NEWS&BLOG

三澤則行 個展 ~ 靴のカタチ ~ モエレ沼公園

2022.05.09.Mon

 

三澤則行 個展 ~ 靴のカタチ ~
<場所> モエレ沼公園 ガラスのピラミッド アトリウム1、アトリウム2、スペース2 (北海道札幌市東区モエレ沼公園1-1)
<日時> 2022年5月26日~29日 11:00~19:00 ※最終日は17時まで
<後援> 札幌市、札幌市教育委員会

Noriyuki Misawa  三澤則行

TBS RADIO 「アフター6ジャンクション」

2022.04.14.Thu

RHYMESTER 宇多丸さんの TBS RADIO 「アフター6ジャンクション」に出演させていただき、靴アートや漫画化、Global Footwear Awards についてお話しました。

 

 

 

 

Noriyuki Misawa  三澤則行

Global Footwear Awards / In Conversation With: Noriyuki Misawa

2022.03.05.Sat

February 11, 2022

Global Footwear Awards winner,  Noriyuki Misawa, discussed Foot’s Nest , GFA 2021 winning design.

Master custom shoemaker Noriyuki Misawa pursues formative, yet functional artistly. To display the external space of the foot, its shape is defined by a Foot’s Nest. As if slipping a foot into a high heel, the space nestles your foot. The material is a leather used for heels, and like insects making nests, stacking the several-fold leather layers to create the space brings a sense of dignity. Everything is fabricated by Misawa’s hands. Under the COVID-19 pandemic situation, people are forced to change their lifestyles. “Foot’s nest” represents a new interpretation of the Shoe.

GFA talks with Noriyuki about the winning project:

What do you see as the strengths of your winning project? 

As if slipping a foot into a high heel, the space “nestles” your foot. The point that I attempted to express was the external space of the foot; I created the external space of the foot in contrast to the general shoemaking approach, which shapes by composing faces with planar leather pieces running along the foot.

What does this award mean to you personally? 

It has been 20 years since I associated with shoemaking. Recently, I have suffered and have been thinking, “How long this anguish will continue?” but winning this prize made me feel that all the effort was rewarded and it surely motivates me to move forward.

What was most important for you when working on this project and what were the biggest challenges you faced? 

The piece and creating under the corona virus pandemic situation. But I wanted to make something not too serious but humorous. Needless to say, in general, I make shoes towards the foot. But this project, I made the piece towards external to the foot. This project required moving my mind-arrows in reverse direction and it was a big challenge for me as I have 20 years shoemaking experiences, so that I always felt strangeness during creation.

What is your guiding design principle? 

  1. It should be the Shoe.
  2. It displays artisanship, effort and time.
  3. It has humor.

Where do you get motivation and inspiration from for your work? 

What motivates me is that I have a wish to change the world by my creations, and also “anger” toward people who didn’t have respect for my works. I run a shoemaking class and instruct students. I always try to make good works to serve as a role model for students.

I had been inspired by various art fields in the past, but recently, I am inspired by daily life.

How/when did you discover that you wanted to work in design? 

When I was 20 years old and a university student, I visited a shoe shop and I found that “Shoes can be made with hands” through deepening exchanges with the owner. Until then, I didn’t have this idea, so that was a shocking moment like a thunderclap.

How do you think your own culture and environment has shaped your personal and professional creative vision?

Since I was young, I have been into hip-hop music. For Japanese people, hip-hop music is imported music. And the Shoe is also imported culture. For me, who had absorbed hip-hop music into my body, I thought that shoemaking would be a very good match. The track (beat) in my favorite hip-hop music helps me deal with craftsman work that has lots of repetitive tasks. And ideas and methods of sampling assist my shoe design. Japanese hip-hop that has evolved uniquely in Japan is linked to my desire, that as a Japanese shoemaker, I would like to evolve western-origin shoe in Japan. And I think I am also influenced by my living experience in Vienna for study. During my stay, like a soaking in sunlight, I learned every single day from Gustav Klimt and around 1900s arts. Besides, my life, 24 hours, 365 days, was to think about Shoe all the time. That attitude is a source to create good design regularly as a professional.

Tell us about a project which has been your greatest achievement?

I have participated in an event of world renown industrial designer, Syd Mead, for which I created an art work. I learned his works deeply and this experience made my brain’s OS fully upgrade, I felt that way. As a result, although the work (project) I created was still unpolished, but as an answer to the question, I would like to say it was this “experience.”

Which designer in the footwear industry do you most admire and why?  

“Salvatore Ferragamo.” He convinced me that he could produce amazing designs like his “Rainbow” Sandal even in a severe environment. At that time, due to the war, purchasing “iron” and use it were difficult, and he couldn’t use a steel shank to sustain a shoe. In such a negative situation, he invented a historical design, the “Rainbow” Sandal with his designer’s ingenuity by using a wedge sole in order to address the limitations. That shoe is a shoe having rainbow colors that make people feel a bright future in that difficult situation. I feel that for us living this era, it seems like a designer’s power is tested.

How do you feel footwear design has evolved over the past years and how do you see it evolving in the future? 

The corona virus pandemic took shoes away from many of us (preventing us from using them to go out). And IT advancement and diffusion have been accelerated rapidly. Of course, we will take our shoes back in the future. But the 100 percent fixed concept, which is that a shoe is a “tool for walking,” may change.

What would be your dream design project? 

My shoes are displayed and being a collection in a world-class museum.

What kind of questions do you ask before beginning a shoe design?  What piece of information is of utmost value?

Whether my design of the shoe has value/meaning to be a “Shoe.”

I don’t know which information is utmost value.

How do you deal with feedback?

It is very important as they tell me things I can’t discover by myself, but I also have a feeling to want to fight against it a little bit.

What are you working on now, what is in the pipeline for you?

I am working on a piece that was inspired by the great sculptor, Isamu Noguchi’s work. And there are many of his art pieces in Japan.

How has the pandemic affected your work and design process?

It has hampered opportunities to go and exhibit my works to the world, but it gave me too much time for creation. And I think now would be the only time that I can make works affected by the pandemic.

With so many designs coming out daily, how do you keep pushing boundaries in footwear design?

There is no choice but to keep pondering, thinking and learning; that’s it. Then, you may see scenery that only you can see in the remote areas that you have reached after following your own path.

How do you handle pressure in design?

I am not a genius so I can’t escape from pressure. I think studying harder than others would ease pressure a little bit.

How do you feel about the impact of new technology towards footwear design and the industry as a whole?

I am a hand-crafted shoemaker. The waves of advance technology roll on inevitably and change shoemaking, shoe design and entire shoes. I think that being able to introduce those advanced technologies nicely is a certain capacity of makers and factories. A small, private shoe designer/craftsman/artist like me should always stand at the opposite side from advanced technology, consciously. I think that Being at the opposite end from main stream and designing the opposite end is my existence’s value.

「BEST OVERALL WINNER」the GLOBAL FOOTWEAR AWARDS

2022.02.08.Tue
GLOBAL FOOTWEAR AWARDS で「BEST OVERALL WINNER(総合優勝)」を受賞しました!世界53か国の参加者の中から、芸術部門に出品した靴アート作品『足の巣』が選ばれました。プラダのデザイナーや出版関係者など30名の審査員に評価いただきました。大変光栄です。
I won the “BEST OVERALL WINNER” at the GLOBAL FOOTWEAR AWARDS, an international footwear competition! The shoe art work “Foot’s Nest” was selected. 53 countries participated in this year’s competition. It was evaluated by 30 judges including Prada designers and publishers. I am so honored.
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GLOBAL FOOTWEAR AWARDSはロサンゼルスをはじめ世界4都市に拠点を持ち、BLT(Built Design Awards)やLIVホスピタリティデザインアワード、SITファニチャーデザインアワード、International Design Awards(IDA)など、国際的なアワードを多数主催しているFarmani Groupの主催です。
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Noriyuki Misawa 三澤則行

日本経済新聞(NIKKEI newspaper)

2022.02.03.Thu

GlobArtisan(グローバルチザン=世界職人)として掲載していただきました。

https://www.nikkei.com/article/DGXZQOFK247MX0U1A221C2000000

 

 

 

Noriyuki Misawa  三澤則行

InterFM 「Otona no Radio Alexandria」

2022.01.28.Fri

Robert Harris(ロバートハリス)さんナビゲートの、InterFM

「Otona no Radio Alexandria」に出演させていただきました。

 

 

https://radiko.jp/share/?sid=INT&t=20220127110000

 

Noriyuki Misawa 三澤則行

“PT magazine” for Saison Platinum Card members

2022.01.23.Sun
セゾンプラチナカード会員用「PT magazine」に掲載していただきました。
Featured in “PT magazine” for Saison Platinum Card members.

 

https://saisonplatinum.com/a_p/2022/01/misawanoriyuki/

 

 

 

 

Noriyuki Misawa 三澤則行

Latest Video

2021.12.10.Fri

 

Noriyuki Misawa 三澤則行

Latest work “MUSIC Ⅴ – Silence, Sleeping under moonlight”

2021.12.05.Sun

小津安二郎監督、大林宣彦監督作品で知られる「尾道」は、古くから多くの文人墨客が訪れ、その足跡を残した芸術文化の香り高いまちです。2021年、Noriyuki Misawa を代表する「MUSIC」シリーズ発表の場所として私たちが辿り着いたのが、尾道です。

“Onomichi”– this city’s artistic flavor is well known through filmmaker Yasujiro Ozu and Nobuhiko Obayashi’s movies. It has attracted many writers and artists from long ago. In 2021, we selected that Onomichi was the place to present Noriyuki Misawa’s representative “MUSIC” series of work.

MUSIC Ⅴ – Silence, Sleeping under moonlight


バイオリン、ピアノ、クラリネット– 楽器のパーツから、あるいは楽器の音から受け取った印象を「靴」という形に変え、作品として発表してきた<MUSICシリーズ>。一連のシリーズ作品を日本家屋に展示する「尾道プロジェクト」の最後を飾るのは、「MUSIC Ⅴ 静寂–月の下で眠る」だ。静寂は無音とは違う。三澤の指す静寂は、虫の声、風の音、木々のさざめき、小川のせせらぎ、耳を澄ませばそこにある、自然界の音だ。その静寂を体感するため、森の中に身を置き、月の下で自ずと浮かんでくるイメージに合わせて、ペンを動かす。奇を衒わず、ゆったりと、ただ身を任せることで生まれたのは、ごくシンプルなブーツだった。月の下で静寂に包まれながら、音の中で眠る。デザインの生まれた環境やそのときの感情をも表現に取り込みたいと考えたとき、インスピレーションを受けたのは、柳宗理がデザインした「因州中井窯」だった。この器を語る上で欠かせない緑、白、黒色の釉薬の配色とバランス、何も足さず、何も引かず、そこに何もかもがあると語られるデザインに着想を得た。その頃、普段扱うことのないエナメルグリーンの革が工房にあったことも不思議な符合で、爪先にエナメルグリーンとブラックの革を配置。ブーツの筒部分には白色のヌメ革を使用し、染色で施したムラが移ろう月明かりを仄めかす。入念に仕上げたアッパーとは対照的に、ソウルとヒールはできるだけ加工せず、素材の質感を残して手を止めた。「静寂– 月の下で眠る」、タイトル通り、凛とした静寂で「尾道プロジェクト」を締め括った。

Photo  :  Shinichi Ichikawa
Shoemaking Assistant  :  Yukie Kon
Assistant  :  Haruka Yamamoto, Mizuki Saito (The Shoemaker’s Class)
Special thanks to  :  Onomichi Film Commission, Setouchi Minato no Yado

Noriyuki Misawa (三澤則行)

Latest work “MUSIC Ⅳ – Clarinet”

2021.12.05.Sun

小津安二郎監督、大林宣彦監督作品で知られる「尾道」は、古くから多くの文人墨客が訪れ、その足跡を残した芸術文化の香り高いまちです。2021年、Noriyuki Misawa を代表する「MUSIC」シリーズ発表の場所として私たちが辿り着いたのが、尾道です。

“Onomichi”– this city’s artistic flavor is well known through filmmaker Yasujiro Ozu and Nobuhiko Obayashi’s movies. It has attracted many writers and artists from long ago. In 2021, we selected that Onomichi was the place to present Noriyuki Misawa’s representative “MUSIC” series of work.

MUSIC Ⅳ – Clarinet

 

「MUSIC Ⅳ」は、三澤と親交の深い音楽家、Koya Ogataの楽曲「デナイオトガアル」で用いられたクラリネットの音色からインスピレーションを得て制作された。作品は、楽器と同じく、黒とシルバーの二色使いで、大小と大きさを変えて並ぶシューレースホールは、クラリネットのキイの配列に倣った。優美なシルバーの縁取りは、黒の管体でキラッと煌めくキイの小粋さを湛える。メタル感を出すため、爪先とヒールの一部にスチールを埋め込んだ。機能美と造形美の追求は三澤のものづくりの一貫したテーマだが、本作では、クラシックの靴におけるエレガントを徹底的に探究した。それが最も発揮されているのが、Ogataが楽曲の中で奏でるクラリネットのメロディー、音のうねりや流れを表現した靴の木型であり、その木型から生まれた息を飲むほどの曲線美だ。伝統的な靴作りが持つ確固とした様式という制約の中で、磨き上げた感性とその表現を可能とする熟練した技術により、抽象的なイメージさえも「靴」に具現化できることを、「MUSIC Ⅳ」の流麗な曲線が見事に証明している。コンサートの後、全身で浴びた音の余韻がしばらく体に残るように、「MUSIC Ⅳ」は、吹き込まれ、通り抜けたメロディーの残響をその内に留めている。

Photo  :  Shinichi Ichikawa
Shoemaking Assistant  :  Yukie Kon
Assistant  :  Haruka Yamamoto, Mizuki Saito (The Shoemaker’s Class)
Special thanks to  :  Onomichi Film Commission, Setouchi Minato no Yado

Noriyuki Misawa (三澤則行)

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