Imagine a world where craftsmanship isn’t just a skill but a boundless art form, where every creation tells a story of tradition, innovation, and the soul of a culture. This is the essence of Hyakkō: 100+ Makers from Japan, an exhibition that dares to redefine how we perceive Japanese crafts. But here’s where it gets controversial: can an exhibition truly capture the vastness of Japan’s craft landscape, or does it merely scratch the surface? Let’s dive in.
Currently on display at Japan House London, Hyakkō is a celebration of the ‘countless forms of making’ that define Japan’s contemporary craft scene. Curated by Nagata Takahiro in collaboration with Ryohin Keikaku, the parent company of retail giant Muji, this exhibition features nearly 2,000 works by over 100 designers. From delicate ceramics to sculptural glass pieces, and from lacquerware to sleek aluminum furniture, the diversity is staggering. And this is the part most people miss: it’s not just about the objects; it’s about the stories, the regions, and the philosophies behind them.
Takahiro’s vision was clear: to showcase a wide array of materials and regional styles without confining the exhibition to a single genre or school. ‘Hyakkō is about craft as countless forms of making,’ he explained to Dezeen. ‘We’ve brought together works in clay, wood, metal, lacquer, bamboo, glass, and more, from various corners of Japan.’ To achieve this, Takahiro and his team embarked on a journey across Japan, from remote mountain studios to urban workshops, handpicking makers whose work reflects both sincerity and a deep connection to their environment.
Take, for instance, the sculptural glass pieces by Toyama-based artist Takeyoshi Mitsui, or the intricate ceramics of Shiga’s Haruyuki Matsumoto. Then there’s Jiro Nagase’s slender aluminum chair, a testament to modern craftsmanship rooted in Yamanashi. Each maker in Hyakkō has not only mastered their craft but also carved out a unique style, earning them solo exhibitions and recognition in their own right.
But here’s the bold question: does Hyakkō truly represent the entirety of Japanese craft? Takahiro admits it doesn’t—and that’s intentional. ‘It’s impossible to create a complete picture of Japanese craft today,’ he says. Instead, the exhibition offers a ‘tangible sense of one part of the craft landscape,’ emphasizing the word hyakkō (meaning ‘hundred pieces’ in Japanese) as a metaphor for the countless practices that define craftsmanship.
Japan’s craft scene is thriving, with regional variations that make it impossible to encapsulate in one exhibition. Yet, Hyakkō succeeds in providing a multifaceted view by bringing together diverse materials, places, and perspectives. But here’s where it gets controversial: in an age of mass production, does the slow, deliberate process of traditional craftsmanship still hold relevance? Takahiro believes it does, especially now. ‘There’s a renewed global interest in the stories behind objects and the ethics of their makers,’ he notes. ‘Japanese craft carries a distinctive worldview—one that accepts natural cycles, embraces imperfections, and centers on working with local materials.’
This exhibition, which debuted at Muji’s Atelier Muji Ginza, is now making its way to international audiences, with stops at Japan House locations in Los Angeles and São Paulo after London. It’s a timely showcase, as the world increasingly values the patience and beauty embedded in handmade objects.
Previous Japan House London exhibitions have explored themes like Japanese carpentry, graphic signage, and hyperrealistic food models, but Hyakkō stands out for its ambitious scope and philosophical depth. The stunning photography by Jérémie Souteyrat, courtesy of Japan House London, further elevates the experience.
Hyakkō: 100+ Makers from Japan is on display at Japan House London until 10 May 2026. For those eager to explore more global exhibitions, talks, and openings in architecture and design, the Dezeen Events Guide is a treasure trove of inspiration.
Now, we want to hear from you: Does traditional craftsmanship still hold value in today’s fast-paced world? Can an exhibition like Hyakkō truly capture the essence of a culture’s craft, or is it inherently limited? Share your thoughts in the comments below—let’s spark a conversation!
