Amy Katoh: Finding Japan’s extraordinary beauty in ordinary objects
When Amy Katoh opened Blue & White in Tokyo’s Azabu Juban in 1975, it was out of her compulsion to preserve pieces of traditional Japan before they disappeared. Speaking little Japanese at the time, Katoh went door after door seeking out Japanese craftsmen of everyday objects and shed light on their work.
As her shop enters its fifth decade, Katoh talks about how ordinary objects exemplify the exceptional quality of Japanese folk art, how her children support their “clumsy mum’s crazy endeavors,” and what her ambitions are for Blue & White.
Photos: Kohei Watanabe
The following is an excerpt of KIKITE’s conversation with Katoh on November 27, 2021. It was conducted in Japanese. Questions and answers have been edited for clarity and brevity.
We always spoke in English, but for today we will speak in Japanese.
I’m not sure if it’s a good idea, but I'll try my best.
Why did you choose the name Blue & White for your store?
I wanted to introduce every traditional Japanese handcraft, but our store was too small to house everything. Then I remembered seeing a lot of indigo dyeing (aizome) in Japan, and pottery frequently using blue and white colors, so I thought, maybe I can start with something small like “Blue & White”? It turns out blue and white is so ubiquitous that until today, I am still discovering new blue and white objects. Some might say Japan is a small country, but in terms of its craft, its breadth is second to none.
I remember reading your books, and you mentioned you first came to Japan in the 1960s.
Yes, when I was 16, I met a funny Japanese guy who confidently told me how good Japan was and told me, “you have only been living in the countryside of Massachusetts, why don’t you come visit Japan?” So when I was 20 years old, I visited Japan for a year. Well, actually it was about 10 months, the next two months I married him and became a mother of four children.
“I have traveled to different places in Japan over the past 45 years, but there are still so many great artisans out there that I haven’t met yet.”
What was your impression of Japan at the time?
I was very surprised! Japan took very good care of things, and there were very few things. The first time I lived with my Japanese family, they asked me if I wanted to take a bath 30 minutes after I sat down, and I thought, “isn’t it too early for a bath?” When I went to the bathroom, grandma was just coming out of the bath, fully naked, and said, “the water is still hot, enjoy.” I did, and after me, the entire family took turns to go into the same bathtub — bathing in the same water.
When the hot water turned cold the next day, it was then used for laundry or for the garden. I didn't learn Japanese right away, but I did pick up the word "mottainai” (wasteful). I was also amazed at the wonderful use of blue and white, such as the hanten (a type of short winter coat) carpenters were wearing.
And that eventually led you to start your store.
It all started 45 years ago in 1975. We were three women, a friend from Japan, a friend from England, and myself. Together we had 10 children. At that time, Japanese people longed for new things and foreign brands, and felt that old things were dirty and unwanted. So we thought if we didn't hurry up and start collecting them, traditional Japan would disappear.
We were happy to pick up things that were about to be thrown away and put them in this store, and we tried to blend old and new Japan together as much as possible. My friends have already moved on, but I carry on with the help of my children.
Where do you discover your items?
At the beginning I didn't know any artisans, so it took me a long time. I went to department stores, exhibitions, restaurants, and many other places. I would go there and ask in Japanese, “Excuse me, who made this beautiful object? May I get the craftsman’s contact information?” And they are usually willing to tell me.
I have traveled to different places in Japan over the past 45 years, but there are still so many great artisans out there that I haven’t met yet.
Japanese people are really kind to me. No matter how remote the place is, and no matter how strong their accents are, people would talk with me. Maybe they are intrigued by this strange, incomprehensible lady.
You've written a lot of books about Japanese traditions, not only blue and white folk art, but also country living, lucky charms, etc. It seems you have a lot of hobbies.
I'm definitely greedy, but I think that was triggered when I came to Japan. I really feel like I'm from the Jomon period. There are so many interesting things in Japan, and I am interested in almost all of them.
“ I like things that are imperfect, because from there you can see the heart of the craftsman.”
Do you have any criteria for choosing what is interesting and what is not?
In my mind, yes! My children don't think so, though.
I don't like machinery, I like things that are handmade. I don't like shiny things, I like strange things and things that have a sense of humor. I always pick up simple, rustic and unfancy things, rather than those that are too sophisticated. I like things that are imperfect, because from there you can see the heart of the craftsman.
What are you not good at?
I'm terrible at everything. I'm clumsy and can't make anything. What I may be a little confident about is choosing what I like, I don't know if other people like it, though.
You've been running your store for more than 40 years, what do you feel is the most wonderful thing about Japan?
The craftsmanship. I think Japanese people were born with hands first. They are very good with their hands, they have a sense of humor, and they have an aesthetic sense in their bodies. That's wonderful.
What’s your next ambition?
I would like to expand my collection and show it to as many people as possible, although I have no idea how it can be done yet. My biggest dream is to create a fabric museum. I'd like to call it "Friends" and put all the modern artisans' works and my old collection together in one big place. This way, people from abroad interested in the craft can come and study, and young people who want to learn about traditional Japanese things can do so there too. Japan is a country of cloth and thread, and Japanese people should not forget that. It will probably take a lot of money, space, and energy, but I would love to make it happen.
