OKURADO: The Beginning of Jewelry, Part 3

In the previous and prior journals, I wrote about the collaboration jewelry we created at OKURADO with the twelfth-generation Kabuki actor Ichikawa Danjūrō. This is the final installment.

For those starting here, I would be grateful if you could read the part1 and part2 first before proceeding.

“MIMASU” Jewelry Rough Sketch

It has been decided that a pin brooch featuring the “MIMASU” motif will be crafted as a gift from Mr. Danjuro to Prince Albert of Monaco. Made of 18-karat gold, it will be set with three layers of “Danjuro Brown” lacquer and diamonds, alternating seamlessly like the “MIMASU” pattern.

Only OKURADO could realize this design.

However, once actual production began, it proved extremely difficult.　

The challenge lay in combining three vastly different materials: the unknown hue of “Danjuro Brown” lacquer, 18-karat gold, and diamonds.

Creating a seamless, flat surface densely packed with these materials—each possessing different hardness levels—demanded an unprecedented level of precision beyond our prior experience.

Our initial approach was to first set the diamonds and then have the maki-e artist apply the lacquer. Since lacquer has the lowest hardness, this method minimized the risk of damaging other materials during application. However, due to the design placing diamonds extremely close to the lacquer, lacquer occasionally seeped beneath the diamonds.

Once hardened, lacquer becomes extremely rigid, making it impossible to remove from beneath the diamond. Consequently, the diamond’s brilliance was diminished.

Next, we changed the order: first applying the lacquer, then setting the diamond.

When setting the diamonds, we use a sharp chisel (a rod-shaped tool with a blade at the tip) to carve into the 18-karat gold. While we succeeded in setting the diamonds with utmost care to avoid damaging the lacquer, the process of securing the diamond—the hardest substance—using 18-karat gold caused slight distortions in the gold. These distortions affected the lacquer, making its surface slightly uneven and warped. This too stemmed from the design bringing the diamond and lacquer too close together.

Had I designed it to set the lacquer and diamond slightly further apart, the production might have been far easier. However, I absolutely refused to alter this particular design. It was the only way to express the dignified “MIMASU” motif, bearing the weight of “time’s accumulation,” achieved by neatly aligning the 18k gold, diamond, and lacquer.

The Monaco performance was fast approaching, and the deadline for completion drew near.

Honestly, it was only at this point that the thought first crossed my mind: this design might not be achievable.

Ultimately, we managed to force a completion at the very last moment because the craftsman devised an extraordinarily complex process we would never normally attempt. It felt as if we had found the correct path for the product to be born. Originally, there was only one path to create this design, and through passion and skill, we finally discovered it.

The determination not to tarnish the name of Ichikawa Danjuro, the pinnacle of Kabuki; the strong desire to express Japan’s traditional craftsmanship; and the ambition to create jewelry unlike anything seen before—these overlapping convictions revealed the path to completing the majestic jewelry exactly as envisioned.

“Prince Albert of Monaco Model “MIMASU” Pin Brooch

Upon seeing the finished piece, Mr. Danjuro expressed his approval, even stating that this color was precisely what he envisioned as “Danjuro Brown.”

Naturally, no jewelry featuring the “MIMASU” motif combined with diamonds and “Danjuro Brown.” had ever existed before. Yet strangely, a truly accomplished piece never makes the viewer feel any dissonance regarding its materials or color; instead, it radiates an air of perfect harmony, as if it had always existed. Truthfully, I was confident Mr. Danjuro would approve.

At the glamorous party held on the opening night of the Kabuki performance in Monaco, Prince Albert himself attended. The pin brooch, the very first piece from OKURADO, adorned the Prince’s chest.

Prince Albert of Monaco wearing a “MIMASU” brooch

It goes without saying that what drove us to create delicate yet majestic Japanese jewelry unlike anything ever made before was witnessing the dedication of people like Mr. Danjuro, who have always sincerely embraced innovation while steadfastly preserving tradition.

The “MIMASU” jewelry was undoubtedly one of the most memorable and challenging masterpieces we have ever created.

Hitoshi Okura

OKURADO

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