Messages from Kutani Seiyo Alumni

In 2024, Kutani Seiyo brought its 53-year history to a close, completing its significant role in the ceramic world. For many years, they were an irreplaceable partner to Hanada, walking alongside us on our journey.
As we prepared for the “Kutani Seiyo Memorial Exhibition” in 2025, the artists generously offered their cooperation along with warm words of encouragement. We also had many opportunities to hear their cherished memories, stories, and deep gratitude toward Kutani Seiyo.
This inspired us to reach out to the artists once again, asking them to look back on the days they spent at the workshop. These messages reflect their unique and diverse thoughts—truly characteristic of Kutani Seiyo alumni—about the place that was both their school and their friendly rival ground.
As a special interview, we also present a warm message for the memorial exhibition from Shunzo Masaki of Yamase Tobo, who shared a long and close friendship with Yoichi Hata, the director of Kutani Seiyo.
We hope you enjoy reading these stories as we trace the footsteps of Kutani Seiyo.

Message 0: Shunzo Masaki (Yamase Tobo)

[On the Kutani Seiyo Memorial Exhibition] Shunzo Masaki (Yamase Tobo)

I first learned about Kutani Seiyo when I was still commuting to work at Suda Seika. My first impression when I visited the workshop was: “What a bunch of talkative people, especially considering the strange things they are making!” (laughs). They were an unusual group, but they were all young, full of energy, and lively. Above all, the workshop had a vibrant atmosphere filled with the desire to create something interesting, which was incredibly charming. That visit sparked a relationship where we frequently visited each other.
Well, a lot happened over those many years (laughs). Looking back, it was truly remarkable that Mr. Hata introduced a freelance system during that era, enabling so many potters to become independent.
The freelance path is tough, and it cannot work unless the artists have a strong determination to stand on their own. The system succeeded because it attracted young, highly motivated people. It allowed them to develop a sense of viewing their work as commercial products early on. Whether or not you acquire that perspective makes a massive difference in your career path.
As creators, this is actually quite difficult to grasp. We tend to focus entirely on calculating the costs of materials and labor, which often creates a gap between our pricing and the actual value customers perceive when they pick up the pieces in a shop.
Looking around, this mismatch often becomes a major hurdle when starting out independently. Mr. Hata created a system where young artists could experience and learn this lesson early on—something no one else was doing at the time. I am sure he faced many challenges along the way.
As a long-time companion and friend, I would like to honor his outstanding achievements.

April 2025
Shunzo Masaki, Yamase Tobo

Message 1: Hanako Kusaka

Hanako Kusaka

Genre: Porcelain (Iro-e / Overglaze enamel, Sometsuke / Underglaze blue)
At Kutani Seiyo: 2002–2009

Looking back, I am so glad that three of my university friends and I visited Kutani Seiyo, which led to an internship there during our summer break. It started very casually with them saying, “Why don’t you try throwing some clay on the wheel?” Near the end of the break, they contacted me saying, “Your pieces are fired, so come pick them up.” I packed them into cardboard boxes, put them on my scooter, and rode home.
I was amazed that they would do so much for someone who knew absolutely nothing.
After joining the company, it started with, “What kind of tableware do you want to make?” I began making pieces right away, handling everything from shaping to painting by myself. Whenever there was an exhibition, I also had the opportunity to stand on the shop floor. Experiencing firsthand that many customers were drawn to painted tableware inspired me to try painting myself. Before that, I wasn’t particularly good at painting and actually preferred white porcelain. I believe I am who I am today because they gave me those invaluable experiences.
When I went independent, I was allowed to select the pieces I wanted to keep making from the work I had created at Seiyo. I am also deeply grateful to Mr. Hata for taking the initiative to introduce me to Hanada, even though Seiyo already had an active business partnership with them.

Message 2: Kyoko Hayashi

Kyoko Hayashi

Genre: Porcelain (Sometsuke / Underglaze blue, Iro-e / Overglaze enamel)
At Kutani Seiyo: 1980–1986

When I first joined Kutani Seiyo, my main job was making standard items that came in large orders. Since we were allowed to use the potter’s wheels freely after working hours, I used that time to create my own tableware. Those pieces were then displayed at exhibitions, and if we received orders for them, we were allowed to make them during regular working hours. Then, I would find more time to create new designs. Step by step, I was able to expand my own product line.
Because Kutani Seiyo was fully committed to the philosophy of “creating tableware for everyday life,” our purpose was always clear. I came to understand that there was no need to make ceramic production overly difficult with excessively complex designs.
I realized that pieces made with a light heart are much easier for customers to pick up and choose than those born from deep struggle and worry. Even after going independent, I have maintained this exact same stance (laughs). Thanks to this, I think I have been able to keep making pottery while genuinely enjoying the process.

Message 3: Kohatsu Hayashi

Kohatsu Hayashi

Genre: Porcelain (Sometsuke / Underglaze blue, Iro-e / Overglaze enamel)
At Kutani Seiyo: 1975–1994

My journey at Kutani Seiyo had a slightly unusual start, transitioning one day from sales representative to maker. At the time, we had items featured in lifestyle shops like “Croissant no Mise” (Croissant Shop), and we received massive orders. While we were happy, we simply couldn’t keep up with the production—we were extremely short-staffed.
Although the workshop was incredibly busy every day, it was always filled with a passionate desire to create great work. Everyone was young and highly spirited (laughs).
While I was excited to become a maker, I was a complete beginner and couldn’t make anything at first. I desperately wanted to make pieces that would get ordered, but I lacked both experience and skill. That was when I came up with the idea for an oval bowl.
When I showed it to Mr. Hata, saying, “I tried making something like this,” he found it interesting. He immediately gave me specific points to revise, and once improved, it quickly became a commercial product. Shortly after, Hanada visited us and placed a large order for those oval bowls with cherry blossoms painted inside, specifically for cherry blossom viewing season. It remains a wonderful memory of things turning out beautifully in the end.

Message 4: Naoto Okada

Naoto Okada

Genre: Porcelain (Hakuji / White porcelain)
At Kutani Seiyo: 2004–2013

Kutani Seiyo was an environment with a high degree of freedom, allowing us to take on various challenges. When I was there, senior colleagues who had gone independent were already highly successful, which kept me motivated to follow in their footsteps and work toward my own independence.
Since we handled the entire process from shaping to painting on our own, I was fortunate to discover what suited me at an early stage. In my case, I realized that I wanted to focus on white porcelain.
At the same time, it was a workplace where learning to work efficiently without waste was essential. Furthermore, presenting our work at exhibitions allowed us to hear direct feedback and see customers’ reactions, which we could immediately apply to our next creations.
It was also a blessing to learn to view my work objectively, free from the self-absorption of “how a maker thinks things should be.” While Mr. Hata didn’t talk much about details, he showed us old antiques and took us to various places. He was incredibly supportive. I truly feel that my many experiences during my time there were full of valuable lessons for my future.

Message 5: Shoji Yoshioka

Shoji Yoshioka

Genre: Porcelain (Sometsuke / Underglaze blue)
At Kutani Seiyo: 1998–2004

I have so many memories of the support I received from both Kutani Seiyo and Mr. Hata. Back when online shops were not yet widespread, Mr. Hata used to say, “An online-only shop won’t work.” However, as more people began using online shopping and it became a trusted option for customers, he adapted to the times, saying, “Online sales are going to grow from now on.”
I also remember when a junior colleague of mine suddenly expressed a strong desire to visit the National Palace Museum. Knowing he loved celadon and wanted to learn to make it himself, I wanted to help him make that happen, so I said, “I’ll go with you.” The two of us took time off during a regular working period to travel to Taiwan.
When Mr. Hata found out, he apparently told the other employees working at the workshop: “He spent his own travel money because there was something he desperately wanted to see at the Palace Museum. Having that level of passion is wonderful.”
Hearing that from a colleague made me realize that Mr. Hata was teaching us the immense importance of seeing things firsthand with our own eyes.

Message 6: Osamu Okamoto

Osamu Okamoto

Genre: Porcelain (Iro-e / Overglaze enamel, Sometsuke / Underglaze blue)
At Kutani Seiyo: 1985–2003

When I joined, I believe about half of the members were career-changers. Many of them had not set out to make pottery from the very beginning. The hierarchy between senior and junior members was relaxed, and no one insisted on doing things the old-fashioned way. There was an atmosphere that allowed us to do what we wanted, exactly how we wanted to do it.
Since each person handled everything from wheel throwing or mold shaping to painting by themselves, everyone worked quite independently. While we might have lacked the traditional, inherited know-how found in ancient, historical kilns, everyone thought for themselves, improvised, and created new things.
If you made something good, it would be displayed in the shop, and if customers liked it, you got orders. It was a very simple and clear dynamic. We were a group of highly unique individuals, so we weren’t necessarily a tight-knit circle of friends, but we certainly had a lot of drinking parties (laughs).

Message 7: Katsutoshi Mizuno

Katsutoshi Mizuno

Genre: Porcelain (Hakuji / White porcelain)
At Kutani Seiyo: 1983–1990

Mr. Hata’s favorite saying was, “Pottery is not about technique.” He didn’t mean that technique is unnecessary, but rather that technique alone is not enough. I studied at a pottery school in Seto, but just mastering technical skills does not guarantee your work will sell. I believe he wanted to convey that while honing your skills is a given, what truly matters is the kind of tableware you choose to create with those skills.
When I was there, Mr. Hata was still throwing on the wheel. He was highly knowledgeable about classical ceramics, told us many stories, and showed us antiques. That time was incredibly precious.
His words, “Make it with care,” still resonate within me today. At Kutani Seiyo, we had to produce a certain volume of items, which sometimes led to the view that slight individual variations were inevitable. However, Mr. Hata never approved of that. Ideally, a maker must be able to work quickly to produce volume while ensuring each piece is uniform and consistent. I still deeply cherish Mr. Hata’s teaching of “Make it with care” even after going independent.

Message 8: Yushin Tokunaga

Yushin Tokunaga

Genre: Porcelain (Iro-e / Overglaze enamel, Sometsuke / Underglaze blue)
At Kutani Seiyo: 2002–2019

For me, Kutani Seiyo was like a school where I kept failing and couldn’t graduate easily.
I joined Kutani Seiyo with the vague idea of making pottery my profession, thinking that path lay at the end of honing my craft skills. From my very first day, when I had absolutely no skills or knowledge, I spent 17 years being taught that skill alone is not enough. Alongside throwing on the wheel and brushwork, we were constantly presented with diverse subjects: food culture, tradition, history, customs, etiquette, art, craft, trends, sales channels, distribution, business ethics, and even how to identify a good restaurant.
It felt as though he believed it was vital to challenge us with various themes related to tableware—even those that seemed unrelated at first glance—to make us think and study. The goal was not to find a correct answer, but to guide us to ask questions and think for ourselves about what makes a piece of tableware truly good.
At the same time, while Mr. Hata would say, “I wouldn’t want to use this myself,” he was highly flexible in accepting the fresh sensibilities of young makers. He was also active in finding interesting shops run by the same young generation and introducing them to us.
I believe Kutani Seiyo was a kiln that passed the baton of ceramic crafts to the next generation.

Message 9: Kosei Kobayashi

Kosei Kobayashi

Genre: Porcelain (Sometsuke / Underglaze blue, Iro-e / Overglaze enamel)
At Kutani Seiyo: 2013–2017

My connection with Kutani Seiyo began when I was a student at a training center, occasionally dropping by the workshop. I had been throwing on the wheel since my student days and thought I was the best among my peers. However, I knew doing it as a profession would be a different story. Seeing the senior makers at Kutani Seiyo work with such speed and volume made me feel like I was looking at a completely different world.
On my second day at the company, with my determination renewed to master the craft, Mr. Hata called me over, handed me a plate of about 15 cm in diameter, and said, “Make 1,000 of these.” From the next day, I was at the wheel from morning till night. I had never experienced anything like it, but I worked frantically just to get it done.
Because I was working in the same posture with intense physical effort, my body soon began to hurt. Neck, back, shoulders, arms, hands… it wasn’t a matter of which specific part was hurting; everything did. I spent every single day at the wheel, barely knowing what was happening, and would fall asleep the moment I got home.
I had assumed everyone went through the same process, but I recently found out that I was the only one ever told to make 1,000 plates right off the bat. While I don’t know Mr. Hata’s exact intention, it might have been exactly what I needed at the time. Looking back, it was a wonderful experience that I could have only done at that age.
Later, when I returned to Kutani from Hasami, I called Mr. Hata, and he supported me and gave me advice until the very end. I cannot thank him enough.

Message 10: Keisuke Yamanaka

Keisuke Yamanaka

Genre: Porcelain (Hakuji / White porcelain, Sometsuke / Underglaze blue)
At Kutani Seiyo: 1975–1979, 1985–1987

My plans to attend a training school in Kyoto fell through, and while I was wondering what to do, I happened to visit an exhibition at Odakyu Department Store that was featured in the magazine *Ginka*.* Handcrafted ceramic tableware was beautifully displayed there.
Although I knew nothing about ceramics back then, I found the pieces fascinating. I asked the shop assistant, “I would love to visit the workshop where these are made. Could you give me their address?” The assistant replied, “The person in charge of this workshop is actually around here. Wait a moment,” and looked around. Spotting a man walking down the stairs, they said, “That is him.”
I ran after him and abruptly asked, “Excuse me, would it be alright if I visited your workshop sometime?” He replied, “Sure, go ahead.” On a whim, I followed up with, “Um, if I go, would you hire me?” and he simply said, “Sure.” Just like that, my move to Kutani Seiyo was decided.
The man I chased down was Yoichi Hata. If I had only received the address, I might never have gone. If it weren’t for Mr. Hata, I wouldn’t be where I am today.
At first, I could only do chores like sweeping. At the time, the atmosphere at Kutani Seiyo was not about making ceramics to order, but rather creating tableware that you personally wanted to use, guided by individual sensibility. Over time, I struggled and learned the trade.
My colleagues were all unique and fun. We praised and criticized each other’s work while continuing to create tableware that expressed everyone’s individuality. Looking back, I realize this was only possible because of the broad-mindedness of Kutani Seiyo.
Mr. Hata invited us to his home many times. His mother used beautiful antique dishes to serve her home-cooked meals without hesitation. Among them, the cold tofu served in a beautiful cobalt-blue glass bowl made an unforgettable impression on me. Every time I visited, I would request that dish. The cobalt-blue glazed pieces I make today are inspired by that glass bowl from my youth.

*Quarterly Magazine *Ginka* (1970–2010)

Message 11: Minako Asanuma

Minako Asanuma

Genre: Pottery

I trained at the workshop for about nine years, and it has been 15 years since I went independent, but there has not been a single moment when I forgot about Kutani Seiyo. Every short word of advice from Mr. Hata carried a warm message. I hope we can pass the “beacon of hope” that illuminates our unpredictable society down to the next generation.

Message 12: Ran Horihata

Ran Horihata

Genre: Porcelain (Iro-e / Overglaze enamel, Sometsuke / Underglaze blue)
At Kutani Seiyo: 2017–2019

Right after I joined, my very first piece was taken out of the kiln. When I showed it to Mr. Hata, he said, “Why don’t you display it in the showroom?” At the time, I didn’t even grasp the concept of my work becoming a commercial product. But when I placed it in an empty spot in the showroom as instructed, Mr. Hata called our business partners the very next day, saying, “Come see the work of our two new apprentices” (the other beginner was Yoshino Yokoi). It felt as if time had suddenly started moving forward at an incredible speed.
I spent three years at Kutani Seiyo. Since I had always aimed to go independent, it was a relatively short stay, but for me, those three years were incredibly intense, packed with immense learning and experience.
After going independent, I spent four years at a support workshop. I had prepared myself for the connection with Kutani Seiyo to fade, but there were many things I didn’t understand about firing kilns, and I consulted Mr. Hata every single time. He even came to inspect my kiln to help find the cause of firing issues. Mr. Hata once teased me, saying, “Ran, you sure call me a lot even though you’ve left!” Yet, during those four years at the support workshop, he would bring business partners to see me or simply stop by to visit about once a month. I am deeply grateful for his incredible kindness during my early days of independence.

Message 13: Asako Yonemitsu

Asako Yonemitsu

Genre: Semi-porcelain (Iro-e / Overglaze enamel, Sometsuke / Underglaze blue)
At Kutani Seiyo: 2013–2018

During my time at Kutani Seiyo, I was always overwhelmed by the immediate tasks at hand and had no peace of mind, but Mr. Hata constantly reached out to me. His topics of conversation were incredibly diverse, ranging from “What makes a piece of tableware truly good?” and “What we can learn from antiques” to occasionally “Which era of Nabeshima porcelain we should study.” His conversations, which started casually like everyday chatter so that we wouldn’t feel too pressured, were incredibly precious.
I had joined thinking that mastering the craft meant learning to make a wide variety of tableware. Therefore, when Mr. Hata said, “Tableware is not just about technique,” it felt like a message from a completely different world. Though I listened, I had no confidence that I was digesting it, and I felt a sense of anxiety that the lessons were slipping away without me grasping anything.
Mr. Hata likely sensed that I wasn’t fully grasping the meaning of his words, yet he patiently kept sharing them with me anyway.
Now, many years later, I finally have moments where I realize, “Ah, so that’s what he meant.” At those times, I feel a mixture of joy for finally understanding and regret for not realizing it sooner. Still, I am filled with gratitude, knowing that the five years I spent at Kutani Seiyo were an irreplaceable time of learning. I hope to continue connecting the dots of Mr. Hata’s teachings one by one in the years to come.

Message 14: Yoshino Yokoi

Yoshino Yokoi

Genre: Porcelain (Iro-e / Overglaze enamel, Sometsuke / Underglaze blue)
At Kutani Seiyo: 2017–2024

Mr. Hata always said, “Let’s make something interesting!” and created an environment where we could focus entirely on making pieces without worrying about short-term gains. Although I could do almost nothing when I first joined, he took a practice-first approach, telling me, “Try throwing on the wheel,” and let me shape a lot of clay. While he never dismissed the immature originality of young makers and encouraged our unique strengths, he also frequently advised us to “study old things” and “learn about cooking.”
To be honest, I initially had no idea what to look for when studying old things. However, one day, Mr. Hata placed a white porcelain small dish from our showroom on the desk and asked, “Doesn’t placing a single pickled plum on this make the rice taste so much better?” At that moment, a vivid image of delicious, freshly cooked hot rice and a pickled plum flashed through my mind.
I still clearly remember that slightly deep small dish with its lattice pattern. I want to bring the many insights he shared with me into my future work.

Message 15: Mayumi Takahara

Mayumi Takahara

Genre: Porcelain (Sometsuke / Underglaze blue, Iro-e / Overglaze enamel)
At Kutani Seiyo: 2009–2024

I knocked on Kutani Seiyo’s door drawn by the appeal of handling the entire process, from shaping to painting, on my own. I joined the company with the expectation of mastering basic skills to create my own pieces. However, Mr. Hata taught us that “there is something more important than technical skills,” sharing his insights not just on ceramics, but on history, culture, and the nature of things from a broad perspective.
He wanted us to acquire the ability to think and discover for ourselves what kind of tableware we should create. I believe he wanted us to grow both as individuals and as potters.
Holding Mr. Hata’s frequent words, “Let’s create joyful tableware!” close to my heart, I look forward to continuing my creative journey.

Message 16: Manabu Hosomi

Manabu Hosomi

At Kutani Seiyo: 2004–2011

At Kutani Seiyo, my work mainly focused on producing standard collections, such as the carved white porcelain series (Hakuji Shinogi). I made a significant quantity every day. However, I found the shaping process for the carved white porcelain plates particularly challenging. It uses a technique called *Hikiuchi*, where the clay is thrown on the wheel and then pressed into a mold to create the carved flutes.
I wanted to achieve a beautiful, clean carved pattern, but if pressed too hard, the clay would stick to the mold and warp during firing. Conversely, if the pressure was too light, the carved pattern would look weak, losing half its appeal.
Because the dryness of the clay changed depending on the seasonal temperature and humidity, I had to check the weather and temperature every morning, estimate the drying speed, and decide how many pieces to throw on the wheel that day. The carved white porcelain plates come in six sizes, from roughly 10.5 cm to 25.5 cm (3.5 to 8.5寸). The final result varied every single time, making each production a valuable learning experience.

Message 17: Kazuhiro Arima

Kazuhiro Arima

Genre: Pottery
At Kutani Seiyo: 2006–2011

I had the privilege of traveling to various places with Mr. Hata. I was incredibly nervous when we were shown Ming dynasty Shonzui and Momoyama period Oribe ceramics at an antique dealer in Kyoto, but it was an invaluable experience.
He always challenged us, the younger staff, with questions about various subjects. Whether it was modern art or classical antiques, he taught us to look beyond the surface and closely observe the reality hidden behind them.
When I was at Kutani Seiyo, it was right around the time when orders for Hanako Kusaka’s pieces were beginning to soar. Her fresh, new style of painting was starting to redefine Seiyo’s classics. Mr. Hata was incredibly quick to embrace and elevate the unique qualities of the next generation of makers. His flexible and open-minded attitude remains deeply impressed upon me.

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