“注意要谦虚谨慎、做你与生俱来的自己、没有傲慢自大的余地，”柳宗悦(Soetsu Yanagi)在1920年代日本民间工艺运动期间出版的《未知的工匠》(The Unknown Craftsman)著作里写到。根据柳宗悦的说法，工匠应当隐姓埋名，产品应当手工制造、物美价廉且供普通人在日常生活中使用。设计师的标记往往是一件物品最受喜爱的特征;在这样一个时代，可以令人振奋地发现日本设计的特点–匿名性和高质量–现在，它们正受到越来越多的新的青睐。
Japanese design has long been admired in Europe and a recent flush of shop openings anddesign collaborations suggests a growing hunger for traditionally crafted, sustainable objects.
“A new generation of Japanese designers from Tokyo and Kyoto are migrating back to makingthings in a more traditional manner,” says Sam Hecht, who co-founded the London-baseddesign office Industrial Facility and has designed for Muji, the Japanese lifestyle store, since2002.
“新一代从东京和京都来的日本设计师纷纷回归到从前传统制造方式，”萨姆•海奇特(Sam Hecht)说道。他在伦敦与人共同成立了名为工业设施(Industrial Facility)的设计室，该公司从2002年开始为日本生活品商店无印良品(Muji)做设计。
“Japanese designers don’t make a distinction between things that are meant to be looked atand things that are meant to be used,” adds Hecht. “There is not simply a visual appreciationof craft, but a much deeper relationship with objects. Objects are often left slightlyunfinished. For example, a dish might be glazed only in part, but this is important because itmeans that it’s not complete. The person using it, eating from it and cleaning it completes it.It’s not about perfection, it’s about function.”
Many of the designers who are adopting a traditional Japanese style have called upon theaesthetic philosophy of wabi-sabi, a nebulous term derived from centuries of Japanesespiritualism and culture. Leonard Koren, a design and aesthetics theorist, explains the conceptas “a beauty of things imperfect, impermanent and incomplete.”
This focus on utility has been picked up by Native & Co, a new shop in Notting Hill, westLondon. Co-founders Sharon Hung and Chris Yoshiro Green import exquisitely craftedproducts from Japan, propagating the streamlined aesthetic and lack of embellishment forwhich Japanese design is famous.
在伦敦西部诺丁山(Notting Hill)新开的Native & Co已经学会了这种把焦点集中于功用的作法。共同创始人洪沙伦(Sharon Hung)和克里斯四郎•格林(Chris Yoshiro Green)从日本进口制作精美的产品，宣传日本以其流线型的美学和缺乏装饰而闻名的设计。
“The project started by us sourcing products from Japanese workshops that have been makingthings in the same way for hundreds of years, ” says Hung. Included in their range are earthyceramics by Katsuhiko Ogino and wooden products by Oji Masanori.
Elsewhere in Europe, designers are also drawing on Japanese design as inspiration. Architect-turned-product designer Thomas Griem released a new collection of rugs earlier this month,which have taken Japanese woodcuts as their starting point. “I was looking at ukiyo-e, at thegeometry and the motif of the tree which kept appearing throughout the imagery. It has anelegance and an opulence that I liked,” he says.
Inspired by the trend for Japanese style, paint and wallpaper specialist Farrow & Ballrecently released four new wallpaper designs inspired by traditional Japanese craftsmanship.
从着迷于日本风格得到灵感，绘画和壁纸专家Farrow & Ball最近推出了四种受到日本传统工艺启发的壁纸设计。
Textile designer Jennifer Shorto based her most recent designs on a book of swatches of early20th-century men’s kimono fabrics. Inspired by Jun’ichiro Tanizaki’s 1933 essay on aesthetics, “In Praise of Shadows”, Shorto worked to maintain the element of wabi-sabithat sheencountered in the originals. “I enlarged the designs and painted them on to the cloth to makethem more dramatic,” she says, “but I chose to use raw linen to keep the humbleness of thecloth.”
纺织品设计师詹尼弗•肖托(Jennifer Shorto)根据一本20世纪早期男性和服面料的色板书设计了她最新的作品。从谷崎润一郎(Junichiro Tanizaki)1933年的一篇美学文章《阴翳礼赞》(In Praise of Shadows)受到启发，肖托在她使用的原物料中努力保持侘寂的元素。“我放大了图案，将它们画在布料上使它们看起来更生动，”她说，“但我选择使用原始的亚麻布来保留布料的谦逊。”
This idea of the “humble” quality of materials can also be seen in Freyja Sewell’s designs.Sewell, who lives in Japan, has designed lighting and furniture that reflects the urban lifestyle —her Hush chair is a response to finding peace and solitude in the Japanese capsule livingculture. “Traditional Japanese culture has an ingrained respect for materials and objects, andperhaps the recent rise in the popularity of Japanese design is down to consumers desiringreal value and sustainability from their purchases,” she says.
Working from her pottery in Stoke-on-Trent, Anglo-Japanese ceramic designer Reiko Kanekofuses Japanese principles with centuries of British expertise in the production of porcelain.Kaneko recognises the power of collaboration in sharing and interpreting ideas, and hasrecently set up the Japan Store on her website, which sells ceramics made in Japaneseworkshops.
“There is a phrase in Japanese which is mono-zukuri no nakama, which means the way makerslook out for each other,” she says. “It is up to us to support smaller workshops.”
“有一个日本短语叫‘产品制造的伙伴’(mono-zukuri no nakama)，意思是制造商彼此互相照顾,”她说。“该由我们来支持小型工场。
London-based Emma Peascod has integrated Japanese craftsmanship into her decorativefinishes for interior and architecture projects. In 2009 she spent a year learning how to makewashi (Japanese paper) from master craftsmen in the city of Mino, central Japan.
Peascod combines the washi with the traditional gilding technique of verre églomisé to createshimmering finishes decorated with gold leaf, which can then be used for anything fromtabletops to wall coverings.
“One thing I noticed about the experience of working in Japan is how simple a workshop can be.The paper I use is made using an aluminium water trough, a silk screen, and a hose pipe with ahomemade nozzle.”