How the new luxury movement will change shikohin experiences. Interview with business and culture designer Hiroyuki Anzai

What brand names come to mind when you hear the term “luxury brand”? 

In the past, the luxury industry was understood as high-value businesses for the wealthy that were led by conglomerates (large scale companies with multi-industry businesses). In recent years a new understanding of luxury is emerging against the backdrop of heightened awareness on sustainability and other values which is distinctly different from the old luxury which was centered in Europe. 

Hiroyuki Anzai states, “Luxury is created based on human knowledge rather than technology and it leads to new culture.”

Hiroyuki Anzai is the co-author of Decameron About New Luxury, The Quest of Alternative Economy and Culture (published by Crossmedia Publishing, 2022). 

Anzai is a business and culture designer who popularized Roberto Verganti’s (professor at the Stockholm School of Economics and Harvard Business School) concept of innovation of meanings (a method of innovation through giving or finding meaning in products and services) in Japan.

Shikohin (luxury) products such as wine, cigars and coffee have an added high value and are part of the traditional concept of luxury. However, as the concept of luxury changes today, luxury shikohin and shikohin experiences are also changing. 

For this article, DIG THE TEA interviewed Anzai on the topic of new luxury and shikohin experiences. We discussed two major emerging concepts surrounding luxury and shikohin experiences, the idea of specificity to universality and looking at luxury as a whole rather than in parts.

 (Thumbnail photo by Ken Anzai)

From old style luxury to new style luxury

—— First of all, what made you become interested in studying the topic of luxury?

I first became involved in working with luxury in the business world when I was working for Isuzu Motors. I was part of a joint project to develop a sports car with British automaker Lotus, which was a part of General Motors at the time. 

Later, when I quit Isuzu Motors and moved to Europe, I started working in the so-called supercar industry and the furniture business. 

Back then I was not so focused on the concept of luxury. Whether it was the supercars or furniture, I simply handled them like any other commercial product. 

What inspired me to think about the concept of luxury more deeply was when I was asked to supervise the Japanese translation of the book by Roberto Verganti, Overcrowded: Designing Meaningful Products in a World Awash with Ideas (Design Thinking, Design Theory) (published by Nikkei BP, 2017).

Verganti is known for his idea of innovation of meanings. This is a method of innovation by giving or finding meaning in a product or service. When I first learned about this concept I wanted to be a part of giving meaning to innovation and that is when I became interested in luxury products and services. 

It was also around this time that I became acquainted with the director of the International Museum of Ceramics in Faenza, Italy and she taught me about the international market of ceramics and pottery. 

In Japan, ceramics and pottery have a specific function, such as tea sets, and some of those products are sold at very high prices. However, in Europe the highest priced ceramics are art pieces that do not have a specific function. For example, the top priced cups or other ceramic china may be priced at 600~700 euros at most, but if you go to a fine art gallery, the lowest price for a piece of ceramic art with no purpose and a mysterious shape is sold at at least 2,000 euros. 

When I learned about this market I began to wonder why there was such a difference and that is whyI started studying the concept of luxury deeper. 

—— The title of your book refers to a “new luxury”, but how was luxury defined in the past?

First of all, there is no set definition to what luxury is. Nonetheless, it was French conglomerates such as LVMH Moët Hennessy and Louis Vuitton which led the luxury industry by doing business as if there was a certain definition. 

Their stance was that their products and creation was what defined luxury. Because they defined it, there was no way they could get its definition wrong. 

However, since there is no one and only correct definition, there should be no need to adhere to their definitions in order to enter the luxury industry. 

As more people realize this, there has been a growing number of start-ups that have emerged from outside Europe in recent years who are creating a new type of luxury that differentiates itself from the old concept. 

—— What are some of the differences between the old luxury and the new luxury?

The old luxury was products that differentiated you from others. It was exclusive, privileged and one obtained prestige and a place in social class by owning it. 

There is a trend in new luxury known as conscious luxury. It now signifies the value in understanding and awareness in individuality and the global environment. 

The term conscious luxury has been around since the 19th century. In the past, the word conscious was used to imply “an awareness to differentiate oneself from others”, which is very different meaning from the one today. 

—— Doesn’t new luxury also differentiate itself from non-luxury products by adding the value of being environmentally friendly?

Of course a difference exists as a result, but the key point is that the motive is not to differentiate in itself. 

For example, the old luxury industry would use the word exclusive to emphasize the differentiation from others. 

Like conscious luxury, the term exclusive is now used with a different meaning in the new luxury. 

In the new luxury, exclusive means something that matches a person’s sensibilities and feelings. In other words, it is being used in a similar way to the meaning of a product that is “custom-made”.

The value of craft is shifting from “specificity” to “universality”

—— Are there any topics or products that have caught your attention as something that symbolizes these changes in luxury today?

The key word that has caught my attention is “craft”. As the new luxury movement emerges, I think that the arts and crafts movement will gain more value moving forward. 

The arts and crafts movement was a design movement that took off in England in the late 19th century. 

A designer and thinker named William Morris led this movement. He was critical of the cheap, inferior quality and mass produced products that had come to overflow in society as a result of the Industrial Revolution. He advocated for a return to mid-century crafts and the integration of art in life. 

The reason I think this movement led by Morris will gain more traction today is because the younger generation, who will be the core of the new luxury industry of the future, are more interested in craft products. Like Morris, this generation is very interested in social issues. 

For example, my son does not drink any mass produced beer from major companies, but chooses to drink only craft beers. 

One characteristic of the term craft is that the place and person of production is clearly identified. Being hand-made was initially an important aspect of luxury. However, mass produced luxury products began to emerge in the market in the latter half of the 20th century. 

Nowadays, those people who are not attracted to such mass produced products are looking towards craft products. 

Just recently I visited the crafts festival Homo Faber held in Venice every two years. It reaffirmed my conviction of just how much arts and crafts are in the limelight today. At the same time, I sensed a shift in how people are placing value on crafts. 

—— What kind of shift do you think is taking place?

Although it has only been ten plus years since craft products have really started garnering attention, I think it has always been for its uniqueness and specificity. 

From the creator’s perspective, they often add value by accentuating its local cultural and regional value. I think consumers have always enjoyed that specificity. In other words, these micro-cultures and regions played a role in showing their presence in the world. 

However, I think that crafts will eventually become something that is not used to differentiate one from other regions and cultures, but something that will create connections with other regions and culture through universality. 

When I was at Homo Faber, the first piece of craft work I saw was a collection of textiles from various countries and regions that was pasted on a canvas to make a single painting. 

Each textile used in the piece was unique with traditional embroidery of the textile artists from around the world, but when you look at the piece as a whole you don’t recognize the differences. 

Of course each textile was different, but only in the sense that each reflected the individuality of the textile artist and not because you could tell whether that textile was from India or Rwanda, at least from the eyes of someone like me who is not a specialist in textiles.  

Seeing this exhibition made me sense a shift in the emphasis on craft from specificity and locality to universality and commonality. 

—— That also brings us back to your earlier point on how luxury is now moving towards values besides differentiation. 

Whether it be ceramics, glass work, or embroidery, a lot of the materials used in crafts are readily available wherever you are. In a broad sense, the uniqueness of traditional craft products of each region comes from minor differences in how it is made or designed. 

Of course, there is no question that these minor differences are what give each culture its color and identity so it is important to respect that. 

However, as we increasingly face war and geopolitical conflicts in various regions around the world today, I believe we are reaching an age where we should not be so focused on such “minor” differences or use our energy to differentiate ourselves from each other. 

The question is how we can better connect and exchange between cultures through universal materials and methods of such crafts as ceramics and glass work. In other words, I think it is becoming more and more important to question how we can overcome minor differences. 

For example, ten countries joined the EU in 2004, mostly Eastern European countries such as the Czech Republic, Hungary and Poland. At the time, the EU used crafts as a way to create and promote a sense of unity among the member countries. 

Specifically, they held exhibitions and symposiums to promote cultural exchange through ceramics. They also created a network of museums within the EU that have large collections of ceramic works. The International Museum of Ceramics in Faenza, Italy, which I mentioned earlier, was one of the museums that played an important part in this project.

Balancing Locality and Universality

—— So the value of crafts that are part of the new luxury movement is shifting from singularity to universality?

Local and unique crafts that symbolized singularity have always been something that garnered attention as being counter to globalization. 

As supply chains around the world expanded, consumers lost sight of how the products in front of them were made and delivered to them. This is why the value of craftsmen and artisanal work started gaining traction again. 

We were also made increasingly aware of the dangers that are inherent in the global supply chains during the global pandemic and growing geopolitical conflicts.

In such times, the age where the role of crafts as being counter to globalization may be coming to an end. 

—— I wonder if focusing on the universality of craft has the risk of encouraging “cultural plagiarism”. Perhaps emphasizing the commonalities between cultures, or universality, could mask the fact that one is exploiting another culture?

The key is balancing locality (singularity) and universality (commonality).

One of the best examples of new luxury is the Italian fashion brand, Brunello Cucinelli. 

Brunello Cucinelli built his brand in one generation to the level that is on par with other top brands such as Hermes. Their brand emphasizes local values, in other words, they are promoting the balance of locality and universality. 

His philosophy is not only expressed in his clothing line, it is also reflected in a library that is scheduled to open next year. 

Ever since Brunello Cucinelli was founded, they have maintained their headquarters in Solomeo, a small town in central Italy. They are also known to make most of their clothes within a 100 km radius of their headquarters and they are now building a new library in Solomeo. 

The library will be called The Universal Library of Solomeo.  

The library will hold 40~50 thousand books on selected categories ranging from literature, philosophy, arts and crafts and architecture which are written in languages from all over the world. The concept is to create a center for universal knowledge and is not limited to specific genres or regions. 

The library also plans to build a system that will allow anyone in the world to access the titles in their book collection via AI and the internet, but in order to read the book you would have to travel there. 

Their message is “Come to Solomeo and feel and smell the paper books to access universal knowledge.” 

This way of balancing locality and universality is very typical of Brunello Cucinelli and I think that this kind of example will be an important element for luxury in the future.

Can luxury be made?

—— I would like to ask you about shikohin products in light of what we have discussed so far. What do you think will be important in future luxury shikohin products and experiences?

First off, you must understand that luxury is not a part of something, rather it should be a whole.

Let’s take candles as an example. Candles had the obvious function of providing light in the dark before the invention of light bulbs. After light bulbs became commonplace, candles became a kind of shikohin item, meant for enjoyment and not necessarily for function. 

When you go to a high-end restaurant today, they often have candles on each table. The candles are a way of creating a luxurious atmosphere, even though they are not necessary to light up the room.

However, does this mean that all restaurants with candles equate to an upscale restaurant? The answer is no. What equates to an upscale restaurant is determined by multiple factors, from high quality food, service staff, customer appearances and mannerisms and all of these aspects combined. You cannot take just one part and make the whole a luxury experience. 

Considering this, although a shikohin may be a kind of catalyst in creating a luxury experience, I think it would be difficult to consider a shikohin itself as luxury. 

Perhaps the first step in making shikohin experiences a kind of luxury is to look at the whole experience rather than just one part.

—— What is an example of a luxury shikohin experience that looks at the whole rather than a part?

Let’s use travel as an example. According to a survey conducted by Jalan (a popular travel site in Japan) research center, the average length of a domestic trip in Japan was 1.82 nights and 80% of the trips were either one or two night stays. 

What this means is that most Japanese people do not take domestic trips that are longer than three nights. 

When you travel on short trips that are only one or two night days long, you are often rushed and travel in a way that only allows for short visits to the major tourist spots. After going to the famous spots and eating at one of the well known restaurants in the region, your trip is over. 

This would not constitute a luxury experience because you are not getting the whole experience of the place. 

I don’t think it’s possible to really experience a place unless you stay there at least three days. If you stay longer than three days, you begin to memorize the roads around your hotel and become familiar with the shops in the area. You also get a sense of the local people. 

I believe a luxury experience is still having time to wander around aimlessly after visiting all the tourist spots and perhaps discovering a delicious restaurant that you walked into by chance. 

Traveling in the Langhe region of Piedmont, Italy is a good place to demonstrate this luxury. The region is known for their vineyards, which is listed as a UNESCO World Heritage Site. The cultural landscape here revolves around all the daily activities that go into wine making. Furthermore, you can experience great food and wine all around. 

I think the new luxury experience is something you discover, not at the peak of your excitement, but during an experience you have after your excitement has calmed down. 

—— Would you say that a luxury experience is not measured by single products or experiences, but by the whole experience that includes such shikohin parts? 

One important thing to keep in mind is that luxury is not something that you create intentionally. 

Memphis Milano is a group from Milano, Italy who was active in the 1980s and whose designs are becoming popular again today. 

Back in the 80s Memphis Milano went against the practical industrial designs of German Bauhaus that were popular at the time and produced geometric and colorful furniture and daily goods that did not prioritize functionality. Like Steve Jobs at the time, Memphis was radical, non-compliant and went against social statuses.

Today, Memphis Milano is garnering attention as a luxury brand. With current trends going against mass production and logic, Memphis is emerging as a luxury brand because of its counter culture values of being anti-mass production and logic in the past. 

When various components such as the above example leads to the development of new culture trends, as time goes by it results in the emergence of a new luxury. 

It is not something that is intentionally created, but it is the ultimate result. Luxury is not something that can be self-proclaimed. It needs to be determined by a third party. All one can do is lay the foundations that may lead to others finding luxury in it. In that sense, luxury is strategic. 

Luxury is not something to hold a discourse about

—— So luxury experiences are created not by focusing on the shikohin product itself, but by looking at the time and atmosphere of when you enjoy the shikohin, or even of the time spent before and after the experience?

I also think that both luxury and shikohin experiences are not something you hold a discourse and talk about. Rather, it is something that you live. 

—— Live rather than talk?

For example, coffee and wine are typical shikohin products and some of them can be considered luxurious. However, as long as it is the object of discourse only, the words simply accumulate and it grows heavy. 

Through talk, before you know it you are gradually pulled away from the value and experience you were supposed to have because it loses its nature of being “live” or in real time. In worst cases, the experience just ends up talking or listening to gibberish from start to finish. 

I believe that the true essence of luxury and shikohin experiences can only be experienced through living it, not talking about it. 

—— Do you believe that future shikohin products and experiences will be the subject of experience rather than discourse?

In other words, as the logic of business where selling large quantities of goods in a large market became prioritized, we began to lose touch with our humanity. 

However, it is not just the big businesses that have lost touch with humanity. Both in the past and today, people in medium and small size businesses live a life where business and daily life are intertwined. 

I feel that shikohin products today are mostly aimed at people working in big business to give them an opportunity to take a break and relax. 

Perhaps if shikohin experiences better reached those people working in medium to small businesses whose lives revolve around work and it better helped them improve their daily lives, a new style of shikohin experience could emerge for the future.

Follow us!  → Instagram / X

Translation: Sophia Swanson