{"id":356355,"date":"2021-07-23T16:53:54","date_gmt":"2021-07-23T20:53:54","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=356355"},"modified":"2024-10-02T08:18:04","modified_gmt":"2024-10-02T12:18:04","slug":"modern-japanese-design","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/modern-japanese-design\/","title":{"rendered":"10 of the Most Iconic Modern Japanese Designs"},"content":{"rendered":"\n
\"Wooden<\/a>
Sori Yanagi for Tendo Mokko Butterfly stool, 1960s<\/a><\/figcaption><\/figure>\n\n\n\n

\u201cIn Japan, design is as much something that is done with the hand as the eye,\u201d says American architect and design writer Naomi Pollock<\/a>. A resident of Tokyo for 30 years and the author of several books on Japanese design<\/a> and architecture, Pollock has now published her most comprehensive work on the subject: Japanese Design Since 1945: A Complete Sourcebook <\/em>(Abrams).<\/p>\n\n\n\n

\u201cIt became apparent to me that there was a need for a book that looked at Japanese design as a whole,\u201d explains Pollock, noting that the country has no dedicated design museum or central archive. <\/strong>\u201cIt\u2019s truly mind-boggling. So, I felt compelled to do my best to create something of an archive between two covers and bring all of these different aspects of Japanese design together in one place.\u201d <\/p>\n\n\n

\n
\"The<\/a>
The Panasonic Toot-a-Loop radio<\/a>, a flexible unit made to be worn around the wrist, was released in 1972; the designer is unknown. Photo courtesy of Panasonic<\/figcaption><\/figure><\/div>\n\n\n

Organized thematically, the thick, beautifully designed tome includes more than 70 creator profiles, thoughtful essays from Pollock and other experts, engaging takes on iconic pieces and images of hundreds of objects \u2014 furnishings, tableware<\/a>, textiles<\/a>, graphics, packaging, appliances and household goods \u2014 created by Japan\u2019s leading designers from the postwar period to today.<\/p>\n\n\n

\n
\"Japanese<\/a>
Japanese Design Since 1945: A Complete Sourcebook<\/a><\/em>, by Naomi Pollock. Photo courtesy of Abrams<\/figcaption><\/figure><\/div>\n\n\n

The book traces Japan\u2019s path to contemporary design, taking a deep dive into the concepts underlying the creations, which are rooted in the country\u2019s craft tradition. \u201cThat\u2019s evident in the phenomenal attention to detail, the exquisite way that things are made,\u201d Pollock says. \u201cThese objects feel good in the hand, they feel good to sit in. They just relate well to the body because they\u2019ve been designed with the body as one of the leading tools.\u201d <\/p>\n\n\n\n

They\u2019re also exceptional for their high quality. Japanese designers, according to Pollock, have largely resisted the pressure felt by their counterparts around the world to enable cheaper and faster production by cutting corners. \u201cJapan is stubbornly entrenched in \u2018No, we\u2019re not going to do that,\u2019 ” she states. “And that comes through in this incredible quality. The objects have been designed and made to last and last and in some cases actually improve with age.\u201d<\/p>\n\n\n\n

Here we look at 10 objects and the designers behind them.<\/p>\n\n\n\n

\n\n\n\n

Isamu Noguchi Akari Light Sculpture<\/h2>\n\n\n
\n
\"Akari<\/a>
Isamu Noguchi Akari model 1AG light sculpture, 1950s<\/a><\/figcaption><\/figure><\/div>\n\n\n

Japanese-American artist Isamu Noguchi<\/a> conceived his first Akari light sculpture<\/a> in 1951, following a visit to a historic lantern maker in Japan\u2019s Gifu Prefecture. Constructed from washi<\/em> paper with bamboo<\/a> supports, the warm lights are produced by a small Japanese factory that has been using the same techniques for a long, long time.<\/p>\n\n\n\n

\u201cHe took something that was very traditional and made it extremely contemporary,\u201d says Pollock. \u201cThey are as much artistic objects \u2014 even though they\u2019re mass produced \u2014 as they are light-giving devices.\u201d <\/p>\n\n\n\n

\n\n\n\n

Sori Yanagi Butterfly Stool<\/h2>\n\n\n
\n
\"Sori<\/a>
Sori Yanagi rosewood Butterfly stool, 1955<\/a><\/figcaption><\/figure><\/div>\n\n\n

The celebrated Butterfly stool<\/a>, made from two curved plywood plates, is an exquisite example of Sori Yanagi<\/a>\u2019s blending of new technologies with traditional Japanese craft. The son of Soetsu Yanagi, the founder of Japan’s Mingei<\/a> folk art<\/a> movement, the designer conceived this chair after meeting Charles and Ray Eames<\/a> in the U.S. and encountering their bentwood<\/a> work.<\/p>\n\n\n\n

He brought the idea back home, where he and an engineer at furniture manufacturer Tendo Mokko<\/a> \u201cdeveloped this new technique for molding,” says Pollock. “And they gave it this elegant, timeless form. It doesn\u2019t ever go out of style.\u201d The popular stool was first released in the 1950s<\/a> and has been in production ever since.<\/p>\n\n\n\n

\n\n\n\n

Isamu Kenmochi Coffee Table<\/h2>\n\n\n\n
\"Isamu<\/a>
Isamu Kenmochi rosewood coffee table, 1965<\/a><\/figcaption><\/figure>\n\n\n\n

A pioneer in Japanese interior design (at the end of World War II, the discipline didn\u2019t really exist in the country), Isamu Kenmochi<\/a> introduced an aesthetic he called Japanese modern, which updated time-honored forms and types.<\/p>\n\n\n\n

This low, zataku<\/em>-style coffee table, which came out in the 1960s<\/a>, \u201cis a very traditional style of table<\/a> that would be used in a tatami room,\u201d says Pollock. \u201cIt\u2019s a very user-friendly, flexible, multifunctional table. But in a Western context, it also happens to be a reasonable shape and size for a coffee table<\/a>. So, it has this great flexibility of being sort of bicultural.\u201d<\/p>\n\n\n\n

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Tadanori Yokoo \u201cWord Image\u201d Poster<\/h2>\n\n\n
\n
\"Detail<\/a>
A detail of the “Word Image” MoMA exhibition poster, 1968, by Tadanori Yokoo<\/a><\/figcaption><\/figure><\/div>\n\n\n

Throughout the 1960s and \u201970s, Tadanori Yokoo<\/a> was an internationally recognized graphic designer, whose work drew on Surrealism<\/a>, American Pop art<\/a> and Japanese culture. This unexpected mashup of influences came together seamlessly in designs such as his 1968 poster<\/a> for the “Word and Image” exhibition<\/a> at New York’s Museum of Modern Art. \u201cBecause he didn\u2019t have as much formal training, he had this freeness about him<\/a> that yielded work of quite remarkable intrigue,\u201d says Pollock.<\/p>\n\n\n\n

In the 1980s, he made an abrupt change. As Pollock writes in the book, \u201cHe gave up design in favor of painting and never looked back.\u201d <\/p>\n\n\n\n

\n\n\n\n

Shiro Kuramata Furniture in Irregular Forms Side 1 Cabinet<\/h2>\n\n\n
\n
\"Shiro<\/a>
Shiro Kuramata’s Furniture in Irregular Forms Side 1 cabinet, new<\/a><\/figcaption><\/figure><\/div>\n\n\n

Shiro Kuramata<\/a> is on the artistic end of the spectrum<\/a> of Japanese design. \u201cSome of his furnishings, you kind of look at them and think, \u2018Gosh, is that even functional?’ Then, it\u2019s sort of like, \u2018Well, does that even matter? It\u2019s such an incredibly interesting object,’ \u201d says Pollock, who explains that Kuramata’s pieces, like his wavy Side 1 cabinet, were inspired by dreams. \u201cSo when you look at this piece, it looks like something that would come out of a dreamscape more than a furniture showroom.\u201d<\/p>\n\n\n\n

First released in the 1970s<\/a>, the radical chest of drawers is still being made by Capellini<\/a>.<\/p>\n\n\n\n

\n\n\n\n

Toshiyuki Kita Wink Chair<\/h2>\n\n\n
\n
\"Collection<\/a>
Toshiyuki Kita<\/a>\u2019s Wink lounge chair, 1980. Photo by Mario Carrieri<\/figcaption><\/figure><\/div>\n\n\n

\u201cThere\u2019s a huge cross-fertilization in his work between Japan and Italy,\u201d Pollock says of Toshiyuki Kita<\/a>, who came on the scene in the 1970s and \u201980s, when Italian design<\/a> was gaining popularity in Japan, and who continues to maintain studios in Osaka and Milan. His Wink lounge chairs<\/a>, designed in 1980, display the influences of both countries \u2014 the latter evident in the pieces\u2019 playful shape and bright colors, the former in their versatility.<\/p>\n\n\n\n

\u201cThe chair can be molded to fit pretty much any position someone would want to sit or lie in,\u201d says Pollock. \u201cThat kind of flexibility is a very Japanese idea \u2014 wanting to be able to accommodate lots of different scenarios with one object. It\u2019s got a very strong functionality, but also it\u2019s a beautiful object. Even if no one is sitting in it, people enjoy looking at it.\u201d<\/p>\n\n\n\n

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Issey Miyake Pleats Please Clothing Line<\/h2>\n\n\n
\n
\"Issey<\/a>
Issey Miyake Pleats Please Machine Gun Baby dress, 1990s<\/a><\/figcaption><\/figure><\/div>\n\n\n

Issey Miyake<\/a> approached fashion<\/a> as a product designer with a mission<\/a>. One such product is his Pleats Please<\/a> line. Launched in 1993, the series features a vast array of pieces made from permanently pleated fabrics that can be used for garments of almost any shape, size, color and pattern.<\/p>\n\n\n\n

This versatility aligns with the goal Miyake had when he went into fashion: to make clothing<\/a> that is as universal and appealing as jeans<\/a> and T-shirts<\/a>.<\/p>\n\n\n\n

\n\n\n\n

Naoto Fukasawa Itka Table Lamp<\/h2>\n\n\n
\n
\"Artemide<\/a>
Naoto Fukasawa for Artemide Itka table light, new<\/a><\/figcaption><\/figure><\/div>\n\n\n

Naoto Fukasawa<\/a> has wielded enormous influence in his field (he is included among the book\u2019s 13 Design Titans). But what Pollock appreciates most about him is the effortlessness of his products.<\/p>\n\n\n\n

\u201cFukasawa designs things that just fit into your life,\u201d she says. \u201cHe has a way of creating objects that\u2019s very instinctual. So, you don\u2019t have to think too hard about \u2018How do you use this?\u2019 \u201d His 1986 Itka lamp, with its simple beauty and subtle diffusion of light, is a case in point.<\/p>\n\n\n\n

\n\n\n\n

Oki Sato\/Nendo Drop Bookshelf<\/h2>\n\n\n
\n
\"Nendo<\/a>
Nendo for Cappellini medium-size Drop bookcase, new<\/a><\/figcaption><\/figure><\/div>\n\n\n

Oki Sato<\/a>, founder of the design firm Nendo<\/a>, is one of Japan\u2019s most prolific creators today<\/a> \u2014 at every scale, from architecture on down. \u201cI think he brings a lot of humor, a lot of whimsy to his work, and that makes it very relatable,\u201d says Pollock. \u201cThat kind of draws people to the things he creates.\u201d<\/p>\n\n\n\n

A prime example of these alluring qualities is his 2011 Drop bookshelf, with a cube balanced delicately at an angle on its top.<\/p>\n\n\n\n

\n\n\n\n

Tokujin Yoshioka Smatrik Chair<\/h2>\n\n\n
\n
\"Kartell<\/a>
Tokujin Yoshioka for Kartell Smatrik chair, new<\/a><\/figcaption><\/figure><\/div>\n\n\n

One of the more spiritual creators in the book, Tokujin Yoshioka<\/a> believes design is something that you feel. When Yoshioka designed the Smatrik chair<\/a>, in 2018, \u201che wasn\u2019t creating a chair<\/a>, he was creating the experience of sitting,\u201d says Pollock. \u201cWhat is the experience of sitting going to be like in this chair? How does it cup the body? How does it support the back? What does it feel like when your hand touches the feet?\u201d<\/p>\n\n\n\t

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\n\t\t\t\t\t\tExplore Modern and Contemporary Japanese Design on 1stDibs\t\t\t\t\t<\/div>\n\t\t\t\t\t
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\u201cIn Japan, design is as much something that is done with the hand as the eye,\u201d says American architect and design writer Naomi Pollock. A resident of Tokyo for 30 years and the author of several books on Japanese design and architecture, Pollock has now published her most comprehensive work on the subject: Japanese Design 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