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"Textile crafts Japan."
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Managing cultural specificity and cultural embeddedness when internationalizing
When entering international markets, manufacturers of consumer products are expected to adapt their products in order to meet local consumption practices. Doing so is particularly challenging for producers of culturally-specific products—that is, products that are little known, understood, or valued outside their original cultural milieu—whose operations are often deeply embedded in local conventions and traditions. To examine how SMEs navigate tensions between the cultural specificity of products and the cultural embeddedness of operations when expanding internationally, we conducted a multiple case study of Japanese producers of heritage craft located in Kyoto. Our findings reveal three strategies available to address these tensions—namely, selective targeting, cultural adaptation, and cultural transposition—and highlight the pivotal role played by local distributors and foreign designers, serving as cultural intermediaries, in bridging systems of domestic and foreign cultural practices and meanings. Our findings portray product adaptation as an ongoing process that unfolds along with a firm’s international expansion, as producers and intermediaries explore ways to bridge cultural differences. They illuminate the lengthy processes of learning and unlearning, adjusting, and rethinking that underlie managers’ efforts to strike a balance between standardization and adaptation as they internationalize.
Journal Article
Japanese Fashion Designers
Over the past 40 years, Japanese designers have led the way in aligning fashion with art and ideology, as well as addressing identity and social politics through dress. They have demonstrated that both creative and commercial enterprise is possible in today's international fashion industry, and have refused to compromise their ideals, remaining autonomous and independent in their design, business affairs and distribution methods. The inspirational Miyake, Yamamoto and Kawakubo have gained worldwide respect and admiration and have influenced a generation of designers and artists alike. Based on twelve years of research, this book provides a richly detailed and uniquely comprehensive view of the work of these three key designers. It outlines their major contributions and the subsequent impact that their work has had upon the next generation of fashion and textile designers around the world. Designers discussed include: Issey Miyake, Yohji Yamamoto, Rei Kawakubo, Naoki Takizawa, Dai Fujiwara, Junya Watanabe, Tao Kurihara, Jun Takahashi, Yoshiki Hishinuma, Junichi Arai, Reiko Sudo & the Nuno Corporation, Makiko Minagawa, Hiroshi Matsushita, Martin Margiela, Ann Demeulemeester, Dries Van Noten, Walter Beirendonck, Dirk Bikkembergs, Alexander McQueen, Hussein Chalayan and Helmut Lang.
eBook
Determination of Per- and Polyfluoroalkyl Substances in Craft Villages and Industrial Environments of Vietnam
Per- and polyfluoroalkyl substances (PFASs) have attracted great concern because of their great recalcitrant nature and harmful environmental health effects. Eight PFASs in wastewater from craft villages and industrial environments of Vietnam were analyzed using liquid chromatography triple quadrupole mass spectrometry (LC-MS/MS) with negative electrospray ionization interface. For analysis of PFASs, percent recoveries ranged from 87 to 112, and MQL varied from 0.19 ng/L to 0.49 ng/L. Treated wastewater samples from eight metal-plating and eight textile-dyeing factories were collected for analysis of PFASs. Concentrations of PFOS in wastewater samples obtained from metal-plating factories with decorative plating stage were found at a range of 0.73–18.91 ng/L. For textile-dyeing factories, PFOA and/or PFHxA, which were present in all effluent wastewater samples, varied from 0.37 to 15.96 ng/L and 1.07 to 43.58 ng/L, respectively. Sixty surface water samples in four locations of the textile dyeing craft villages, a recycling plastic village, a paper recycling village, and 10 river water samples in the control area (a rural area without specific waste sources) were collected and analyzed for PFASs. The total concentrations of eight PFASs in surface water samples of craft villages ranged from 0.83 to 58.2 ng/L, which were significantly higher than those in the control area. PFOA, PFHxA, and PFOS are the three most dominant congeners in wastewater taken from craft villages with the highest concentrations of 27.4, 23.8, and 7.36 ng/L, respectively. The environmental risks posed by PFASs in surface water from craft villages were mainly in a range of extremely low to low level, particularly a few points have high ecological risks of PFDoA.
Journal Article
Modernism, Nationalism and Gender: Crafting ‘Modern’ Japonisme
This article attempts to bring out the vital role Imai Kazuko, who studied in Europe (Prague National Craft Institute, Itten Schule and Reimann Schule) in the early 1930s, played in Japan's national representation through craftworks. Her experience in Europe was reflected in the Jiyu Gakuen Institute for Art and Craft Studies and also in contemporary design education. Jiyu Gakuen assumed craftwork to be a profession for independent women, and the institute worked towards this aim, the outcomes of which were appropriated to the national policy of exporting crafts, which was the government's aspiration for the recreation of national identity and the promotion of a ‘modern’ version of Japonisme.
Journal Article
Comparing Local Silk Textiles: The Thai-Lao Matmii and the Japanese \Tumugi\ Kasuri
This comparative study focuses on six aspects of local Thai and Japanese silk textiles — the patterns and designs, materials, local wisdom, cultural values, process of producing, and beliefs. The textiles studied are the Thai-Lao silk Matmii from Maha Sarakham Province in northeastern Thailand and the silk Tumugi Kasuri called Ushikubi Tumugi from Ishikawa Prefecture in Japan. The study explores the functions of these local traditional textiles and examines the cultural changes that influenced patterns, techniques, and use over the centuries. It is demonstrated that both textiles, as traditional crafts, reflect the identity, heritage, and dignity of local weavers and local people. The legacy represents a visible historical record of changes in society and that society's adjustment to new environments. Thai and Japanese local silk textiles express so many facets of local society that they are often referred to as symbols of that society.
Journal Article
Tokyo street style
Tokyo is home to a creative and daring street-style scene, rich with subcultures and shaped by constant motion. In Tokyo Street Style, fashion writer Yoko Yagi explores influential trends, covering an eclectic range of styles from kawaii cute to genderless looks, while designers, editors, models, stylists, and other important personalities in the Tokyo fashion scene share their individual approaches to style in interviews. Moving from a glimpse of the outrageous fashion found on the streets of Harajuku to everyday-chic work and weekend attire, this comprehensive guide offers a lively overview of an extraordinary urban culture with a rich collection of inspirational photographs and practical guidance for cultivating Tokyo style, no matter where you live. Concluding with a curated selection of the best boutiques and vintage stores, along with some of the most fashionable places to eat and drink, Tokyo Street Style is a colorful lookbook and travel guide filled with insight from Japan's most fascinating tastemakers.
eBook
Textile Decoration in the Edo Period and its Further Implication
As compared with earlier times the emergence of period style in any sense of a unified concept during the Edo period is obscured for the historian by unprecedented factors: the new multiplication of figural and narrative subjects in painting, the predominance of new class interests and patronage, the dissemination of printed pattern books, the suddenly expanded commerce and industry of decorative art in its many branches. Viewed from outside ofjapan the scene has not been clarified by the recent Japanese official emphasis on the art of the Momoyama period as the proper historical perspective for restored imperial rule, nor by an obsession in the west with the special qualified and genre interest of the prints and paintings of the Ukiyo-e school. The work of the latter, in a well-established conventional wording, was ‘patronised by comparatively uncultured people, aimed at a simple and unsophisticated expression, mostly beautiful and sometimes even sensuous rather than deeply spiritual and scholarly’. This approach to the so richly varied art of Edo, and to the original dimension within it created by the new relation of decorative to expressive art, reinforced by the fragmentation of schools, has militated against the definition of pervasive structures in composition which endow the whole art of the period with its distinctive character. The present paper looks to textile decoration as epitomizing a universal trend in design and as an index to stylistic change with some claim to general validity.
Journal Article