(★Asano Shoten - Part 1) Title

110 years by the Nagara River in Gifu. From making fans to advertising lanterns, Bon lanterns, and then interior lighting—Asano Shoten has continuously re-examined "what a lantern is" in response to the changing times. Why does light, meticulously crafted by hand, wrapped and glued, warm people's hearts so much? The fourth-generation owner shares his manufacturing philosophy and 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

#1 The Man Who Escaped the Rice Fields and Lit Up Lanterns

From fans to lanterns. The 110-year history of Asano Shoten.

──I heard that Asano Shoten will soon be celebrating its 110th anniversary. Could you tell us about its origins?

Yusei Asano:
It was founded in 1917 (Taisho 6). We're approaching 110 years.

The story goes that my grandfather, Kaichi, who was the founder, was the eldest son of a minor branch family from an Asano clan village about 20km south of Gifu. He thought that if he became the head of the family, he would never escape the rice fields.

So, he disliked the rice fields and fled to Gifu. I've heard that story. (laughs) ──He went to Gifu because he disliked the rice fields. He started by making fans, didn't he?

Yusei Asano:
That's right. At that time, Gifu's specialties were fans and Japanese umbrellas. My grandfather initially made fans, but I suppose it wasn't very profitable.

I think that's why he started making lanterns. Around that time, there was a revival of Gifu lanterns, and he decided to ride that wave.

──Could you tell us more about the "revival" of Gifu lanterns?

Yusei Asano:
From the Bunka-Bunsei era of the Edo period, the custom of using lanterns for Obon increasingly flourished.

At that time, Gifu lanterns were apparently already listed as a specialty of Gifu, but with the Meiji Restoration and the adoption of Western civilization, many such old traditions were largely abolished.

However, when they were in decline, a local wealthy individual named Teshigawara created a three-legged wooden stand-type lantern, known as an "Ouchi Andon," for the purpose of revival and presented it at the National Industrial Exhibition.

Furthermore, there's a story that when a certain lantern maker presented a lantern to the Emperor, it became a major catalyst for the revival of lanterns.

My grandfather rode that wave.

──He was good at catching the trends of the times. How did things change after the war?

Yusei Asano:
After the war, my father reorganized the company, and at that time, the most profitable product was actually "advertising lanterns."

Young people today might not be familiar with them, but back then, there were lanterns hanging outside all kinds of shops—electronics stores, liquor stores—with "Hitachi washing machines" or "Matsushita Electric something-or-other" painted on them.

They were like banner ads today. That was one of the advertising methods at the time, and we produced huge quantities, at least 5,000, and typically 10,000 units, in a short period just for the Tokai region.

──I'm surprised that lanterns were used as an advertising medium.

Yusei Asano:
There's an interesting anecdote: when Lion released their toothpaste, they asked us to make an "advertising lantern in the shape of a toothpaste tube."

What my father did was create a lantern with a mechanism, cleverly designing the top to resemble a cap. The result was a tube-shaped lantern with the words "Lion Toothpaste" on it. (laughs)

I heard he made such lanterns and they were well-received. Nowadays, advertising lanterns are practically unheard of, but that's how it was back then.

#2 Three Years for Rib Winding, One Year for Paper Application. The Story of Hands and Time Behind a Lantern's Birth

Evenly, not too tight, not too loose. The secret to a beautiful round shape, known only to craftsmen.

──Visiting the workshop, I noticed that the rib-winding process looked very difficult. I heard you said it's the most challenging step.

Craftsman:
Yes, rib-winding requires the most precision. If you don't wind them evenly, you won't get a beautiful shape, but the larger the lantern, the larger the diameter and the more prone it is to sagging.

If you wind them too tightly, it becomes angular instead of round when viewed from above, and if too loose, they'll come off. Not too tight, not too loose—that's what makes it truly difficult.

──So, the rib winding determines the shape.

Craftsman:
Exactly. If the rib winding is well done, the subsequent paper application becomes easier. Conversely, once the paper is applied, any sagging parts can't be corrected. Rib winding is the linchpin of all the processes.

──How long does it take to become proficient?

Craftsman:
They say three years for rib winding and one year for paper application.

──After applying the paper, you also showed us the process of cutting off excess parts with a razor.

Craftsman:
The key to that work is to cut only the top layer of paper without cutting the bottom layer. Of the two layers of paper, only the top one is shaved off with a razor.

If the razor blade isn't straight, or if it's too thick or too thin, the width of the glue margin becomes uneven, and the finish won't look clean. This is a technique that can only be done by hand.

──What's the difference compared to foreign products like IKEA?

Craftsman:
The biggest difference is the width of this glue margin. It's thin and uniform. Many products made overseas have a wide margin, or they just stick the paper on.

Also, there are differences in paper wrinkles and tension. Each one is handmade, and we produce items of solid quality. You'll immediately notice the difference if you compare them side by side.