Portland, Oregon is a mecca for craftspeople with an apprecieation for handmade goods, slow fashion, and a DIY spirit. Drawn by his classic Americana influences and bespoke approach to hatmaking, Tsuchiya Kaban had the privilege of visiting the studio of John Fish, founder of Folklore Hat Co. Decorated with an extensive collection of old Americana, it is a studio where the world of a century ago is perfectly restored in sepia hues. We sat down with John to hear what inspired him to pursue his trade and asked him to examine our signature Randoseru pieces, exchanging thoughts on timeless craftsmanship and the value of making things built to last.
You began making hats eight years ago, with a customer base that quickly spread worldwide. How did you first get into bespoke hatmaking?
It all started from a place of sheer lack of knowledge and curiosity. I came across a picture of someone making a hat on the internet and it immediately resonated with me, so I bought a pre-war hat block and tried to make one by imitating what I saw. My first hat was quite awful and I got discouraged, but for some reason, I didn’t give up. I kept practicing to make them, and I remember that at some point when I finished making them I started to feel a little better about it.
So you started in the niche of classic hats all by yourself and from scratch?
Not just hats. Ever since I was a teenager I designed and made whatever I wanted on my own. In my small hometown in Michigan, there was almost none of the culture that I was interested in like skateboarding, art, design, and fashion, so I drew board graphics and made clothes like the ones skateboarders wear. However, at the time I was into antiques and always incorporated old-school elements like leather rather than just making so-called “skateboarder style”.
In the early days of Folklore Hat Co., you worked with leather. You must have a deep understanding of leather working; what impressions you get from our signature Randoseru?
Even though it has a complicated structure of many overlapping parts, it’s given a very simple look. The thickness of the thread, number of stitches, and detailed curves are all slightly different depending on the part, and these minor details let me feel the pride of the craftsperson.
John’s eyes were also fixed on the hand-finished corners made in a method called “Kikuyose”. The material is reinforced by folding it radially so that it resembles a chrysanthemum flower.
This kikuyose corner finishing is a difficult technique that shows the skill level of the craftsperson. It's also built for all-day comfort, with ample cushioning on the back to reduce strain while also improving breathability.
I see. A lot of careful work on unseen details and consideration for the user went into this. I believe that there are things that create an air of elegance, and it’s something that’s very important when I make hats too.
Since you source and make everything from scratch, you know well about the subtle differences between various materials. Knowing the material well is a big part of our work too; with the Randoseru for example, the flap is made from a sturdy cowhide, while the backing is crafted from a much softer leather.
You use different leathers for different parts? The same can be said about the fur I use in my hats. Just as each person has different skin, even different animals of the same kind are individuals.
The more can and attention that is put into leather and fur, the better it looks, and moreover, it can be used and handed down for the next 100 years while growing in appeal. That’s the reason that I like antiques.
But since they’re so carefully made and in large numbers, how many craftspeople does Tsuchiya Kaban have in-house?
There are nearly 200 craftspeople in our workshop, ranging in age from 22 to 82. Diversity in age, experience and background are important to us because we believe it enables a rich exchange in the studio. Everyone learns from each other and works together.
For instance, there are over 300 steps in the making of our Randoseru, so a single bag passes through the hands of many craftspeople—it’s a beautiful thing!
That’s an unbelievable number. I have been self-taught all my life but there are times when I wished I had a mentor.
It’s been 8 years since I started making hats, but it’s quite hard to train one assistant and keep it going. Young craftspeople are disappearing in every field, so I think passing down skills is important and you should be really proud of what you achieved.
Passing on the tradition of craft is an important part of Japanese culture, and we've worked hard to create that environment in our workshops. This OTONA RANDSEL, is a modern evolution that was born out of many years of perfecting the original Randoseru.
While it’s slimmer than a normal Randoseru, it has plenty of room for a day trip. And while maintaining an extremely simple look, it’s functional with compartments that are easy to access even when the flap is closed and inner partitions.
You can even see in the edges where the leather is cut that it has been finished carefully. It’s a modest job that takes a lot of time and effort. A lot of backpacks are casual so this is the first time I’ve come across such a sophisticated design.
The classic items we each make have the ability to elevate everyday looks with understated luxury.
I can say for certain from my experience growing up in street culture immersed in antiques that adding a classic hat and leather bag can dress up any style. Just as long as they’re high quality and made by craftspeople.
John Fish
Owner/Maker at Folklore Hat Co.
2926 NE Killingsworth St.
Portland, OREGON USA
Website
@thisisfolklore
