Inden is a craft made of deerskin, adorned with traditional Japanese patterns using lacquer. It was introduced to Japan from India around the 16th to 17th centuries, and it was Yushichi Uehara who established the technique of Koshu Inden. Since its founding in 1582, the name has been passed down from generation to generation, and now the current president, Shigeki Uehara, is set to assume the title of 14th successor. This time, we spoke with his younger brother, Isao, about the background of this collaboration and the future of Inden-ya, and also took a look at the production site.

Why Japan's Traditional Crafts Focused on Pop Art Amidst the Pandemic

In the past, collaborations have been realized through offers from global luxury brands such as Tiffany, Gucci, and Asprey. This time, the offer came from Inden-ya. Was there an intention to actively initiate this?

Sales declined due to the impact of the pandemic, and a somber mood permeated the company. I believe there was a sense of stagnation in society as a whole. It may be presumptuous, but we felt we had to take action to break through this situation and brighten the mood within the company, which led to our offer this time.

Regarding the requests for self-restraint during the pandemic, while the food and travel industries received much attention, the apparel and fashion accessories industries also suffered considerable damage.

We were no exception. Especially during the state of emergency from April to June last year, we were forced to close our stores. The losses from closures, not only at our directly managed stores but also at our partner retailers, were unprecedented, and at one point, the situation was very severe. Under these circumstances, we wanted to send a positive message to the world from our end.

What was the reason for choosing Keith Haring's artwork?

The motifs are pop and recognizable to everyone, with impactful use of color. We also wanted to convey that there is a bright future for Japan, which is currently feeling a sense of stagnation, and we kept in mind that it should be accepted by younger people. In that regard, Keith Haring's works are widely recognized even by those who are not particularly familiar with art, so we thought they would be easy to appeal to.

From the perspective of pop art, were Japanese artists like Takashi Murakami also considered?

Actually, we collaborated with Mr. Murakami once before. We are always conscious of the need for motifs that are in tune with the times, while also inheriting traditional Japanese patterns. New challenges are essential, especially for approaching younger customers, and we want everyone to see our continuous evolution.

Expressing Pop and Positive Messages Through Traditional Japanese Techniques

What was the most challenging aspect of this collaboration?

The contract with the Keith Haring Foundation. Naturally, communication was in English, and we had to review a vast amount of contract documents. It was extremely challenging to review every detail with the help of professionals and to understand each contract clause while grasping the nuances of the English text. After the contract was finalized, things proceeded relatively smoothly, but there were numerous approvals required for products and designs, so it took about a year from conception to the completion of the sample products.

What does Inden-ya prioritize in its collaborations?

That they are ongoing initiatives, not just for novelty or temporary buzz. It is important that they are accepted by our long-standing customers and also picked up by new customers. Regarding the use of Keith Haring's works, we were not without concerns that some of our long-time customers might have mixed reactions. However, once it was released, we were relieved to see that it was widely accepted not only by young people but also by older generations.

The vibrant blue, which is unlike anything seen in previous Inden products, is particularly striking.

As it's a new challenge, we emphasized impact. The first installment, featuring the dog motif, was designed with this in mind. We rearranged the original motif, which only faced one direction, to face both directions and applied lacquer to the edges. Furthermore, we combined orange for the zipper tape, which creates a striking contrast with the blue, as a key point. For the second installment, in black, we directly adopted a work with a mix of diverse motifs and applied beige lacquer. Here too, we used red for the zipper tape as an accent.