We want to share the objects that shape our days with those who value intention in the same way. These are products we use daily in our studio. We choose them for what they do and for what they represent. They set a standard we return to. As we develop our own work they push us to refine and go further in our pursuit of Japan made craftsmanship. They are not references from a distance. They are present and relied upon. In that proximity they continue to inspire us.
There is a clarity in how these objects are made and lived with. Nothing feels excessive. Nothing feels unresolved. They act as quiet benchmarks for us. They show that restraint has power and that longevity is designed through small decisions made well.
Ichizawa Hanpu. Daily Carry as Discipline.
Ichizawa Hanpu has produced canvas goods in Kyoto since 1905, working with tightly woven cotton duck that is designed to soften slowly without losing structure. Each bag is cut and sewn with a focus on proportion, load balance, and durability rather than decorative detail. The H-05 tote we use in black canvas is part of our daily rhythm in the studio, carrying tools, materials, and objects between work and travel. It changes gradually through use, developing a softness at the edges while holding its form at the core. We value it for that balance, where nothing feels over designed and everything feels considered only in what is necessary.
Kaneko Optical. Frames that Hold Time.
Kaneko Optical has been producing eyewear in Sabae since 1958, a region known for its history in precision frame making. Many of their frames are still made using cellulose acetate, a material long used in vintage eyewear for its durability, adjustability, and ability to age well without losing structural integrity. Kaneko continues to make frames the traditional way with hand finishing, polishing, and adjustment as core steps rather than shortcuts of mass production. The result is eyewear that feels materially sound and balanced in wear. We return to them because the frames disappear once worn, becoming part of perception rather than an object on the face.
Nagao Kanekoma. Storied Pocket Knife.
Nagao Kanekoma continues the Higonokami tradition that began in Japan in the late nineteenth century as a simple folding utility knife used by craftsmen. It is built from a single folding steel blade with a friction based mechanism and a pressed metal handle, often in brass or steel, without a modern locking system. The design is defined by its directness and lack of excess parts. We carry it daily in the studio for small precise tasks from cutting materials to quick adjustments. The brass versions deepen in tone over time as they react to air and touch, developing a patina that records use. It becomes less of an object over time and more of an extension of routine.
Loopwheeler. The Pinnacle of Loopwheel.
Loopwheeler produces garments in Japan using vintage loopwheel knitting machines, a rare method still found in Wakayama, Japan, where the machines slowly knit fabric in tubular form without tension or forced stretch. This process creates a dense yet soft cotton that holds its structure while remaining naturally comfortable over time. Each garment is made with minimal intervention, allowing the material to form at its own pace rather than being pushed through high speed production. We favour Loopwheeler because of this restraint in process. The garments feel stable in hand and consistent in wear, becoming part of our daily studio rotation without losing shape or integrity.
Ask for Yoshimoto at the Sendagaya shop, a truly dedicated and experienced LW clerk. Tell them we went you.
Kungyokudo. Fragrance as Ritual.
Kungyokudo has produced incense in Kyoto since 1594, making it one of the oldest fragrance houses in Japan. Their blends are built from natural woods, resins, and traditional aromatic materials, with sandalwood remaining one of the most central notes in their work. Each composition is designed to be burned slowly, releasing scent in layers rather than impact. We use it daily in the studio as a marker for focus. It creates a shift in atmosphere that feels immediate but never overwhelming, turning the start of work into a quiet ritual.
Akari by Isamu Noguchi. Light as Sculpture.
The Akari 1N lamp designed by Isamu Noguchi in 1951 is a construction of washi paper and bamboo that diffuses light into a soft ambient field rather than a direct source. Produced in Gifu, each piece is assembled by hand, allowing light to pass through the paper skin with an even warmth that removes harshness from a space. This was perhaps the most sought after object for our studio for years. On our last trip to Tokyo we happened to find the final available 1N model at Ozeki and brought it back with us. It now sits within the studio as a constant presence, shaping the room more than it occupies it, creating a softness that has become inseparable from how we work.
Snow Peak. Built Tough Titanium.
Snow Peak produces outdoor equipment rooted in precision engineering and long term durability, with titanium wares forming a core part of their design language. The material is chosen for its light weight, corrosion resistance, and thermal stability, making it ideal for repeated use with hot and cold beverages. In our studio we use their titanium vessels every day for coffee and water. They hold temperature without altering flavour and remain unchanged through constant handling. Over time they become less like equipment and more like fixed tools within our workflow.
retaW. Scent as Identity.
retaW develops fragrance as a structured composition that exists between personal wear and environmental diffusion. LYN is built around a clean musk base with soft woody notes and a light aromatic freshness that sits close to skin. It avoids sweetness and avoids heavy floral direction, instead leaning into a restrained, almost fabric like clarity. There is a quiet amber warmth underneath that holds it together and gives it presence in a room without becoming dominant. In our studio it functions as a reset point between sessions, consistent and unobtrusive, shaping the atmosphere without pulling attention toward itself. Finally, each store is literally designed to mimic popular conbinis all over Japan.
Kalita. The Rhythm of Pour Over.
Founded in Tokyo in 1958, Kalita has shaped the standard of hand brewed coffee through consistency and control. The copper 185 dripper made in Tsubame is defined by its flat bottom and three hole design, which regulates flow and reduces variability in extraction. Each morning in the studio we rely on it as a fixed point in our routine. It removes uncertainty from brewing and allows attention to shift toward timing, grind, and water. We return to it because it performs the same every time, quietly precise without interruption or interpretation.
Kaikado. Handcrafted Precision.
Since 1875, Kaikado has produced tea caddies in Kyoto through a fully manual process involving pressing, soldering, and hand fitting each seam until it becomes airtight without the use of modern seals. Every caddy is assembled by a single craftsman from start to finish. Our copper piece, acquired in 2025, is beginning to shift in tone as it reacts to air and handling. The lid still closes with the same soft resistance that defines their work. We value it because it is functional in a strict sense, yet changes slowly through use, becoming more personal with time rather than remaining static.
