In the spring of 2000, two years before we opened our directly managed store.
Kazuhisa's son, current Managing Director Masahiko, will join Brooklyn.

First, I spent my days accompanying my father, Kazuhisa, studying sales.

Every night, I have more and more opportunities to explore manufacturing with my father.
“If only I could embody what the old man was saying.”
Masahiko began to think.

At the time, there were no craftsmen in Brooklyn, so they commissioned skilled craftsmen to make their products.
Kazuhisa was not a craftsman, so there was no one to teach him how to make things.

Masahiko wanted to find a craftsman he would like to learn from.
It was not an easy task, and I spent many days researching and researching and researching and researching and researching and researching.

I finally met a craftsman in his 70s.
On weekdays, I learned about sales under Kazuhisa, and on weekends I worked with craftsmen.

Before dawn.
I grabbed two cans of coffee and boarded the first train.

The craftsman doesn't speak.
I give them canned coffee and sit by the craftsmen's side from morning until night, observing their techniques.
I was not allowed to touch leather, needles, or sewing machines.
Just look at the "technique".
Think with your head while watching.
Think about the structure and mechanism in your head and "memorize" it.

For Masahiko, who loved plastic models when he was young, thinking about their structures and mechanisms was a lot of fun, and he could look at them all day without getting bored.

Late in the evening, I hurried back to the office and put what I had seen into form.
Faithfully what I remember.

A series of things I had in mind,
All the movements that seemed smooth,
When you actually go there, things don't go as planned at all.
Day after day, I make things and fail, and I make things and fail.

However, I will never stop.
It was fun and fun and kept me immersed.

``It's not enough just to take shape.
How can you modify it to make it something you can use for a long time? ”

Despite repeated failures, he never gave up.

Sometimes we dismantle famous brand products to learn how they work.
“If we do more like this, it will be even better.”
Then, he reworks what has been dismantled and gives it shape.

What I learned by continuing to make it.
This means that depending on the characteristics of the material, there are ways to make the best use of the material.
And by adding a little extra effort to technology and wisdom, things can become even better.

Masahiko realized that even if you use good materials, if you don't put in the extra effort, you won't be able to produce good products.
Whether it's a product or a dish, the amount of effort that goes into it is reflected in the price, but I believe that that amount of effort is worth more than the price.

Masahiko's underlying aesthetic.
The ``completed thing'' I see in front of me as a product is not the ``completion'' I'm looking for.

People and things age day by day.
That's a normal situation.
It is only when people feel good about the way it ages that it becomes ``complete.''

Then, as the years pass, we repair things that can be repaired as much as possible and pass them on to the next generation.
I believe that the mission of a craftsman is to create a ``future'' that lies beyond completion.

Masahiko's craftsmanship, which spares no effort in making each item, is not efficient.
Therefore, mass production is not possible.

"I don't think mass production is a bad thing.
Simply, whether or not you can like it.
I feel that what is important is whether there is a feeling of “love” in that person. ”


The pursuit of 0.1mm, something that cannot be created digitally.

We don't waste analog time and effort.
A dignified and unwavering heart.

This is how Masahiko's belief in manufacturing was established.