INTERVIEW WITH TOKUJIN YOSHIOKA

Tokujin Yoshioka was born in Saga, Japan in 1967. After graduating from Kuwasawa Design school in Tokyo, he studied design under Shiro Kuramata (1987-1988) and Issey Miyake (1988-1992) and he established the Tokujin Yoshioka design office in 2000.

Tokujin has collaborated with several companies such as HERMES, SWAROVSKI, DRIADE, NISSAN, BMW, SHISEIDO, MOROSO.

At Salone del Mobile 2009 he has just won the EDIDA for Designer of the Year 2008-09 and he has shown is last amazing works: Paper Cloud and Bouquet (Moroso), Ami Ami (Kartell).

1) How much is important the material research to create new projects?

Rather than a new material, I am looking for a new structure or a new approach that has never existed before. For any creators, chair is what expresses their philosophy. A lot of great designers and even architects have designed iconic chairs in the history of chair. As I challenge a chair that has a long history, what I need is not a superficial arrangement but something that is really new. For me, it is a new structure or a new approaching way.

2) How Japanese culture influenced your design?

I am often told that my design has elements of Japanese traditions. Although I do not particularly intend to include them, my design might have some elements of Japanese food.

The finest tofu is so rich without soy source. There is a tendency in Japanese culture, which draws an original beauty in ingredients and not adds anything more than necessary.

Moreover, sushi is not only about slicing fishes and shaping in one’s hand. Rather it begins with careful selection of ingredients, that is, studying the universe of seafood and the sea, and the people who eat sushi. Then sushi is completed as a cuisine for the first time.

I am designing an origin of object and this could be similar to the idea of this Japanese food culture.

‘Tokyo pop’ seating for driade, 2002 design Tokujin Yoshioka

3) How Milano and Italy has changed your career?

It changed a lot my career.

In 2002, I presented a chair named Tokyo-pop from Driade during Salone del Mobile. Tokyo-pop is a chair, which was completed by evolving my first designed paper chair, Honey-pop.

After the launch of Tokyo-pop, I began to more opportunities to collaborate with world-leading companies.

4) Can you choose two objects (one designed by your favorite Italian architect and one designed by your favorite Japanese architect) and tell us the main character of both?

Japanese designer: Shiro Kuramata’s “Miss Blanche”.

From this work, I can see something poetic, which we cannot express only with the shape. Also, there exists the tenderness, pleasantness, and the conflicting elements such as fright and apprehension.

Italian designer: Ettore Sottsass’ body of glass works.

I feel the bold strength and philosophical expression from his body of glass works.

5) Which is your best and worst project?

Honey-pop chair since it has been recognized internationally as the first paper hair with its structure. And this chair brought me an opportunity to communicate with people and around the world.

Panna Chair © 2007, Tokujin Yoshioka, Moroso, Japan/Italy

6) I love your Pane Chair. Can you explain the concept of this project. Where did you start from and where did you arrive?

The “PANE chair,” which presented at the Salone del Mobile in 2006, was completed as it goes through almost the same steps as baking bread.

After the launch of the “PANE chair” in 2006, I was fortunate to encounter Ms Patrizia Moroso.   She was enthusiastic about developing a new product, which evolved from the idea of the “PANE chair” and the spirit of the “PANE chair” was genuinely and faithfully breathed in.

The “PANNA chair” was evolved based on the “PANE chair”. With the hint of functional material used for a precision machine when it is transported, I designed “PANNA chair ” and it has an expression just like cream.

7) How the world of design and architecture can overcome the global crisis? In which project (idea, material, concept) do you think is better to invest?

I do not know how the world of design and architecture in general can over come the global crises.

However, for me, the most important thing in design in any age is to design people’s feeling, which means to create what touches people’s hearts. (This is also my enduring motto)

Can you write in Japanese your motto or maxim, a quote? (and then translate in English, please

倉俣さんのミス・ブランチです。形では表現できないポエティックな表現がくりひろげられている。やさしさ、楽しさ、そして相反する怖さや危うさが混在している作品だと思います。

ソットサスのガラスの作品です。大胆な強さと、詩的で哲学的な言葉を感じる。