Introduction
We are thrilled to introduce Masami Tanaka, a master leather craftsman whose passion and dedication have taken him from humble beginnings in metal engraving to the prestigious workshops of Florence, Italy. Discover how his unique experiences and relentless pursuit of excellence have shaped his craft and continue to inspire his exquisite creations.
Interview
Untold Japan: Can you give us a self-introduction and then tell us a bit about your journey to becoming an artisan?
Masami Tanaka: I am currently 38 years old, and I aspired to become a leather craftsman when I turned 20. Initially, I attended a specialized school for metal engraving (silver accessories) and later had an apprenticeship at a Native American jewelry brand. During that time, I had the opportunity to assist with leatherwork, and I felt a connection to it that resonated with me more deeply than the metal engraving I had been doing until then.
What captivated me was the vast range of expressions and complexity leather offered. The quality varies depending on the type of animal and the tanning method. The more complex the leather, the more I could infuse my originality into it, which drew me to the allure of leatherwork and led me to pursue a career as a leather craftsman under the guidance of a master.
Subsequently, in order to learn if my skills, work, and quality were truly creative, I researched the history of leather and decided to go to Florence, Italy, a city with a deep cultural and technical heritage. That decision was driven by a strong desire to see first-hand the authentic craftsmanship there.
I visited exhibitions in Milan and looked for ateliers where I could work. During this time, I happened to meet a Japanese coordinator living in Florence, and when I told him about my ideas and vision, he introduced me to multiple ateliers. After visiting various ateliers, I found one that I felt suited the direction I wanted to pursue, and I convinced them to let me start working there the very next day.
Of all the numerous ateliers I was introduced to, I decided to work with a Japanese leather artisan. There is an unparalleled level of skill and precision in Japanese craftsmanship, which I felt was the kind of handiwork I wanted to master. My mentor used only Italian materials for all his work, and his meticulousness and attention to detail were incomparable. His works were some of the most beautifully crafted pieces I had ever seen.
Learning from him inspired me to bring his level of craftsmanship back to Japan with the desire to start my own brand. I was determined to continue his teachings and put it into my creative works.
Upon returning to Japan, I set up a brand with a friend and began to develop my personal style based on the experience I had in Italy in a shop with an attached workshop. I began accepting customer requests and immersed myself in the process of exploring and defining my own artistic sensibilities. After three years, I decided to go independent and left the company in 2015.
Rather than launching a new brand right away, I spent time conceptualizing and developing a leather brand that reflected my unique aesthetic. I wanted to create a line-up, so I spent time preparing, prototyping, and having friends use the products to gather feedback. We focused on creating practical items and continually refined and improved our products.
In the first year after launching the brand, the owner of a boutique in Tokyo Midtown liked my work and decided to carry my products. This was a turning point and significantly increased my visibility. This really felt like a lifesaver for my first year as a business.
In the second and third years, the business grew steadily and the more I sold, the more I could continue to make the same products myself. Because the product had my name on it, I did not want to leave it for a factory to make. I had a strong desire to do everything myself. However, as I continued to do everything myself, my body and mind began to break down.
I spent every waking hour in front of the sewing machine repeating the same process. It was great to have my products sell, but I also started to feel that if I continued with this routine, I might start to loathe leather. I also had this fear that if I ever lost my sight, or injured my hands, I might not be able to survive. I felt I needed to make a change for myself.
In the third year, after these exhausting thoughts, my health started to deteriorate. I became physically and mentally drained. During these difficult times, I began to rethink my working environment and approach and started thinking about producing my artwork in a new, unique way that would allow me to express myself. When thinking about how I wanted to express myself, I took into account how my work would make people feel when they received it. In the same way that a pianist can touch the emotions of the listener through the keys they play, I wanted my work to appeal to people's emotions.
UJ: Could you tell us about your current works?
Tanaka: Currently, I have stopped making and selling leather goods, and am now working on original pieces of leather artwork. Primarily, I produce leather art that can be framed and displayed like a painting. Additionally, I’m designing vintage leather lamps using the bases of antique-style lamps, with custom leather shades to fit each unique shape.
UJ: What do you draw inspiration from when creating your artwork?
Tanaka: The time I spend immersed in things I love serves as a source of inspiration. Activities like nurturing plants, camping in nature, and driving my car or motorcycle provide sparks for ideas and designs. I don’t feel like I’m working; instead, I see it as seriously playing and seeking inspiration through these experiences. I try to look for hints of new ideas in the midst of earnest recreation, rather than when I'm working.
UJ: Are there any principles or values that you prioritize when creating your art pieces?
Tanaka: As someone who works with leather, I strive to honor the beauty of the animal’s life and create pieces that leave a lasting impact.
UJ: What's your story to now being a producer?
Tanaka: When my health deteriorated, I needed to rethink my way of working. That’s when I saw producing as a viable direction for me. I thought of building a business structure where I could design and oversee the entire process while still being an artist who creates the art itself. And since 2017, I’ve been leading a brand called “T A K U M I T O K Y O” with the aim of bridging Japanese artisans, connecting their skills and art with one another to create greater works.
To preserve Japanese techniques and craftsmanship, we are working to visit artisans in various parts of Japan and create new works together with them. For example, we have combined the skills of a handmade Washi paper artisan, a Nambu ironware craftsman, and a woodworking artisan to create a single lighting project.
Rather than simply using one material to create a work of art, my work with “T A K U M I T O K Y O” is to produce new possibilities for unique works of art by combining the characteristics, materials, and techniques from artisans across Japan.
I believe that my role is to promote our work and initiatives more widely to people around the world; I have participated in exhibitions in France, and next year I will be exhibiting in Milan. I aim to convey the deeper stories behind our products at international exhibitions, which aligns greatly with the vision of UNTOLD JAPAN.
UJ: I understand that you are also currently designing various spaces - what is spatial design?
Tanaka: I coordinate the interiors of offices, stores, and other environments. A space typically consists of many different elements, but I specialize in blending these elements together to create harmonious environments.
UJ: What are your plans or future prospects with spatial design?
Tanaka: Besides offices and shops, I want to create refreshment spaces, such as holiday homes. It’s a big goal, but I aim to create cozy environments across all 47 prefectures of Japan and have people visit and experience these spaces. My vision is to support local industries in each region and to create an environment of renewal.
UJ: Looking to the bigger picture, what are some of your goals and aspirations?
Tanaka: I would like to work with materials and techniques that I don't yet know, and collaborate with local people to create new artworks and spaces that convey a sense of the Japanese spirit. Together with UNTOLD JAPAN, I hope to connect with various people, continue spreading this culture, and contribute to creating the value of Japan to the world.
UJ: Thank you for your time and for sharing your story!
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