- Lanzavecchia + Wai studio has a very inquisitive, expressive design language. What felt exciting about bringing that into your world of handmade washi?
They have a strong spirit of curiosity and a distinctive point of view, with a consistent way of thinking about expression. Even before we first met, and after meeting them as well, they carefully researched the culture and background of Mino Washi, as well as its production methods, and engaged with it with deep respect. Precisely because of that, I found it truly exciting that we were able to approach washi in ways that were not simply an extension of what we had done before, but through methods we had never tried. I did have concerns about whether it could be realized, but the feeling of “it would be interesting if we can make it happen” was stronger, and that became the driving force that kept the production moving forward.
- Were there any steps in the papermaking process that needed to stretch or evolve to match their idea?
Once the theme for the washi was set around a waterfall, we used several types of kōzo and mitsumata (both raw materials for washi) to achieve a more delicate expression. We also experimented with different techniques, making adjustments to bring the result closer to their idea. Normally, shoji paper is made by joining standard “Kyōma-sized” sheets and applying them to the wooden frame, but this time the pattern is created within the paper itself so that it becomes a single image. For that reason, we also made a new large papermaking frame to produce a larger sheet.
- What was the most interesting challenge in translating their vision into washi?
The biggest challenge was how the work changes in appearance depending on light. Because shoji is defined by translucency, the impression shifts dramatically when light passes through the paper versus when it does not, so we adjusted the thickness and fiber distribution and ran repeated tests, including how it would interact with the LED lighting. Another factor was that paper also looks very different when wet versus when it is dry. Taking into account these changes, both during production and after completion, we needed to design with the final state in mind. I found the act of making from that perspective particularly interesting.
- How do you imagine this kind of collaboration inspiring younger generations of papermakers?
Through this collaboration, I felt that creating something new requires more than simply following established methods, it also means adjusting materials and processes in response to the expression that is being sought. As we repeated trials while working with our hands, I came to feel that technique is not something fixed, but something that continues to be updated. I’m still in the middle of that process myself, but I believe that having that awareness is important in itself. I hope that this kind of attitude can become one guiding reference for the next generation.
- What did this experience show you about what washi can do that perhaps you hadn’t explored before?
Through this collaboration, we made discoveries and took on challenges with new techniques, and as a result, we were able to create washi with expressions that were different from what we had made before. It also expanded the range of what the paper itself can express, and I’ve come to feel that washi still holds many untapped possibilities, depending on what it is combined with.
Takanori Senda, Warabi Paper Company (@warabipapercompany.com)
［Questions by Maria Cristina Didero］