Lessons Learned from Working with Manufacturers

YanagimotoDid becoming an in-house designer, in terms of understanding societal processes, have an impact on your individual work?

NemotoFirst, quality control. It's the meticulous attention to detail when translating an idea into a product, like 'this way, it won't be wobbly.' Also, working individually makes me realize how fortunate I am to work in the privileged environment of a manufacturer. There's also a mutual influence on 'perspective.' I have the self who works for the company and the self who is 'PORE.' Sometimes at the company, they say my opinions sound like they're from a freelancer. Actually, when I started my individual activities, I admired the 'artistic individuality' often seen in freelance designers. I thought it was cool how their creations felt connected by a thread. However, when I looked at my own designs from an overhead view, the elements connecting them were weak. I realized I couldn't force that connection myself. This is because I dislike no genres and have a strong curiosity to try various things. Also, when working with manufacturers, I consider the company's identity in my product creation, so I feel a bit apologetic about making my own works. Above all, my job is to bring joy to the people who use my products.

YanagimotoSpeaking of which, 'PORE' has mostly focused on small product categories until now. But at last year's Milan Salone (hereafter: Salone), you presented furniture (images in Part 1 of DELDEL & AQUAQU). Was there a shift in your focus?

NemotoYes. For Japanese people, exhibiting at Salone involves the physical challenge of 'having to cross the sea.' This can lead to a mindset of 'preferring smaller items over larger ones' when creating products. However, Salone is fundamentally a furniture fair, so I decided to compete with furniture. Before that, when I visited Salone, I observed firsthand how much effort was needed to get noticed and what scale was appropriate. That research led me to target the European market for my furniture. At that time, I didn't consider the Japanese market at all. That's how my focus shifted from small items to larger ones.

YanagimotoThat's a 'Salone-oriented' approach to creation. Many designers prioritize their own identity and aim to present that abroad. It's less common for Japanese designers to think, 'Europeans have this tendency, so I'll offer something different from my own style.' This connects back to your roots in Singapore, where you traded items during your dorm life, thinking, 'This might be valuable to that person.'

Realizing That Liking Something Doesn't Mean It Will Sell

NemotoThe reason I made small items wasn't because I particularly wanted to make small items. When I started my individual activities, I wanted many people to experience my work, which led to the idea of mass production. Coupled with cost considerations, this naturally shifted my focus to smaller items. When I exhibited at '100% DESIGN TOKYO,' I presented an incense burner and candle holder called 'Oboro.' Thanks to a good booth location, many people visited. At that time, I heard many comments like, 'I personally like it, but it doesn't fit my store,' or 'I like it, but we can't produce it.' When I wondered why these products weren't being made, it became clear that the perspectives of 'liking, producing, and selling' were different. So, I decided it would be better to clarify which manufacturers I wanted to release products through. The following year, I exhibited items specifically targeted at manufacturers. As expected, this was successful, and visitor feedback was excellent. Since I'm not good at sales, exhibitions are my only sales tool. Presenting within constraints can sometimes be very effective.

YanagimotoAnd that led you to Milan Salone.

NemotoBefore exhibiting at Salone, I thought a lot about lifestyles I wasn't familiar with. At the time, I also felt it was important for designers to engage with such lifestyles. I targeted Dubai and the Middle East, and indeed, many people visited. However, it coincided with the Lehman Shock, and everyone was very cautious with their spending.

YanagimotoDo you have anything you'd like to do in the future?

NemotoI'm interested in what I personally call 'experimental design' – holding exhibitions that can only be experienced by attending in person. Like a Michael Jackson concert (laughs).

Takashi Nemoto
The nickname 'PORE' comes from 'Singa"pore"', where he spent his high school years. In 2001, while studying at Nihon University College of Art, he began his activities with the keyword 'PORE OVER IT! (Think it through thoroughly).' In 2004, after graduating, he joined the design department of an electronics manufacturer.
http://www.poreoverit.com