Shinya Kobayashi (Representative Partner, Coelacanth Shokudo / MUJUN / Satoyama Install) - Connecting Satoyama Regeneration with Successor Development
editor's note
While Shinya Kobayashi has a successful track record in expanding cutlery brands overseas, he is now facing the serious issue of successors in local industries. He is attempting to clear a satoyama (traditional managed woodland) in Yunotsu to create a production area that brings raw materials and artisans closer together. We asked him about his efforts to increase the added value of culture and local industries by creating a context where everything is locally produced.
When I visited him, thinking he was someone who handles product branding, he told me he had bought this land and was operating a hydraulic excavator himself to clear the mountain. As I listened to his story, I realized everything is connected. This monumental task of clearing a satoyama as a solution to the successor problem in industry was a visionary step, serving as the foundation for connecting locally sourced materials, artisans, and crafts to increase their added value.
Structural Challenges in Local Industries
What I feel while working on the successor problem in local industries is that the excessive rationalization through the division of labor has become a shackle everywhere. If just one material supplier in the production process quits, the entire process can collapse, leaving it on the verge of destruction. It is incredibly precarious. Local industries have been supported by the work of various artisans, but I honestly believe this industrial form itself is already nearing its end.
There are still some people who are the last survivors, continuing to create things while preserving techniques from an era before technology was rationalized after the modern period. They are already elderly, have no apprentices, and have never trained anyone. Now is the only time to learn from them, so we must hurry with successor development, or it will be too late. As an even bigger problem, since materials and raw materials cannot be obtained locally and must be bought from dealers, and demand has decreased, price hikes for each item occur frequently, leaving artisans in a weak position. This is a structural problem of the production area.

Circulation of Regional Economy in Europe
Since launching Coelacanth Shokudo (*1) eight years ago, I have been expanding cutlery brands overseas, and I have succeeded in gaining wide-ranging sales channels while setting prices completely different from the Japanese market. I believe I have learned what is necessary for manufacturing business and how to approach things overseas. The Japan that people overseas see is the image of the old Japan. They think that Shinto ideas still remain, and they come to exhibitions and sales events with a worldview that Japan is a country of artisans. They think it is a mysterious country where technology has developed, yet old things remain on the other hand, and everyone is very impressed when they see Japanese handiwork.
I feel that people in Europe have a high cultural standard of living, and the value of Japanese artisan technology is reaching them. As we have participated in exhibitions in Europe, we have learned that there are many places in regional Europe where the regional economy circulates within that area, even if the scale is small. Such small retail stores buy a lot of what we bring in consistently.

The Proximity Between Raw Materials and Artisans
In the past, even in Japan, there were immediate sales outlets even through wholesalers, and there were shopkeepers at those outlets who were knowledgeable about the products. Because the shopkeeper heard the needs of the users directly, that voice reached the artisans even through wholesalers. But now, products are lined up in large chain stores through even larger wholesalers from local wholesalers, so the voices of the users do not reach the artisans. Since artisans do not think about design, there is also a challenge in Japanese manufacturing where product design does not evolve. In Japan, the suggested retail price also comes first. It is common to have a retail price first, and then think about wholesale prices, but in Europe, it is the opposite. How much it can be sold for wholesale comes first, and then they think about how much it can be sold for in their own store. That is why prices are different even in the same town, and customers buy at their favorite stores even if the price is high. There are various reasons, such as close relationships in daily life or the store's good maintenance, but I think there is a big difference there from the current situation in Japan.
Sustainability has finally started to be talked about in the world recently, but I feel that most people do not realize that the manufacturing situation that forms its foundation and the environment surrounding manufacturing are precarious. With this sense of crisis, every time I visited Yunotsu in Shimane, I was surprised that life here is physically close to nature, and the distance between raw materials and artisans is not far. In fact, the artisans have the raw materials themselves, digging them up next door and making crafts in the workshop here. I thought, 'This is it!' And everyone is kind and has room to spare. When I ask a mortar maker for clay, they say, 'I'll give it to you, I'll give it to you.' They say they don't even need payment. 'Because I dug this up over there,' they say.

Regional Problems Can Only Be Solved by 'Living'
I have wanted to do something that connects satoyama regeneration and successor development for a long time. Just then, COVID-19 came, and I keenly felt the danger of continuing to rely on logistics for materials and fuel. I feel that now is the only time to give shape to the vision I have been thinking about. It is to create a system where raw materials that support local industries can be procured within the region, and to train successors in that land. Since the production volume of the industry will decrease, we will increase the added value by creating a context where everything is locally produced.
What I am struggling with the most right now is that, in the end, I think regional problems can only be solved by 'living' there. Even if I think that the region or society should be like this, nothing will change just by that, right? Since I started with the job of a designer, I know firsthand that 'people of the wind'—those who know various regions and carry things and connections between people—are important. But now there are so many people of the wind. There are clearly too few people who 'live' there. I realize that unless the number of people who 'live' there increases, I cannot protect what I want to protect. It has been two years since I started living in Yunotsu for half the month and in Hyogo for the other half, but even so, I still lack the feeling that I am living here. Even to reclaim the satoyama, it can absolutely only be reclaimed by living there. I believe that by starting to live there, I will become part of the region and the natural environment as a life itself, and only then will what I truly want to do be realized.
Coelacanth Shokudo... A company established by Shinya Kobayashi in 2011 that develops business with three pillars: design innovation business, overseas wholesale business, and cutlery manufacturing successor development business. It conducts design activities utilizing regional resources with the goal of reviving a virtuous cycle in the regional economy and inheriting traditional culture that should be cherished.

Shinya Kobayashi (Representative Partner, Coelacanth Shokudo LLC / MUJUN, Creative Director, Designer / Representative Partner, Satoyama Install LLC, Chief Design Officer)
Born in Ono City, Hyogo Prefecture in 1987. After graduating from the Product Design Course at Osaka University of Arts in 2010, he has been conducting design activities based on a perspective that moves between global and local and innovation, while consistently carrying out everything from manufacturing centered on artisan successor development to overseas wholesale. His activities have been featured on NHK E-Tele's 'Design Talks Plus' and NHK World's 'BIZ STREAM'.
Chapter 5: Regional Activity Heat and Involved Population - Observations
Regional Activity Heat The presence of leaders and communities within a region that initiate proactive activities to enhance the region's appeal
Involved Population A mutually beneficial relationship between visitors who actively travel to and from the region and the local residents
Chapter 5: Regional Activity Heat and Involved Population - Interviews
Creating creative production areas by discovering, refining, and adding value to regional resources
Naohiro Niiyama (Representative, TSUGI / Director, RENEW)
The administration acts as a behind-the-scenes supporter, producing and promoting the 'Eyeglass Town Sabae' brand
Noriaki Takasaki (Sabae City Hall)
Envisioning a world where the future of production areas becomes a 'sustainable regional industry'
Yasuhiko Taniguchi (Executive Committee Chair, RENEW / Representative Director, Taniguchi Optical)
A new generation of artisans who not only create products but also take responsibility for promoting and selling them
Yuji Toya (Takefu Knife Village / Traditional Craftsman)
The value brought to production areas by increasing touchpoints with customers
Toru Uchida (President, Shitsurindo / Traditional Craftsman)
Medium- to long-term stays to experience the quality of life
Masako Omi (Owner, HÏSOM / WATOWA)
We want people to be here who will protect the local culture even after we are gone
Izumi Usui / Fumi Usui (Residents of Hiso, Yunotsu-cho, Oda City, Shimane Prefecture)
The role of the administration in supporting local people so they can shine
Kazunori Matsumura (Oda City Hall)
Works born from dialogue with the user in mind, and new relationships
Hiroyuki Arao (Yunotsu-yaki Tsubaki Kiln)
Connecting Satoyama regeneration with successor development
Shinya Kobayashi (Representative, Coelacanth Shokudo / MUJUN / Satoyama Install)
Creating an environment where locals can take pride in their home through external perspectives and voices gained via 'design'
Shiho Kitamura (Saga Prefectural Official)
Continuous organizational management and the accumulation of relationships generate economic circulation
Junya Yamade (Representative Director, BEPPU PROJECT / Artist)
Communities resonating through shared values increase their heat
Shuichiro Sakaguchi (Representative, BAGN Inc. / Representative Director, Riverbank)
Agency for Cultural Affairs Website: "Cultural Tourism: Increasing the Added Value of Cultural Resources"
https://www.bunka.go.jp/seisaku/bunka_gyosei/bunkakanko/93694501.html
Report: "FY2021 Cultural Tourism High Value-Added Research: On the Relationship Between Culture, Tourism, and Community Development"
https://www.bunka.go.jp/seisaku/bunka_gyosei/bunkakanko/pdf/93705701_01.pdf(Direct link to PDF)
This report explores the ideal approach to "increasing added value" in future cultural tourism policies, deriving five key perspectives to prioritize, and includes interviews with 37 individuals who served as the basis for those perspectives.
