Nepenthes Collaboration with Kazuhiko Ota
This collaboration project was born from the exchange between Kazuhiko Ota, a graphic designer, writer, and izakaya enthusiast, and Tokuro Aoyagi, director at Nepenthes. The result: five tenugui that blend the traditional Japanese everyday item with design inspiration drawn from vintage American advertisements.
Nepenthes: We heard that your connection with Mr. Ota began with an interview for NEPENTHES In Print. What made you choose him for the feature?
Aoyagi: I first came to know about Mr. Ota through the cable show Zenkoku Izakaya Kikō, which I really enjoyed. Later, I read his Nippon Izakaya Hōrōki series, which includes the volumes Risshi-hen, Shippū-hen, and Bōkyō-hen. They’re like reportage pieces, combining writing and photography, that made me feel like I was traveling on a solo business trip and slipping into a cozy local izakaya; it was a comforting, immersive experience, and I became an avid reader. I’ve always loved izakaya myself, and had a long list of favourite spots, but Mr. Ota’s writing put into words exactly why those places felt special, and why I was drawn to them. His reflections resonated with me deeply.
Then, I came across Mr. Ota’s Ōgonza no Monogatari, a beautiful homage to classic Japanese cinema. I was already a fan of his izakaya writings, but reading his books turned me into a true admirer of him as an author. I also learned about his background as an art director and his connection to RC Succession, which deepened my interest. I knew I had to share Mr. Ota’s world with our readers.
Nepenthes: Mr. Ota, what kind of impression did the interview leave you?
Ota: It felt like my life had been unraveled in reverse — first through my ‘izakaya walks’ on TV, then my books, and finally my roots in design. I wasn’t familiar with Nepenthes at first, but the care they took with the interview had myself leaning in, fully engaged. The interview didn’t just scratch the surface. It really explored who I am, and in doing so, made me reflect on myself. When the magazine was published, I was so moved I ended up reprinting it in my book, Minna Sakaba de Ōkiku Natta. Being asked thoughtful questions and responding sincerely was a truly meaningful experience for me.
Aoyagi: It was that interview that finally earned Mr. Ota’s trust, I think. [laughs]
Ota: NEPENTHES In Print isn’t your typical fashion magazine. It’s a bold, large-format publication with strong values that delves into ways of living as much as style, with photography of exceptional quality. Few print media today express a brand’s vision so clearly, and globally. Being featured is something I’m genuinely proud of.
Aoyagi: For Nepenthes, it’s where we can directly share our true interests with our audience. It’s a valuable platform.
REDEFINING TENUGUI AS A GRAPHIC DESIGNER
Nepenthes: So, how did this tenugui project come about?
Aoyagi: Since that interview, I started meeting Mr. Ota for meals more often. One day, I brought up the idea of making something together with Nepenthes.
Ota: That’s right. Over good food, at an izakaya.
Aoyagi: We met for drinks in Ogikubo, my hometown, as Mr. Ota happened to know the area as well. I initially imagined making sake ware and ran the idea by him. He gave me a skeptical look and said, “Would your customers even like it if someone like me worked with Nepenthes?” But actually, he’d already thought ahead and had a bunch of ideas ready. [laughs] One of them was tenugui. Mr. Ota loves and knows Japanese culture deeply. I expected ideas rooted in that tradition, so I was surprised by the completely different design direction he proposed. What’s more, the concept was almost fully formed in his mind, and he even explained how it could develop from there. I found it all so fascinating that we naturally decided to move ahead with the project.
Ota: Since Nepenthes is a fashion brand, I wanted the project to have a fashion angle. That’s how I came up with tenugui. I’ve always appreciated the tradition of giving tenugui as a token of celebration in Japan, whether for a shop’s grand opening or a performer’s succession announcement. They’re often given with a simple, “Just a little something”, without putting pressure on the recipient. I’ve always felt that tenugui are one of Japan’s great tools to make life a little easier. I’ve received several myself from izakaya and rakugo performers, and I’ve kept them all carefully.
Aoyagi: It’s a simple but thoughtful way to show you care.
Ota: With tenugui, part of the charm is that when you set it down, just a bit of the pattern peeks out. An Edokko (Tokyoite) wants someone to notice and ask “Where’s that from? Could it be…?” In other words, it’s not about something you can just buy. It’s a quiet way of saying, “This is the kind of person I am.” Edokko have always valued style and subtle swagger.
As a graphic designer, I’ve always been intrigued by the design elements found in tenugui. My interest really deepened when I came across Kyotenugui, a book featuring early Showa-era tenugui. The collection includes everything from Western modernist designs to playful everyday scenes, like maiko playing baseball, table tennis, sailing, and skiing. The combination of wit and refined style was striking. The inspiration stayed with me, and I’ve since wanted to approach tenugui as a canvas for my graphic work. Looking for a fresh angle, I turned to American graphics from the 40s and 50s; old ads and magazine spreads. Those images became the foundation for the design.
Aoyagi: The designs lean towards the surreal and avant-garde. It’s not simply a direct nod to vintage pop. It has this intriguingly offbeat balance that feels really cool.
Nepenthes: What were the key things you kept in mind during the design process?
Ota: If it’s a Nepenthes tenugui, I wanted to go beyond normal. Something a little abnormal. [laughs] It draws on imagery from ads during the Golden Age. Kind of like pop art based on mass-produced items, but without making a big deal out of it. It’s about the playful idea of transferring printed images from paper onto thin fabric. Lately, tenugui are really popular. You can find tons of stylish designs at specialty shops in Asakusa. It’s like a new canvas for graphic designers, and Nepenthes is leading the way. [laughs]
Aoyagi: They can also be used as interior decor, like tapestries or posters.
Ota: Exactly. You can hang it up, frame it, and once you’re tired of looking at it, just take it down and use it to wipe a teacup. Being able to bring this kind of style into everyday items feels like a uniquely Japanese art form, and it also works beautifully as a gift. It’d look good in my room, but I bet if you hung this avant-garde tenugui in an izakaya, the contrast would catch people’s eye. Maybe I’ll take one with me next time. [laughs]
Aoyagi: Instead of going with a conventional Japanese aesthetic, we were able to draw out Mr. Ota’s designer spirit through the Nepenthes lens, and present that to our audience. That was a meaningful part of this project. The idea was to combine traditional Japanese forms with decorative elements from American pop and commercial design. A key point is that it’s all brought to life through Japanese craftsmanship. Mr. Ota may have envisioned something intentionally lo-fi, like a deliberately cheap one-colour print. But the craftsmen we work with at Nepenthes take real pride in their work, so they focused on recreating the original design as closely as possible.
“HONOURING THE MATERIAL AS IT IS”
Nepenthes: We heard production was quite challenging. Are there any unique aspects of the print you can share?
Ota: Printing techniques for tenugui have come a long way. I was amazed at how perfectly the print aligned, particularly since fabric isn’t as stable as paper. I love the timeless look of navy tenugui, but I imagine a lot of care went into capturing the subtle tonal variations with such precision.
Aoyagi: The process involves two methods — nassen and bosen — which allow precise adjustments by layering several prints from light to dark, giving depth to what appears as a single colour. Plus, since there were five print variations, we had to match colours across each one. Rising temperatures affected the outcome, requiring extra care from the craftsmen. It took a while, but we’re very pleased with the result.
Ota: On the flip side, this was an amazing opportunity. A single piece might be seen as just a rare item, but with a set of five, I felt my approach could really be understood. I initially used a pin-up motif, but it felt unoriginal. Dropping that idea broadened my perspective and made the design process more enjoyable. I focused on honouring the material as it is, finding beauty in its unrefined state. This approach allowed me to create work that truly respects and elevates the material.
Aoyagi: Actually, there are longtime followers of Mr. Ota in the Nepenthes audience, and this design will likely catch them off guard. That contrast is part of the appeal.
Ota: Because you won’t find a single hint of izakaya anywhere! [laughs]
Aoyagi: Perhaps the best thing about this project was being able to highlight Mr. Ota beyond the izakaya scene.
Nepenthes: We get the sense that the style and nature of Edokko are a guiding philosophy in your life, Mr. Ota.
Ota: Design is about collecting and creating the ‘aesthetic of the masses’. I grew up in a rural area, but I’m fond of what Edo represents: the aesthetic, style, and swagger of Tokyoites. In Osaka, people enjoy izakaya-hopping, but Edokko often view that as something only outsiders would do. They’re loyal to their regular spots. The shop knows them, their seat is always the same, and “the usual” is all it takes. Yet for all that pride, their tolerance is low. Three drinks, and they’re out cold. That kind of stubborn pride shows up a lot in rakugo stories. They might not have any money left by the next morning, but they always carry a fresh tenugui in their pocket, and when they dress up a bit, they place a folding fan in front of them. It’s a small gesture of swagger, but there’s something endearing and charming about it, isn’t there?
Kazuhiko Ota / 太田 和彦
Born in 1946 in Beijing, raised in Nagano Prefecture. Ota graduated from Tokyo University of Education (now Tsukuba University) in 1968 and joined the advertising department at Shiseido as a designer. In his late 30s, he founded the izakaya Kenkyūkai and began publishing its newsletter. In 1989, he became independent and established Amazon Design. In 1990, he published his first book, Izakaya Taizen. Since then, he has pursued both design work and his explorations of izakaya culture in parallel, producing a wide range of distinctive works. From 2000 to 2007, he taught at Tohoku University of Art & Design. He has received numerous design awards, including the ADC Award (1973, 1983, 1984) and the Mainichi Advertising Design Award. His design portfolio includes the collection Alternative Advertising for Shiseido (Kyuryudo). Among his major writings on izakaya culture are Nippon Izakaya Hōrōki (Shinchosha), Izakaya Hyakumeizan (Shinchosha), and Nihon Izakaya Isan (Two Virgins). He is also known for his television work as the host of Kazuhiko Ota no Furari-tabi Shin-Izakaya Hyakusen, currently airing on BS11. A devoted fan of musician Kiyoshiro Imawano, he has recorded early live performances in the 1970s, which were later released as RC Succession Official Bootleg: Kanashii Kotobakkari. He is also deeply knowledgeable about film, with published work such as Cinema Daiginjō (Shogakukan Bunko) and The Story of Izakaya Gingetsu (Nikkei Bungaku Bunko).
Tokuro Aoyagi / 青柳 徳郎
Born in 1970 in Suginami, Tokyo. Director and COO at Nepenthes. Joining Nepenthes America Inc. in 1997, Aoyagi returned to Japan in 2007, serving as Creative Director and other roles before assuming his current position. He is well-versed in trout fishing and martial arts, and is also known as a devoted plant enthusiast.
