Interviste con Yukino Shunme

I want my work to be beautiful, comfortable to touch, and easy to clean.

I want to achieve modernity in the tradition. In other words, traditional art should be expressed in a modern form without any compromise.

I would like people around the world to know this shikki design.

I could not remember exactly, but it suddenly came to mind while I was trying picturing something unique.

I definitely decide to pursuit my inspiration.

Though it should be hard for me who is a new comer to this industry, I am producing my work myself. I always think the promotion of my works.

Great fondness for authenticity of the traditional things or anything.

I guess all the things that have persuasiveness and beauty.

Affluent people who love traditionally sophisticated things to use in everyday life.

This design focuses on the beauty that can be realized only through traditional production process with totally natural materials. And also, all the main items of shikki that I have designed so far are easy to clean after using them because they have no corners. Furthermore, they are repairable and one of technical examples to repair is Kintsugi which uses gold powder. The items would artistically reborn getting new expression with Kintsugi applied.

Tsuzumi is Japanese hand drum. I named my design just because of its shape.

Honestly speaking, I did not use no design tools. Just drawing an image and put down the description on a page of Pages on Mac. I want tools for design.

My design is fine to look, to use, and to maintain.

Yes, artisans. Artisans for wooden base, shitaji, urushi, makie, and roiro respectively. They are truly excellent, especially on the point that they are cooperative with my project in spite of the fact that I am an outsider.

Turning machines for Wooden Base and Shitaji might be said as examples. However, my design is enabled by artisans' professional skills which are accumulated on tradition in a sense.

I just wanted to realize my design to see what I wanted to get.

Because this design should be realized in the world of traditional craft, it was a little hard for me to make my design understood and welcomed. However, passing through a few adieus, excellent artisans with an open mind accepted me.

From the start, I have wanted to globally introduce my design, and I found A'Design Competition should be the best one for me.

I have learned that I should not loose my concept even if nobody understand it. Furthermore, I came to know that the artisans want to understand what a designer is trying create, provided that they are the ones who truly have skills to meet the designer's needs as well as an open mind.

I believe this design would make people happy with its appearance and comfortableness for use, and it also makes people, even in Japan, wonder why authentic shikki has been shunned.

I hold a master’s degree in literature and linguistics and completed all the required coursework for a doctoral program albeit without the doctoral thesis completion. After that, I was primarily engaged in university education, translation, and interpretation. From 2017 to 2018, I stayed in Canada, and upon returning to Japan, I formally started my own business, very small one. After receiving interpreter training, I expanded my work in interpreting and translation. Additionally, driven by a desire to introduce Japanese culture to the world, I began designing lacquerware, shikki, around 2020. Since I was born in a region with a connection to lacquerware, I believe I became familiar with it as a matter of course. Although I started as a complete outsider to the field, I was fortunate to meet talented artisans. As of the end of December 2024, I have achieved three entries in domestic public exhibitions in Japan, received the Silver Award at Italy’s A’Design Awards as you already know, been selected for contemporary art exhibitions in Japan and France, and won the Good Design Award from Chicago’s Good Design Awards in the United States.

A Designer, which I have never thought of becoming, but looking back on my life, I often looked for the things that I could never find. That is to say, I wanted to design such things.Shikki is no exception.

I believe it was a natural course of events.

Just Lacquerware, for time being, but in details, I would like to design those of Natsume, i.e. tea caddy, and Oju, i.e. stacked lacquer box.

Having the courage to stay true to your beliefs.

Being able to create designs that, in addition to fulfilling their functions and roles, possess elements that resonate deeply with the heart—whether by thoroughly pursuing functionality or standing out aesthetically, any point would be the one if it is extremely excellent.

Something that captivates people’s hearts while also serving its function, and at the same time, is created in a way that minimizes its negative impact on society and the planet.

To soothe people's hearts and contribute to guiding the world toward peace.

People who are exhausted from the pressures of daily life. My shikki may be expensive, and I am not wealthy myself, but if I could receive support, I would like to give it a try.

To display to show the whole world of my shikki series.

Recipe is following my intuition, and ingredient is the craftsman's profound comprehension of my concepts.

Some film makers whose view across elements such as what they want to insist, art, and music is consistent.

Nature. Everything it shows to us including terrain, scenery, and flora and fauna.

The luster of lacquer created by human skill and physical laws.

First, appreciating something beautiful. Second, fully communicating your idea to others who are involved in your project. Three, trying to introduce your works to people you do not know.

I would have remained to be a translator and interpreter.

The thing to enrich people's emotional experiences.

My friends and my family. My husband does not hide his objective view toward my works, and my sons support me even financially.

My passion and sometimes even negative experiences have helped me to grow but the key element is the dialogue with my artwork.

The economic reasons, which are ongoing, and the lack of communication in the creation of the artwork.

I am wondering it now.

I wold like to expand the series of my work.

The first and most important thing is that I can keep this line without any recession by obtaining more recognition and more audience who would appreciate my pieces of shikki.

Silent awe.

Fostering a culture that values not only people but also things, enriching the heart, which leads to world peace.

Unfortunately, I am not trying such things just now. What I spend most of my time on, regarding art, is promotional activities for the award-winning works.

'Tsuzumi Double Sakazuki' and 'Jouer avec Shikki' because the former one is the first work I could realize my idea and the latter one is also the first work to make a set of works that expresses most efficiently what I want to show through my shikki.

Of course, it would take direction to more eco-friendly cycles. It might be combined with the cutting-edge technology without any more harmful impact on people and the earth which can be realized through the advanced development for future.

Diversity.

About a year.

Shape of the object.

No compromise and true to myself.

It depends which power do you see in the question.

Regarding my projects, the only process the technology can be seen is that of the wood turning.

I do not use such things except just I do design drawings on the computer.

I guess those are not the roles but the important part of design itself.

Anything would be great.

I guess that is an excellent chef who can see things with their heart or in other words, their five senses plus sixth.

'The Unknown Craftsman: A Japanese Insight into Beauty' by Maha Harada.

I did almost nothing, but just think, think, think and enjoy films, reading books, traveling and think.

Michel Foucault, my ancestors and my father.

Very hard. This sums up everything.

My favorite colors are blue and purple. I love to visit the European countries as well as exploring unfamiliar cultures in other areas. I like all seasons partly because I am Japanese. I love horse riding.

Initially, I am completely an outsider, so what I wanted to do looks strange to people involved in the industry in many cases. Tsuzumi was no exception. They might have said by themselves 'what is it for?'

It's when I see my idea has completely been realised in front of me. I encourage myself by imagining what my future would become of after accomplishing something one by one.

I do not think so, but when I told my old friend that Tsuzumi was awarded Silver A'Design Award, she said to me it could happen. She referred to my batik work that I worked on in art class at middle school, and explained how she felt seeing my work - unexpected composition.

Hopefully, everyone is shining in their respective places without feeling the threat of losing their lives.

I live in Japan, and I like traveling the world. If the environment permits, I enjoy horseback riding at the places I visit. I am currently in a thrilling battle with my finances.

I started producing Japanese lacquerware, shikki, hoping to introduce its beauty to the world. I have never expected I could design something and get my design realized. However, looking back on my life, I often looked for the things that I could never find. That is to say, I wanted to design such things.

We basically receive translation and interpretation orders though the design has been included in our business since the start of our small business. Now is the time for us to enhance the visibility of the brand world wide.

Comfortable, sophisticated, beautiful, inspirational, caring and trustworthy thing.

I am just a beginner, but I think I like designing anything if it's possible.

Historical architectures in any area including Japan because human knowledges and aesthetics are accumulated in them, and we can see how human beings so far have included and excluded nature in and from their everyday lives, or in other words, we can see their efforts to conquer nature or to keep in harmony with it. Of course, those things are not contradict each other. We should conquer some aspects in nature to keep in harmony with it, and at the same time, we know we can never conquer nature if you know the intricately intertwined physical properties of nature.

Logo design and business card.

I do not have any favorite materials, but urushi and wood are definitely attractive ones for me.

I think I feel most creative when my mind is empty, or in other words, when I spend a vacant space of time between the times in which I think something intensively or experience something impressive.

Aesthetics and practicalness.

I feel hope and filled with energy.

I want to shout, 'yes, I am right!'

Both of them. I don't judge. The piece in front of me tells me. It's a kind of dialogue.

Purification of souls, which would positively result in environment.

Everyone will realize themselves as a designer in their favorite ways.

It was January of this year at Japan Traditional Crafts Aoyama Square, but it was not our exclusive exhibition. I really want to hold our exhibition in Europe where Japanese art, especially shikki, has been accepted since the 1500's. After that, I would like to challenge in other areas.

Specification of the source of my creativity might be impossible. However, I guess favorite things, things that attract me and people around me whom I care for should stimulate my creativity.

I guess my mind keeps looking for a better something about my work even at the moment when I am not caring about it.

I live in Hokuriku region, Japan, where shikki production once flourished and now it still famous for it. However, shikki is generally no longer one of star items today. Only the limited number of the shikki brands survive, which means their branding are very successful in the field, while it would be very hard for new brands like us to obtain publicity. On the other hand, shikki and urushi are familiar to me since childhood because I was born and grown up in Hokuriku. Then, I, as a new comer, could take a step into the field. I did not have any acquaintances and it seemed not easy to do so, but Goddess of Fortune smiled at me. I hope she is still smiling.

It is simple style. Calling or visiting when it is necessary, sometimes bringing small presents for them.

Relationships between people involved is basically important, but whether or not you like the designer's work by intuition is another critical point to avoid unnecessary discussions and troubles.

I draw an image on Pages at my Mac making full use of it. I know I should get out of this situation. . .

Cars, Kartell’s white round table, Ant Chairs, an incense stand, sliding lattice doors my husband designed, a piece of stained glass my son made, copper-plate engraving by my son, and a horse objet.

Working on translation and interpretation, studying several languages, searching online for a company that will help me to realize my idea of the 'catch-up interpretation system', watching movies, doing house chores between them, and thinking about my elder son who temporary works in UK as well as younger son who will go to the Netherlands soon. If time allows, I enjoy watching movies and news programs. If time still allows, then, together with my husband, I worry about the future of my business.

Just pursue your way with your inspiration.

To be able to design what you want and share it with people around the world would be definitely the most positive thing, and the negative one for me is that it could not necessarily earn our living.

Just mind about whether or not you will love it and do not leave a doubt however small it would be.

Flexibility of communication with people involved in realization of your design without loosing strong mind.

Imagination and some searches are main sources, and I think travelling is also some kind of sources of my inspiration because many discoveries are waiting there.

Focus, relax, and restart.

It depends on what design you are putting your hand to.

I have been often asked where I studied design.

The most important job experience for me is to look for a new artisan to take the place of the previous one in the field of traditional craft. That's not easy for me as a new comer. However, I have found that if someone leave our project due to dissatisfaction with my decision to determine our direction, the new one is more excellent partly because this artisan would join our project agreeing our direction from the beginning of his/her participation. Such artisans would be more likely to contribute effectively to the project.

First and foremost, my sister became a fan of our shikki and has supported me. Then, my best friend and another sister kindly ordered our shikki and has encouraged me. Of course, there are many others who have admired the beauty of our shikki, saying that it’s so beautiful that any photo can not represent its beauty. Everyone who sees and touches them almost invariably marvels at the beauty of our items, whereas words and pictures are not enough to fully convey how wonderful they are. I think I should somehow introduce the beauty of the real things of our shikki to the world.

For now, I do not have specific design works to enjoy, but I vaguely imagine it might be nice if I can design my clothes by myself.

I want to visit and stay in countries around the world, which might bring a lot of new ideas to me.

I develop my designs myself. I like this style because, in my opinion, I could lost my ideas in the middle of the way if I have to make much efforts to explain my designs to other people before those designs are materialized.

I have some works-in-progress designs, but I cannot talk about here at this point of time.

E-mails, phone calls, FaceTime calls, Facebook, Messenger, and WhatsApp.

Sometimes horseback riding enlightens me. Communication with a horse while riding occasionally suggests life lessons.

It is beautiful not only as an object of display but also when put to use. If you drink sake with Tsuzumi, the maki-e embellishment will be right in front of you.

There are two notable points. First, its shape resembles the bajouhai (馬上杯), a tall sake cup used in ancient times for drinking sake while seated on horseback. Second, in old Japan, it was customary on certain occasions for people to share a single sakazuki (sake cup) to exchange sake. While an ordinary sakazuki has a single side, the Tsuzumi has two cups, one on either end. This allows you to enjoy two different colors and also facilitates sharing sake, with each person using a different side of the cup.

To begin with, the body of the wooden base is roughly shaped. Tsuzumi has a symmetrical shape with two cups on either end. The one cup of two is shaped with the surface of the inside finely smoothed using the thin metal blade. The rim is very thin, so the turner uses a koma to work on the delicate line of the rim.Of course, such delicate work requires a blade so delicate and keen that it seems to reflect the turner’s mind. Then, the turner is preparing to carve the other end. Before working on the wooden base, she has to carve one of the adjuster parts, the kottori, to make them fit in well with Tsuzumi. Considering its characteristic shape, this process for Tsuzumi would be especially laborious for the turner. The finished side, which has been finely carved, must be connected using the turning machine without being damaged. The komma and kottori should be tightly fitted and work like one part.The turner uses a finished sample to see if the koma and kottori would fit in well with the wooden base that she is about to work on.The next process is shitaji, followed by lacquer application, kyushitsu, and makie embellishment.

You can appreciate its aging with time making its color brighter. Layered urushi creates graceful shades, typically on the rim. I believe the user want to watch over those changes and spend their lives together with them.

The only answer is to let more people know about the beauty of lacquerware. However, it must be genuine lacquerware to truly deserve that title, which attract more people to make them think they want to get familiar with them.

The only answer is to let more people discover the beauty of lacquerware. However, it must be genuine lacquerware—pieces that captivate people and inspire them to want to connect with it more deeply.　

The fusion of flowing curves and simple lines brings a clean and elegant atmosphere. At the same time, this captivating flowing line eliminates sharp angles and corners, which are prone to damage in lacquerware. Similarly, the rich luster of natural lacquer helps prevent dirt from adhering.

Even though I actually drew my own image, it was difficult to convey it accurately. Through parting and meeting with craftsmen, I came to realize the importance of encountering someone who can bring my thoughts into form.

There is no need. It comes naturally on its own. If you remain steadfast in your own vision and are able to realize it, everything will fall into harmony, and the best point of balance will naturally emerge.

I believe that the concept of the eight million gods (yaoyorozu no kami) is deeply embedded in Japanese culture. This idea connects to the value of cherishing things, which in turn leads to the respect for people and others. Techniques like kintsugi, where old items are repeatedly given new life and cherished, reflect a tradition that forms the foundation of a world where people respect one another and each individual can live true to oneself.