(★Asano Store Part 2) Title

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For 110 years, Asano Shoten has been making lanterns on the banks of the Nagara River in Gifu. Starting with the production of fans, then promotional lanterns, Bon lanterns, and now interior lighting, Asano Shoten has continuously questioned "what a lantern is" in response to changing times. Why does the light crafted by artisans—who hand-roll, hand-paste, and hand-shape each lantern—warm people's hearts so profoundly? The fourth-generation owner shares his philosophy of manufacturing and his vision for the future of lanterns.

Yusei Asano

Born in Gifu Prefecture. Fourth-generation head of Asano Shoten, a long-established chochin lantern maker founded in 1917. In 1998 he co-developed the "Paper Moon" lighting series with designer Shigeru Uchida. Adopting modern technologies such as CAD, he continues to pursue lighting that fits contemporary life, including the "Chochin Hat."

*Article content is based on information at the time of the interview

#3 No Concept, But Strong Commitment

Conversations with designers revealed the true essence of "lantern-ness."

──I heard that you use CAD*1 for designing the molds. That's unusual for traditional crafts, isn't it?

*1 CAD: A tool used for design and drafting with computers.

Yusei Asano:
We were the first in Japan to design lantern molds using CAD.

The trigger was when we started working with designers. Designers are very strict about form.

There's a presentation date, so deadlines must be met precisely. Also, trying to create new structures and explaining them to artisans to have them executed is difficult.

I was thinking about what to do, and at that time, Windows 95 came out, making CAD affordable for general use. So I started using it, but back then, it was really rare.

──I heard that the interior lighting series "Paper Moon" was born from a collaboration with designer Shigeru Uchida. How did that come about?

Yusei Asano:
I felt that relying solely on Bon lanterns wouldn't sustain us in the future. I thought if we were to do something new, it had to be interior design.

However, I didn't know what kind of shapes to create myself. So, I always thought I had to work with a designer who I could discuss such things with. Then, I had the opportunity to be introduced to Mr. Uchida at an exhibition event in Gifu.

I greeted him and said, "If you'd be interested," and he said, "Okay." If you keep at it, opportunities somehow arise.

──Was working with a top-tier designer difficult?

Yusei Asano:
The opposite, actually (laughs). With Mr. Uchida, and top-tier people in general, the moment they realize you have a certain level of skill, discussions flow smoothly.

They are sensitive and have good taste, so they are open-minded. What was difficult was understanding what the designers valued.

──Does the unique rounded shape of Paper Moon have any particular meaning?

Yusei Asano:
I once asked Mr. Uchida, "Where did this idea come from?" And he said, "It's design, you guys!" (laughs).

Later, I heard from a staff member that the shape was inspired by the image of a "furo" (brazier) used in tea ceremonies. The product name is "02," and while some people might imagine a gourd shape or a mochi shape, Mr. Uchida conceived it as an "objet d'art as design."

That's the amazing thing about top-tier designers, and I learned a lot from experiences like that.

──Are there any other memorable collaborations?

Yusei Asano:
The exhibition object for the Skytree was interesting. We made a lantern object about 3-4 meters tall in the ticket area.

It involved connecting large lanterns with string and hanging them. Again, we didn't do anything completely new; we just applied existing techniques, but when you think about it that way, you can create interesting things.

We also collaborated with Jasper Morrison.

──Was there a specific intention behind repeatedly collaborating with famous designers?

Yusei Asano:
To be honest, I had ulterior motives (laughs).

Since CAD allowed us to create free-form shapes, I thought that to enhance our technical capabilities and also to create a stylish image for our company and for "lanterns," collaborating with famous designers and presenting our work would be a good approach.

As a result, it also became a learning opportunity to understand what designers think and how far lanterns can be realized.

#4　Lanterns as just interior decor is boring.

The day the Chochin Hat was born. Questioning the structure, transcending common sense.

──I saw a product called "Chochin Hat." What was the idea behind that?

Yusei Asano:
Having worked on interior lighting for so long, a lantern, no matter how you look at it, is something that "holds a light inside," right?

But I thought, with such an interesting structure, isn't it boring if its only use is for lighting?

I wanted to try making something different with this structure. If it's a hat, you can wear it, and it becomes small when folded, which is just right. That's all it was (laughs).

──Indeed, the ability to "fold" is a major feature of lanterns.

Yusei Asano:
I think Japanese people have this idea of making everything portable. Chabu-dai (low tables) have foldable legs, futons can be folded.

It's an ingenuity for using one room for various purposes. The ultimate masterpiece of this foldable concept might even be the Walkman (laughs).

The fact that lanterns took root in Japan around the Azuchi-Momoyama period as "something foldable" seems to align with that Japanese way of thinking.

──The Chochin Hat is also available at souvenir shops along the Nagara River in Gifu, right? What has the response been like?

Yusei Asano:
There has been a response, but it hasn't been a huge seller (laughs).

However, some customers use it as a lampshade, and I'm happy to see it used that way. I'm not sure what I'll think of next, but it's boring without a sense of playfulness.

──Is there anything new you'd like to try in the future?

Yusei Asano:
I'd like to try something like a craft workshop.

We have various molds, so customers could choose their favorite, and we'd have different types of washi paper available. They could then experience making custom-ordered lighting by combining them.

Ideally, it would be a leisurely two-day, one-night experience. It would cost money and there's the question of who would run it (laughs), but I think it would be interesting.

Even with Mino washi alone, there are lace-like ones, ones with different thicknesses, and the appearance changes completely depending on the color and thickness of the bamboo frame. Being able to choose those combinations yourself would be fun.

#5　Until Everyone Thinks, "Lanterns Are Stylish, Aren't They?"

Spreading light, transforming rooms. The culture of indirect lighting and the future of Asano Shoten.

──Could you tell us about the current state of the Bon lantern culture?

Shota Asano:　
For Bon lanterns, we have customers nationwide, from Hokkaido in the north to Okinawa in the south, excluding some parts of Hokuriku.

What's interesting is that in Gifu, there's actually almost no culture of displaying Bon lanterns.

──What, even though it's a lantern production area?

Shota Asano:
That's right (laughs). So I was surprised when I joined the company. Even though there are so many customers nationwide, they don't display them locally.

Culture is a strange thing. Originally, they were given as gifts, but now more people buy them for themselves. Especially with the decrease in traditional Japanese rooms, this sleek cylindrical design is well-received as it fits well with modern living rooms.

──What do you think are the advantages of lanterns as interior lighting?

Shota Asano:
Because they use washi paper, one advantage is that they are very light among lighting fixtures. And they can spread light throughout the room.

Typical lights often have a fixed direction, illuminating only downwards or sideways, but lanterns have a rounded shape that gently and evenly illuminates the entire room. This is possible precisely because they are made of paper.

──What are your thoughts on the culture of indirect lighting?

Yusei Asano:
In Japanese residential culture, it has always been common to use ceiling lights to brightly illuminate the entire room.

But having just one indirect light can truly make a room a calming space. In Western countries, I hear that many homes don't even have ceiling lights, relying solely on indirect lighting, and I personally hope that such a culture will spread more in Japan.

──What direction do you want Asano Shoten to take in the future?

Shota Asano:
Our top priority is to create products that make people think, "Lanterns are stylish, aren't they?" and "I want a lantern in my home."

Whether it's lighting or not, we want to continue making things that make a home look vibrant and stylish just by having a lantern.

Yusei Asano:
The techniques for making lanterns are basically just applications of traditional methods. However, even though everyone sees the same things, how you use them can create something completely different. I believe that's the most interesting part of this job.