A Century of Japanese Design, Remixed
This design week, NY's Studio Guapo is partnering up with Japanese furniture tastemakers HIDA for a pop-up that connects past, present, and future
There’s no doubt that we’re currently living through a second great Radical Design movement — a period that echoes and builds upon the revolutionary changes of the 1970s in Italy and beyond. Design is cool again. And the design community is ever-growing, characterized by new ways of thinking, making, and doing, as well as a more inclusive atmosphere. There’s a bright future ahead.
But with these growing shifts, it’s important that we take time to reflect and learn from long standing legacies that taught us about what it means to design timelessly, long into the future. By bridging the gap between past and present, designers and designheads alike can navigate their work and passions with a sense of purpose and historical understanding of their place in the world.
This month, we’re proud to be partnering with New York’s Studio Guapo and the 100-year-old Japanese furniture brand HIDA to power “ISU”, a weeklong installation (May 16-22) and series of events highlighting HIDA’s legacy of intentional, sustainable and hand-crafted furniture alongside Studio Guapo’s vision for the future of design.
ISU presents key pieces from Hida's catalog, including collaborations with Sori Yanagai and other influential Japanese designers. The installation is complemented with select pieces from Rarify, USM Modular, and Ingo Maurer. You can see our full list of events and RSVP here.
Located in Hida Takayama in the Gifu Prefecture of Japan where local artisans have played an important role in Japan’s woodworking culture since as early as 592 AD, the HIDA brand continues to create furniture built on the region’s legacy while respecting the individuality of wood and the beauty of natural forms.
HIDA’s story is one that is more relevant than ever in a design world that is very much in need of real and practical sustainability practices. From their relationship with the forest situated near their factory to their expert practices in crafting each of their storied pieces, HIDA does things in their own unique way.
The brand’s collaboration with Studio Guapo represents a new step for the brand, bridging old and new, past and present, tradition and forward thinking. As part of the collaboration, Studio Guapo is remixing a set of HIDA factory uniforms for a limited edition capsule, available exclusively at the ISU installation.
We spoke with Zach Matheson, North American rep for HIDA, and Matt Pecina of Studio Guapo to learn more about the HIDA story and the meaning of this particular project.
FOR ZACH MATHESON (HIDA) — What drew you to working with Studio Guapo? How does this event mark a turning point for the brand?
ZM — I have known Matt for nearly 11 years now. I have seen him take his career in the direction he dictates. Matt's voice communicates his love of design to his culture and community. HIDA Sangyo is all about the community and the culture of Japanese craftsmanship. This passion brings the two together.
This is our first pop-up showroom. This is the first time several of these designs are being shown in the US — the launch event we have been planning for.
FOR MATT PECINA — What inspires you about HIDA?
MP — HIDA is an ideal example of how the future of the design industry can look. I often think about where my own work will be 100 years into the future and HIDA is that 100-year future for so many designers of the past. They are woman led, sustainably committed, and have the utmost respect for quality and craft. In a design landscape where Danish modern and MCM are over saturating the market, I believe Japanese woodworking can offer a distinct look even from a styling perspective. But it's more than just styling: it is conceptual, and really about the values that the furniture represents.
FOR ZM — Sustainability and connection to material is a thread that runs through the brand’s story. What makes HIDA different from other brands?
ZM — HIDA's practices are sustainable because of their mission of Craft : Time : Forest : People. This mission is part of an overall cultural practice that values community as much as commerce. Human-centered sustainability has always been at the core of HIDA Sangyo.
FOR ZM — A large part of HIDA’s identity is the core role the factory workers and craftspeople take in the brand’s work. Why is it important to tell HIDA’s story from the perspective of the worker?
ZM — The craftspeople of HIDA are known nationwide in Japan as the best wood craftspeople. The worker makes the products — there are no robots at the HIDA factory. The worker is the bridge between raw material and finished product. It is important to see the beauty of the products as examples of the skill of HIDA's craftspeople.
FOR ZM — We’re excited for the remixed HIDA factory uniforms Studio Guapo is creating. How did you all develop this uniform? What does the uniform say about HIDA?
ZM — The uniform is semi-standard across most Japanese companies. Variations of style and maker depend on the company you work for. Everyone at the company wears the same uniform, based on seniority.
FOR MP — Tell us about what you are creating with the remixed uniforms — what have you discovered from the process?
MP — The uniforms are really about celebrating the craftspeople and factory culture that makes HIDA so special: their commitment to craft and education is what the uniforms represent. Hida has an amazing woodworking school, as they believe in continuing the traditions of the past — the students and craftsmen alike wear these hats and jackets. I wanted to add a subtle touch of NYC street style sensibility to the uniforms — in a way to make design “cool”. I believe repping furniture/design should be just as if not more chic than repping your favorite band, sports team, or luxury brand. It's so exciting to me that graphics can really represent something deeper, and I love what furniture design can communicate in terms of values.
FOR ZM — What is a “day in the life” like at the HIDA factory?
ZM — The factory begins every morning with Radio Taisoo (Group Calisthenics). This is a daily practice of exercises that most Japanese factories do as a team. After Radio Taisoo, the factory goals and company announcements are read. There are clean up breaks throughout the day. Lunch time is full factory stop while everything is cleaned and lunch is taken. At the end of the day, the factory is cleaned again. This consistency, cleanliness, and togetherness are less common in US factories.
FOR ZM — How has the HIDA process changed over time?
ZM — The changes: The process from concept to design now includes computers and computer modeling. HIDA also uses some very advanced CNC machines specifically made for furniture crafting.
What has stayed the same: the consistent approach to working with the forest and people and the manual processes of sanding, finishing and carving.
FOR ZM — Why is it important to continue to build furniture by hand?
ZM — What other way is more human? It is important to consider the long history of woodworking from the region of Hida Takayama. The woodworkers take pride in their work — this tradition is older than the US itself.
FOR MP — What have you learned from your work with HIDA?
MP — Oh man … I am seeing craft in a whole new light. For the past few years, I have set craft aside to really focus on the communication aspect of design and its intersectionality with contemporary culture. HIDA reminds me to take time to honor the traditions of the past and this is influencing my work heavily right now.
What is the most important message you want to share with New York? With the next generation of designers and designheads?
ZM — Good design generally finds a home. If you are thoughtful about materials, careful with construction, and can communicate your design intent, there are companies looking to work with you.
MP — AGREED! The future of the design industry is ours. The waves we started a few years ago are shifting the paradigm. The time is now for us to step into new roles and pave the way for this continued cultural shift in design. I want NYC to rep and respect design, and for the industry here to continue to flourish while being more accessible than ever.