We had the distinct pleasure to interview award winning designer Yuki Ijichi about their original and creative Drinkware design work. Yuki Ijichi is an award-winning industrial designer, that makes our world a better place with their original drinkware works.
Yuki Ijichi ("YI") answered Design Interview ("DI") questions about their award-winning work Redesign of Kurojyoka Drinkware. Interview questions prepared by Frank Scott.
YI : Reinterpreting Kagoshima's traditional sake vessel, the “kurojoka,” to suit modern lifestyles, making shochu culture enjoyable in everyday life. The fusion of tradition and modernity is the central theme.
YI : We naturally updated the functional form of the “kurojoka,” born from the lifestyle of its time, into a shape that fits contemporary living. We aimed to redefine the “Kurojoka” for today's era by re-examining forms and functions that had been preserved solely for their traditional status but no longer fit contemporary living.
YI : We position the “Kurojoka” not merely as a product, but as a modern shochu culture originating from Kagoshima to be shared globally. We envision its use as gifts and its adoption in restaurants and bars.
YI : The project required about a year and a half of research and prototyping, including traditional investigations, shape studies, and assessments of suitability for modern living.
YI : The project began with a request from “MATHERuBA,” which operates cafes and shops in Kagoshima Prefecture. They wanted to redesign the traditional Kurojoka ceramic shochu pot, used in Kagoshima, to suit contemporary lifestyles and create an original product.
YI : Planned for release as a MATHERuBA original product. Licensing or sales to third parties will depend on future brand strategy, but initial focus is on development under their own brand.
YI : The traditional value of the “Kurojoka” had been declining. By reviving it in a contemporary form, the aim is to preserve the culture and create new markets.
YI : The traditional design of the “Kurojoka” has significantly influenced this project. We were also influenced by Satsuma ware and historical documents related to its design, particularly the theory regarding its origin from the “abacus shape.”
YI : The target audience is those aged 30 to 60 with an interest in Kagoshima culture and shochu. Additionally, gift demand and overseas enthusiasts of Japanese culture are also targeted.
YI : It is not merely a drinking vessel but “re-edits shochu culture itself.” This distinguishes it as a project that meaningfully carries tradition into the modern era through reinterpretation. Another feature is the design encompassing the entire usage experience, including the warmer and pitcher.
YI : “Kurojyoka Redesign Project” = Clearly indicates the endeavor to redesign the traditional “kurojyoka” for the modern era.
YI : For product design, 3D CAD and prototype verification were used; for graphics, tools like Illustrator and Photoshop were employed.
YI : Cultural narratives were integrated into the experience design. Notably, proposing a new cultural experience: “slowly warming by candlelight.”
YI : Collaboration with ceramic artisans and the MATHERuBA planning team. Technical and cultural insights were fused.
YI : Utilized in manufacturing design and material processing with mass production in mind. This was crucial for translating traditional forms into modern manufacturing methods.
YI : Researched Satsuma ware literature, the historical origins of black clay, and shochu drinking customs (like pre-dilution). Translated these into contemporary living.
YI : ・The challenge of adapting traditional forms to modern life without compromising their meaning ・Selecting alternative materials (e.g., addressing the decline of bamboo) ・Balancing mass-producibility with cultural integrity
YI : A desire to spread Kagoshima culture globally. By having the value of regional culture recognized on the international stage, we aim to open new possibilities for preserving traditions.
YI : The critical importance of “translation skills” when modernizing traditional crafts. Realizing that it requires designing cultural experiences, not merely altering forms.
YI : This project extends beyond vessel design; it is an initiative to connect Kagoshima's living culture—the “time spent around shochu”—to the future.
