Encounter with real Japan

From long ago, tatami mats have been a firm foundation in the lives of Japanese people. Although changes to people’s lifestyles have led to tatami becoming distant from the daily lives of many, one tatami maker is working to bring tatami back into people’s lives. Where could the “entry-ways to tatami” that he sees be?

“Tatami was created in Japan, but it’s China that is producing and selling it.”

“Do you know the origin of the size of tatami mats? According to one story, Oda Nobunaga had it made 180cm (about 6ft) long and 90cm (about 3ft) wide so that it could conceal one person.”
With a large frame and a height that is almost the same as a tatami mat’s length, Kentaro Aoyagi wears a happi coat and has a friendly smile. He is the fourth-generation ow ner of Aoyagi Tatami, which has been in business for almost 100 years in Choshi City, Chiba Prefecture. Once you pass through the sea-side community and smell the refreshing scent of igusa (soft rush grass used to make tatami) on the wind off the sea, the Aoyagi Tatami shop will be right there. In the workshop adjoining his home, Aoyagi starts to speak as his hands move rhythmically over a half-finished tatami mat.
“Tatami makers used to do their work in front of their shops, so it was easy for them to chat with customers and give a bit of advice or talk about the goodness of tatami. But then machines to make tatami were created and tatami mats came to be made in factories. So the distance between customers and tatami makers widened. On top of that, the amount of tatami produced overseas increased considerably. Really the current feeling is that ‘Tatami was created in Japan, but it’s China that is making and selling it.’”
In response to a comment that traditional skills have been lost to that extent, Aoyagi says, “I think it’s not enough of a technique to be lost,” with a wry smile.
That may seem like an unexpected answer, but the process of making tatami mats itself is actually not that complex. It is really just assembling parts. A tatami omote, or facing made of woven igusa rush grass, is wrapped around a core. Then, once the edges are bound with a piece of cloth shaped like a belt, which is called a tatami beri, the tatami mat is complete. When it comes to making an ordinary tatami mat, the techniques could be learned by watching a YouTube video, Aoyagi says.
“Tatami makers used to sew everything by hand. But, because the work required so much force, their hands would be swollen by the time the tatami mat was finished. In that condition, you can’t do detailed work, can you? So, I think that it’s fine to leave the small things to a machine.
“But, making small repairs at customers’ request or making tatami that can precisely fit into a space is something that only an experienced tatami maker can do. In situations where delicate techniques and intuition are required, isn’t it better for a human craftsman to do the work?”
The truly important thing isn’t just to be particular about “craftsmanship” but to know what really matters. Aoyagi says that there is one thing that must not be lost.

The technique of making tatami can be revived, but bringing back igusa rush grass would be difficult

“This is an extreme example, but even if all of the tatami makers died, as long as there are images of tatami mats being made, the techniques can be revived even after a hundred years. But with only that, the culture of tatami can’t be preserved. That’s because if the rush grass that is the material for it is gone, tatami can’t be brought back.”
Igusa rush grass is a difficult crop to cultivate. The timing of fertilizing and watering fields and harvesting all depend on the climate. Because of this, rush grass farmers cultivate the rush grass while making careful calculations every year. That type of technique would be difficult to recover just from images or documents, Aoyagi says.
“Farmers work hard to produce igusa rush grass for us every year. And, most people don’t realize this, but harvesting the rushes is not the end. Drying the rush grass, weaving it together, and making the tatami omote is all part of rush farmers’ job. For that reason, without rush farmers, we tatami makers wouldn’t be able to do our work. But, since I became a tatami maker and have seen various things in the field, I have come to strongly think, ‘Aren’t rush farmers being neglected too much?’”
Living environments are changing, Japanese-style rooms are becoming less common, and the demand for tatami mats is falling. Like tatami makers, the number of igusa rush grass farmers is falling drastically. In 1989, there were 6,000 rush grass farmers in Japan. At present, there are only about 400. Cheap rush grass that is produced overseas is also increasing. In order for Japanese rush grass farmers to continue growing rush grass, what must be done? Aoyagi’s answer is to give back the rush grass farmers’ self-confidence.
“80% of rush grass grown in Japan comes from Kumamoto Prefecture. It is also the best quality igusa rush grass in Japan. But I thought that farmers in Kumamoto weren’t able to take pride in their work. It’s because of their work that the culture of tatami can continue, and they make such good products. What is really needed isn’t financial support, but for their outstanding work to be recognized by everyone. If that can be done, rush farmers will be able to continue growing rush grass with pride. For that reason, I decided to become an ambassador.”

Becoming an ambassador for tatami using “low grade igusa rush grass”

With that in mind, Aoyagi began to make products using “low grade” rush grass. Aoyagi has created more than twenty different products using tatami facing, including bags, business card cases, wallets, sandals, small tatami place mats, and tatami yoga mats.
“Even though it’s called ‘low grade,’ that just means that the igusa rush grass is not long enough to be used in standard tatami mats. There are no problems with the quality of the rush grass, but it would have been thrown away because it is too short. Using that rush grass, I began making fashion goods and accessories. The first thing that I made, with mothers’ needs in mind, was a diaper bag with a small tatami mat attached. When mothers change diapers outside, they can spread the tatami mat and feel secure because, even if their baby’s skin comes in contact with the tatami, it’s a natural material.”
Because the farmers put so much care and effort into producing the rush grass, Aoyagi tries to convey those feelings to others. As he began to work on new projects such as creating an online store and setting up shop in department stores for special events and pop-up shops, Aoyagi began to talk to customers directly about the appeal of rush grass and the excellence of tatami.
“It’s not just about increasing income. Really feeling that your work is helping someone is very important, isn’t it? With that feeling, I wanted to support the farmers.”
For that reason, Aoyagi doesn’t forget to share customers’ reactions with the igusa rush farmers. Aoyagi says that one time when he worked on tatami for a certain famous person, he connected with a farmer by video call so that the farmer could see the customer’s joy firsthand.

“Tatami shops are less self-reliant than rush grass farmers”

“Not only in tatami making, but in many fields, what is necessary isn’t ‘protection’ but ‘self-reliance.’ If we compare tatami makers to rush grass farmers who will make money as long as they make the igusa into tatami facing and ship it, the tatami makers are much less self-reliant. The demand for tatami is falling, so we can’t just be content with making good products. We’ve got to think about how to sell the things that we make.”
As communication with customers becomes less frequent, opportunities to share ideas with the customers also decrease. With the wider distance between tatami makers and customers caused by mechanization, how many craftsmen are able to truly express the good qualities of tatami? Before that, do people really understand the merits of tatami? Aoyagi speaks about this passionately.
“Tatami mats are extremely interesting. For example, did you know that they are natural air purifiers? First of all, the igusa rush grass itself can help to regulate humidity. When the air is dry, it releases moisture, and when it’s humid, the rush grass absorbs moisture. On top of that, in the weave of the tatami, there are small gaps which allow air to pass through without letting dust through. So, in Japanese homes, the tatami worked as a filter to clean the dusty air from below the floor and let clean air into the room. It also has a deodorizing effect, so it can be quite functional even in modern homes.
“Tatami also has strong ties to Japan’s ancient culture. For example, judo dojos traditionally have tatami floors. The spirit of various traditional Japanese arts such as flower arrangement and tea ceremony comes from tatami.”
As the SDGs have come to be discussed worldwide alongside great concern for the environment, it should be noted that tatami is actually an eco-friendly building material. Since both sides of tatami facing can be used, after a few years the tatami facing can be flipped over and the tatami mat becomes just like new. That type of work is also a part of tatami makers’ jobs. Aoyagi says that “using tatami for a long time while repairing it periodically” is how tatami was intended to be used.

Learning about “presentation” in the outside world

It is thanks to Aoyagi’s previous work experience that he is able to express the merits of tatami so well. Actually, Aoyagi did not begin working in the family business right away. After graduating from high school, he attended a vocational school and then began working as an interior designer at a company in Tokyo. Until he returned to his hometown at the age of 27, he worked on interior designs for businesses and department stores. He says that the experience allowed him to learn many things besides design.
“I changed companies seven times, but that doesn’t mean that I changed jobs seven times. What I mean to say is that I was temporarily transferred to a total of seven places. During that time, I was able to study various companies’ ways of doing things. Among them, what I learned at well-established department stores had an especially big impact on me. Their customer service, which would leave customers who had come to make a complaint feeling impressed by the time they left, their way of presenting and selling items, and their way of creating value were wonderful.”
Aoyagi handles all of Aoyagi Tatami’s original products from the design stage. In the case of the diaper bag, Aoyagi created it while thinking about what mothers are looking for these days, where he could release it so that it could become popular, and so on.
Aoyagi decided to work at another company at the suggestion of his father, Haruo, the third-generation owner of Aoyagi Tatami. His father told him, “First, go study the trade elsewhere.” It is common for people who want to become tatami makers to attend training schools in Tokyo, Kyoto, or Fukuoka right after graduating from high school. In most cases, they then train at tatami shops and begin working independently after that.
“But, by doing that, they only know the world of tatami and don’t have much experience as working members of society. Although they can make amazing tatami, they don’t have an opportunity to learn the most important thing: ‘How can I sell this?’ For that reason, I’m very grateful to my father for giving me the opportunity to study in the outside world.”

Self-awareness as a successor comes from around us

Aoyagi has a son who is currently a 5th grader in elementary school. They go to a kendo (Japanese fencing) dojo together. “When we practice, it’s a serious match between men. There’s the spirit to really knock each other down,” Aoyagi says, laughing. I try asking him about his own successor.
“I won’t say anything to him about it. But I think that self-awareness as a successor comes from around us. For me, from the time that I was small, I thought that I would become a tatami maker in the future without any resistance. One of the reasons for that was that I watched my father enjoying his work and admired him as a craftsman. Another reason is that I grew up hearing people around me say, ‘In the future, you’ll become a tatami maker, won’t you.’ Of course, I wasn’t pushed into it, but those words naturally led me to have self-awareness that I would carry on the family business.
“Last year, I had the chance to talk about the succession issue facing Japanese craftsmen at the Japanese consulate general in Chicago in the US. I took my son with me. After I did a performance of making tatami, I told the audience, ‘Please tell my son your impressions of what I just did.’ I think that’s the way to solve the problem of succession. I think showing a cool appearance is the most important thing.”
Not pushing his son to carry on the family business but becoming a craftsman worthy of admiration himself. Aoyagi’s attitude seems quite fair and natural.
“Although I like the word ‘tradition,’ it’s also the word that I hate most. I mean, there’s no need to continue passing things on just as they are. Wouldn’t that just be imitating previous generations? I think that what should be passed on are the important principles within traditions.
“There are many things that we call ‘classic,’ but all of them were made by someone, and on that day, in that moment, they were a new creation. So, I am continuing to try new things, and if there is something that the next generation admires, it may become classic.”

Making more “good places” with tatami

Currently, Aoyagi is concentrating on “going outside and sharing ideas.” He not only shares the goodness of tatami but is also active in collaborations.
For example, at the newly opened “Farm & Stay YAOYA” farm-stay accommodations in the local area of Choshi, all of the tatami was handled by Aoyagi Tatami. They also provided deck chairs. They are showing their support for the new lodgings that have been created in their hometown.
They are also producing the tatami for a relaxation space that will take up one floor of the Kosugiyu Tonari complex that will open at Kouenji’s public bathhouse, Kosugiyu, in Tokyo.
“The job at Kosugiyu is just the place to show our skills as craftsmen. The igusa rush grass that is used for tatami is about 2 meters at the longest, so there is a limit to the size of tatami mats. That’s why, when you put tatami mats in a wide space, the price jumps if the size exceeds certain dimensions. However, if we leave the impression that ‘tatami is too expensive,’ there is no way to move forward. Instead, a first-rate craftsman is someone who can make adjustments to fit the space and set a good price. Thanks to my previous jobs, I can draw up building plans, so I think there is nobody else who can make a space so perfectly.”
Truly, there are still not many craftsmen who can produce spaces with tatami. In modern home construction, building manufacturers and contractors take the leading role. Few tatami stores do business directly with customers, and almost all contact is through manufacturers’ or contractors’ home-building consultation services. This means that, in general, tatami is just one of countless flooring options that customers glance over in a catalog. Aoyagi is well aware of his own role in this.
“Even children who don’t know tatami have a response to the scent of igusa. It almost makes you think that it’s in the DNA of Japanese. Because tatami has so many elements that appeal to our senses, having people touch it themselves is best. So, even though I want there to be more tatami in homes, first I want to make more chances for people to experience touching tatami. To do that, I think it is extremely important that there is tatami in ‘nice spaces’ throughout town.
“For example, after getting out of the baths at a public bathhouse, wouldn’t it be great for young people to sit on the tatami as they listen to a local old-timer tell about the misadventures of the old days? To create opportunities for that kind of good experience and communication, producing a space is vital. For that, not only architects but many different professionals are necessary. If I can create interesting spaces alongside interesting people, I’ll be happy.”
With more people overseas putting tatami in their homes and making tearooms, the demand for tatami overseas is definitely increasing. Aoyagi says that he wants to suggest a “lifestyle with tatami” to everyone, no matter if they live in Japan or overseas. “I think there are others who are more suited to doing tatami for tea rooms. What I am aiming for is places closer to more people’s everyday lives. In the end, I want to carry on Japan’s culture of tatami by increasing accessible ‘entry-ways to tatami.”