‘Noren’ curtains, draped over entrances in Japan, convey a necessary message in modern times. What is the new challenge as Nakamura’s spokesperson?

The”EDO TOKYO RETHINK” exhibit also strives for the widespread acceptance of Noren.

The flexibility of modern Japan is evidenced by the soft limits of Noren.

“I think the Japanese have always been very creative and flexible, as Japan has developed by filtering the cultures of other countries and has assimilating them into their own culture. Noren embodies the dual values typical of Japan. However, in current times, I feel that the flexibility and variety that are the hallmarks of Noren are not represented properly. Once again, we reinterpret and reconstruct the context of Noren and transmit the fun and original message of Noren culture. I think this will lead to a merger of time periods that redefines the fun and depth of Japanese culture in modern times”. Especially in the last few years, due to the influence of social networks, etc. it’s very difficult to have a sense of distance from others. This is why the exquisite of distance achieved by Noren boundaries, neither too close nor too far, is quite real and may be the form modern people are looking for.

Made especially for the exhibit, we drape Noren to create a subtle division in each room.

The soft fabric boundary allows for a feeling of ‘closeness’ while maintaining an adequate distance.

We aim to propose new appealing technologies taking Noren as a starting point.

Nakamura perceives great potential in Japanese craftsmanship through their experience working in several related projects. “As the structure and common sense of a society change rapidly, we feel the strengths and charm of traditional artistry and craftsmanship were not making it through, and we were struggling to make a connection. How can I establish a relationship? I started in the Noren business while thinking that Noren can created new values and relationships by becoming an interface that showcases the appeal of different technologies. In the EDO TOKYO RETHINK exhibit we hope that Noren will implement technologies in several genres, just as Mr. Tatehana used his masterpiece, the heel-less shoes, to express a new appeal of traditional industry. The possibilities for bringing traditional Noren to modern times are endless. I think the ‘boundary’ expressed in the EDO TOKYO RETHINK exhibit is precisely one of Noren’s appeals that Nakamura aims to convey. We hope that Nakamura continues to have an active role in the future of these movements.