[{"data":1,"prerenderedAt":1456},["ShallowReactive",2],{"menu:main":3,"post-the-lineage-of-kurashiki-ja":34},{"items":4,"slug":32,"title":33},[5,15,23],{"_key":6,"_type":7,"label":8,"linkType":10,"page":11},"b32b8579b18c","menuItem",{"en":9,"ja":9},"Stories","internal",{"slug":12,"title":13},"stories",{"en":9,"ja":14},"ストーリーズ",{"_key":16,"_type":7,"label":17,"linkType":10,"page":19},"872dc86f84e3",{"en":18,"ja":18},"About",{"slug":20,"title":21},"about",{"en":18,"ja":22},"私たちについて",{"_key":24,"_type":7,"externalUrl":25,"label":26,"linkType":10,"page":28},"6c666e1ef85c","https://shop.suki.com",{"en":27,"ja":27},"Collection",{"slug":29,"title":30},"collection",{"en":27,"ja":31},"コレクション ","main","Header",{"_createdAt":35,"_id":36,"_rev":37,"_system":38,"_type":41,"_updatedAt":42,"body":43,"craft":65,"credits":73,"excerpt":128,"featuredImage":131,"featuredItems":143,"heroImage":359,"language":194,"location":362,"orderRank":363,"previous":364,"productClaims":379,"productsTitle":389,"season":392,"slug":394,"storyBlock":395,"storyImages":1436,"title":1453},"2026-01-20T15:08:48Z","4546e1cb-28f5-4da1-9d8a-156deb289ffa","3pJV0OtayAVeRUf183z9Po",{"base":39},{"id":36,"rev":40},"ZwEj4F5fVF4Z8QIpIyh4Tr","post","2026-10-21T06:59:24Z",{"en":44,"ja":56},[45],{"_key":46,"_type":47,"children":48,"markDefs":54,"style":55},"b825974139bb","block",[49],{"_key":50,"_type":51,"marks":52,"text":53},"55fc8fafec69","span",[],"Four centuries ago, Kurashiki rose from land wrested from the Seto Inland Sea. From the sand and soil came the alluvial plains which would, in time, become home to cotton and rush grass. From cotton came the thread, from thread the fabric, and from the fabric a woven ecosystem of manufacturing and folk craft, or mingei. In this first SUKI story, photographer and filmmaker Sybilla Patrizia discovers a city where tradition is quietly kept alive by craftspeople and curators building conditions for its survival. Through her lens, we're invited to ask: What does preservation look like, in action? And what does it mean for us to integrate tradition and creativity into our daily lives?",[],"normal",[57],{"_key":58,"_type":47,"children":59,"markDefs":64,"style":55},"f9d6c64258b5",[60],{"_key":61,"_type":51,"marks":62,"text":63},"ae9be695c968",[],"四百年前、瀬戸内海を干拓して生まれた土地に、倉敷はその歩みを始めました。砂と土がつくり出した沖積平野は、やがて綿花とい草を育む地となりました。綿花から糸へ、糸から布へ。そして布から、ものづくりと民藝が織りなす豊かな生態系が生まれたのです。SUKIの最初の物語で、写真家で映像作家のSybilla Patriziaが出会うのは、職人やキュレーターたちが伝統を未来へつなぐための環境を整え、その命を静かに守り続けている町です。彼女のレンズを通して、私たちも問いかけます。伝統を守るとは、具体的にどのような営みなのでしょうか。そして、伝統と創造性を日々の暮らしに取り入れることは、私たちにとって何を意味するのでしょうか。",[],[66,70],{"_key":67,"_ref":68,"_type":69},"0b647b8e062d","d9eddf3f-a9dc-4760-9a4e-2e5b66b6ace8","reference",{"_key":71,"_ref":72,"_type":69},"0b844e9c053a","690ba44c-1414-4197-a5a0-769980f6cc93",{"en":74,"ja":107},[75,92],{"_key":76,"_type":47,"children":77,"markDefs":87,"style":91},"0aa4341804fc",[78,82],{"_key":79,"_type":51,"marks":80,"text":81},"b152bf491a04",[],"Words by ",{"_key":83,"_type":51,"marks":84,"text":86},"d2957e7b2abd",[85],"3c27a0d2e77a","Leiya Salis\u2028",[88],{"_key":85,"_type":89,"href":90},"link","https://jp.linkedin.com/in/leiyasalis","spaned",{"_key":93,"_type":47,"children":94,"markDefs":104,"style":91},"9fc7ce71f3a2",[95,99],{"_key":96,"_type":51,"marks":97,"text":98},"1f311b14f1bd",[],"Photographs by ",{"_key":100,"_type":51,"marks":101,"text":103},"f22d20354e54",[102],"85a1be40742a","Sybilla Patrizia",[105],{"_key":102,"_type":89,"href":106},"https://sybillapatrizia.com",[108,118],{"_key":76,"_type":47,"children":109,"markDefs":116,"style":91},[110,114],{"_key":111,"_type":51,"marks":112,"text":113},"40638a4196f6",[],"文 ",{"_key":83,"_type":51,"marks":115,"text":86},[85],[117],{"_key":85,"_type":89,"href":90},{"_key":93,"_type":47,"children":119,"markDefs":126,"style":91},[120,124],{"_key":121,"_type":51,"marks":122,"text":123},"bcb5ccf10791",[],"写真 ",{"_key":100,"_type":51,"marks":125,"text":103},[102],[127],{"_key":102,"_type":89,"href":106},{"en":129,"ja":130},"In Kurashiki, craftspeople and cultural stewards keep tradition alive, revealing how preservation and creativity can shape everyday life.","倉敷では、職人や地域文化を守り伝える人々が伝統を今に息づかせています。その営みを通じて、伝統を守ることと新たなものを生み出すことが、日々の暮らしをどのように豊かにしていくのかが見えてきます。",{"_type":132,"alt":133,"asset":135},"imageWithAlt",{"en":134},"Traditional boat carrying visitors along the historic canal of Kurashiki, Japan, lined with white-walled storehouses and willow trees at dusk.",{"metadata":136,"url":142},{"dimensions":137},{"_type":138,"aspectRatio":139,"height":140,"width":141},"sanity.imageDimensions",0.8,1600,1280,"https://cdn.sanity.io/images/cu91stib/production/1643ab9ad00e2210bbf348080992d4794b959742-1280x1600.jpg",[144,219,274],{"_createdAt":145,"_id":146,"_rev":147,"_system":148,"_type":151,"_updatedAt":152,"artisan":153,"description":155,"dimensions":174,"gallery":177,"image":187,"isFeatured":192,"isLimited":193,"language":194,"orderRank":195,"related":196,"seo":206,"serie":208,"sizeType":210,"slug":211,"tags":212,"title":216},"2026-06-18T17:32:02Z","0850c39b-8c99-494f-a706-45c554ca191b","3pJV0OtayAVeRUf17z3dwX",{"base":149},{"id":146,"rev":150},"sNg7OG8ZxtALC310Xx8hgZ","item","2026-10-20T06:21:19Z",{"_ref":154,"_type":69},"afc7e749-3329-4f93-a35f-8ba73b1dccda",{"en":156,"ja":165},[157],{"_key":158,"_type":47,"children":159,"markDefs":164,"style":55},"bcb75e5e2023",[160],{"_key":161,"_type":51,"marks":162,"text":163},"77c83c4a85b2",[],"A minimalist wall art piece crafted from rush grass. Transforming a humble, traditional Japanese material into a powerful, abstract expression, YORU plays with organic texture and shadow. The rhythmic twisting of the fibers speaks to the silent dialogue between human hands and nature, grounding any space with a calm, tactile presence.",[],[166],{"_key":167,"_type":47,"children":168,"markDefs":173,"style":55},"f7739b5bfd2f",[169],{"_key":170,"_type":51,"marks":171,"text":172},"9a3fc346f3db",[],"い草でつくられた、ミニマルな壁掛けのアート作品。日本の暮らしに根ざした素朴な伝統素材を、力強い抽象表現へと昇華させたYORUは、自然素材の質感と影が織りなす表情を探求しています。リズミカルに撚られた繊維は、人の手と自然の静かな対話を物語り、穏やかで触感豊かな存在感で、空間に落ち着きをもたらします",[],{"dims":175,"inches":176},"W22 x D24 x H2 cm","W8.7 x D9.4 x H0.8 in",{"_key":178,"_type":132,"alt":179,"asset":181},"657685265637",{"en":180},"Rush grass art piece",{"metadata":182,"url":186},{"dimensions":183},{"_type":138,"aspectRatio":139,"height":184,"width":185},3000,2400,"https://cdn.sanity.io/images/cu91stib/production/cc73bf65a61886d2f7f24ddb07fac93fa83a706d-2400x3000.jpg",{"asset":188},{"metadata":189,"url":191},{"dimensions":190},{"_type":138,"aspectRatio":139,"height":184,"width":185},"https://cdn.sanity.io/images/cu91stib/production/1e4d688d861b0d56cbd19a74a29746ff63a39944-2400x3000.jpg",false,true,"ja","0|100014:",[197,200,203],{"_key":198,"_ref":199,"_type":69},"1c3dddc2da8a","9c609270-6a3a-4506-b7bf-db5eadc2ec91",{"_key":201,"_ref":202,"_type":69},"9983370fcecf","0361527e-6f22-4193-bc84-719113a45b8e",{"_key":204,"_ref":205,"_type":69},"a78b333997d6","48c1eaa0-febd-4d4d-a963-72af3cddfbd2",{"en":207},"A minimalist wall art piece crafted from rush grass. 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Infused with a rare, deep crimson — a hue notoriously difficult to master in studio glass—SUI captures the fluid energy of molten glass. Its undulating wave creates a beautiful tension between light and material, making this vessel a rare contemporary sculpture.",[],[295],{"_key":296,"_type":47,"children":297,"markDefs":302,"style":55},"687430cab3aa",[298],{"_key":299,"_type":51,"marks":300,"text":301},"a11d86d96a93",[],"倉敷の吹きガラスの伝統から生まれた、ひときわ目を引く花器。工房でのガラス制作において、表現が極めて難しいとされる希少な深紅をまとったSUIは、溶けたガラスが持つ流動的なエネルギーを捉えています。波打つフォルムが光と素材の間に美しい緊張感を生み出し、この花器を現代彫刻のような、かけがえのない存在へと昇華させています。",[],{"dims":304,"inches":305},"W9 x D9 x H15 cm","W3.5 x D3.5 x H5.9 in",{"_key":307,"_type":132,"alt":308,"asset":310},"ac6a6232a5fc",{"en":309},"Hand-blown red glass vase featuring a rounded silhouette and sculptural detail near the neck.",{"metadata":311,"url":313},{"dimensions":312},{"_type":138,"aspectRatio":139,"height":184,"width":185},"https://cdn.sanity.io/images/cu91stib/production/d644854f6ca42cb8199364bd01bd45efe75fb40c-2400x3000.jpg",{"asset":315},{"metadata":316,"url":318},{"dimensions":317},{"_type":138,"aspectRatio":139,"height":184,"width":185},"https://cdn.sanity.io/images/cu91stib/production/a61f1b1d9fe1757a0e8bc8f60ae88cfe0b3819fa-2400x3000.jpg","0|10000o:",[321,324,327],{"_key":322,"_ref":323,"_type":69},"a5b8a6b19c6c","143b0ac7-1248-46e0-871d-2c60f237ffd3",{"_key":325,"_ref":326,"_type":69},"bb38e1426a13","14c524ef-b18b-43c2-89f9-815ce4f082b5",{"_key":328,"_ref":329,"_type":69},"f2c076d09135","649267d3-1ef5-43fc-a18e-3a0363a93306",{"en":331,"ja":301},"A striking vase born from the Kurashiki glass-blowing tradition. Infused with a rare, deep crimson — a hue notoriously difficult to master in studio glass—SUI captures the fluid energy of molten glass.",[333,343],{"_key":334,"_type":335,"dimensions":336,"name":339,"weight":340},"03ac95133db1","size",{"dims":337,"inches":338},"15x14x30","3.2x3.2x12","s",{"kilo":341,"pound":342},2,1.2,{"_key":344,"_type":335,"dimensions":345,"name":348,"weight":349},"2ba0946d0d54",{"dims":346,"inches":347},"20x20x40","8x8x12","m",{"kilo":350,"pound":342},4.5,"sui",[353],{"_key":354,"_ref":355,"_type":69},"4c075bb3fcb7","87837005-585c-4fdc-98b0-9b06e4ed9940",{"en":357,"ja":358},"Sui 吹","Sui\\s吹",{"_type":132,"asset":360},{"_ref":361,"_type":69},"image-a3167731313213dc59c9662e8f7b8c974d94fb65-2400x3200-jpg","chugoku","0|029001:",{"featuredImage":365,"slug":375,"title":376},{"_type":132,"alt":366,"asset":369},{"en":367,"ja":368},"Forest landscape in Hasami, Japan, with a large leaning tree trunk surrounded by dense woodland and soft natural light filtering through the trees.","日本・波佐見の森の風景。うっそうとした木立に囲まれて大きな幹が斜めに伸び、木々の間からやわらかな自然光が差し込んでいます。",{"metadata":370,"url":374},{"dimensions":371},{"_type":138,"aspectRatio":372,"height":140,"width":373},0.78125,1250,"https://cdn.sanity.io/images/cu91stib/production/a244bcbe40b91ed2f080d8cbc16d57e59e6f3885-1250x1600.jpg","hasami",{"en":377,"ja":378},"Hasami","波佐見",[380,385],{"_key":381,"_type":382,"claim":383},"08c292e41410","claim",{"en":384,"ja":384},"From",{"_key":386,"_type":382,"claim":387},"a6f8de180cf2",{"en":388,"ja":388},"the story",{"en":390,"ja":391},"Curated crafts","厳選された工芸品",[393],"spring","the-lineage-of-kurashiki",[396,510,651,699,824,904,967,1121,1232,1319,1382],{"_key":397,"_type":398,"block1":399,"block2":493,"imageLayout":55},"3e9e94bf9a0d","storyblock",{"_type":400,"blockImage":401,"blocktitle":405,"body":408,"textColumns":491,"textPosition":492},"block1",{"_type":402,"asset":403},"imageWithCaption",{"_ref":404,"_type":69},"image-c5163f8bcc6eb0cafae41c11348f957937fb0ab9-1500x2000-jpg",{"en":406,"ja":407},"The lineage of Kurashiki","倉敷の系譜",{"en":409,"ja":450},[410,418,426,434,442],{"_key":411,"_type":47,"children":412,"markDefs":417,"style":55},"556e3f9cc784",[413],{"_key":414,"_type":51,"marks":415,"text":416},"81495e22a3e2",[],"I've spent most of my life in major cities. There's a heaviness to urban life that's at once dull and unnerving: the cold concrete, the harsh neons, the greasy smog, the thick heat of exhaust. There are flashes of color and softness, though. Places that brush against the texture of life—rough cobblestones, materials that once lived, the scent of old wood and moss. The quieter edges of Tokyo. Older neighborhoods where time seems to move differently.",[],{"_key":419,"_type":47,"children":420,"markDefs":425,"style":55},"a2442e2acdf1",[421],{"_key":422,"_type":51,"marks":423,"text":424},"4d9a85616b8d",[],"So when photographer and filmmaker Sybilla Patrizia told me SUKI's first story would be set in Kurashiki, I understood the pull immediately. A merchant town turned craft hub, where the relationship between maker and material hadn't been severed by industrialization. At its core was the same texture that emanated from the softer parts of urban areas.",[],{"_key":427,"_type":47,"children":428,"markDefs":433,"style":55},"b4703f11918b",[429],{"_key":430,"_type":51,"marks":431,"text":432},"524e65743d91",[],"But when Sybilla arrived on a Sunday morning in autumn, she found something more complicated. The preserved kura buildings, old shopfronts curtained in indigo noren, and incredible fragments of Japanese graphic design live on. Yet storefronts sell matcha lattes and canvas tote bags instead of daily goods. The canal, which once carried locally crafted goods, carries tourists instead. The narrow streets choke not with local life, but with visitors.",[],{"_key":435,"_type":47,"children":436,"markDefs":441,"style":55},"1436b07055fe",[437],{"_key":438,"_type":51,"marks":439,"text":440},"cc4a70f0ecfc",[],"By evening, sitting in an izakaya, a young local told her plainly: \"Every building you see is a tourist honey trap. Nothing here is for us anymore.\"",[],{"_key":443,"_type":47,"children":444,"markDefs":449,"style":55},"e5f077c53633",[445],{"_key":446,"_type":51,"marks":447,"text":448},"6400e2dd641d",[],"The words of the young local at the izakaya felt like a harsh mirror. I furnish my home with old wooden furniture, yet do not know the names of the trees each plank came from. I try to replicate, through objects, the intimacy of places like Kurashiki. I crave warmth yet don't want to feed the fire. I want the story without the reality, the aesthetic of craft without the labor, the inconvenience, the actual people doing the work. And that hollowed space between yearning and engagement is where things break.",[],[451,459,467,475,483],{"_key":452,"_type":47,"children":453,"markDefs":458,"style":55},"7bad681dc82e",[454],{"_key":455,"_type":51,"marks":456,"text":457},"80139becc783",[],"私は人生の大半を大都市で過ごしてきました。都会の暮らしには、感覚を鈍らせると同時に、心をざわつかせる重苦しさがあります。冷たいコンクリート、けばけばしいネオン、油っぽいスモッグ、排気ガスのむっとする熱気。それでも、ときおり彩りややわらかさに出会います。暮らしの手触りに触れられる場所。ごつごつした石畳、かつて生きていた素材、古い木や苔の匂い。東京の喧騒から少し離れた一角。時の流れが違って感じられる、昔ながらの街並み。",[],{"_key":460,"_type":47,"children":461,"markDefs":466,"style":55},"9965756f114f",[462],{"_key":463,"_type":51,"marks":464,"text":465},"74fd6506fed1",[],"だから、写真家で映像作家のSybilla Patriziaから、SUKIの最初の物語の舞台が倉敷になると聞いたとき、その地に惹かれる理由がすぐにわかりました。商人の町から手仕事の拠点へと姿を変え、工業化によっても作り手と素材のつながりが断ち切られなかった場所。その根底には、都会のやわらかな一角にも漂う、あの手触りがありました。",[],{"_key":468,"_type":47,"children":469,"markDefs":474,"style":55},"8f45a3ea9e96",[470],{"_key":471,"_type":51,"marks":472,"text":473},"1b7e1a3c221a",[],"けれど、秋の日曜日の朝に倉敷へ到着したSybillaが目にしたのは、もっと複雑な現実でした。保存された蔵、藍染めの暖簾が掛かる古い店構え、目を見張るような日本のグラフィックデザインの断片は、今も息づいています。しかし、店先で売られているのは、日々の暮らしの品ではなく、抹茶ラテや帆布のトートバッグ。かつて地元でつくられた品々を運んだ運河は、今では観光客を乗せています。狭い路地を埋め尽くすのも、地元の暮らしではなく、訪れる人々です。",[],{"_key":476,"_type":47,"children":477,"markDefs":482,"style":55},"3d0341d31a7b",[478],{"_key":479,"_type":51,"marks":480,"text":481},"f0ce17280ef3",[],"その晩、居酒屋で出会った地元の若者が、Sybillaにはっきりとこう言いました。「目に入る建物は、どれも観光客を呼び込むためのものです。ここにはもう、僕らのためのものは何もありません。」",[],{"_key":484,"_type":47,"children":485,"markDefs":490,"style":55},"a73997c355ca",[486],{"_key":487,"_type":51,"marks":488,"text":489},"2a6e44b02ca3",[],"居酒屋での若者の言葉は、自分自身を容赦なく映し出す鏡のように感じられました。私は家に古い木の家具を置いていますが、その板が何という木からできているのかも知りません。ものを通して、倉敷のような場所にある親密さを再現しようとしています。ぬくもりを求めながら、その火を燃やし続けるための薪はくべたくない。現実を引き受けずに物語だけを、労働や不便さ、実際に手を動かす人々に向き合わずに、手仕事の美しさだけを求めているのです。そして、その憧れと関わりの間にぽっかりと空いた場所で、大切なものが壊れていきます。",[],"one","left",[494,498,502,506],{"_key":495,"_type":402,"asset":496},"5e2f4b7af1aa",{"_ref":497,"_type":69},"image-039c44985b413b502adc1d15f951d8c51ad29e94-1500x2000-jpg",{"_key":499,"_type":402,"asset":500},"f9dff9b3d07b",{"_ref":501,"_type":69},"image-9049453c3286e8a0735a846b3339bc72e367932e-1500x2000-jpg",{"_key":503,"_type":402,"asset":504},"e44a11d87cdf",{"_ref":505,"_type":69},"image-4421cd7f8745184bb3d7baf2c5b688929bf69147-1500x2000-jpg",{"_key":507,"_type":402,"asset":508},"8ab04e758f78",{"_ref":509,"_type":69},"image-c7a4dc6304d6124fc6785b17b4d8aeda4b7e6323-1500x2000-jpg",{"_key":511,"_type":398,"block1":512,"block2":608,"imageLayout":55,"smalltext":649},"33101dfeaaeb",{"_type":400,"blockImage":513,"blockOvertitle":518,"blocktitle":521,"body":524,"textColumns":607,"textPosition":492},{"_type":132,"alt":514,"asset":516},{"en":515},"Kurashiki 07",{"_ref":517,"_type":69},"image-40074a1cbb1f1caeda2f6d45fdaba88b37a3a084-1500x2000-jpg",{"en":519,"ja":520},"Day one","1日目",{"en":522,"ja":523},"Pokemons, Rush Grass, and Weathered Hands","ポケモン、い草、そして年季の入った手",{"en":525,"ja":566},[526,534,542,550,558],{"_key":527,"_type":47,"children":528,"markDefs":533,"style":55},"d19145db65bb",[529],{"_key":530,"_type":51,"marks":531,"text":532},"1ba3bcf78160",[],"Sybilla found igusa craftsman Sunami-san’s feed while on the train to Kurashiki: rush grass baskets photographed against white backgrounds, weathered hands braiding and threading, each image spare and beautiful. On a whim, she reached out. He answered. Thirty minutes later, he was there to pick her up.",[],{"_key":535,"_type":47,"children":536,"markDefs":541,"style":55},"689289d027b5",[537],{"_key":538,"_type":51,"marks":539,"text":540},"d1d4ff389b37",[],"The drive took half an hour through Kurashiki's rural outskirts to Chayamachi. By the time they arrived at his grandparents' house, the sun was setting. Light flooded the workshop—old wood, scattered tools, everything drenched in a ripe persimmon orange. It was the kind of spontaneous moment you can't plan for. Later, Sybilla would say it felt symbolic of Sunami-san himself: generous, unscripted, present.",[],{"_key":543,"_type":47,"children":544,"markDefs":549,"style":55},"adfdbadf12dd",[545],{"_key":546,"_type":51,"marks":547,"text":548},"3b24eb4e3b8c",[],"The workshop held decades of life. Unopened mail piled on tables. Pokemon stickers plastered on wooden columns. Doraemon and Miffy plush dolls peeking out of lacquered donabe pots. A football match on the telly. Rolls of igusa—rush grass—scattered across the floor.",[],{"_key":551,"_type":47,"children":552,"markDefs":557,"style":55},"af19273d131b",[553],{"_key":554,"_type":51,"marks":555,"text":556},"cb9935b71951",[],"Sunami-san shares the space with his grandmother, who continues to help weave the basket handles. Though she no longer makes full pieces herself, when she settled at her desk to show us her weaving, her hands still knew the rhythm. She'd never formally taught her grandson, she explained. He simply watched, and carried on what she too had inherited decades ago.",[],{"_key":559,"_type":47,"children":560,"markDefs":565,"style":55},"7e4fc025a85c",[561],{"_key":562,"_type":51,"marks":563,"text":564},"d15a2bf10055",[],"Sybilla and Sunami-san, as well as myself, come from a similar generation. Ours is a time of endless translations. We've learned to transmute our material world into the digital world, learning to curate, aestheticize and narrate our experiences vis-a-vis bits and bytes. Sunami-san's social media presence carries that generational impulse. But he's not using it to scale up. Engagement and reach aren't the point. He's rooted here, in his grandmother's workshop, making what he can sustain at the pace that makes sense. The modern tools are just tools. They don't dictate the direction.",[],[567,575,583,591,599],{"_key":568,"_type":47,"children":569,"markDefs":574,"style":55},"0cf3d1f04359",[570],{"_key":571,"_type":51,"marks":572,"text":573},"aba7394b67c8",[],"倉敷へ向かう電車の中で、Sybillaはい草職人・須浪さんのSNSを見つけました。白い背景に置かれたい草のかご、編み、紐を通す年季の入った手。どの写真も無駄がなく、美しいものでした。ふと思い立って連絡すると、返事が届きました。三十分後には、須浪さんが迎えに来てくれていました。",[],{"_key":576,"_type":47,"children":577,"markDefs":582,"style":55},"4f7bbd64d307",[578],{"_key":579,"_type":51,"marks":580,"text":581},"e0c98d01198a",[],"車で倉敷郊外の田園風景を抜け、茶屋町まで約三十分。祖父母の家に着く頃には、日が沈みかけていました。工房いっぱいに光が差し込み、古い木も、あちこちに置かれた道具も、すべてが熟した柿のような橙色に染まっていました。計画しても出会えない、思いがけないひととき。後にSybillaは、その瞬間が須浪さん自身を象徴しているように感じたと語ります。おおらかで、飾らず、目の前の時間を大切にする人でした。",[],{"_key":584,"_type":47,"children":585,"markDefs":590,"style":55},"eb1954e110e0",[586],{"_key":587,"_type":51,"marks":588,"text":589},"46b6f8ef7c2d",[],"工房には、何十年もの暮らしが息づいていました。テーブルに積み重なった未開封の郵便物。木の柱にびっしりと貼られたポケモンのシール。釉薬のかかった土鍋から顔をのぞかせる、ドラえもんやミッフィーのぬいぐるみ。テレビにはサッカーの試合が映り、床のあちこちには、い草の束が置かれていました。",[],{"_key":592,"_type":47,"children":593,"markDefs":598,"style":55},"984a51910c8b",[594],{"_key":595,"_type":51,"marks":596,"text":597},"d7a3c060cc92",[],"須浪さんは今も、かごの持ち手を編むのを手伝う祖母と、この場所を共にしています。祖母はもう、かごを一つ丸ごとつくることはありません。それでも、編む様子を見せようと作業机に向かうと、その手は今もリズムを覚えていました。孫に改まって教えたことはない、と祖母は言います。彼はただ、その手元を見て、祖母自身も何十年も前に受け継いだ仕事を、引き継いでいったのです。",[],{"_key":600,"_type":47,"children":601,"markDefs":606,"style":55},"47e83ce6f76c",[602],{"_key":603,"_type":51,"marks":604,"text":605},"ab7cba5ef0c1",[],"Sybillaも須浪さんも、そして私も、ほぼ同じ世代です。私たちは、絶えず何かを別のかたちへと置き換えていく時代を生きています。目に見え、手で触れられる世界をデジタルの世界へと移し替え、ビットとバイトを通して自分たちの経験を選び取り、美しく整え、物語ることを覚えてきました。須浪さんのSNSでの発信にも、そんな世代の感覚が表れています。けれど、彼は事業を拡大するためにSNSを使っているのではありません。反応の数や、どれだけ多くの人に届くかが目的ではないのです。祖母の工房というこの場所に根を下ろし、無理なく続けられる量を、自分に合ったペースでつくる。現代の道具は、あくまで道具。その道具が、進む方向を決めるわけではありません。",[],"two",[609,619,629,639],{"_key":610,"_type":402,"asset":611,"caption":613,"title":616},"1d5f062091de",{"_ref":612,"_type":69},"image-84c1c47b49ee378b24112d1ea881e5809af91a19-1500x2000-jpg",{"en":614,"ja":615},"Used for traditional tatami mats, Igusa rush grass brings a soothing aroma and organic texture to modern spaces.","伝統的な畳に使われるい草は、心安らぐ香りと自然な質感を、現代の空間にもたらします。",{"en":617,"ja":618},"Igusa","い草",{"_key":620,"_type":402,"asset":621,"caption":623,"title":626},"c29d52ffc4de",{"_ref":622,"_type":69},"image-ccab58b165f1b16e0560b22479df77ee44ed6860-1500x2000-jpg",{"en":624,"ja":625},"Sunami-san mastered weaving not through manuals, but by closely watching his grandmother's hands, preserving legacy.","須浪さんは、手引きではなく祖母の手元をじっと見つめることで編みの技を身につけ、その手仕事を受け継いできました。",{"en":627,"ja":628},"Sunami-san with Grandmother","須浪さんと祖母",{"_key":630,"_type":402,"asset":631,"caption":633,"title":636},"a761775c7980",{"_ref":632,"_type":69},"image-0e490128a961d28aee743f4985b9834c81f92804-1500x2000-jpg",{"en":634,"ja":635},"Sunami-san weaves on a traditional wooden loom, using time-honored mechanics to intertwine legacy into modern spaces.","伝統的な木製の織り機でい草を織る須浪さん。昔ながらの仕組みを生かし、受け継がれた手仕事を現代の空間へと織り込んでいきます。",{"en":637,"ja":638},"The Loom of Heritage","伝統を織りなす織り機",{"_key":640,"_type":402,"asset":641,"caption":643,"title":646},"06f8f8a387fa",{"_ref":642,"_type":69},"image-cb6702d889ea15313eed93332609703210ccb1bd-1500x2000-jpg",{"en":644,"ja":645},"Living Igusa grass evolves beautifully over time, changing from vibrant green to a warm, golden amber patina.","自然素材であるい草は、時とともに美しく変化します。鮮やかな緑から、温かみのある黄金色の飴色へと移ろい、味わいを深めていきます。",{"en":647,"ja":648},"The Beauty of Aging Igusa","時とともに深まるい草の美しさ",{"en":650},"texto de prueba",{"_key":652,"_type":398,"block1":653,"block2":690,"imageLayout":55},"c6019aba3ea7",{"_type":400,"body":654,"textColumns":491,"textPosition":689},{"en":655,"ja":672},[656,664],{"_key":657,"_type":47,"children":658,"markDefs":663,"style":55},"652505dea565",[659],{"_key":660,"_type":51,"marks":661,"text":662},"0350cb918deb",[],"Sunami-san exuded a lovingness to the craft. But what poured from every corner of his presence was a devotion to the people and history that brought him here. Without the salty soil of Kurashiki where his grandparents set up shop, the craft would not have reached Sunami-san's hands.",[],{"_key":665,"_type":47,"children":666,"markDefs":671,"style":55},"c3eaca3dc9e0",[667],{"_key":668,"_type":51,"marks":669,"text":670},"629ca628839b",[],"Looking at Sybilla's photographs later, I found myself in that gap once again. Yet the gap was not as hollow as I had initially imagined. Between the yearning and the engagement with reality is not a void, but layer after layer of story. Slice the gap and you find roots—grandmother's hands, salty soil, inherited gestures.",[],[673,681],{"_key":674,"_type":47,"children":675,"markDefs":680,"style":55},"c62397f5e915",[676],{"_key":677,"_type":51,"marks":678,"text":679},"f158b8df2aef",[],"須浪さんからは、手仕事への愛情がにじみ出ていました。けれど、その佇まいの隅々からあふれていたのは、今の彼へとつないでくれた人々や歴史への深い思いでした。祖父母が店を構えた、塩分を含む倉敷の土壌がなければ、この手仕事が須浪さんの手に届くこともなかったでしょう。",[],{"_key":682,"_type":47,"children":683,"markDefs":688,"style":55},"1d7afb26b175",[684],{"_key":685,"_type":51,"marks":686,"text":687},"4cc1d2b9353c",[],"後になってSybillaの写真を眺めていると、私は再び、あの隔たりの中にいる自分に気づきました。けれど、そこは最初に思っていたほど空虚ではありませんでした。憧れと、現実に関わることのあいだにあるのは、空白ではなく、幾重にも重なる物語。その隔たりの断面をのぞけば、根が見えてきます。祖母の手、塩分を含む土、受け継がれた手の動き。",[],"right",[691,695],{"_key":692,"_type":402,"asset":693},"9f93c56212cc",{"_ref":694,"_type":69},"image-63bf5314e5c0913568fa710d858bfd612af1caed-1500x2000-jpg",{"_key":696,"_type":402,"asset":697},"4168cee3d6e2",{"_ref":698,"_type":69},"image-3cb0957a4d3883067bc517266c639d0da0fbfb44-1500x2000-jpg",{"_key":700,"_type":398,"block1":701,"block2":811,"imageLayout":55},"a8bd4f5bdbbc",{"_type":400,"blockImage":702,"blockOvertitle":707,"blocktitle":709,"body":712,"textColumns":607,"textPosition":492},{"_type":132,"alt":703,"asset":705},{"en":704},"Kurashiki 11",{"_ref":706,"_type":69},"image-751f58b1cf8c8d075c96ff9897c8e06469e43369-343x424-jpg",{"en":708,"ja":708},"Day two",{"en":710,"ja":711},"Succession and Lineage ","継承と系譜",{"en":713,"ja":762},[714,722,730,738,746,754],{"_key":715,"_type":47,"children":716,"markDefs":721,"style":55},"485c8189d86f",[717],{"_key":718,"_type":51,"marks":719,"text":720},"dc6000d9f80a",[],"The next morning, Sybilla found herself at Marugo's tabi factory. The workshop was a different texture from Sunami-san's. More industrial than inherited, but with the same sense of decades living in every corner. Heavy machinery rumbled. The sharp scent of leather and machine oil hung in the air.",[],{"_key":723,"_type":47,"children":724,"markDefs":729,"style":55},"17a2e83de9d2",[725],{"_key":726,"_type":51,"marks":727,"text":728},"eeb58b0c899b",[],"Marugo, established in 1919, is one of the last tabi factories in Japan. These days, tabi has become ubiquitous with the split-toe shoes you might recognize from Maison Margiela's iconic boots. But the original is centuries old, worn by rickshaw pullers, construction workers, monks, and traditional performers.",[],{"_key":731,"_type":47,"children":732,"markDefs":737,"style":55},"c215bdfc8b87",[733],{"_key":734,"_type":51,"marks":735,"text":736},"b79beedbd170",[],"One of the veteran workers, Sasaki-san, waved Sybilla over to his workstation. He was shaving off the bottom of tabi as prep for the tsurikomi process later. It’s precise, repetitive work. Sasaki-san says he tucks a pair of earbuds under his noise-cancelling headphones to help pass the time.",[],{"_key":739,"_type":47,"children":740,"markDefs":745,"style":55},"77a59e2ce0bd",[741],{"_key":742,"_type":51,"marks":743,"text":744},"54ab157ddbdd",[],"She asked to see his playlist. Baby Metal, more Linkin Park, a mix of overseas and Japanese artists. All intense, all loud. Sybilla scrolled through and picked Evanescence’s \"Bring Me to Life.\" He laughed, nodded, and went back to work with the song playing.",[],{"_key":747,"_type":47,"children":748,"markDefs":753,"style":55},"b559dd8e1636",[749],{"_key":750,"_type":51,"marks":751,"text":752},"4bdb8665101d",[],"Across the room, Nawata-san demonstrated the tsurikomi process—stretching fabric around molds with such precise tension that no wrinkles formed. She's young, one of the workshop's finest hands. What struck Sybilla most was how everyone at Marugo talked about her. The older men spoke about Nawata-san with genuine reverence. Not just respect, but pride. To see a young woman being celebrated this way in a traditional Japanese crafts space felt rare. Encouraging, even.",[],{"_key":755,"_type":47,"children":756,"markDefs":761,"style":55},"76b7b48b0ecd",[757],{"_key":758,"_type":51,"marks":759,"text":760},"93628c16a422",[],"At Marugo, the succession question is still open. Workers like Nawata-san are there, even if finding more like her is the challenge.",[],[763,771,779,787,795,803],{"_key":764,"_type":47,"children":765,"markDefs":770,"style":55},"e7dc2f4eefe7",[766],{"_key":767,"_type":51,"marks":768,"text":769},"941a0e8c107e",[],"翌朝、Sybillaは丸五の足袋工場を訪れました。そこには、須浪さんの工房とは異なる手触りがありました。家族から受け継がれた仕事場というよりも、生産の現場。それでも、隅々に何十年もの歳月が息づいている感覚は同じでした。重厚な機械が音を立て、革と機械油の鋭い匂いが漂っていました。",[],{"_key":772,"_type":47,"children":773,"markDefs":778,"style":55},"c095329a0100",[774],{"_key":775,"_type":51,"marks":776,"text":777},"3f5316e8eee9",[],"1919年創業の丸五は、日本に残る数少ない足袋工場の一つです。今では足袋といえば、メゾン マルジェラの象徴的なブーツのような、つま先の分かれた靴を思い浮かべる人も多いでしょう。けれど、その原点には何世紀もの歴史があり、人力車の車夫や建設現場の職人、僧侶、伝統芸能の演者たちに履かれてきました。",[],{"_key":780,"_type":47,"children":781,"markDefs":786,"style":55},"e73d82ea5287",[782],{"_key":783,"_type":51,"marks":784,"text":785},"4368569f2b77",[],"ベテラン職人の一人、ササキさんが、Sybillaを自分の作業台へと手招きしました。後の「つり込み」工程に備え、足袋の底の部分を削っているところでした。正確さを求められる、繰り返しの作業です。ササキさんは、時間をやり過ごすために、ノイズキャンセリングヘッドホンの下にイヤホンを着けていると話しました。",[],{"_key":788,"_type":47,"children":789,"markDefs":794,"style":55},"ec2fcd694c24",[790],{"_key":791,"_type":51,"marks":792,"text":793},"67c0197b011f",[],"Sybillaは、プレイリストを見せてもらいました。BABYMETAL、そしてLinkin Parkの曲が何曲も。海外と日本のアーティストが入り交じり、どれも激しく、大音量の似合う音楽です。Sybillaがスクロールして選んだのは、Evanescenceの「Bring Me to Life」。ササキさんは笑ってうなずき、その曲を流しながら仕事に戻りました。",[],{"_key":796,"_type":47,"children":797,"markDefs":802,"style":55},"dae5d28a7fa3",[798],{"_key":799,"_type":51,"marks":800,"text":801},"c3684a4f0c7a",[],"工房の反対側では、ナワタさんがつり込みの工程を見せてくれました。しわが寄らないよう、絶妙な張り具合で布地を型に沿わせていきます。若い彼女は、工房でも指折りの腕の持ち主です。Sybillaが何より心を動かされたのは、丸五の人々が彼女について語る姿でした。年配の男性たちは、ナワタさんに心からの敬意を込めて話していました。そこにあったのは、尊敬だけでなく、誇りでした。日本の伝統的なものづくりの現場で、若い女性がこれほど称えられている。その光景は珍しく、希望さえ感じさせるものでした。",[],{"_key":804,"_type":47,"children":805,"markDefs":810,"style":55},"87d179621235",[806],{"_key":807,"_type":51,"marks":808,"text":809},"d3f0e976b7fc",[],"丸五でも、継承の課題に答えが出たわけではありません。それでも、ナワタさんのような担い手はいます。彼女に続く人をどう見いだしていくかが、これからの課題なのです。",[],[812,816,820],{"_key":813,"_type":402,"asset":814},"e6088e696dd5",{"_ref":815,"_type":69},"image-cfd056f991438a3d4fcb9ca643f6ee8e4f685bc5-1500x2000-jpg",{"_key":817,"_type":402,"asset":818},"6857cb5b2d41",{"_ref":819,"_type":69},"image-a991fa5eb9a362edce62afd9aa3cf1fa024641b2-1500x2000-jpg",{"_key":821,"_type":402,"asset":822},"f0ea5b10d506",{"_ref":823,"_type":69},"image-02f744ff97945b9d0b5f68186044b87c068d5f77-1920x1440-jpg",{"_key":825,"_type":398,"block1":826,"block2":874,"imageLayout":903},"70f4dbf60542",{"_type":400,"blockImage":827,"body":829,"textColumns":491,"textPosition":492},{"_type":132,"alt":828},{"en":704},{"en":830,"ja":852},[831,838,845],{"_key":832,"_type":47,"children":833,"markDefs":837,"style":55},"e57234dd6e58",[834],{"_key":835,"_type":51,"marks":836,"text":744},"b134c6a7138f",[],[],{"_key":839,"_type":47,"children":840,"markDefs":844,"style":55},"bbc52681fc96",[841],{"_key":842,"_type":51,"marks":843,"text":752},"3024bc1bc41a",[],[],{"_key":846,"_type":47,"children":847,"markDefs":851,"style":55},"92f62a2c101f",[848],{"_key":849,"_type":51,"marks":850,"text":760},"33e27b3c59f8",[],[],[853,860,867],{"_key":854,"_type":47,"children":855,"markDefs":859,"style":55},"eba56f2fb50e",[856],{"_key":857,"_type":51,"marks":858,"text":793},"4b3e3286b8e2",[],[],{"_key":861,"_type":47,"children":862,"markDefs":866,"style":55},"1b9b3e60cf10",[863],{"_key":864,"_type":51,"marks":865,"text":801},"04b838ead4ae",[],[],{"_key":868,"_type":47,"children":869,"markDefs":873,"style":55},"bd5c2628c021",[870],{"_key":871,"_type":51,"marks":872,"text":809},"1717863ba2f8",[],[],[875,879,883,887,891,895,899],{"_key":876,"_type":402,"asset":877},"d3cb76921d6f",{"_ref":878,"_type":69},"image-b96f30185e6b9178744f7a83509163a7c4dc8890-1500x2000-jpg",{"_key":880,"_type":402,"asset":881},"e717bacc0955",{"_ref":882,"_type":69},"image-5bfb8a768d7ca785fe2640eee4bcceadfeca4a42-1500x2000-jpg",{"_key":884,"_type":402,"asset":885},"e6a2a0076e82",{"_ref":886,"_type":69},"image-feedf458f0b5466b36bcb833f0d61c952a89bd69-1500x2000-jpg",{"_key":888,"_type":402,"asset":889},"a9d24b514390",{"_ref":890,"_type":69},"image-79e0a3226237a38082a1c608c61b7b1007d9eb3c-1500x2000-jpg",{"_key":892,"_type":402,"asset":893},"961afc65746d",{"_ref":894,"_type":69},"image-f997ac810386f1ad459c1caeae7aa50531d6f43e-1500x2000-jpg",{"_key":896,"_type":402,"asset":897},"719271a9d48a",{"_ref":898,"_type":69},"image-e30f947e212bc7818f00ba0e50cd3fa1be1ccf7c-1500x2000-jpg",{"_key":900,"_type":402,"asset":901},"175fc13259a9",{"_ref":902,"_type":69},"image-ea2bace5249c0706fe170dfc955a4f211914da75-1500x2000-jpg","minimal",{"_key":905,"_type":398,"block1":906,"block2":958,"imageLayout":55},"46e041497c04",{"_type":400,"body":907,"textColumns":491,"textPosition":492},{"en":908,"ja":933},[909,917,925],{"_key":910,"_type":47,"children":911,"markDefs":916,"style":55},"d4c520fc698e",[912],{"_key":913,"_type":51,"marks":914,"text":915},"400f1d62ae81",[],"But by late evening, at Kodani-san's workshop, the question had already closed.",[],{"_key":918,"_type":47,"children":919,"markDefs":924,"style":55},"279976875bbf",[920],{"_key":921,"_type":51,"marks":922,"text":923},"4d3a43198d0d",[],"What Sybilla noticed first was the heat. The kind that makes your throat stick when you swallow. The kiln burns so hot that Kodani-san often works at night, when most workshops have closed and the air finally cools.",[],{"_key":926,"_type":47,"children":927,"markDefs":932,"style":55},"267abbdf7fb5",[928],{"_key":929,"_type":51,"marks":930,"text":931},"47cbb39531c8",[],"Like Sunami-san, Kodani-san's workshop found him through lineage. His father founded Kurashiki Glass during the height of the mingei movement. Decades ago, he was in the same position as Sunami-san and Nawata-san—young, faced with a choice. He chose to carry it forward.",[],[934,942,950],{"_key":935,"_type":47,"children":936,"markDefs":941,"style":55},"2a921099c9c1",[937],{"_key":938,"_type":51,"marks":939,"text":940},"134cb7b5ac9a",[],"けれど、その日の夜遅くに訪れた小谷さんの工房では、継承の問いには、すでに答えが出ていました。",[],{"_key":943,"_type":47,"children":944,"markDefs":949,"style":55},"50dd721c3824",[945],{"_key":946,"_type":51,"marks":947,"text":948},"3e9137dd1567",[],"Sybillaが最初に気づいたのは、その熱気でした。唾を飲み込むと喉が張りつくような暑さ。窯があまりにも高温になるため、小谷さんは、ほかの工房が閉まり、ようやく空気が涼しくなる夜に仕事をすることが多いのです。",[],{"_key":951,"_type":47,"children":952,"markDefs":957,"style":55},"03dcda49287b",[953],{"_key":954,"_type":51,"marks":955,"text":956},"a674327f599c",[],"須浪さんと同じように、小谷さんも、家族の系譜を通じてこの工房へと導かれました。父は、民藝運動が盛んだった時代に倉敷ガラスを立ち上げました。何十年も前、小谷さんもまた、今の須浪さんやナワタさんと同じ立場にいました。若く、選択を前にしていたのです。そして彼は、その仕事を受け継ぐ道を選びました。",[],[959,963],{"_key":960,"_type":402,"asset":961},"35d77db48606",{"_ref":962,"_type":69},"image-af52f5575d6c0222695be25b207478827fc933b3-1500x2000-jpg",{"_key":964,"_type":402,"asset":965},"29aa2e47a202",{"_ref":966,"_type":69},"image-8c0d0ec2a318a183412eb92aca3fb8b833bb9de2-945x1260-jpg",{"_key":968,"_type":398,"block1":969,"block2":1069,"imageLayout":903,"smalltext":1118},"cdbd2a97fc91",{"_type":400,"body":970,"textColumns":491,"textPosition":689},{"en":971,"ja":1020},[972,980,988,996,1004,1012],{"_key":973,"_type":47,"children":974,"markDefs":979,"style":55},"339df295fba7",[975],{"_key":976,"_type":51,"marks":977,"text":978},"c1eaeb978e37",[],"Before committing to glass, Kodani-san used to be a photographer. When he saw Sybilla shooting on film, he started telling stories about his own days behind the lens, the cameras he used to have. These days, though, most of his time is spent in the workshop. In fact, he told Sybilla he took a summer break for the first time in his life this year. His dream: Venice with his wife, to see Murano glass in its birthplace. A pilgrimage he's been saving for, delaying for decades.",[],{"_key":981,"_type":47,"children":982,"markDefs":987,"style":55},"3b44f823c530",[983],{"_key":984,"_type":51,"marks":985,"text":986},"96fd7728e487",[],"But unlike Marugo or the Sunami family’s igusa workshop, Kodani-san has no apprentice. Without a successor, two generations worth of craftsmanship stands at risk of being lost.",[],{"_key":989,"_type":47,"children":990,"markDefs":995,"style":55},"0d38a9e2257b",[991],{"_key":992,"_type":51,"marks":993,"text":994},"acd0829fc570",[],"When Sybilla shared this reality with me, I remembered the words of the young local at the izakaya.",[],{"_key":997,"_type":47,"children":998,"markDefs":1003,"style":55},"f130ad63f834",[999],{"_key":1000,"_type":51,"marks":1001,"text":1002},"9eb954b74a4b",[],"“Nothing here is for us anymore.”",[],{"_key":1005,"_type":47,"children":1006,"markDefs":1011,"style":55},"4396b5a2754e",[1007],{"_key":1008,"_type":51,"marks":1009,"text":1010},"44609f9946d0",[],"I wonder if, beneath his words, is another layer:",[],{"_key":1013,"_type":47,"children":1014,"markDefs":1019,"style":55},"97e618d565e4",[1015],{"_key":1016,"_type":51,"marks":1017,"text":1018},"93577a17cd7a",[],"“We're still here. Who's asking what we need?”",[],[1021,1029,1037,1045,1053,1061],{"_key":1022,"_type":47,"children":1023,"markDefs":1028,"style":55},"8dacca8381cb",[1024],{"_key":1025,"_type":51,"marks":1026,"text":1027},"773b12c04180",[],"ガラスの道に専念する前、小谷さんは写真家でした。Sybillaがフィルムで撮影しているのを見ると、自分が写真を撮っていた頃のことや、かつて持っていたカメラの話を始めました。けれど今は、ほとんどの時間を工房で過ごしています。今年、生まれて初めて夏休みを取ったのだと、Sybillaに話してくれました。夢は、妻とヴェネツィアへ行き、ムラーノガラスをその生まれ故郷で見ること。何十年も費用を蓄えながら、先延ばしにしてきた巡礼の旅です。",[],{"_key":1030,"_type":47,"children":1031,"markDefs":1036,"style":55},"dee7a40fb41d",[1032],{"_key":1033,"_type":51,"marks":1034,"text":1035},"073c4b3ea696",[],"けれど、丸五や須浪家のい草工房とは違い、小谷さんには弟子がいません。後継者がいないまま、二代にわたって培われた手仕事の技が、失われる危機に瀕しています。",[],{"_key":1038,"_type":47,"children":1039,"markDefs":1044,"style":55},"2fa1aac45374",[1040],{"_key":1041,"_type":51,"marks":1042,"text":1043},"f94024f6f0c1",[],"Sybillaからこの現実を聞いたとき、私は居酒屋で出会った地元の若者の言葉を思い出しました。",[],{"_key":1046,"_type":47,"children":1047,"markDefs":1052,"style":55},"aca1e0dae1aa",[1048],{"_key":1049,"_type":51,"marks":1050,"text":1051},"50b348621723",[],"「ここにはもう、僕らのためのものは何もありません。」",[],{"_key":1054,"_type":47,"children":1055,"markDefs":1060,"style":55},"2a6a61c67c45",[1056],{"_key":1057,"_type":51,"marks":1058,"text":1059},"a39fe5370fc3",[],"その言葉の奥には、もう一つの思いが重なっているのかもしれません。",[],{"_key":1062,"_type":47,"children":1063,"markDefs":1068,"style":55},"bead9bcb6330",[1064],{"_key":1065,"_type":51,"marks":1066,"text":1067},"bf5a65ae3ee2",[],"「僕らはまだ、ここにいる。僕らに何が必要なのか、誰か聞いてくれているだろうか。」",[],[1070,1074,1078,1082,1086,1090,1094,1098,1102,1106,1110,1114],{"_key":1071,"_type":402,"asset":1072},"da20a27e3d70",{"_ref":1073,"_type":69},"image-ca8b6ec87e554f98d98c2029eecdd8851ab330f6-640x853-jpg",{"_key":1075,"_type":402,"asset":1076},"887d538b54f6",{"_ref":1077,"_type":69},"image-094b96235a61a7e738bf785a7ee3f4a2d8b4b7a1-640x853-jpg",{"_key":1079,"_type":402,"asset":1080},"f66529e16b2e",{"_ref":1081,"_type":69},"image-2a1c542ec562d5b0b986f02cd031898628b5aa07-640x853-jpg",{"_key":1083,"_type":402,"asset":1084},"ac7e7a1d7a9d",{"_ref":1085,"_type":69},"image-6b2db445aad4bcd5f7bc9aa9f10e7d712a59e437-640x853-jpg",{"_key":1087,"_type":402,"asset":1088},"fbb1df333140",{"_ref":1089,"_type":69},"image-5ae5ec77a96196681c5d4d1cc91c50d0ce77f25f-640x853-jpg",{"_key":1091,"_type":402,"asset":1092},"5e81012228e0",{"_ref":1093,"_type":69},"image-da91e79f2779a0793c682c5bc3a8b3d3f672c9f2-640x853-jpg",{"_key":1095,"_type":402,"asset":1096},"2fef21e00585",{"_ref":1097,"_type":69},"image-e04df81c21c96d1112eb44fd5922879b9c1a2a5d-640x853-jpg",{"_key":1099,"_type":402,"asset":1100},"c9f6d3ceaee5",{"_ref":1101,"_type":69},"image-10dc3b4e18e7d49640b5c10d5e03cc8b15b089d1-640x853-jpg",{"_key":1103,"_type":402,"asset":1104},"520560ac5446",{"_ref":1105,"_type":69},"image-4bdefee1c7188b55bf7c86934b1cd3dda18b8cba-640x853-jpg",{"_key":1107,"_type":402,"asset":1108},"c072fa2921d2",{"_ref":1109,"_type":69},"image-1080222d1cc80549bbbe2f029bcdfb7a6c50f944-640x853-jpg",{"_key":1111,"_type":402,"asset":1112},"3b4c34a97f87",{"_ref":1113,"_type":69},"image-c219317c684b693f1b7bf8fd23de2566cfaf49c3-640x853-jpg",{"_key":1115,"_type":402,"asset":1116},"f573c294d47f",{"_ref":1117,"_type":69},"image-6ff2a82dd8a4050cedc294326e3e203795bc4fec-640x853-jpg",{"en":1119,"ja":1120},"Glass enters the kiln iridescent blue, transforming to eerie green in the furnace, then molten red as he blows into it. Bowls and pitchers materialize in minutes, each one shaped by his breath. Decades of learning how breath and glass speak to each other.","虹色の光を帯びた青いガラスが窯に入り、炉の中で妖しい緑へと変わり、彼が息を吹き込む頃には、溶けた赤へと姿を変えます。鉢やピッチャーが、わずか数分で形を現す。その一つひとつをかたちづくるのは、彼の息です。息とガラスがどう語り合うのか。その対話を、何十年もの歳月をかけて学んできたのです。",{"_key":1122,"_type":398,"block1":1123,"block2":1215,"imageLayout":55},"0f6484b5a283",{"_type":400,"blockImage":1124,"blockOvertitle":1127,"blocktitle":1129,"body":1132,"textColumns":607,"textPosition":492},{"_type":402,"asset":1125},{"_ref":1126,"_type":69},"image-6fa9bf6fbd01c8dda79304bb9560888aeafd6bce-1500x2000-jpg",{"en":1128,"ja":1128},"Day three",{"en":1130,"ja":1131},"The curators","文化をつなぐ人たち",{"en":1133,"ja":1174},[1134,1142,1150,1158,1166],{"_key":1135,"_type":47,"children":1136,"markDefs":1141,"style":55},"afc91aa8c3dc",[1137],{"_key":1138,"_type":51,"marks":1139,"text":1140},"c18481e100e4",[],"The craftspeople need customers, apprentices, infrastructure, and community. They need a means to stay. Kishimoto-san of Omoto Denim and Rie-san of TOUTOU understand this.",[],{"_key":1143,"_type":47,"children":1144,"markDefs":1149,"style":55},"efe8dbf76a36",[1145],{"_key":1146,"_type":51,"marks":1147,"text":1148},"941d8c1f676f",[],"Kishimoto-san from Omoto Denim has worked in the industry for decades. He's built a brand by working with the region's oldest, most skilled fabricators, prioritizing locally-centered, timeless manufacturing. Two of his longstanding partners are Kuroki and Shinya Mills.",[],{"_key":1151,"_type":47,"children":1152,"markDefs":1157,"style":55},"0d5a2288f9a7",[1153],{"_key":1154,"_type":51,"marks":1155,"text":1156},"b8fecef0d8e8",[],"At Kuroki, texture fills every corner: raw denim stacked in massive bolts, endless rows of cotton threads taut across looms, everything dripping in indigo. Meanwhile, at Shinya Mills, Etsuko-san and her family work with vintage shuttle looms nearly half a century old. Her husband modified many by hand, tailoring them to weave the best possible denim.",[],{"_key":1159,"_type":47,"children":1160,"markDefs":1165,"style":55},"dd143c3044ec",[1161],{"_key":1162,"_type":51,"marks":1163,"text":1164},"b18267f9c14a",[],"But these machines aren't being made anymore. To keep them running, they have to make use of parts from broken looms. Once these machines stop working, there’s no knowing whether this mill, like many others, can survive. It's said that Japanese denim mills run the risk of disappearing in the next decade.",[],{"_key":1167,"_type":47,"children":1168,"markDefs":1173,"style":55},"4a416b084be4",[1169],{"_key":1170,"_type":51,"marks":1171,"text":1172},"db3c62cb8bc4",[],"Sybilla’s photos of these factories reminded me of a project I had worked on years ago, with another denim brand from the Okayama Prefecture. This brand also worked in a similar manner to Kishimoto-san, prioritizing local partnerships and timeless manufacturing styles over convenience and efficiency. They chose succession through partnership, leveraging existing community connections in order to ignite a shrinking but valuable local industry. Kishimoto-san isn’t alone in this approach.",[],[1175,1183,1191,1199,1207],{"_key":1176,"_type":47,"children":1177,"markDefs":1182,"style":55},"831db4167fdd",[1178],{"_key":1179,"_type":51,"marks":1180,"text":1181},"9cb2189b16e1",[],"職人たちには、買い手も、弟子も、仕事を支える基盤も、地域のつながりも必要です。この土地で仕事を続けていくための術が必要なのです。Omoto Denimのキシモトさんと、TOUTOUのリエさんは、そのことを理解しています。",[],{"_key":1184,"_type":47,"children":1185,"markDefs":1190,"style":55},"bc0cce828d15",[1186],{"_key":1187,"_type":51,"marks":1188,"text":1189},"941810c2e82d",[],"Omoto Denimのキシモトさんは、何十年にもわたってデニム業界に携わってきました。地域に根ざした、時代に左右されないものづくりを大切にしながら、この土地で長い歴史と卓越した技術を持つ作り手たちと協働し、ブランドを築いてきました。長年のパートナーには、クロキとシンヤの織物工場があります。",[],{"_key":1192,"_type":47,"children":1193,"markDefs":1198,"style":55},"24d936505e23",[1194],{"_key":1195,"_type":51,"marks":1196,"text":1197},"76eb5c6bceb9",[],"クロキでは、あらゆる場所に素材の質感があふれています。巨大な反物として積み上げられた生デニム、織機に張り渡された無数の綿糸。そのすべてが藍に染まっているかのようです。一方、シンヤの工場では、エツコさんとその家族が、半世紀近く前のシャトル織機を使って仕事をしています。その多くは、できる限り上質なデニムを織れるよう、夫が自ら手を加え、調整してきたものです。",[],{"_key":1200,"_type":47,"children":1201,"markDefs":1206,"style":55},"f9c531c56a6e",[1202],{"_key":1203,"_type":51,"marks":1204,"text":1205},"aa83934b68d8",[],"けれど、こうした織機はもう製造されていません。動かし続けるには、壊れた織機から部品を取り出して使うしかありません。機械が動かなくなったとき、この工場が、ほかの多くの工場と同じように存続できるのかは、誰にもわかりません。日本のデニム織物工場は、今後十年のうちに姿を消してしまうおそれがあるともいわれています。",[],{"_key":1208,"_type":47,"children":1209,"markDefs":1214,"style":55},"96b9e69f35a5",[1210],{"_key":1211,"_type":51,"marks":1212,"text":1213},"f8468a0f206a",[],"Sybillaが撮った工場の写真を見て、私は数年前、岡山県の別のデニムブランドと取り組んだプロジェクトを思い出しました。そのブランドもキシモトさんと同じように、利便性や効率よりも、地域の作り手との協働と、時代に左右されないものづくりを大切にしていました。彼らが選んだのは、協働を通じた継承でした。すでにある地域のつながりを生かし、縮小しつつも価値ある地場産業に、再び火をともそうとしていたのです。こうした道を歩んでいるのは、キシモトさんだけではありません。",[],[1216,1220,1224,1228],{"_key":1217,"_type":402,"asset":1218},"6547a86189da",{"_ref":1219,"_type":69},"image-d279a55f72799d6c9ee76eaf28bf1c7600eaf991-1500x2000-jpg",{"_key":1221,"_type":402,"asset":1222},"08cf4303b9bb",{"_ref":1223,"_type":69},"image-a575cd1031f4d2a4d0925d4a8e55cbf3a04f2772-1500x2000-jpg",{"_key":1225,"_type":402,"asset":1226},"1bc33cb8e767",{"_ref":1227,"_type":69},"image-d6196bc86df38e52b831be4dd0fc9f3d08d9b18c-1500x2000-jpg",{"_key":1229,"_type":402,"asset":1230},"18484727626c",{"_ref":1231,"_type":69},"image-0919fea536c23501a6db8d459edcdf6de75304e6-2667x2000-jpg",{"_key":1233,"_type":398,"block1":1234,"block2":1302,"imageLayout":903},"cb0a3ac3d7d5",{"_type":400,"body":1235,"textColumns":607,"textPosition":492},{"en":1236,"ja":1269},[1237,1245,1253,1261],{"_key":1238,"_type":47,"children":1239,"markDefs":1244,"style":55},"0f33fd5b95b2",[1240],{"_key":1241,"_type":51,"marks":1242,"text":1243},"51e0f606444d",[],"At TOUTOU Gallery, curator and organizer Rie-san has built a different network of her own. An Okayama-native herself, Rie-san has witnessed Kurashiki become splintered and replaced by asphalt and concrete, as countless historic buildings have been sold and demolished in the hands of developers.",[],{"_key":1246,"_type":47,"children":1247,"markDefs":1252,"style":55},"a22d47cb9c64",[1248],{"_key":1249,"_type":51,"marks":1250,"text":1251},"c9986caf7709",[],"Through TOUTOU, Rie-san serves as a mediator between traditional craftspeople, property owners and visitors to Kurashiki. TOUTOU restores old machiya into galleries and guesthouses filled with furniture and ceramics made by local craftspeople.",[],{"_key":1254,"_type":47,"children":1255,"markDefs":1260,"style":55},"825f7604eca8",[1256],{"_key":1257,"_type":51,"marks":1258,"text":1259},"a0bd92899a9d",[],"Rie-san’s work goes beyond simply displaying beautiful objects, instead nourishing a larger preservation ecosystem.",[],{"_key":1262,"_type":47,"children":1263,"markDefs":1268,"style":55},"b6ef470a584e",[1264],{"_key":1265,"_type":51,"marks":1266,"text":1267},"ae1e92d21be9",[],"People like Kishimoto-san and Rie-san both understand that preservation needs infrastructure and people who are actively participating in it. For a manufacturing city like Kurashiki, the presence of cultural entrepreneurs and community are as important as young craftspeople in creating the conditions for things to continue.",[],[1270,1278,1286,1294],{"_key":1271,"_type":47,"children":1272,"markDefs":1277,"style":55},"a31233c566a7",[1273],{"_key":1274,"_type":51,"marks":1275,"text":1276},"7268f5ad824e",[],"TOUTOU Galleryでは、キュレーターであり企画運営も担うリエさんが、また異なる独自のつながりを築いてきました。岡山出身のリエさんは、数えきれないほどの歴史ある建物が売却され、開発業者の手で取り壊されるなか、倉敷の街並みが少しずつ分断され、アスファルトとコンクリートに置き換わっていく姿を見てきました。",[],{"_key":1279,"_type":47,"children":1280,"markDefs":1285,"style":55},"73111361e482",[1281],{"_key":1282,"_type":51,"marks":1283,"text":1284},"dee3d240ee1f",[],"TOUTOUを通じて、リエさんは伝統工芸の職人、建物の所有者、そして倉敷を訪れる人々をつなぐ役割を果たしています。古い町家を修復し、地元の職人が手がけた家具や陶磁器で満たされたギャラリーや宿へと再生しているのです。",[],{"_key":1287,"_type":47,"children":1288,"markDefs":1293,"style":55},"9c4c21b859f4",[1289],{"_key":1290,"_type":51,"marks":1291,"text":1292},"6b2a871777e3",[],"リエさんの仕事は、美しいものを展示するだけにとどまりません。その先にある、文化を守り継ぐための大きな循環を育んでいます。",[],{"_key":1295,"_type":47,"children":1296,"markDefs":1301,"style":55},"2c75c6fd529c",[1297],{"_key":1298,"_type":51,"marks":1299,"text":1300},"a546464c3a35",[],"キシモトさんもリエさんも、文化を守り継ぐには、それを支える基盤と、主体的に関わる人々が必要だと理解しています。倉敷のようなものづくりの街で、その営みが続いていくための条件を整えるには、若い職人だけでなく、文化を軸に事業を起こす人々や地域のつながりも、同じくらい大切なのです。",[],[1303,1307,1311,1315],{"_key":1304,"_type":402,"asset":1305},"13af945b7640",{"_ref":1306,"_type":69},"image-be810c806cba51a46c7e5a4a76287f5e53ead7c6-1500x2000-jpg",{"_key":1308,"_type":402,"asset":1309},"fee6b30d259e",{"_ref":1310,"_type":69},"image-2bcadbb389389afd189e6b42c604aa976b97e0b9-1500x2000-jpg",{"_key":1312,"_type":402,"asset":1313},"222a7e0b4bff",{"_ref":1314,"_type":69},"image-e75bed3f26b3f2d951704c23407d866f92c07bd7-1500x2000-jpg",{"_key":1316,"_type":402,"asset":1317},"e50a41bddb59",{"_ref":1318,"_type":69},"image-8cac1994396492f7681b201220f85a2d77fd64db-1500x2000-jpg",{"_key":1320,"_type":398,"block1":1321,"block2":1365,"imageLayout":55},"e648b72a0bad",{"_type":400,"blockImage":1322,"blockOvertitle":1325,"blocktitle":1327,"body":1330,"textColumns":491,"textPosition":689},{"_type":132,"asset":1323},{"_ref":1324,"_type":69},"image-99712a3702ad02345d946fd71b97e44932fa808b-561x693-jpg",{"en":1326,"ja":1326},"Conclusion",{"en":1328,"ja":1329},"The Fabric of Kurashiki","倉敷を織りなすもの",{"en":1331,"ja":1348},[1332,1340],{"_key":1333,"_type":47,"children":1334,"markDefs":1339,"style":55},"9ca94ff5de05",[1335],{"_key":1336,"_type":51,"marks":1337,"text":1338},"9fb845fd8bac",[],"Looking at Sybilla's photographs, I kept noticing the hands. Sunami-san's grandmother’s hands, slower than they once were but still knowing the rhythm. The Marugo worker’s leather-stained fingers. Kodani-san's gloved hands twirling molten glass in the kiln. Hands everywhere, still working.",[],{"_key":1341,"_type":47,"children":1342,"markDefs":1347,"style":55},"d786a3dafc93",[1343],{"_key":1344,"_type":51,"marks":1345,"text":1346},"6a3921b1f4c1",[],"I started thinking about the hands in my life. My hands, as they dip in and out of the nukadoko to pick out pickled vegetables. My grandmother’s hands stained a deep red from pickling plums and beets. The local greengrocer’s fingers, forever matted with dirt from the vegetables he lays out every morning. The cobbler’s leathery palm. All these hands in conversation with materials, with making, with people.",[],[1349,1357],{"_key":1350,"_type":47,"children":1351,"markDefs":1356,"style":55},"05300580ba52",[1352],{"_key":1353,"_type":51,"marks":1354,"text":1355},"fc76051e7fef",[],"Sybillaの写真を見ていると、何度も手に目が留まりました。かつてより動きはゆっくりになっても、今なおそのリズムを覚えている、須浪さんのおばあさんの手。革の色が染みついた、丸五の職人の指。手袋をはめ、炉の中で溶けたガラスを回す小谷さんの手。どこにでも手があり、今も働き続けています。",[],{"_key":1358,"_type":47,"children":1359,"markDefs":1364,"style":55},"5562ad60bf96",[1360],{"_key":1361,"_type":51,"marks":1362,"text":1363},"65afb4363740",[],"私は、自分の暮らしの中にある手を思い浮かべました。漬かった野菜を取り出そうと、ぬか床に出し入れする自分の手。梅やビーツを漬けて、深い赤に染まった祖母の手。毎朝並べる野菜の土が、いつもこびりついている近所の八百屋さんの指。革のように硬くなった靴修理職人の手のひら。そのどれもが、素材と、ものをつくることと、そして人と語り合っているのです。",[],[1366,1372,1378],{"_key":1367,"_type":402,"alt":1368,"asset":1370},"fe140c36dad8",{"en":1369},"Kurashiki 22",{"_ref":1371,"_type":69},"image-c3423a7796565d4a2cf4a530b10b0c123fff2525-1500x2000-jpg",{"_key":1373,"_type":402,"alt":1374,"asset":1376},"85d02f62bb67",{"en":1375},"Kurashiki 23",{"_ref":1377,"_type":69},"image-4745a5c33bb61f057291b9c7441113ed810f8e86-1500x2000-jpg",{"_key":1379,"_type":402,"asset":1380},"4db63a550e81",{"_ref":1381,"_type":69},"image-b080b3ea3dbbc98b36bffda18888c76de0adf724-3000x2000-jpg",{"_key":1383,"_type":398,"block1":1384,"imageLayout":55},"a8b4c2385162",{"_type":400,"body":1385,"textColumns":491,"textPosition":492},{"en":1386,"ja":1411},[1387,1395,1403],{"_key":1388,"_type":47,"children":1389,"markDefs":1394,"style":55},"bb83f77ea84e",[1390],{"_key":1391,"_type":51,"marks":1392,"text":1393},"a9912ccd8f97",[],"When we visit places like Kurashiki, we often see only what's been arranged for us. I did this too at first. Saw the surface, felt the yearning. But the craftspeople aren't there for visitors. They're there because the work needs hands. Because their community depends on what hands can make.",[],{"_key":1396,"_type":47,"children":1397,"markDefs":1402,"style":55},"1274ecc55b3f",[1398],{"_key":1399,"_type":51,"marks":1400,"text":1401},"3977488d919b",[],"And in just continuing, they've created something many of us rarely encounter: a place where the connection between hands and materials lives on.",[],{"_key":1404,"_type":47,"children":1405,"markDefs":1410,"style":55},"bb38847c8fe2",[1406],{"_key":1407,"_type":51,"marks":1408,"text":1409},"cbe5d2789b56",[],"From the mills to the kiln, Kurashiki shows what's possible when our hands keep moving.",[],[1412,1420,1428],{"_key":1413,"_type":47,"children":1414,"markDefs":1419,"style":55},"caf711d0f20f",[1415],{"_key":1416,"_type":51,"marks":1417,"text":1418},"be97de93a61a",[],"倉敷のような場所を訪れるとき、私たちはしばしば、訪れる人のために整えられたものだけを見ています。私も最初はそうでした。表面を見て、憧れを抱いていました。けれど、職人たちは訪れる人のためにそこにいるのではありません。その仕事に、手が必要だから。地域の暮らしが、その手から生まれるものに支えられているからです。",[],{"_key":1421,"_type":47,"children":1422,"markDefs":1427,"style":55},"949cbfd76f32",[1423],{"_key":1424,"_type":51,"marks":1425,"text":1426},"067c66ec86c0",[],"そして、ただ続けることで、彼らは私たちの多くがめったに出会えないものをつくり上げてきました。手と素材のつながりが、今も息づく場所です。",[],{"_key":1429,"_type":47,"children":1430,"markDefs":1435,"style":55},"2a19d297b8f9",[1431],{"_key":1432,"_type":51,"marks":1433,"text":1434},"8961f0333a1f",[],"織物工場から窯まで。倉敷は、手を動かし続けることで何が生まれるのかを、私たちに見せてくれます。",[],[1437,1441,1447],{"_key":1438,"_type":132,"asset":1439},"f64971a0fa19",{"_ref":1440,"_type":69},"image-a747b9cc6f446f950c4d479f5668bb561f4e6131-1280x1707-jpg",{"_key":1442,"_type":132,"alt":1443,"asset":1445},"8894115e774d",{"en":1444},"Kurashiki 01",{"_ref":1446,"_type":69},"image-715859deb3462e647d49debc6eea90a1a7d30c81-1500x2000-jpg",{"_key":1448,"_type":132,"alt":1449,"asset":1451},"01ba2fb82b5e",{"en":1450},"Kurashiki 04",{"_ref":1452,"_type":69},"image-8c5923f7de06802a6bd9ea374881ea39288fc110-2667x2000-jpg",{"en":1454,"ja":1455},"Kurashiki","倉敷",1792615590857]