In this journal entry, we are delighted to introduce the stories behind some of the artisanal crafts you will find at YORUYA, created in the heart of Okayama. We spoke with Mr. Ryuki Sunami, a craftsman who creates products from “igusa” (Japanese soft rush grass), and Mr. Shodo Iwagaki, chief priest of Mairaiji Temple.

At the entrance of YORUYA, visitors are greeted by a woven rope “noren” (traditional curtain) crafted by Mr. Sunami of Sunami Toru Shoten, a family business that has been producing igusa products in Kurashiki for generations.
When the land around Kurashiki was reclaimed from the sea many years ago, its soil contained high salt concentration, limiting the types of plants that could thrive there. Igusa, however, adapted well to these conditions, and Kurashiki became a major production center for igusa products, including tatami mats and woven grass mats.

Founded in 1886, Sunami Toru Shoten originally focused on producing “goza” (woven grass mats), a trade continued by Mr. Sunami’s father. However, after his father passed away unexpectedly at an early age, Mr. Sunami’s grandmother shifted from the labor-intensive goza production—which required many hands—to “ikago” (woven igusa baskets), a craft she could manage on her own to sustain the family.
Originally, these ikago were simple household items used for everyday tasks, like carrying soy sauce from nearby shops. They were a practical, folk-crafted tool, made from leftover igusa that were unsuitable for tatami mats. Learning the craft of ikago-making from his grandmother, Mr. Sunami began innovating on the traditional forms of ikago, designing baskets in various shapes to accommodate the objects being carried. His craftsmanship, dedicated to functional practicality, has earned widespread recognition, and today his products are featured in craft shops across Japan.
The “nawa-noren” (rope curtain) hanging at the entrance of YORUYA is one of Mr. Sunami’s more recent creations—a craft he began about five or six years ago after learning the technique from a local noren maker. While weaving ikago is traditionally considered a women’s craft, the physical strength required in noren-making makes it more commonly a task for men.

We would be remiss not to also mention Mr. Sunami’s passion for collecting. His workshop overflows with crafts tied to Kurashiki, industrial design items, and even Pokémon plush toys. Perhaps it is this affinity for cherished, well-made items that gives his work a unique character—not only as art pieces, but as products crafted with genuine warmth, meant to be used and appreciated by those they serve.

At YORUYA, there will also be a casual bar with about ten seats, right next to its street-facing entrance—a place intended to foster connections between guests and locals. The design of the bar’s sign was entrusted to Mr. Shodo Iwagaki, chief priest of Mairaiji Temple in Maniwa, Okayama.

Mairaiji Temple, a Buddhist Temple founded in the early 15th century during the Ōei era of the Muromachi period, had been abandoned for many years. It was revived in 1976 when Mr. Iwagaki became its 28th chief priest.
Upon entering the temple, visitors are greeted by numerous woodblock prints decorating the sliding doors. Mr. Iwagaki initially began creating these prints as a form of sutra copying, but after over three decades, they have accumulated to fill nearly every corner of the temple. Now widely known as the “Temple of Woodblock Prints,” Mairaiji Temple draws visitors from across Japan who come to admire these bold, expressive works with unmistakable charm.

In addition to woodblock prints, Mr. Iwagaki is frequently commissioned to create nameplates, often used for houses or shopfronts. He explains that there are various differences between these nameplates and woodblock prints, stemming from the type of wood used. Because nameplates are used outdoors and thus exposed to winds and rain, he uses zelkova wood, a durable material that can resist cracking and water damage over time. However, this very hard wood requires a strong hand with a chisel and mallet, resulting in a powerful and robust finish. In contrast, his woodblock prints are carved from the softer magnolia wood, easier to carve with fine chisels that allow for more intricate details and lines.

For YORUYA’s bar sign, we asked Mr. Iwagaki to craft a nameplate in his signature style. The design was then digitized and reproduced in the same materials as other signs throughout YORUYA, ensuring a cohesive and harmonious design throughout the space. The original nameplate, hand-carved by Mr. Iwagaki, is displayed inside the bar for visitors to enjoy up close.
Another distinction between nameplates and woodblock prints lies in their purpose. A nameplate serves not only as a decorative piece but as a tool to convey information to the viewer. Mr. Iwagaki explained that this functional aspect adds a unique beauty to nameplates, different from the aesthetic of woodblock prints.

The beauty born from functional objects stems from the creator’s desire to bring happiness to those who use them. Observing these two craftsmen, separated in age by decades yet chatting with the ease of old friends, one senses that true craftsmanship is not about asserting individuality. Rather, it carries a quiet warmth, imbued with the care and thoughtfulness for the people who will use and appreciate the objects. We hope you experience the deep charm of Okayama’s craftsmanship here at YORUYA.