Kanako Itamae and Michel Lebon

Modern Tokyo Times

Japanese department stores report positive sales in the run up to the festive season. Not all the major department stores have released their sales figures for November but most have and all report positive sales. Therefore, the fashion sector will be hoping to further this positive news during the busy festive season.

Christianity might be a minor faith in Japan which is overwhelmingly secular in nature despite the importance of Buddhism and Shintoism in tradition. However, all the trappings of the commercialization of Christmas can be found throughout Japan in the retail sector. On top of this, the power of January 1st remains to be the foundation stone in Japan whereby families get together or people plan a special holiday.

This reality means that department stores have many opportunities to entice shoppers during the festive period. Also, the January sales are internationally famous throughout the world even if some companies may try to get a head start in late December. Japan clearly follows the same trend therefore for Japanese department stores which have witnessed a positive November – then clearly they will be optimistic that this pattern will follow on in December and January.

J. Front Retailing announced a very buoyant 5.1% increase in same-store sales in November and clearly the management must be happy with such a strong reported figure. Daimaru and Matsuzakaya are run by J. Front Retailing. In the past both companies were independent and have a very rich tradition. Therefore, the forward thinking of J. Front Retailing and the richness of both Daimaru and Matsuzakaya, meant that many major strengths could be blended together in order to utilize the respective strengths of all three companies.

In another article by Modern Tokyo Times it was stated that “Daimaru and Matsuzakaya which once were independent until J. Front Retailing took charge of both companies were both established outside of Tokyo. Matsuzakaya began in Nagoya and can trace itself back to 1611. Meanwhile Daimaru can also trace its history back to the early part of the eighteenth century in Kyoto. However, the first time the name Daimaru was used in the commercial world was in Nagoya.”

Takashimaya announced same-store sales to be up in November by a very respectable 1.6%. In Shinjuku the Takashimaya store is known for the crème de la crème of companies which are based within this department store in Tokyo. The roots of Takashimaya belong to Kyoto but now this company is firmly established throughout Japan and internationally. Indeed, Takashimaya is a great place to visit for luxury fashion and other products. Also, this company is hoping to expand in Asia over the next four years.

Isetan Mitsukoshi also witnessed a same-store sales increase in November because it was announced that the figure was up by a respectable 1.4%. Isetan Mitsukoshi like all major Japanese department stores provides a wealth of exquisite companies to visit in their respective stores. Sales figures in November at H20 Retailing have yet to be announced but this operator of Hankyu and Hanshin will be hoping to follow the same trend.

It must be stated that the global economy remains in the doldrums and internally in Japan it was announced that the last two economic quarters witnessed minus growth. Therefore, Japan is now in a mild economic recession and this fact highlights the strong performance of leading Japanese department stores. Hopefully, this trend will be followed throughout the festive season in order to bring fresh hope for the start of 2013.

Lee Jay Walker gave assistance to both writers

Fashion photos by MODERN TOKYO TIMES

http://www.tokyofashiondaily.com/

leejay@moderntokyotimes.com

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Sarah Deschamps and Hiroshi Saito

Modern Tokyo Times

Michel Kors ventured into the competitive fashion market of Japan in 2009 and since this period this brand continues to consolidate. The handbag market is just one angle to the products sold by Michael Kors but this area alone is worth a staggering amount each year throughout Japan. Now it is becoming clear that inroads are being made in this area and other important segments of the fashion sector in the land of the rising sun.

Coach may be on the horizons of Michael Kors in Japan because this company is firmly established and highly desired. Indeed, the reputation of Coach is known internationally for being extremely creative and where vibrancy is maintained year after year. Therefore, with Coach being firmly established in Japan and with this nation ranking highly within the profits of this company, the impact of Michael Kors in the handbag market is extremely intriguing.

In the United States it was stated about Coach that their customer service is second to none. This angle is certainly important throughout Japan and noticeably in major cities like Tokyo and Osaka where the fashion market is enormous. According to the data of the Luxury Institute in America 25% of wealthy women had purchased a Coach bag. Equally powerful is that the same statistic was given for buying a new handbag in the next twelve months. No other company came close to Coach in America in other types of surveys.

It was stated by the Luxury Institute about Coach that “By design, Coach is a consumer-centric brand built on strong core values. In an increasingly commoditized and highly competitive global luxury handbag market, it is simply not enough to outperform your competition on products; you have to dramatically out behave them. “Unlike brands that tout their customer culture, yet fail to demonstrate consistent long-term profitability, Coach has repeatedly achieved superior results in Luxury Institute surveys for quality of product and service. In the mind of the U.S. luxury consumer, they are the clear winner in the Handbag and Accessories space,” says Milton Pedraza, CEO of Luxury Institute.”

Clearly, within the handbag and accessories sector in Japan it is clear that Coach is adored by many because their share of the market is sizeable. Michael Kors can certainly learn much from Coach when it comes to the Japanese market. Therefore, with growth being extremely respectful for Michael Kors in Japan, then clearly this company is learning quickly.

Timothy Schepis, (https://twitter.com/tokyofashndaily) who is highly respected when it comes to the retail fashion scene in Tokyo and throughout Japan, commented that Michael Kors will be “hot in Japan for many years to come.” This can be seen by the inroads being made by Michael Kors in Japan within just a few years. Given this fact, then new stores are planned based on strong sales and high demand within this nation.  

In an earlier article by Modern Tokyo Times it was stated that “Turning back to the luxury fashion market in major cities like Tokyo and Osaka then clearly you have enormous potential. It must be remembered that just over 64 million people reside in the mega-regions of Tokyo, Osaka and Nagoya. When this is fused with the purchasing power of most Japanese nationals, along with the fact that luxury items are highly desired by many fashion lovers in this nation; then clearly Michael Kors and other major luxury fashion brands understand the power of Japan.”

Coach and Michael Kors are extremely popular in Japan and many other nations because of the products they produce and a host of other factors. It is extremely intriguing to see how these two companies will shape up in terms of the share of the market in three to four years time. After all, Michael Kors is still expanding in Japan and by this time a fairer reflection will be known about the real impact of Michael Kors within the handbag and accessories market in Japan. However, one thing is for sure and that is that both companies will be in high demand providing they abide by the strategies and products which have firmly established both companies internationally.

http://www.michaelkors.com

www.coach.com/

http://luxuryinstitute.com/blog/?p=1473

Lee Jay Walker gave assistance to both writers.

leejay@moderntokyotimes.com

http://moderntokyotimes.com

http://www.tokyofashiondaily.com/2012/08/michael-kors-hot-in-japan.html

Sarah Deschamps and Michel Lebon

Modern Tokyo Times

Hennes & Mauritz AB (H&M) is continuing to consolidate its presence and reputation in Japan. At first the emphasis for H&M when moving into the Japanese fashion sector was to grow and develop in Tokyo and the Kanto region. However, other powerful areas like Osaka with its vibrant fashion scene also attracted H&M but of course the potential of the Kansai region is still in the initial stage and is underdeveloped. Therefore, the recent opening of H&M in Nagoya is very positive.

Of course, it is understandable why H&M focused heavily on the Tokyo area because this city is a Mecca for Japanese and international fashion. This meant that Tokyo was a base whereby once consolidation was met, then expansion was the next stage and this applies to opening new outlets in other parts of Japan.

Not surprisingly, Osaka was clearly picked to further the catchment of H&M and given the size of the economy of Osaka and the Osaka-Kobe region, this made perfect sense. Areas like Umeda, Namba, and many other fashionable districts in Osaka, are truly buzzing with energy and vibrancy. Similarly, Kobe is a fantastic place for fashion and often many trends pass through Kobe and Osaka respectively before reaching other areas in Japan.

During surveys by Modern Tokyo Times related to specific age groups and areas, it is clear that H&M is highly regarded by fashion lovers in Tokyo. This applies to surveys which include Daikanyama, Ginza, Harajuku, Omotesando, and other trendy areas. Therefore, H&M should focus more on the Kansai region and other major cities in Japan because the fashion buzz can be felt in Japan throughout all major cities.

H&M plan to open a second store in the Chubu region and this news is most welcome because this area is also an economic powerhouse when it applies to major cities like Nagoya. It is abundantly clear that this thriving company from Sweden is truly international and with such an emphasis on markets in other countries like America, the United Kingdom, Germany, France, Holland, and so many others. Then clearly Japan is still at a low base in terms of numbers.

After all, the size of the Japanese economy and the amount of money individuals spend on fashion is extremely high. Therefore, it is surprising that Japan is undeserved when compared with other nations which have much smaller populations and spend less per capita on fashion. This means that while over expansion is always a dangerous game – when it applies to developing new areas in Japan – then this does not apply because H&M is still in its initial period and finding its feet to become firmly established throughout the land of the rising sun.

The “fast fashion” brand of H&M is extremely popular for younger Japanese individuals because this company is trendy and affordable at the same time. H&M first moved to Japan in 2008 in trendy Ginza in Tokyo and since this time the company continues to grow and attract new shoppers. Therefore, the new outlet in Nagoya, which is based within the Matsuzakaya department store, is further evidence of the gradual move to other parts of Japan and this is most welcome.

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Hiroshi Saito and Michel Lebon

Modern Tokyo Times

Department stores in Japan are in abundance and all the major players provide a wide variety of choice in the field of fashion and other goods that they sell. The Tokyo and Osaka market are ultra competitive. Likewise, other major cities including Kobe, Kyoto, Hiroshima, Nagoya, Sendai and Yokohama also face stiff competition. Therefore, when the economy takes a nose dive it is clear that the retail sector needs to go the extra mile in order to encourage shoppers to spend during difficult times.

The luxury fashion market in Tokyo and Osaka often remains upbeat for extremely exclusive Japanese and international brands. This reality means that many individual companies are still showing signs of strong growth throughout Japan. However, for department stores the “slice of the apple pie” is not so easy given the saturation of the fashion and retail market during difficult economic times.

Recently, Japan announced that their industrial output was at a 15 month low and that the economy remains sluggish. If you look at the global picture then clearly the euro zone faces major problems, unemployment in America remains relatively high and recently China is showing signs of a slowing economy. Also, the high yen and current tensions with China are not helping because the “feel good factor” seems rather distant.

Yet year-on-year sales in September for the main department stores were mainly positive across the board given the current economic reality. Daimaru Matsuzakaya Department Stores led the way with a reported rise of 4.2% compared with similar figures twelve months earlier. This figure highlights that providing department stores can connect and alter with the prevailing economic conditions then decent growth is still attainable.

Daimaru and Matsuzakaya which once were independent until J. Front Retailing took charge of both companies were both established outside of Tokyo. Matsuzakaya began in Nagoya and can trace itself back to 1611. Meanwhile Daimaru can also trace its history back to the early part of the eighteenth century in Kyoto. However, the first time the name Daimaru was used in the commercial world was in Nagoya.

In the modern world Daimaru is firmly connected with the Kansai region but this exquisite company can be found in other parts of Japan. The headquarters of Daimaru is based in Osaka whereby you have many buzzing fashion districts in this amazing high-tech city. Indeed, the fashion angle in Osaka is extremely vibrant and the same applies to culture.

Takashimaya also announced a small increase of 1% on sales from twelve months earlier. This company was founded in Kyoto but is firmly established throughout Japan and internationally. Currently, this company is planning to establish more stores throughout Asia over the next four years. In Tokyo the Takashimaya store in Shinjuku is extremely famous and if people adore luxury fashion and products then this company is a fantastic place to visit.

Indeed, the noticeable aspect of department stores in Japan is the extreme quality that they provide. On top of this is a service which is second to none throughout the world. Therefore, detail and care goes hand in hand with exquisite brands and products of extreme quality.

Not all major department stores in Japan announced positive growth figures from a year earlier. However, overall the current figures announced by leading companies are not too bad given the mass uncertainty over the Japanese economy.

Fashion photos by MODERN TOKYO TIMES

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Kanako Itamae and Lee Jay Walker

Modern Tokyo Times

Michael Kors is continuing to flourish in the Japanese luxury fashion market. The first venture in Japan occurred two years ago and since then this fashion company continues to expand throughout this nation. Therefore, with new stores being opened on top of strong sales then clearly this company is hitting a right note within the complex fashion market of Japan.

The first venture into Japan witnessed a strong initial gambit because Michael Kors opened firstly in Omotesando in Tokyo. Omotesando retail rental costs are extremely high but the visibility angle and prime location offsets this providing companies have the capital to utilize and expand. This obviously applied to Michael Kors because clearly this fashion brand understands the size of the “Japanese apple pie” and the need to respond to specific trends within Tokyo, Osaka and other powerful cities in Japan.

Timothy Schepis (http://www.tokyofashiondaily.com) at Tokyo Fashion Daily comments that “Since the opening of the first Omotesando store in August 2010, Michael Kors has opened an additional 18 stores throughout Japan, and there is no plans to stop yet as Michael Kors has plans to open a total of 10 more stores this fiscal year alone; with 2 already opened and 8 left to go.”

Timothy Schepis, (https://twitter.com/tokyofashndaily) who is highly respected because of his vast knowledge of the Tokyo and Japanese retail fashion scene, predicts that Michael Kors will be “hot in Japan for many years to come.”  This is related to the exquisite fashion products to be found at this company and the energy of this relatively “young brand” within the fashion market of Japan.

In Asia it is clear that the Japanese and Chinese market is very powerful for Michael Kors. Obviously, the purchasing power in Japan and the long established fashion image of this nation is a huge appeal for all international luxury brands. Likewise, the luxury Chinese fashion market is still adapting to the internal mechanisms of this nation based on rapid economic growth. However, unlike Japan with its rich history of luxury fashion then China still remains in its development stages. Therefore, while the potential is enormous, it is clear that Japan is still the foundation stone for projective expansion in the powerful northeast Asia market.

South Korea is part of the powerful northeast Asia market and the same applies to Taiwan. The presence of Michael Kors fashion in South Korea is also clearly visible in Seoul and other parts of this nation but the main emphasis is currently on the capital of this country. Also, Michael Kors is based throughout parts of the Middle East and this notably applies to Dubai, Saudi Arabia and Turkey.

Turning back to the luxury fashion market in major cities like Tokyo and Osaka then clearly you have enormous potential. It must be remembered that just over 64 million people reside in the mega-regions of Tokyo, Osaka and Nagoya. When this is fused with the purchasing power of most Japanese nationals, along with the fact that luxury items are highly desired by many fashion lovers in this nation; then clearly Michael Kors and other major luxury fashion brands understand the power of Japan.

Of course issues related to over expansion, remaining fresh, adapting to the new reality of social media, and facing enormous competition from the crème de la crème of international fashion companies in Japan; means that the market is complex and many pitfalls can occur quickly. However, if companies adapt and also learn from past mistakes then the profit angle is enormous. It is clear that the fashion brand Michael Kors is intent on learning and developing in the highly complex Japanese market in order to utilize all the gains that have been made by this fashion company.

http://www.michaelkors.com

leejay@moderntokyotimes.com

http://moderntokyotimes.com

http://www.tokyofashiondaily.com/2012/08/michael-kors-hot-in-japan.html

Kanako Itamae and Michel Lebon

Modern Tokyo Times

The power of major luxury fashion brands throughout Japan is internationally famous because even during negative economic times the market can still flourish. Since the early 1990s and continuing today in 2012, the overall economic performance of Japan remains in the doldrums to small bursts of hope. However, despite everything, it seems that strong luxury brands can survive and prosper providing each respective company remains vibrant and responds to the changing times.

After the devastating March 11, 2011, earthquake which triggered the potent tsunami and nuclear crisis in Fukushima, then it appeared that this devastating event would impact deeply on luxury companies. After all, with over 19,000 people dying because of the tsunami and the nuclear crisis being highlighted daily on television and throughout all media forms, then gloom within the luxury brand sector seemed only natural. Yet once more Japan went against the grain because not only did sales gradually pick up but major fashion brands also continued to expand with new outlets throughout the country. Indeed, some international brands even opened their first ventures into the Japanese market despite everything.

Of particular interest to shoppers who buy luxury goods in Japan are exquisite quality and the rich heritage of the respective company. Another essential ingredient is the feeling of being made special and valued. Therefore, the layout design, environment, space, and other essential areas are especially important. The icing on the cake of all the above is the service experience because shoppers want to feel valued and appreciated. This means that Japanese shoppers want their shopping experience to be reciprocal when buying luxury products.

It is also known that a sizeable minority of fashion lovers in Japan like to travel throughout the region and buy luxury goods. This implies that for some tourists the shopping angle is also extremely popular because it is deemed to be part of the escapism from everyday life. Also, for many tourist shopaholics it is clear that buying luxury goods is part therapeutic – of course the essential aspect is buying exclusive products but other powerful areas like enjoying “a complete shopping experience” points in the direction of therapy with a small “t.”

Within Japan it is clear that major department stores seek to focus on quality, style, and to entice shoppers by having exquisite companies within each respective outlet. This means that major international and Japanese brands can be found within the environment of stunning department stores which cater for sublime fashion brands. Therefore, sales within traditional shopping areas remain extremely strong and powerful and clearly major cities like Tokyo, Osaka, Nagoya, Kobe, Sendai, and a host of others, focus heavily on the luxury sector.

Technology is also growing in influence in Japan especially within the younger generation. This means that smartphones are now a major asset for some individuals when purchasing goods. Given this, it is essential that luxury brand companies respond to the changing social media in Japan. If not, then some will be left behind in the future because time, convenience, speed, and other essential areas, appeal greatly to many individuals.

The market of Japan may appear to be not so vibrant when reading about the latest economic news. Yet this is misleading, the same applies to demographic realities. After all, while the population of Japan is starting to see a downward trend this doesn’t tell the complete story. This applies to the increasing populations of Tokyo, Osaka and Nagoya with over 64 million people within three mega regions. Likewise, for European fashion companies the Japanese market is very important. Therefore, in terms of international sales then this country still ranks either second or third – depending on different figures related to luxury sales.

Throughout major cities like Tokyo and Osaka shopaholics of luxury brands are literally spoilt for choice. In Tokyo you have many buzzing areas of quality fashion in places like Aoyama, Ginza, Omotesando, Yurakucho, and in many other trendy parts of this vibrant city. Similarly, in Osaka you have a wealth of places to shop for luxury brands and the ultra-modern reality of this amazing city continues to attract the crème de la crème of fashion brands. The beauty of the luxury market in Japan is that even in smaller cities like Koriyama in Fukushima, you will still find amazing department stores which cater for adorable and exquisite companies.

Therefore, when top notch luxury companies think about opening new outlets then the Japanese market is clearly high on the list because of past history and current trends. Overall, the luxury market is proven in Japan because this sector can not only survive during difficult times, but it can also expand providing the ingredients are correct.

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Sarah Deschamps and Kanako Itamae

Modern Tokyo Times

Stella McCartney first opened a flagship store in the adorable and elegant district of Aoyama in 2008. Since this period the expansion of Stella McCartney in Japan took a conservative option which did its purpose in establishing this fashion company in Tokyo, Osaka, and Nagoya. However, it now appears to be the right time for this company to take control of its distribution in Japan in order to act on its consolidation into the Japanese market.

The announcement is not very surprising when you look at the details because this move is backed by continuity. This applies to the fact that the new president of Stella McCartney Japan will be Kazuyuki Ozawa. Therefore, with Unit and Guest being the exclusive distribution partner responsible for the distribution of Stella McCartney in Japan for five years prior to this announcement, it is clear that continuity is the order of the day. After all, Kazuyuki Ozawa worked for Unit and Guest and clearly the new control of distribution by Stella McCartney is in safe keeping based on familiarity and other important areas.

Kazuyuki Ozawa will report to the president and chief executive officer of Stella McCartney who is Frederick Lukoff. Another conservative aspect of Stella McCartney taking control of distribution in Japan is that all products will continue to be imported from Europe. Also, the headquarters of Stella McCartney in trendy Shibuya in Tokyo will be the center of all activity related to business, marketing, public relations, commercial areas, and all related areas to the business of this exquisite company.

Stella McCartney is therefore following a very conservative approach whereby continuity is the central theme. The brand of Stella McCartney is internationally famous and in Japan this company caters for ready-to-wear clothes, kids’ collections, lingerie, and accessories. Not surprisingly Tokyo is the main base of this company in Japan but Stella McCartney is also established in Osaka and Nagoya. The Osaka market is undervalued in Europe and North America despite the enormous size of the purchasing power of this part of Japan and the same applies to the huge population of Osaka.

Aoyama in Tokyo was chosen to be the flagship base of Stella McCartney in 2008 because this district is blessed with the crème de la crème of Japanese and international boutiques. The most powerful names in Japan, Europe, and North America, can be found in upmarket Aoyama along with adorable architecture which highlights the wealth of this part of Tokyo. Since then, Stella McCartney gradually expanded and shops-in-shop sell this brand in Tokyo, Osaka, and Nagoya.

In Tokyo the shops-in-shop were carefully selected and this applies to utilizing famous Japanese department stores. Therefore, in Ginza, which is a very famous part of Tokyo and which is noted for exquisite fashion, Stella McCartney selected Mitsukoshi and Matsuya respectively. The other outlet in Tokyo is at Isetan in Shinjuku and this company, like the two previously mentioned department stores of Mitsukoshi and Matsuya, is highly respected and known for amazing companies being located in their department stores throughout Japan.

The other two shops-in-shop are located in Osaka and Nagoya. Like previously mentioned, the Osaka fashion scene is extremely powerful and this mega-city can’t be underestimated internationally. Stella McCartney therefore chose Hankyu Department Store to be the base in Osaka. Once more every move by Stella McCartney is extremely conservative because Hankyu is blessed with enormous pulling power. In Nagoya another famous store called Takashimaya was selected to sell the kids collection of Stella McCartney.

Therefore, the Shibuya headquarters in this powerful fashion district in Tokyo sums up the Stella McCartney philosophy in Japan. This applies to opening a flagship store and shops-in-shop stores within famous fashion districts. Apart from the flagship store in Aoyama, all shops-in shop outlets have been opened in exquisite Japanese department stores. Given this, while Stella McCartney may now be in control of distribution it is clear that the hiring of Kazuyuki Ozawa is based on continuity and the conservative business nature of this company within Japan.

leejay@moderntokyotimes.com

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Sarah Deschamps, Kanako Itamae and Lee Jay Walker

Modern Tokyo Times

The global recession continues to bite in many nations all over the world but the Japanese fashion industry continues to attract fashion companies who want to expand in this country. Not surprisingly Tokyo hogs the limelight but other major cities like Osaka, Kobe, Nagoya, Hiroshima, and throughout Japan, attract companies from all over the world. This is despite the Japanese economy being mainly in the doldrums for several decades.

In this time period, the one continuity is that the fashion sector can withstand internal and external negativity, providing all the right ingredients come together. Indeed, some companies which have failed before in Japan because of cultural factors and unprepared business realities, also often chance their arm again. Not surprisingly the reason behind this is the purchasing power of individuals and because high end fashion is highly desired. Also, more casual based companies can find rich pickings because the fashion market is very flexible providing the quality and style is attractive.

Over the last year many international companies have once more decided to move to Japan or to further consolidate their presence. Therefore, this article will focus on companies that have opened new stores in Japan. Of course, the list is only partial but it is intended to highlight the continuing growth and attraction of the Japanese fashion sector.

Timothy Schepis (http://twitter.com/tokyofashndaily) highlights the latest retail news hitting Tokyo and throughout Japan. Therefore, when the British company Mulberry announced its objectives in Japan, Timothy Schepis commented that “Through a joint venture that has been in discussions for years Mulberry has agreed to partner with Isetan Mitsukoshi department store for their entry into Japan. The joint venture itself will be a joint ownership between Mammina, a subsidiary of Isetan Mitsukoshi and Club 21.”

“Over the next ten years Isetan Mitsukoshi will open Mulberry shop-in-shops and eventually Mulberry stand alone stores beginning with flagships in Tokyo and Osaka.”

It is noticeable that Mulberry is also focusing on the fashion scene in Osaka because this vibrant city is blessed with fantastic fashion districts. The vibes of Namba, Umeda, Chayamachi, Shinsaibashi, and others, match any major city in the world when it comes to style and vibrancy. The economic power of Osaka is often overlooked but this highly modern mega-city is a great place to reside and to visit.

The expansion of Mulberry in Japan also highlights that they have learnt from past errors when sales were not so high in this country. Business mechanisms vary in all nations but Japan is more complex than most. Therefore, the decision to agree terms with a major Japanese department store makes complete sense.

Vera Wang in fairness is focusing on expansion throughout Asia but her base in Japan will be watched deeply by the fashion industry. Just like Mulberry, you have a Japanese angle because she will be in partnership with Hatsuko Endo. The flagship store of Vera Wang will be situated in the fabulous and exquisite district of Ginza which is also bouncing back along with the growth of fashion in Yurakucho. This means that the bridal sector in Tokyo will be shaken-up by the stunning and adorable designs of Vera Wang.

Hennes & Mauritz AB (H&M) is going to further consolidate its rich presence in Japan and this is great news because H&M is highly liked in Tokyo. H&M focused heavily on the Tokyo and Kanto market at first and then ventured to Osaka. In time H&M will surely focus more on the Kansai region because you have so many buzzing cities throughout this part of Japan. Also, H&M recently opened a new store in Nagoya and this is great news because this Swedish company appears to understand the Japanese market very well.

Gucci is firmly established in Japan but their “made for measure” innovation for male clients in Tokyo highlights the fact that fresh ideas are always needed. The same service is provided by Gucci in other major international cities like Paris, Milan, London, New York, Beijing, Beverly Hills, Rome, and a few others. However, it shows that Gucci highly values the Japanese fashion market and that new thinking in this company will also spread to developing their existing base in Japan.

Timothy Schepis (http://www.tokyofashiondaily.com/) states that “Gucci will offer its Japanese male customers the opportunity to have their Gucci suit, dress shirt or shoes “Made to Measure.”  Timothy Schepis continues by commenting that “The “Made to Measure” offerings will have over eighty fabrics including cashmere, satin, silk, wool and velvet and can be used in suits, dress shirts, and other apparel.  Suit fabrics will come in blue, brown and grey.  Gucci shoes can also be “Made to Measure” though of course not with fabrics but with a variety of colors, widths and materials.”

In late 2011 three sublime companies from Switzerland ventured into the heart of Ginza in trendy Tokyo. Each individual company is famous for exquisite quality, creativity, and making crème de la crème products. These three companies are Akris, Bally, and Freitag. Their respective names speak by themselves because all are internationally famous based on the products they produce. It is also noticeable that Akris, Bally, and Freitag, picked an exclusive part of Tokyo despite the global recession. This once more highlights the pulling power of Japan when it comes to the fashion sector.

Roberto Cavalli also opened a new store in trendy Aoyama late last year. He commented that “Tokyo is on the world’s stage of fashion, glamour, and sophistication.  This is a city of energy and inspiration….I wanted to create a boutique in which elegance dominates, for both women and for men, in a welcoming and exclusive atmosphere, in which each person can totally fulfill their dreams and desires. I have always been extremely interested in Japanese culture…..”

This is only a partial list of recent companies which have ventured to Japan or decided to expand in this country over the last twelve months. However, when you take into consideration the global recession and the devastating earthquake and tsunami of March 11, 2011; then this highlights the power of Tokyo, Osaka, and the entire fashion scene of Japan.

http://www.tokyofashiondaily.com/2012/03/made-to-measure-by-gucci-for-tokyo.html

http://tokyofashiondaily.blogspot.com/  – TIMOTHY SCHEPIS  (can be followed on Twitter)

leejay@moderntokyotimes.com

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Lee Jay Walker

Modern Tokyo Times

The Bunjinga school of thought ran deep within the literati of Japan during the Edo period. Bunjin (literati) artists trace their artistic roots to the literati of China during the Song Dynasty (960-1267). However, the differences between the Japanese literati and Chinese literati, is notable because of the opposite side of the coin applying.  Also, the isolationist policies of Japan in the Edo period meant that bunjin artists didn’t have the complete picture of the cultural reality of the Song Dynasty.

Bunjinga is also called Nanga and on the British Museum website it states that “The Japanese Bunjinga school of literati ‘scholar-amateur’ artists flourished in the eighteenth and nineteenth centuries. It is also known as Nanga (‘Southern painting’). The school was based on the literati movement that developed in China over a long period of time as a reaction against the formal academic painting of the Northern Song dynasty (960-1126). Rather than technical proficiency, literati artists cultivated a lack of affectation in an attempt to tune in to the rhythms of nature. In Japan, this was only partially understood: many Japanese bunjin were simply trying to escape the restrictions of the academic Kanō and Tosa schools while imitating Chinese culture. At first, the only models available were woodblock-printed manuals such as the Kaishien gaden (‘Mustard Seed Garden’) and a few imported Chinese paintings. Some Chinese monks of the ōbaku Zen sect taught painting in Nagasaki. Unlike their Chinese counterparts, the Japanese bunjin were not necessarily carefree artists and scholars from wealthy, bureaucratic backgrounds, and many had to sell their work to make a living.”

The political reality of the Edo period meant that Japanese artists were forbidden to travel to China. This policy was called sakoku (locked country) and clearly this prevented the real study of the Song Dynasty.  Therefore, the free movement of people leaving or entering Japan was enforced strictly and only limited “windows” were open.

Given this, the real terminology should be kaikin (maritime prohibitions) but from the point of view of bunjinga artists, then clearly sakoku created major restrictions in their pursuit of knowledge and reality. Japan wasn’t fully isolated because cultural meeting points happened with the people of Ryuku (Okinawa) and the Ainu. Also, Nagasaki, and a few other places, enabled outside cultural interactions despite the severe limitations on “real interaction” based on the freedom of movement.

Bunjinga artists therefore resided in a world where restrictions were put in place and clearly even in the modern world certain nations are still hostile to outside influences which threaten the status quo. For example, in modern day Saudi Arabia all converts from Islam face death, just like all converts to Christianity faced death during the Edo period. Meanwhile, in North Korea this nation wants to maintain severe restrictions on the outside world based on political motives. In both Saudi Arabia and North Korea many windows are open in the field of trade. However, despite the huge differences of these two nations, you do see aspects of sakoku despite major cultural, political, religious, and other differences in these societies.

Therefore, the world of bunjinga artists in this period of history had severe restrictions to overcome. However, unlike ukiyo-e artists who focused on many aspects of Japanese culture, mythology, history, the spirit world, and so forth; for bunjinga artists their problems were different because of their admiration of Chinese culture. This meant that ukiyo-e artists could connect with the world they knew but for bunjinga artists much of their literati world was clouded by the restrictions of obtaining real knowledge of the world they wanted to portray.

Famous artists who followed the bunjinga school of thought applies to Gion Nankai, Sakaki Hyakusen, Yanagisawa Kien, Okada Beisanjin, Kameda Bosai, Hanabusa Itcho, Ike no Taiga, Watanabe Kazan, Tomioka Tessai, Yosa Buson, Uragami Gyokudo, Tani Buncho, Takahashi Sohei, Okada Hanko, Ki Baitei , Matsumura Goshun, Yokoi Kinkoku (1761-1832), Yamamoto Baiitsu, Nukina Kaioku, Takahashi Sohei, Nakabayashi Chikuto, and many others.

In an earlier article by Modern Tokyo Times it was stated that “This school of thought flourished in the late Edo period and highlights the power of traditional Chinese culture in Japan despite the ongoing isolation of this nation. The bunjinga, the literati according to their mode of thinking, all had one binding feature and this applies to their deep admiration of traditional Chinese culture. This enabled their individuality to be linked together within the ideas and art work of bunjinga concepts.”

The Philadelphia Museum of Art comments that “The mid-eighteenth century in Japan was a time of political and social stability and economic prosperity. The Tokugawa family of military rulers (shogun) was firmly ensconced in the new eastern capital of Edo as the de facto political power, while the emperor reigned as spiritual and cultural sovereign in the ancient imperial capital of Kyoto in western Japan. Regional schools were established to spread the Chinese studies that the central government espoused along with the Confucian-based political system. The study of fields such as Chinese literature, music, and medicine became specializations among the educated elite of the newly rich merchant class as well.”

Therefore, while the Edo period is famous for being isolationist it is abundantly clear that the Tokugawa ruling elites spread the power of Chinese studies. This makes sense given the fact that the political system was Confucian based.

Influence of Korea

The role of Korea in this art movement is often neglected despite cultural interaction and influence which went in both directions. On the Princeton University Press website it is stated (based on the book by Burglind Jungmann) that “It is well known that Japanese literati painting of the eighteenth century was inspired by Chinese styles that found their way to Japan through trade relations. However, because Japanese and American art historians have focused on Japanese-Chinese ties, the fact that Japan also maintained important diplomatic–and aesthetic–relations with Korea during the same period has long been neglected. This richly illustrated, cogently argued book examines the role of Korean embassies in shaping the new Japanese literati style, known as Nanga in Japan.”

“Burglind Jungmann describes the eighteenth-century Korean-Japanese diplomatic exchange and the circumstances under which Korean and Japanese painters met. Since diplomatic relations were conducted on both sides by scholars with a classical Chinese education, Korean envoys and their Japanese hosts shared a deep interest in Chinese philosophy, literature, calligraphy, and painting. Texts, such as Ike Taiga’s letter to Kim Yusöng and Gion Nankai’s poem for Yi Hyön, and accounts by Korean and Japanese diplomats, give a vivid picture of the interaction between Korean and Japanese painters and envoys. Further, the paintings done by Korean painters during their sojourns in Japan attest to the transmission of a distinctly Korean literati style, called Namjonghwa. By comparing Korean, Japanese, and Chinese paintings, the author shows how the Korean interpretation of Chinese styles influenced Japanese literati painters and helped inspire the creation of their new style.”

The book by Burglind Jungmann called Painters as Envoys: Korean Inspiration in Eighteenth-Century Japanese Nanga is very intriguing because the Korean angle is neglected too much. However, cultural interaction within the richness of Chinese, Korean, and Japanese culture, went in all directions. Therefore, irrespective of the alterations which developed because of different cultural concepts within each different society – and within regions of all societies which had different energies and thought patterns – the Korean dimension is a reality and needs to be studied and highlighted more.

Timon Screech (School of Oriental and African Studies, University of London) comments that “This is an important book that will be useful to scholars and students alike. In elegant prose and with excellent scholarship, Burglind Jungmann proposes that Korean amateur painting had a large impact in Japan. This point has never been so closely argued before, in any language. The author has been diligent in finding little-known works in many collections around the world to support her claims. This is the first book on the subject, but it is much more than an introductory work.”

The bunjinga movement is interesting within the context of sakoku (locked country) because it opens up many intriguing questions. Also, the Korean dimension further hints at deep cultural interactions despite policies by the Tokugawa ruling elites.

Therefore, the bunjinga art movement is an area of great richness when it comes to art, thought patterns, cultural interaction, and understanding aspects of Japanese culture during the Edo period. Famous bunjinga artists have also left a rich legacy because of the art they left behind. This article is meant to intrigue people to delve into the many amazing artists who belonged to the bunjinga school of thought and then to focus on the shared civilization of Northeast Asia, despite the unique richness of all societies involved.

http://www.philamuseum.org/exhibitions/108.html?page=3

http://press.princeton.edu/titles/7743.html 

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Lee Jay Walker

Modern Tokyo Times

Sesshu Toyo (1420-1506) and Sengai Gibon (1750-1837) are two famous individuals in Japanese history. However, despite belonging to the same Rinzai school of Buddhism both individuals had hugely different views of art and the faith they shared. Therefore, for Sengai Gibon he turned to art late in life after neglecting the hidden talents he clearly had because he wanted to focus on spirituality. Alternatively, Sesshu Toyo felt crushed at times by the rigid nature of Rinzai Buddhism during his lifetime.

Sengai Gibon also focused his art by turning away from depicting high culture and traditional forms. Instead his art highlighted humor but with a deeper message providing the individual shares the same mind concepts but of course the interpretation is left open for the individual to decide. Also, Sengai Gibon wanted to connect Rinzai Buddhism with all the people of Japan irrespective of status and light natured aspects of his art could reach a wider audience.

However, Sesshu Toyo focused on sublime art which based itself on the rich traditions of the time but fused with individualism and new thinking. Yet Sesshu Toyo, unlike Sengai Gibon, struggled with his love of art and the religious vocation which he had. Therefore, at times he felt trapped between the religious world and his inner-artistic nature which flowed throughout his veins.

Ironically, we will never know the real artistic skills of Sesshu Toyo and Sengai Gibon but for different reasons. After all, Sesshu Toyo had suffered beatings by Rinzai Buddhist priests because of his love of art over religion when he was young. Alternatively, Sengai Gibon had the ability to express more sophisticated art if he had desired but clearly his main emphasis in life was on spreading the Rinzai Buddhist message and connecting the richness of Buddhism with ordinary lay people.

At no point does Sesshu Toyo reject Buddhism but the beatings of his earlier life and later constraints meant that he felt artistically unfulfilled. This can be seen by a very intriguing piece of art called “Huike Offering His Arm to Bodhidharma” because many aspects of this painting raises serious issues.

In an earlier article related to the “Huike Offering His Arm to Bodhidharma” I comment that “Sesshu Toyo shows Huike who had cut his arm off after Bodhidharma had rejected Huike many times. However, if this was to show the deep admiration of Huike to Bodhidharma then at no time is this expressed in “Huike Offering His Arm to Bodhidharma.”

“On the contrary, while the art piece provides a mysterious aura to Bodhidharma and shows his power by being ranked higher to Huike, it does not show any piety from Huike. Therefore, why did Huike cut his arm off if no love, passion, piety or admiration?”

“It doesn’t matter if the image was a metaphor or not because the real power is the interaction and lack of respect. Maybe the image is showing that Huike is the real master and that power belongs to him but this would imply a deep devotion to Huike and a profound religious statement.”

“However, Sesshu Toyo wasn’t a religious fundamentalist and it wasn’t about a power shift. After all, in early Christianity some people were Pauline in thinking and revered St. Paul but St. Paul warns about this during his lifetime.”

The significance of Sesshu Toyo highlighting such an intriguing image in the late period of his life should not be lost. Therefore, I believe that Sesshu Toyo is highlighting his inner-anger towards the hierarchy of Rinzai Buddhist leaders. This means that the image of Bodhidharma is depicting Rinzai Zen Buddhism and Huike is the real Sesshu Toyo.

In this sense, Huike is Sesshu Toyo in this piece of art and he is showing his disrespect towards the institutions of Rinzai Buddhist leaders who desire to limit his artistic nature. Also, this stunning piece of art shows no feeling towards both individuals and clearly you have little reverence and respect in this art work between Bodhidharma and Huike. This also implies that the artistic passion of Sesshu Toyo was crushed and that Bodhidharma (Rinzai Zen Buddhism) only cared about power and keeping a watchful eye on individuals who desired to express themselves.

Of course, this is based on my own interpretation and the truth is that nobody will ever know because Sesshu Toyo took his true thinking to the grave. However, something is amiss in “Huike Offering His Arm to Bodhidharma.”

Likewise, but for very different reasons, the real art ability of Sengai Gibon will never be known but unlike Sesshu Toyo he limited his artistic nature in order to focus on Rinzai Zen Buddhism. Therefore, Sengai Gibon only focuses more on art when he reaches the later stages of his life. Not only this, but Sengai Gibon wants to enlighten all and sundry towards the Buddhist faith he holds dearly.

It must be stated that at no time does Sesshu Toyo reject Buddhism because his qualms are related to institutionalism and clamping down on his artistic nature. Also, the approach of both individuals to art is very different and the sense of humor that Sengai Gibon was blessed with shines through deeply within his artwork.

Michael Dunn in an article published by The Japan Times comments that “As an artist, Sengai was not only an outsider to the established art schools and academies, but a free spirit, whose manifesto expounded that painting was not a subject that could be limited by rules. This philosophy is apparent at first sight in any of his paintings, which look sketchy, improvised and perhaps — to the Western eye — unfinished. No careful studies of light or color impressions here; expression is all! And yet they each convey some profound Zen principle or aphorism in an easily understandable form, much like the pithy insight seen in parables, proverbs or political cartoons.”

“Despite the hastily sketched roughness of his paintings, Sengai was perfectly in command of brush and ink, an artistic discipline — unlike oil painting — where the result of ink contacting paper is final, leaving no chance for mistakes to be rectified. This mastery is apparent in his painting of bamboo that matches in skill the best efforts of the Nanga (Japanese literati) painters of his time, or his evening view of Hakozaki Beach, where a single broad brush stroke shades from black through gray to capture the volume of a sea embankment.”

Art for Sesshu Toyo took pride of place in his heart but for Sengai Gibon art was a tool to express humility, humor, Buddhism, and thought provoking questions. The reason I　state “humility” is because Sengai Gibon had huge potential but in time “all potential turns to dust” and only “a shell” remains of people who are remembered in history. Therefore, reality is clouded based on different perspectives and how individuals view the world.

Meanwhile, for the 99.99% per cent of other individuals then in time nothing is remembered and all names are forgotten. In a way, the art of Sengai Gibon was aimed at the 99.99% of individuals and only elites through reinterpretation have put them on a higher plain based on “images of Zen.” However, “the real Zen,” just like the “real Christianity,” the “real self,” and so forth, is nothing more than an illusion based on multiple factors.

For Sesshu Toyo art was deeply impassioned within his heart and religious dogma and tradition ate away at his soul. Yet for Sengai Gibon art was rejected in his earlier life in order to focus on Rinzai Zen Buddhism. Therefore, the art produced by both is not only a million miles away but their real spiritual and artistic vocations meant completely different things to both Sesshu Toyo and Sengai Gibon.

Neither rejected Rinzai Zen Buddhism or art but clearly their paths and passions went in different directions. However, in a world based “on interpretation” then what is “real” and what is “false” is up to the individual to decide.

http://www.japanese-arts.net/painting/zen_sesshu.htm

http://www.dharmanet.org/Zenart.htm

http://moderntokyotimes.com

leejay@moderntokyotimes.com

Lee Jay Walker

Modern Tokyo Times

Portrait of Oda Nobunaga painted by Italian Jesuit Giovanni Nicolao

In all societies remarkable leaders emerge despite the constraints of culture, customs, religion and other factors.  In Japan this certainly applies to Oda Nobunaga who was born in 1534 and died in 1582.

Oda Nobunaga had a real spark of energy and while people tend to focus on the violent aspect of this great leader of Japan, it is clear that this is a huge mistake.  After all, Oda Nobunaga utilized modernity in many ways and he introduced new thinking which gave greater freedom to the peasantry in the economic sphere.

The legacy of Oda Nobunaga is very strong and under him the Christian faith began to spread in Japan.  He clearly did not follow the “fortress Buddhism” of the Edo period which would ultimately kill every single Christian in this brutal period for Christians in Japan.

On the contrary, he understood how Buddhist elites abused power and preserved the status quo.  Sadly, Oda Nobunaga’s thinking would not be shared by the majority of the leaders who would follow him and all individuals would have to register at Buddhist temples in the Edo period.

Therefore, Oda Nobunaga does create problems for Japanese individuals who revere the Edo period or who may have nationalistic tendencies.  After all, Oda Nobunaga would learn from the outside world and he would listen to what Christian missionaries had to say.

In many ways, the spirit of Oda Nobunaga is often underestimated or undervalued because he challenged many conventions and he neither supported rigid stratification and nor did he bow down to the feudal mentality of Buddhism at this time.

Therefore, Oda Nobunaga might be stuck in Japanese history but he truly belongs to world history because of his ambition, thinking, and modern concepts of adopting change in order to transform society.

Also, the violent aspect of Oda Nobunaga is over-played because it was clear that the power structures were based on self-interests and maintaining the firm stratification of society in order to further their respective power bases. This meant that peasants had little room in the field of trade and they were tied to poverty because of the rigid system.

At the same time the Buddhist hierarchy was powerful in Japan in this period or what could be deemed Japan in this period.  After all, the competing power structures meant that this country was disjointed and lacked any real centralization which could enforce and maintain a strong unitary state.

Therefore, Oda Nobunaga would be the key in the centralization of Japan but the visionary aspect of Oda Nobunaga would not be shared and this applies to opening up Japan.  However, the legacy of Oda Nobunaga enabled the Edo period to begin because of his policies and unifying tendencies which were followed by the next two leaders of Japan.

In this period of history it is difficult to find the concept of Italy, Japan, Germany, and virtually all future nation states because structures were lose and the center was weak.  Also, the sense of national identity did not exist throughout the unitary nation state and these concepts only became a reality in the future.

The unitary nation state of Japan in the period of Oda Nobunaga and throughout the Edo Period was very different and modern Japan would not fully materialize until the Meiji Restoration of 1868 which would centralize and expand the power of the center.

Therefore, Oda Nobunaga’s centralization was based on the main power bases in Japan that existed in the 16^th century. However, the Ainu, the people of Ryukyu (Okinawa), the nature of the fudai system, ronin, and the power of certain daimyo groups, meant that all these factors prevented a truly unified Japan.

Modern day Hokkaido did not belong to Japan until the Meiji Restoration of 1868 changed everything because Meiji leaders would centralize fully and expand the entity of Japan.

Despite this, Oda Nobunaga was a vital link in the chain which led to this event because it was he who enabled the Edo period to take place by his thinking and the Meiji Restoration was the ultimate objective of Oda Nobunaga.  It is also ironic that the first modernizer who favored religious freedom but was usurped by the thinking of Edo leaders and the Buddhist hierarchy; was ultimately successful when the Meiji Restoration took place because religious freedom would be restored and Meiji leaders would utilize modernity in order to protect Japan from outside powers.

During the period of Oda Nobunaga in Japan it was clear that Buddhist monks who were warlike had desired to control power, or to be at the center of power, had to be crushed in Mt. Hiei because of historical factors. From the Heike war and until the rise of Oda Nobunaga the Buddhist monastery of Mt. Hiei was instrumental in Japanese history.

This Buddhist monastery was instrumental in all major power processes and this especially applied to the military and political objectives of all major leaders. Therefore, Oda Nobunaga had to destroy this power concentration in order to fulfill his ambition and he truly did this because the conflict was bloody and brutal.

The warlike Tendai Buddhists of Mt. Hiei were neither meek nor mild and they had to be challenged by Oda Nobunaga in order for him to set the stage for centralization. The conflict was bloody on both sides and mercy and compassion would not be shown by both forces who fully understood the situation and what was at stake.

This conflict culminated with every single Hiei monk being slaughtered and the Buddhist monastery was destroyed.  Again, Oda Nobunaga was revolutionary because just like Islamic power structures in modern day Afghanistan which are preventing modernization and desire to preserve their power base; Oda Nobunaga would crush an established power base which was hindering Japan and which had no intent on making life easier for the peasantry in this period.

Oda Nobunaga would show no compassion but simply move on to his next objective because he knew that this victory would free him to concentrate on greater goals.  This applies to centralization, modernity, economic policies, strengthening the military base, and utilizing firearms in order to create a future dynamic state based on commerce and self-preservation in a hostile world.

Once more the commercial and economic aspect of Oda Nobunaga’s thinking would be hindered by Edo leaders but this factor can’t be pinned on Oda Nobunaga.  Therefore, the Meiji Restoration would also resemble the modernization of his thinking but of course because of the huge gap in time then on a grander scale.

It is factual that Oda Nobunaga was a leader who would use violence in order to challenge the old order but he clearly had no option.  Either his policies of centralization would challenge the status quo and enable a new power base to emerge or the countless divisions would hinder the country.

Sadly, despite Toyotomi Hideyoshi and Tokugawa Ieyasu being a link with Oda Nobunaga this only applied to their shared interest of a centralized power base.  Therefore, the following leaders after him did not share either his visionary ideas or his openness to the Christian faith and the same applies to economic policies.

The Tokugawa period (Edo period) in time would resemble modern day Somalia where every Christian convert is searched for and then killed by Islamists.  The only difference is that this was a Buddhist inquisition of Christianity and in time the followers of Shinto would resent the Buddhist ruling clique because of economic factors.

Simon August Thalmann comments that “Buddhism wasn’t devalued as much for a perceived foreignness, however, as much as for its association to the former feudal government of the Tokugawa period. Furthermore, the leaders of the Buddhist temples of the Tokugawa period had used their position to amass wealth for themselves at a time when many people were suffering (thereby) not helping their appeal to reformers in the Meiji era.”

“During the Tokugawa period, Shinto had suffered under Buddhist domination and influence, to the point where high-ranking Buddhist priest many times came to control Shinto shrines. During the Meiji period, reformers sought to “purify” Shinto from Buddhist influence by replacing Buddhism altogether. Opposition made this impossible, however, and finally the necessary arrangements were made for the coexistence of the two traditions.”

Therefore, while people mention the natural trinity which began with Oda Nobunaga and was followed by Toyotomi Hideyoshi and then Tokugawa Ieyasu.  It is part true because both Toyotomi Hideyoshi and Tokugawa Ieyasu continued the thinking of Oda Nobunaga when it came to centralization but this is where it ends.

In other vital areas the visionary Oda Nobunaga was very different and ironically it would be the Meiji leaders which ended the Edo period who would be the real link with aspects of his thinking.

In another article that I wrote called Oda Nobunaga: free thinker and modernizer in 16th century Japan I comment that the modernizer Oda Nobunaga “…was very open minded and he supported modernity and this applies to allowing Christian missions, adopting modern firearms, greater fortifications of major castles, freeing people from the constraints on trade, opening up trade for peasants, rewarding people on merit and not just family lines, and other policies which were political and based on developing the economy.”

“Oda Nobunaga would do all this in such a short period of time and during all this radical change he would wage war against his enemies, attack a major center of Buddhism, form complex alliances, and set in motions the unitary state of Japan.”

“This unitary state of Japan, like mentioned before, was based on the power bases in Japan at this time and it must be remembered that modern day Hokkaido did not belong to Japan even during the start of the Meiji Restoration in 1868.”

“While many feudal leaders in the Western world, Hindu world, and Islamic world during this period supported stratification; Oda Nobunaga did not and instead he introduced major economic policies and rewarded people on merit within his system of thinking.”

“Oda Nobunaga, like the Hindu world, and unlike the Christian world or Islamic world in this period; supported religious freedom and he was open to new ideas in the realms of theology and thinking.”

“He was revolutionary but sadly the Edo period would mainly isolate Japan. Not fully, because important daimyo, for example the Shimazu daimyo of the Satsuma han, would trade with Ryukyu (Okinawa), China, Korea, and other countries which would carry trade.”

“However, stratification would once more be adopted during the Edo period, modernization would be curtailed, and the Christian faith would be eradicated because of major anti-Christian pogroms and massacres.”

“However, the spark that Oda Nobunaga unleashed was truly remarkable given this period of history and this applies to his views on modern warfare, economics, religious pluralism, tackling stratification, rewarding individuals on merit, freeing the peasants from untold misery, and other important areas.”

Oda Nobunaga was a free thinker but a man of his time when it came to military fighting.  Also, he was a very complex character and while he is sometimes viewed through the prism of violence this is misleading. After all, his enemies were equally violent but unlike his enemies, Oda Nobunaga had a long-term objective and he implemented policies in order to modernize.

Therefore, some Japanese and international historians may underestimate Oda Nobunaga because of his power concentration but he had hoped to revolutionize Japan. His legacy which was maintained by Toyotomi Hideyoshi and Tokugawa Ieyasu was a distortion because it only applied to centralization but Oda Nobunaga challenged the status quo and implemented social and economic reforms alongside religious openness.

Oda Nobunaga clearly desired a more pluralistic society based on new economic theories, political modernization, and military concepts which would safeguard the centralized state and people of Japan who came under this political system.

If anything, Oda Nobunaga was before his time and the Meiji Restoration would resemble aspects of his thinking much more than the static nature of the Edo period.

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Lee Jay Walker 

Modern Tokyo Times