The curiosity of one searches another. My unique definition of evolution.
It’s been over a month since I’ve returned from my short trip to Japan, the land of wonders in my book. I cannot help but reminisce my fortunate opportunity to had met Kaori Ishii – the mastermind behind the textile documentary “The Chain of Life: The Artistry of Mokuhanzome Kimono” and textile artisan; Yoshihazu Fujimoto.
In truth, it was my curiosity that led me to search out artisans who continue to practice Japanese textile techniques. It was back in 2012 when I unofficially met Kaori. She had flew in to Toronto to present her film, wearing a beautiful spring colour kimono at the screening. I sat in the audience, extremely shy but in extreme awe with the film she had directed. Lengths of silk fabric painted & decorated using the ancient technique of Mokuhanzome – wood block printing, flowed elegantly in the wind, captivated my attention. The film follows Mr. Fujimoto, from beginning to end, the process of making a kimono. What use to be plain white lengths of silk fabric, the artisan transforms the cloth, with a single stamp of a sakura blossom: paint, stamp, paint, stamp, paint, stamp, one at a time until it looks as if the cloth itself has blossomed into full spring. The yearning to visit the studio and to meet the man behind the creative process of the kimono seeded in 2012 and did not blossom until 2016, 4 years later where Kaori’s film continue to make an impact for curious minds.
After some brief correspondents, I met up with Kaori, (officially :D) in front of Shibuya station on a chilly afternoon in March. She led the way to Mr. Fujimoto’s studio, an hour train ride from where we started. When she was studying film art & writing at University of Tokyo back in 2004, her meeting with Mr.Fujimoto became her inspiration to make “The Chain of Life: The Artistry of Mokuhanzome Kimono.” She recognized the beauty of an ancient technique practiced by an artisan who has dedicated his whole life to the art of Mokuhanzome, originally a paper stencil art form practiced in the Edo period and sought out to preserve this tradition in the most organic way on film. 4 years later, I still remember the artistry of film making Kaori had composed. Her sensitivity to capture the human life and passion to one’s art form stood out. Her ability to capture someone else’s life through the lens of her audience, leaving them wanting to know more about the main character marks her unique trait of film making. Her passion is apparent having spoken with her as we shared our goals in life on the train.
Upon arrival to the studio, Kaori led me down a path to a beautiful garden which Mr. Fujimoto designed and uses as a source of inspiration for his work. Next to the garden, stood the studio with a wooden plank carved “Dye Colour Studio, Fujimoto” translated from Chinese traditional characters. Mr. Fujimoto and his wife warmly greeted us and after a brief introduction with Kaori doing all the translation from Japanese to English for me (bless her heart!) we were ushered into a room filled with bolts of fabrics, books, papers and more fabrics. Now for someone who has never set sight in a Japanese textile studio, you can well imagine my awe and wonder for every single inch of space. My eyes just kept wandering and absorbing all the details, a complete chaotic sensory overload in the most wonderful way.
Mr. Fujimoto, now 80 years young spoke of his life works, how he started and humbly mentioned, because of Kaori’s film on his work, it has blossomed to a wider audience outside of Japan. With this collaboration with Kaori, he is thankful as he simply wants to share his wisdom and pass on the traditions of the old to the new, to keep the traditions alive. His studio, originally belonged to his dad who started a family business in weaving show signs of the past but cared for over decades of ownership. Mr. Fujimoto calls his studio his playground. Every day, he wakes up, not to work, but to play. The ancient brushes he uses to paint his fabrics hangs like a piece of art on one wall with old paint stains forever inked into the wood. Canisters of stencil brushes sat precariously on top of one another next to random size bamboo baskets; filled with craved wood blocks with motifs of various designs. The works of art he has collaborated with other craftsmen sat on display throughout the whole length of his studio. Mr. Fujimoto humbly apologizes for the “mess” but I tell you, this mess is actually what I envisioned of a traditional Japanese textile studio. The character this studio, where some parts are held up with wooden frames evokes a history of traditions we lack in our cosmopolitan city. Even if you are not a textile lover, a visit to Mr. Fujimoto’s studio is a rare treat. Studios like his are rare in structure, the products he produces even rarer as each modern day pass. How humbling to have been afforded this opportunity to meet such an individual.
With Tokyo’s recent project designed by Tokyo Metropolitan Government, “TOKYO Teshigoto” – is an initiative which aims to preserve and showcase the handicrafts of Tokyo’s top craftsmen who continue to practice Japanese traditional art today. Yoshikazu Fujimoto, along with 24 other craftsmen was chosen to such honour and represent Tokyo’s past traditions to the present world, as Tokyo prepares to welcome the world in time to host Olympic 2020.
To date, Mr. Fujimoto continues to collaborate with other craftsmen, sharing his joy for the ancient art of Mokuhanzome.
Kaori is currently running round the world with her new film “The Genealogy of Sake” Take a few minutes to watch the trailer. The cinematography, narration and music is on point. 🙂
#LifeNote: Surround yourself with like-minded individuals who are 20 steps ahead of you. It gives you the aspirations you need with your own endeavors. 🙂
