TAKAMICHI OKUDA, NAKAYO-SHI CEO AND OMISSEY CRAFTSMAN: "IF BAMBOO TABLEWARE DOESN'T BECOME THE NORM, IT WILL BE IMPOSSIBLE TO CHANGE THE ENVIRONMENT" (France)
Lovers of Japan and its culture, Pascal Aubert and Omissey's mission is to promote the expertise of Japanese craftsmen, such as Takamichi Okuda, and their deep commitment to eco-responsibility, to hoteliers.
TAKAMICHI OKUDA, NAKAYO-SHI CEO AND OMISSEY CRAFTSMAN: "IF BAMBOO TABLEWARE DOESN'T BECOME THE NORM, IT WILL BE IMPOSSIBLE TO CHANGE THE ENVIRONMENT" (France)
Lovers of Japan and its culture, Pascal Aubert and Omissey's mission is to promote the expertise of Japanese craftsmen, such as Takamichi Okuda, and their deep commitment to eco-responsibility, to hoteliers.
Japan is a land of paradoxes, a schizophrenic country caught between its appetite for modernity and its ancestral roots, where philosophy and a deep respect for nature and tradition come together. A duality perfectly illustrated by its capital Tokyo, a sprawling megalopolis, offering a horizon of concrete, glass and light as far as the eye can see, but bordered by the Pacific Ocean and dotted with gardens and temples that evoke the empire's rich history. Japan has cultivated and cherished this history, nurturing the wisdom of past generations and its immemorial know-how.
Metal and woodwork, cutlery, silks, origami, porcelain, glassware and more - Japanese craftsmanship abounds, distinguished by its quality, sensitivity, finesse and precision. Pascal Aubert fell in love with this unique craft on his travels through the archipelago. More than anything else, it's the commitment and philosophy behind it that appeal to him. In Japan, art is a matter of conviction. With the support of his daughter, who lives in Tokyo, he set out to meet craftsmen scattered across Japan with the idea of making their unique work known by distributing their work, and founded Omissey.
He then selected a number of craftsmen whose creations, in his eyes, embody Japanese culture, tradition and local customs, while at the same time responding to a virtuous approach. Omissey sees itself not only as a bridge between cultures, but also as a promoter of sustainable consumption, as in the case of its Riveret collection of bamboo tableware. With its clean lines giving it remarkable aesthetic appeal, this entirely hand-crafted range bears witness to the care of the craftsmen promoted by Omissey and meets the most exacting requirements, including the application of a special coating that penetrates the wood and thus prevents it from changing color or staining, enabling it to be used in a similar way to glass or ceramic products.
Beauty, durability, transmission, but also playfulness through products designed for children: these are all commitments that are close to Pascal Aubert's heart, and he took the time to exhibit them at the Journal des Palaces, inviting one of his craftsmen Takamichi Okuda, head of his own company Nakayo-shi, to take part in the exchange. A sincere conversation about the art and craft of making, as well as the relationship with the elements and respect for the environment.
Journal des Palaces : Could you tell us a little about Omissey and its history?
Pascal Aubert: Omissey was born out of our encounter with Japan, a little over 10 years ago now. My daughter, living and working in Tokyo, met artisans from different regions, both professionally and personally. These craftsmen, each experts in their own field for generations, have always been keen to share Japanese culture through their creations. For many of them, France conveys an image of refinement likely to appreciate these high-quality products. Omissey is thus the link between these craftsmen (some of whom don't sell abroad today) and France, where the exceptional still has its place.
My various trips to Japan have also convinced me of the richness and quality of Japanese craftsmanship, as well as its philosophy.
Omissey has created a range of tableware made entirely from bamboo. Why this choice? What are the advantages of such a material?
Takamichi Okuda: Looking for a material that protects the natural environment and can be used continuously with a stable supply, we found the answer in the use of "bamboo". Bamboo grows 10 to 20 times faster than ordinary lumber, and doesn't require the use of pesticides or chemical fertilizers to accelerate its growth.
Bamboo also grows by its own underground stem, so there's no need for excessive reforestation or deforestation, which can have a negative impact on the ecosystem.
It is a natural resource that can be used efficiently and repeatedly over a minimal area. We believe that the widespread use of bamboo tableware, whatever the country or culture, will protect the natural environment and enrich future lifestyles.
What were the challenges involved in creating an all-bamboo collection?
Takamichi Okuda: Bamboo, which is more than twice as strong as ordinary wood, is extremely difficult to saw and shave. We began research and development in 1988, examining bamboo right from its growth phase.
Through a process of trial and error, it became possible to create the beautiful lines and delicate shapes we see today. It's also thanks to the know-how already present that working with bamboo was made possible.
Is this plant-based approach part of a desire to reduce your environmental impact and offer tableware that is as luxurious as it is virtuous?
Takamichi Okuda: If it doesn't spread around the world, it doesn't make sense. If bamboo tableware doesn't become the norm, it will be impossible to change the environment. Our mission is to develop tableware that is not only environmentally friendly, but also practical enough to be used safely in everyday life, and designed in such a way that people will choose it as a gift.
The manufacturing process of this tableware complies with the environmental aspects of the Sustainable Development Goals (12: Responsible Consumption and Production, 13: Climate Action, and 15: Life on Earth), and the use of this tableware will lead to "efforts that can be implemented in everyday life" for users and society. We believe that these activities, which will lead the world of "eco-products" into the future, deserve recognition.
One of your best-sellers is a wooden plate for children that can be assembled and disassembled like a puzzle. Why are you targeting children directly with this product?
Pascal Aubert: We wondered whether we could do something in the field of tableware to help children in their early years, when they find it hard to concentrate on their meals, lack interest and are picky about their likes and dislikes.
We've designed a puzzle-shaped plate that can be arranged in different ways to allow children to eat freely and with pleasure. Puzzle plates stimulate imagination and creativity, and increase interest in food. Children's eyes learn things through small changes. Dishes that combine food and intellectual education are part of childhood memories.
All your products are made in Japan. Why do you produce everything there, and what makes Japanese craftsmanship unique?
Pascal Aubert: Our aim was to create tableware in natural materials that is delicately fine, resistant, dishwasher-safe, oil-repellent and colorfast. These characteristics are difficult to achieve without the skills of a master craftsman, and require unique processing techniques born of new ideas. This is only possible in Japan, a country with a long tradition of woodworking products.
It is precisely thanks to the delicate and meticulous spirit of Japanese "monozukuri" (manufacturing) that a stable mass production system can be established while maintaining quality.
Our strength lies in integrated in-house management, from the design and cultivation of materials, through sawing and manufacturing, to shipment to the customer.
How do you choose the craftsmen you work with? What do they bring to the table in terms of technical expertise and work philosophy?
Pascal Aubert: From the outset, our aim was to find high-quality products that told a story. So we naturally turned to craftsmen who make specific products. What's more, these craftsmen are heirs to ancient skills handed down from generation to generation, or skills acquired over time. In Japan, time is inseparable from high quality. For the Japanese, the time it takes to obtain a quality product is non-negotiable; it takes a certain amount of time...
It's important to remember that some of these craftsmen didn't sell outside Japan, so we had to make ourselves known and give every guarantee that we would pass on their values with all due respect. Trust with Japanese craftsmen isn't something you come to expect; you have to earn it and be patient.
Above all, we want to emphasize the quality of the material and the workmanship, as opposed to high-volume, low-cost products. The rigor and meticulous workmanship of Japanese craftsmen is well established.
What are your thoughts on the choice of materials?
Pascal Aubert: The choice of materials varies considerably depending on what you want to convey and what you want to achieve.
Material selection is the most important element of "monozukuri" (product manufacturing), and the concept starts there. The products born of a forward-looking "monozukuri" are the ones that have real value.
Which prestigious hotels do you work with?
Pascal Aubert: We have contacts with the Nikki Beach Fairmont Monte Carlo, the Selman in Marrakech, and others are in the pipeline.
How has hotelier interest in your products evolved? Have their expectations also changed?
Pascal Aubert: Our bamboo range represents a real alternative to glass (which is not authorized for poolside use) and to plastic, which is not ecologically responsible. We offer high-quality, dishwasher-resistant products with a very pleasant feel. The quality of the material and the execution of the products are perfectly in line with palace standards.
What products would you like to develop and offer in the years to come?
Pascal Aubert: For the bamboo tableware part, we'd like to develop the gift part for hotel boutiques. We can personalize the products with an engraving (which must be done by the craftsman to preserve the quality of the product) with the hotel's logo.
We have just referenced a manufacturer of knives, forged in gingami steel. These authentic knives also reflect a very particular philosophy in the art of preparing and cutting food.
A journalist with many skills and an ever curious traveller, Christopher has a great attraction for carefully refined hotels, where characterful gastronomy, impeccable service and sincere elegance go hand in hand. A discreet and gourmet pen at the service of a certain idea of luxury.
