At the Osaka Expo, Italian and Japanese craftsmanship cultures are compared. Graphic designer Kenya Hara and others discuss the similarities and differences between the two countries' manufacturing processes.
Summary of the Article: Comparison of Italian and Japanese Craftsmanship at the Osaka Expo
At the Osaka Kansai Expo, Italian and Japanese craftsmanship were showcased and compared through panel discussions featuring prominent designers, chefs, and business leaders from both countries. The event highlighted the two nations' deep cultural, artistic, and technical affinities and key differences in social perception, education, and branding strategies.
1. Common Ground in Craftsmanship and Design
During 'Made in Italy Day', celebrated on Leonardo da Vinci's birthday, exVinci's from Italy and Japan convened at the Italian Pavilion. Speakers emphasised a shared focus on creativity, attention to detail, and a pursuit of beauty and harmony in both countries.
Designers Fabrizio Giugiaro, Kenya Hara, and Kiyoyuki Okuyama discussed mutual influences and lessons. Giugiaro, who had worked extensively in Japan, credited Japanese auto manufacturing for its efficiency and commitment to improvement. He contrasted Japan's approach with Italy's moulds, illustrating different paths to quality.
Okuyama noted that craftsmanship is more socially respected in Italy than in Japan. He urged Japan to learn from Italy's small and medium-sized enterprises and cultivate global recognition.
2. Culinary Crossovers: Japanese and Italian Cuisine
The second panel focused on food. Chef Shinichiro Takagi drew parallels between the umami-rich bases of Japanese and Italian cuisines, such as tomatoes and kelp, and discussed the emotional and technical intensity of fine dining in both cultures.
Takagi likened kaiseki cuisine to opera—richly layered and underappreciated internationally compared to globally popular Japanese dishes like sushi and ramen. He emphasised the need for Japan to communicate its culinary arts in more depth.
Italian chef Luca Fantin, who works in Japan, shared his method of recreating Italian tastes using Japanese ingredients. He does not import but understands the essence of flavour and flavour of local products like olive oil, salt, and tomatoes. This session highlighted a broader theme: interpreting cultural heritage through local innovation.
3. Luxury and Brand Perception
The third panel addressed the luxury market. Sabina Belli, CEO of Pomellato, and Kentaro Shishido from Mitsukoshi Isetan discussed how Italian brands succeed by appealing to emotions and offering a sense of confidence and continuity.
Luxury consumers in Japan value Italian products not just for fashion, but as heirlooms, suggesting long-term quality and emotional investment. Shishido noted that post-pandemic challenges hit tourist-driven sales, but loyal Japanese customers remained a strong market.
Belli stressed that outstanding quality and customer relationships, rather than short-lived trends, bring resilience in uncertain times.
4. Reflections on Cultural Strategy
Kenya Hara concluded that Japan must redefine its cultural branding, shifting from trend-following to revitalising traditional aesthetics as modern resources. Through initiatives like Japan House (in London, São Paulo, and Los Angeles), Hara has tested global interest in post-industrial Japanese identity rooted in regional traditions rather than mass production.
Final Takeaway:
The symposium revealed a strong mutual respect between Italian and Japanese craftsmanship. However, Japan is at a strategic crossroads, needing to elevate its artisan class, rethink design education, and leverage its unique cultural assets to build a globally sustainable and admired identity.
1) Commonalities between Italian and Japanese craftsmanship cultures:
'Made in Italy Day', a new national holiday established by the Italian government in 2024, celebrates Italian creativity and excellence. It is celebrated on 15 April, the birthday of Leonardo da Vinci.
While a symposium was held in Rome to celebrate the first national holiday in 2024, this year's second national holiday saw the seminar occur outside of Italy, at the Italian Pavilion at the Osaka Kansai Expo in Japan.
The Italian government is so committed to the Expo that it has appointed an ambassador to the Expo site. Events are held daily at the pavilion, where Japanese and Italian participants discuss topics such as Italian municipalities, the economy and space development.
Italian and Japanese artisan cultures have much in common regarding creativity, craftsmanship, and innovation.
It is essential that the two countries share their experiences and inspire each other,' said Marco Granelli, president of Confartigianato, an organisation bringing together Italy's 1.5 million small and medium-sized enterprises.
The difference between design and manufacturing lies in the social status of artisans.
The symposium featured three panel discussions. The first session's panellists were Fabrizio Giugiaro, a master of automotive design; designer Kenya Hara; and car designer Kiyoyuki Okuyama. They discussed the possibilities of design and manufacturing in both countries and mutual learning.
Having visited Japan for his father's work in 1978 at 13, Giugiaro has been deeply connected with Japan ever since. He emphasised that much of his career success was due to his work in Japan, particularly with the car manufacturers Toyota and Suzuki.
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He pointed out that Japan and Italy have many things in common, such as a shared pursuit of beauty and harmony, and a flexible approach to innovation. Reflecting on history, he noted that Japanese engineers in the automobile industry surpassed their Italian counterparts with their commitment to improvement.
He suggested that Japanese cars became so high quality in the 1980s because Japan had more than twice the population despite having the same land area as Italy. This meant there was limited space for car assembly, so processes became more efficient.
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He also observed that, unlike Italy, which uses one large mould, Japan uses six or seven smaller moulds, precisely arranging them to hone their skills and improve quality.
In any case, he concluded that there is much that the two countries can learn from each other.
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Kiyoyuki Okuyama, a Japanese car designer who has worked in Italy, said in fluent Piedmontese Italian, 'I can't speak Italian. I only speak Piedmontese," which excited the audience.
Italian design inspired Okuyama to become a car designer. He said that Italian and Japanese manufacturing share a commonality: they value craftsmanship. Still, he added that the most significant difference between the two countries is the social status of craftsmen. Italy is overwhelmingly more highly regarded.
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He suggested that Japan learn from Italy how to develop craftsmanship into a global brand and promote excellent small and medium-sized enterprises and culture worldwide.
He also emphasised the importance of the ongoing discussions that take place every day in Italy. He said that Japan also needs to deepen its learning through discussion.
He also touched on the current state of design education in Japan. He said that, to reach a global level, it is essential to gain experience abroad, for example, in Italy, and to have the opportunity to see beautiful things.
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Passion for Japanese and Italian Food:
The second panel discussion focused on Japanese and Italian cuisine.
When you think of Italian vegetables, the first thing that comes to mind is the tomato. The glutamate in tomatoes, the so-called umami component, and the glutamate in kelp are almost identical scientifically.
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Inosinic acid, found in meat and fish, is another umami component, and combining these two creates an explosive umami flavour. However, not many dishes in the world utilise this combination. I think this is a crucial commonality between Japanese and Italian cuisine.'
These are the words of Shinichiro Takagi, the owner of Zeniya, a two-Michelin-starred restaurant in Kanazawa, which has also been selected as a member of Relais & Châteaux, a group of top French restaurants.
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Takagi's image of Italian chefs is of them cooking coolly. However, when he saw a chef at a collaborative event in a high-end restaurant in Trento, Italy, run out of the kitchen, panicked and scold a server whenever a glass or plate was knocked together, he felt a sense of affinity with the chef.
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'You might think one mistake doesn't matter, but it can lead to a chain reaction. They come from carelessness and a lack of concentration, and when that happens, the food quality deteriorates. I think creating a strict atmosphere is one of a chef's jobs, and it was valuable to experience that in Italy," he recalls.
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His words also convey a sense of sadness about the harsh working environment in Japanese cuisine and the fact that young people are leaving it.
Having been appointed a 'Goodwill Ambassador for the Promotion of Japanese Cuisine' by the Ministry of Agriculture, Forestry and Fisheries, and appearing on the Netflix cooking show 'The Final Table', he has been working tirelessly to promote Japanese cuisine worldwide. But what does he think about the recent boom in Japanese cuisine?
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Kaiseki cuisine is like opera:
Even if you say it's popular, I think most people like sushi, ramen and tempura. If I asked the Italians here if there were any other types of Japanese cuisine they liked, I don't think many would come up with anything.
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In musical terms, these dishes are solos. In contrast, I think the kaiseki cuisine I usually prepare is like opera. Of course, opera requires singing. Kaiseki cuisine is performed amidst complex elements such as stage direction, textiles and even the theatre, whether inside or outside.
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"But it's not widely known. I don't think Japanese cuisine has spread worldwide yet," he said.
Luca Fantin, the executive chef at Bvlgari Il Ristorante Luca Fantin, appeared on stage with Takagi. For 13 years, he has maintained a one-star Michelin rating.
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He said that, although he was surprised by the high quality of Japanese food, he was also taken aback by the differences in ingredients and how they are used. He added that he sometimes hit a wall.
He developed an approach that reinterprets how to recreate dishes using Japanese ingredients based on his memory and understanding of the essential taste of Italian cuisine, even if the physical ingredients are different.
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Rather than simply bringing ingredients from Italy, he can sometimes recreate the Italian taste he is looking for by combining simple, high-quality Japanese ingredients, such as olive oil and salt.
He said, for example, that 'if you add olive oil and salt made in Japan to tomatoes and basil from Japan, it will taste Italian'.
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He said that he achieves this through a unique process of 'closing his eyes and imagining the taste of Italy'.
This thought-provoking session showed that, while importing and exporting authentic products is one way to spread culture, there is also a way to identify its essence and reinterpret and reconstruct it.
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The luxury market creates a foundation for quality.
The third panel, on the theme of the luxury market, featured Sabina Belli, CEO of the Italian jewellery brand Pomellato, and Kentaro Shishido, merchandising manager at the Isetan Mitsukoshi Group.
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Belli described her job as 'procuring joy'.
'Nobody needs any of these jewels, and we can live without them,' she said. However, people still spend a lot of money on them because they 'speak to emotions'. Many of Pomellato's customers "buy their jewellery".
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Many women buy jewellery to celebrate special moments or to treat themselves. "You don't need a husband or partner to enjoy wearing jewellery," she said.
Shishido also said that appealing to these emotions encourages high-value spending.
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Since the start of the pandemic, Mitsukoshi Isetan has enjoyed "good customers, record profits and continued success". However, since March this year, 'the numbers have suddenly become tough'. The reason for this is the decline in inbound tourists.
However, a detailed analysis revealed that sales to valued Japanese customers are 'still robust'. This sales system is unique to Japanese department stores and has remained consistently good since the start of the pandemic.
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What is an outstanding quality?
Italian brands are particularly popular among these customers. Wearing Italian brands gives customers a sense of 'great confidence', 'elevation', and 'enrichment in daily life'.
There is also a sense of comfort when others praise your clothes, saying things like "That's nice" or "Where did you buy that?" This fosters a psychological sense of safety, security and trust in the brand.
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Another characteristic of customers who buy products from Italian luxury brands is that they don't buy them just because they're trendy; they buy them because they think they might be able to pass them on to their children or grandchildren.
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Shishido says that one of the Italian brands' strengths is that they 'allow you to imagine' continuing to use them for generations.
Belli also says that 'qualitative excellence' is essential.
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If you follow trends with a short-term mindset, you will be swayed by fads and find yourself confused. In contrast, providing products of outstanding quality and building good relationships with reliable, high-quality customers will bring stability, even in emergencies such as the current pandemic.
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In summary, the message from the three panel discussions became clear.
Currently, Japan's cultural and national brand strategies are disorganised and do not necessarily pursue a superior quality that would enhance Japan's image (it seems that many methods are aimed at trend-following customers).
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In addition to the Japanese aesthetics mentioned at the beginning, Kenya Hara stressed the importance of reconsidering Japanese traditions as resources for the future.
At the request of the Ministry of Foreign Affairs, Hara Kenya created Japan Houses, bases for disseminating Japanese culture, in London, São Paulo and Los Angeles. During high economic growth after World War II, Japanese companies moved towards standardised mass production, but they are now at a turning point.
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'As we aim for a post-industrial society, the challenge is to use the geographical features and traditions of the Japanese archipelago as resources for the future, rather than looking back on the past,' he said.
Japan House was also a place to test whether such resources would attract overseas interest.
At the Osaka Expo, Italian and Japanese craftsmanship cultures are compared. Graphic designer Kenya Hara and others discuss the similarities and differences between the two countries' manufacturing processes.
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