Hosoo's management philosophy."

On the other hand, I believe that we should not only remain in the world of tradition, but also be sensitive to the changes of the times.

“The world has continued to change over the course of 320 years. Just as the spread of the coronavirus has dramatically changed people's values ​​and lifestyles, it will continue to change. On the other hand, we are pursuing this beautiful textile in a way that adapts to the changes in people as we head into the next era, staying even half a step or even a step ahead of the curve."

"When things are going well, it's time to think about the next move," Hosoo said.

“There was a time when we struggled because we realized that the industry was on the decline but did not face the situation and take action. Think carefully about what you should do. I think the decline will begin when you think it's okay to stay the way you are."

Bringing Japanese beauty traditions to the world and to the next generation

There is also a sense of mission as a long-established Nishijin textile company.

``I want to continue Nishijin-ori for the next 100 to 200 years, and to that end, I want to increase the number of people who can do it as a profession.I love Nishijin-ori.I want to devote my life to it. I think that is my favorite.”

``There is nothing happier than being able to do a job that I love,'' says Mr. Hosoo. At the same time as running the business, he is currently conducting research to recreate the ancient vegetable dyeing technique, which began in the Heian period more than 1000 years ago, in modern times.

``While cultivating plants that can be used as dyes from seeds and dyeing them through multiple processes and time, I realized that beautiful things cannot be created without putting in a lot of time and effort. , I feel that I can inject love and spirituality into it.”

Nowadays, there is a steady increase in the number of consumers who are questioning the mass production and mass disposal of products and want to use them for a long time, even if they are valuable, and Nishijin textiles, which are imbued with Japanese aesthetics, are spreading their wings around the world. ing. I'm sure it will continue to create a beautiful presence in all parts of the world.

Masao Hosoo

Born in Kyoto City in 1953. After he graduated from Doshisha University, he joined Itochu Corporation. He was seconded to Norton in Milan, Italy. After he returned to Japan in 82, he joined Hosoo Co., Ltd. He has been the CEO since 2000. In 05, he began expanding Nishijin-ori wide-width fabrics overseas and participated in the "Kyoto Premium" project from the first year. In 06, he participated in international trade fairs including "Maison et Objet" in Paris. In 11, we began a full-fledged wide textile manufacturing and export business utilizing Nishijin textile technology and materials. In 21, he became the representative director and chairman of Hosoo Co., Ltd. He also opened an ancient dyeing research institute and is taking on the challenge of transforming the business from a traditional industry to a creative industry. He also serves as a permanent secretary of the Kyoto Association of Corporate Executives, a director of the Kyoto City Arts and Culture Association, and a visiting professor at Kyoto University of Advanced Science.

Mio Shimamura

Mio Shimamura Managing Director and Editor-in-chief of Premium Japan. After joining an international advertising agency, worked in marketing and PR at a variety of leading brands, including Walt Disney, Harry Winston, and Tiffany & Co. In 2013, Shimamura established Lusso Inc., a PR company that works with various leading brands. Shimamura comes from a family that teaches traditional Japanese arts such as the Japanese tea ceremony and “kitsuke,” the art of wearing Japanese clothing beautifully. Inspired by this, Shimamura acquired the business rights to Premium Japan in 2017, and the following year established Premium Japan Inc.