Interviews with Otaka Noriko

The important thing to consider when designing this TPH is functional beauty. Usability and form beauty.

We would like to improve TPH. We will expand the variety of leather materials and colors. To improve usability while maintaining the shape. And in the future, we will work to make it recognized by many people.

It took about a year from design to completion.

The reason why I designed TPH is that it is becoming cashless in Japan.
I thought about how to retain the skills of the craftsmen who make wallets.The skills of Japanese craftsmen are high, and there is delicate Japanese manufacturing.I thought of an item that everyone needs, always exists in the house, and the shape does not change.I also found that I couldn't find the design I wanted to use for the tissue paper holder.

I have completed it with a town factory that shapes my design. We would like to sell our products and value customer feedback.

Original simple shape designed with a "shower holder" instead of a "hide cover"

TPH is simply an acronym. It is an abbreviation for Tissue Paper Holder.

The form when the paper is set on the two trays changes with the use. Also, the texture of the leather is very beautifully expressed.

I completed this design together with a leather accessory craftsman who has supported manufacturing for many years.

The first challenge was to create the inverted U-shape, which is a characteristic of TPH. I tried to harden the skin and keep it in shape, but it was not completed. So I decided to keep the shape with metal. The next challenge is the weight of the tray. When pulling out the paper, the whole thing was not lifted up, and the weight of the paper that could not be cut was a problem. The upper and lower trays change the type and weight of the metal plate used. Lastly, we have put a lot of effort into sewing to express the goodness of leather.

I wanted to let a lot of people know about it globally and know the evaluation of professionals.
I got to know this award through an acquaintance who won the 2018 award, and entered.

I learned about the connections between people and gained important connections.

The important thing to consider when designing this TPH STEEL is functional beauty. Usability and form beauty.

We would like to improve TPH STEEL. There are two colors, matte black and silver, but increase the colors to suit various interiors. To improve usability while maintaining the shape.And in the future, we will work to make it recognized by many people.

It took about 8 months from design to completion.

I designed TPH LEATHER before making TPH STEEL.　The reason why I designed TPH is that it is becoming cashless in Japan.
I thought about how to retain the skills of the craftsmen who make wallets.The skills of Japanese craftsmen are high, and there is delicate Japanese manufacturing.I thought of an item that everyone needs, always exists in the house, and the shape does not change.I also found that I couldn't find the design I wanted to use for the tissue paper holder.

I have completed it with a town factory that shapes my design. We would like to sell our products and value customer feedback.

Original simple shape designed with a "shower holder" instead of a "hide cover"

TPH is simply an acronym. It is an abbreviation for Tissue Paper Holder.

The shape seen from the side.
The structural beauty of the shape is further emphasized by the texture of steel.

The design was completed with the cooperation of the factory "T. Product Co., Ltd." in Ishikawa, Japan.

TPH STEEL has a simple structure in which paper is sandwiched between two sheets and a tray and taken out from above. The problem was the weight of the tray, which didn't lift when the paper was pulled out and didn't cut.

I wanted to let a lot of people know about it globally and know the evaluation of professionals.
I got to know this award through an acquaintance who won the 2018 award, and entered.

I learned about the connections between people and gained important connections.

As a student, I was interested in architecture, but I was drawn to the freedom of creating spaces without being bound by client requests. I wanted to design my own spaces and arrange objects within them, which led me to pursue a career in design.

I chose this career because it's my own will.

I have primarily been designing fashion items using natural materials, focusing on their unique textures and properties. Moving forward, I aim to create designs that not only make the most of these materials’ characteristics but also ensure that every part is utilized without waste. Additionally, I am committed to pursuing design approaches that prioritize environmental sustainability.

I believe age doesn’t matter. What’s important is to stay curious about a wide range of things, make an effort to learn, broaden your perspective, listen openly to others, think deeply, and continue taking action.

I believe that the value of design is not just economic value, but also involves a variety of other elements, including social and cultural factors.

Japan is currently an aging society. I would like to design things that people can think about in their daily lives to improve their quality of life. If I have time...

I am interested in many things, make an effort to learn, broaden my horizons, listen to others attentively, think deeply, and continue to act.

In this world,myself.

I'm currently working on a project with my colleagues. It's a fun project that involves people and I'm looking forward to it.

One such example is the cypress paper holder that won the A' Design Award & Competition. I am very pleased with the design, which incorporates traditional Japanese techniques and was created together with artisans.

"The evolution and transformation brought about by the age of AI are poised to create unprecedented changes in our lives and society. These changes will progress at a pace and scale beyond imagination, intertwining various elements in complex ways as we move toward the future. In such a time, I hope that design will continue to stay close to people, cherishing humanity and fostering connections that truly matter.

Inspiration and research

Case by case

Helping to expand creativity, evolving product production, and time performance

Beyond that

Various people

When I was a child, I wanted to be a musical star and express something through my body.

I work as a freelance designer. We also manufacture and sell products that we designed.

I would like to make use of the characteristics of the materials and think about designs that utilize the skills of craftsmen. Of course, after considering the user.

Wallet for men.

When I wake up from a light dawn, I get the most creative idea.

I focus on thinking as simple as possible.

We think that the design will be completed when the concept of materials, materials, and manufacturing facilities are all connected.

The things I design are made by craftsmen. It is important to be able to contribute to the transfer of craftsmanship. We also think that it is important to select the material in consideration of the environment and workers.

I am born and live in Tokyo. The environment is affecting me a lot. This environment, where things overflow and are often thrown away, has created the origin of my design.

When I start designing, pencil on paper is a must. Roughly write down the image that came to mind. At the time of design, I use Adobe software. For reference materials, I am watching old interior magazines.The source of inspiration is the "FMR" magazine.

Stacking is important for me.

The main request is to design fashion bags and small leather goods. There are requests from manufacturers and brands.

I am most interested in the process of creating a shape that I was thinking through trial and error. There is a lot to learn from craftsmen.

e-mail. otaka_n@corino2910.com

The TPH Cypress Tissue Paper Holder is actually the third iteration of this inverted-V structure, following previous versions crafted in leather and then in steel. Through those developments, I learned that the balance between weight and friction in the upper tray is crucial for a seamless tissue-pulling experience.Cypress offers a comforting tactile quality and aroma, but its lightness posed a challenge: the upper tray needed just enough weight to remain stable while still allowing the tissue to slide smoothly. The brass hemisphere became the ideal solution — it adds a precise amount of weight and creates a subtle point contact that reduces excessive friction.This combination allows the tray to move naturally with the user’s gesture, achieving a tactile satisfaction unique to wood, while maintaining the engineering precision refined through past materials.

Beyond simply holding tissue paper, Kiso cypress enhances the user’s experience on multiple sensory and emotional levels. Its inherent antibacterial properties provide peace of mind, especially for an item frequently touched and used around the face and hands.At the same time, the refined grain pattern and gentle, refreshing aroma create a subtle connection to nature within daily life. Every interaction — seeing, touching, and even smelling the material — adds comfort and a moment of calm.By integrating these natural qualities into a minimalist form, the product offers more than functionality; it brings a sense of wellbeing and quiet luxury to ordinary gestures, transforming a familiar act into a pleasant, mindful experience.

Although the inverted V-shaped form appears minimal, reaching this final geometry required multiple rounds of prototyping and refinement. My goal was to create the simplest possible structure that enables tissue to be drawn smoothly — without tearing, resistance, or unnecessary mechanisms.Earlier iterations in leather and steel taught me how different materials behave under pressure and friction, which directly informed the precise angles, balance, and proportions of the design. When transitioning to Kiso cypress, I further refined the structure so that its natural flexibility, tactile warmth, and fragrance could enhance the interaction.Durability and sustainability were also key considerations. By relying on the inherent strength of solid wood and eliminating complex parts, this design can be maintained and enjoyed for decades. The use of a renewable, responsibly sourced material ensures that the product not only serves a functional purpose but also respects the environment it originates from.Through this iterative process of testing and simplifying, I arrived at a form where every line has intention and nothing is extraneous — a quiet, enduring simplicity that performs a surprisingly complex function with clarity and grace.

One of the greatest challenges in this project was adapting the hikimage bending technique to an inverted V-shaped form. Traditionally, this method relies on four connected corners to secure stability, but the V-shape lacks that structural support from the beginning.The number and spacing of the cuts directly determine not only how the wood bends, but the exact angle at which it holds. Too few cuts create excessive tension and risk cracking; too many reduce the wood’s strength and disrupt the surface beauty. And importantly, the angle had to be optimized so that tissue could be pulled out smoothly with a light, natural gesture.Achieving this required extensive prototyping and a very close collaboration with skilled craftsmen who deeply understand the behavior of Kiso cypress. Together, we refined the geometry millimeter by millimeter, adjusting the rhythm of the cuts so the material would bend into the precise angle needed for both function and stability — all while maintaining a visually pure, uninterrupted line.By overcoming these technical hurdles, the final design appears effortless, but it embodies high structural precision and respect for the material.

The evolution from leather and steel to Kiso cypress came from a desire to let this design live harmoniously in different environments. Each material brings a unique character and allows the same simple form to adapt to diverse lifestyles and interior atmospheres.With the cypress version, I was particularly inspired by the quiet beauty of traditional Japanese architecture, where natural materials like wood and paper create a sense of warmth and calm. Tissue paper is something that people touch every day — an intimate object within the home — so I wanted to reimagine it through a distinctly Japanese lens, using a material that has long shaped our living spaces.By incorporating the hikimage bending technique, the product connects modern daily life with a craft heritage that has been refined for generations. My motivation was to create something new that still feels familiar — a contemporary design that carries the spirit of traditional Japanese culture without any sense of contradiction.

For me, design is not just about fulfilling functional needs. It's about enriching the small moments that shape our daily lives. A tissue holder may seem ordinary at first glance, but it's something we touch and see many times a day, something we need to keep close by. It's precisely because of this that it can bring warmth, beauty, and mindfulness to the simple act of taking a tissue.The TPH Hinoki Tissue Holder was crafted with functionality in mind, offering a smooth, effortless pull. But the sensory experience is just as important. The feel of natural wood, the soothing scent of Kiso cypress, and the quiet presence of its minimalist form all add a subtle yet meaningful lift to everyday life.I believe that when everyday objects combine both practicality and emotion, we can breathe more slowly and feel a stronger connection to our surroundings. This philosophy guided every design decision.

Working closely with craftsmen in Kiso Town was essential in realizing the final expression of the Hikimage technique. Their deep, hands-on understanding of how Kiso cypress behaves—how it bends, how it reacts to humidity, how it holds tension—allowed us to refine details that design tools alone could never resolve.Through repeated prototyping and open dialogue, we calibrated the thickness, cut spacing, and bending angle until the piece achieved both structural stability and smooth usability. At the same time, the craftsmen rediscovered new possibilities within their own technique. Applying Hikimage to a contemporary everyday object encouraged them to explore forms beyond traditional applications.This co-creation allowed the project to serve not only as a preservation of craft, but as a step toward its evolution.

Winning the Silver A' Design Award reinforced the value of combining traditional Japanese craftsmanship with contemporary design. The recognition validated the idea that techniques like Hikimage can resonate globally when reimagined for today’s lifestyles.It also strengthened my sense of responsibility — to not only protect these skills, but to create new opportunities where artisans can apply them confidently. The award encouraged both myself and the craftsmen to pursue further experiments, where tradition continues to live and evolve rather than remain static.This experience has deepened my commitment to design as a bridge: connecting history with the future, and craft with the everyday lives of people around the world.

To be honest, I cannot predict how this particular design will influence others. However, if the TPH Cypress Tissue Paper Holder can serve as even a small reminder that traditional, sustainable techniques still have untapped potential, I would be very happy.I believe designers today have the opportunity—and responsibility—to rethink materials not only for efficiency, but for their cultural and emotional value as well. If this project encourages someone to rediscover local craftsmanship or to collaborate more closely with artisans who understand natural materials, then its impact will extend far beyond the object itself.Ultimately, my hope is that sustainability is not seen as a limitation, but as a creative force that connects people, traditions, and the future of design.