Art in Your Hand: Japanese Umbrellas Brighten Gray Skies

Japan Forward

20-06-2025

Come June in Japan, an umbrella becomes your constant companion. One tip to make sure you don't forget it anywhere is to invest in one you truly love. In Gifu City, traditional Japanese umbrellas, known as wagasa , are handcrafted like works of art. Each one takes up to two months to complete entirely by hand.
When closed, they're slim and refined. When opened, colorful washi paper stretches out along elegant bamboo spokes in a striking radial pattern.
Each umbrella crafted by 37-year-old artisan Mikiko Kawai is unique, featuring vibrant colors and intricate designs. In Japan's gray rainy season, they almost seem to chase the clouds away.
A wagasa 's frame and handle are made from all-natural materials like bamboo and wood, while the canopy is crafted from washi paper. They come in various styles: from the detailed janome-gasa (snake-eye umbrellas) made famous in children's songs, to the sturdier bangasa , and parasols designed for sun protection.
Kawai's "Sakura Wagasa" drew international attention when she created it for a visiting Hollywood actress. Inspired by the cherry blossoms in the film and the actress's costume, the parasol was made with delicate, handmade sakura-pink washi, using paper mulberry grown in Gifu Prefecture's Mino City. It quickly became a hit on social media.
Floral-themed wagasa have been made since Japan's Showa era (1926–1989), and Kawai finds constant inspiration in their retro charm.
"Showa-era wagasa are surprisingly modern and stylish," she says. "I often draw on traditional color palettes, like the layered hues of Heian-period [794–1185] garments, to create something fresh yet timeless." Mikiko Kawai glues washi paper onto a bamboo frame at her workshop Kasabiyori in Gifu City.
One of her most popular designs is Tsukiyakko , a model passed down from the early Showa era and now revived at her workshop, Kasabiyori.
Once produced across Japan, wagasa became particularly prominent in Gifu City. The upper flow of the Nagara River brought essential materials such as high-quality Mino washi, bamboo, and oil. During the Edo period, even samurai were encouraged to take up umbrella-making as a sideline.
At its peak in the late 1940s, the Gifu region produced more than 12 million wagasa annually, according to the Gifu Wagasa Association. Today, although mass-produced Western umbrellas dominate the market, Gifu remains Japan's largest wagasa production area. These traditional umbrellas are still used in everyday life, on stage, and increasingly as decorative pieces or event props.
In an industry where production is typically divided among specialists, Kawai is unusual in that she completes every step herself. From assembling the bamboo ribs and gluing the washi paper, to oiling, sun-drying, and stitching the interior, she does everything by hand and uses no machines.
Even parasols, which do not require oiling, take around two months to finish. For a janome-gasa , the process can stretch to two and a half months.
Her work is also at the mercy of the weather. "Sun-drying takes about four days in summer and a week in winter," she explains. "I'm always watching the forecast, trying to find stretches without rain."
Although wagasa look beautiful in the rain, rain is the one thing she must avoid during production. Her reliance on sunlight and traditional, manual techniques contrasts sharply with today's efficiency-driven world. Still, she continues, step by step — assembling, pasting, drying — relying solely on her own hands.
As the mother of a one-year-old son, her working hours are limited. "I get maybe three to four hours during the day, and another two or three at night. That's all I can manage right now," Kawai says. Her creations are in high demand, and she's doing all she can to keep up.
Kawai hopes these stylish umbrellas, rich in Showa-era charm, will find a place in modern Reiwa-era life (2019–). Her goal is to craft umbrellas that are just as beautiful closed as they are when open.
"Umbrellas spend most of their time closed, so I want mine to look elegant even when they're not in use. I aim to make something that anyone can carry — regardless of age, gender, or whether they wear modern or traditional clothing," Kawai says.
"I take my time with each one, hoping to gradually reach the level of beauty and craftsmanship achieved by the artisans who came before me."
( Read the article in Japanese . )
Author: Maki Tanaka, The Sankei Shimbun