Journal

HAVEN / Nanga 2025 Tokyo Field Tester

A study of craft through Japan’s creative community

To coincide with the release of the HAVEN / NANGA Winter 2025 collection, we connected with members of Japan’s creative community. These are individuals who approach their craft with intention, drawing from personal backgrounds, lived experience, and a deep respect for process. Their considered approach reflects the values behind this collaboration, with an emphasis on longevity, functionality, and thoughtful design shaped by real environments.

Name: Shinichi Konno

Occupation: CHERUBIM Master Builder

Location: Tokyo, Japan

What led you to manufacturing bikes?

First of all, it comes down to the fact that 'I love bicycles’. Since my childhood, I was familiar with bicycle races, and dreamed of being involved with bicycles as a professional competitor.

Another reason for what I do now is the environment I grew up in. My 'playground' was a bicycle manufacturing workshop since I was a small child. Instead of doing conventional ‘child’s play’ like drawing or playing with toys, I was a child making things out of scrap materials found in the workshop.

When I started riding bicycles, I naturally loved maintaining them, and the process of maintenance and tuning became my second nature. I believe that aspiring to build bicycles myself was a very natural progression for me, given my background.

How would you describe the philosophy behind your craft?

My very first priority is the performance of the bicycle, which is to say, its matching with the rider.

The bicycle is a vehicle, and the most important thing is to draw out the best performance of its extremely unique and ambiguous engine, which is the human engine. The same principle applies whether it’s for a hobbyist or for the world of racing and is about creating something that is closely attuned to a person. Every single task, from design, pipe selection, to welding and assembly, must remain linked to this core principle.

What role does Tokyo play in shaping the identity of your work?

I take great pride in believing that Japan's bicycle manufacturing technology is the best in the world. This is because of our Keirin racing culture. Keirin competitions are held almost every day of the year, with riders participating in over 120 races. Some races offer prize money between 50 and 100 million yen. The riders' demands are endlessly high, and they provide us with precise and valuable feedback. To continue building frames for Keirin races, only builders capable of meeting the exceptionally high standards of professional racers can survive in that world.

While It’s often said that the internet allows for a similar quality of life anywhere, the chance to connect and draw direct inspiration from others is vastly higher in Tokyo. In fact, every day I communicate face-to-face with professional riders, students, hobbyists, manufacturers, and many others, and I receive a great deal of inspiration from them. I believe that the bicycle will continue to evolve as the many people who are passionate about cycling and those who are passionate about craftsmanship, including myself, intersect in various ways.

How important is functionality in the way you approach your personal style?

My days are packed with different things, from designing, building bikes, talking to customers, riding, to teaching, you name it. So, I just unconsciously pick a style that works for all of them. It's also key that my clothes work well with what I already own. Ideally, I can just grab something without thinking and it all comes together nicely. And obviously, they need to be durable and functional. When you put all that together, I just naturally end up sticking to the brands I like and trust.

The same goes for my tools. My favourites just naturally accumulate around me based on compatibility, function, and how long they last. The only difference is that I can custom-make my own tools but making cloths is out of my league.

Name: Mayumi Yamase

Occupation: Artist

Location: Tokyo, Japan

What initially sparked your interest in painting?

I started drawing quite naturally, with a mother who was originally an animator, a manga-loving older sister, and people who liked to draw always around me. However, my serious commitment to drawing was largely thanks to my high school art teacher. My high school art classes were free and uniquely stimulating. That teacher's serious engagement with my art made the creative process genuinely enjoyable.

Also, this teacher was a graduate of a graduate school in London, which influenced me to make a decision to attend an art university in London as well. Looking back now, those classes there, where we held debates and exchanged opinions about our artwork with others, was very much a British style of education. I majored in Fine Art at Chelsea College of Art, continued my creative activities while working for several years, and am currently based in Tokyo.

How would you describe the philosophy behind your artwork?

At the heart of my creative process is a 'feeling' that cannot be clearly verbalized. It's like a presence, a temperature, or the trace of someone's existence. It loses its true form the moment it's replaced by language. That would likely be why I express these things through paintings and sculptures. What I am drawn to is the ambiguous space between different domains: reality and fantasy, people and environment, playfulness and unease.

I want to capture what are usually drawn as boundaries and view them as something softer and more fluid. It is through translating these fluctuations found 'in between' into colours and forms that my current works come into being.

What role does Tokyo play in shaping the identity of your work?

Tokyo is the place where I was born and raised, so I do think it plays a significant role in forming who I am and my art. People, the environment, and Tokyo itself contain a coexistence of chaos and harmony, and the colours and rhythms are also incredibly diverse. I believe the vast range of these diverse elements, that wide fluctuation or swing, connects to the freedom in my own use of colour and form.

How important is functionality in the way you approach your personal style?

As for what I wear, ease of movement and the lightness of materials are very important to me, and I often prioritize those factors when choosing my clothes. I also often choose based on colours and silhouettes that lift my spirits, so I’m constantly navigating the space between functionality and playfulness. When it comes to my work tools, I emphasize practicality quite heavily. The weight of a brush, the vibrancy of the ink, the texture of the paper, or even the resistance of a digital pen tip, matters to me. If there is any small feeling of discomfort, it breaks my concentration. Therefore, I am honest about my choice of tools. My artwork might appear quite sensory or intuitive, but I believe creating an environment where my body and hands can move naturally is crucial to the creation process itself, and the clothes I wear are part of that environment.

Name: Shigeru Okada

Occupation: Producer at en one tokyo

Location: Tokyo, Japan

What drew you to cooking?

I was a latchkey kid growing up, so I naturally started cooking.

How would you describe the philosophy behind your restaurants?

The principle of how I run the shop is to always think whether or not I like that shop, personally.

What role does Tokyo play in shaping the identity of your work?

I haven’t really been conscious of Tokyo much and the city since I was born in Tokyo. But I cherish this place where I was born and raised.

Tokyo has countless exceptional establishments, ranging from historic, long-established shops to innovative new restaurants. It is a city that is constantly inspiring and vibrant.

How important is functionality in the way you approach your personal style?

I basically buy goods from my friends and Senpai (seniors) who make clothing, as I have the mindset of keeping the money circulating within our circle.

I don’t get caught up in specific genres and wear a variety of cloths, which would naturally become my own personal style. I’m always seeking out the new. I don’t have any specific biases or strict rules for it.

Name: Lono Brazil III

Occupation: Runner, DJ, Owner of Cosmos Juice Tomigaya

Location: Tokyo, Japan

What inspired you to start a cold-pressed juice shop?

My active lifestyle, and my surroundings guided me to provide a community space that speaks wellness. (story continues). Me and my wife spent months in the Big Island of Hawaii, where we found a cafe that welcomed us like home. Local vibes with local quality food and drinks. There I felt the importance of having healthy space for the locals and beyond, where everyone can feel comfortable in the middle of the city.

How would you describe your philosophy behind Cosmos Juice Tomigaya?

Providing a positive space through quality organic sources. Everyone and anyone is welcome!

What role does Tokyo play in shaping the identity of your work?

Tokyo provides a level of uniqueness and quality standard through its deeply rooted culture.

It often could be perceived as subtle, but I believe this country has a strong positioning because of the long term passion and dedication in all fields of work.

How important is functionality in the way you approach your personal style?

Whether I'm out for a run, bike, or getting work done, functionality is top priority in my choices.

Photographer: Will Goodan