Japanology
Wherever one travels today, technological standardization has made it increasingly difficult to perceive the uniqueness of place.
What, then, can only be created in Japan? It should be something that awakens sensibilities passed down continuously among the Japanese people: the space that connects architecture and garden, the beauty found in aging and decay, and the belief that the divine resides in details.
How can we create objects that embody forms of intelligence and sensitivity that Japanese people can share intuitively, without words?
With this question in mind, we have pursued form and refined our Sallaz polishing techniques. At the same time, we value collaboration through dialogue with master artisans who inherit lineages spanning over a thousand years, ensuring that traditional crafts are never treated superficially.
We hope that MINASE’s collection speaks to you of a sense of pride, passion, and living tradition that transcends time.
We would be pleased if, through our watches, you could sense the gentle flow of the Minase River running through the deep valleys of Akita, where our workshop is located.
CEO Tsuyoshi Suzuki
A pocket watch emerged as the most fitting form to express Japanese craftsmanship in a way that is true to MINASE.
Its dodecagonal form was designed to be held and appreciated in the hand—to take in the maki-e decoration, the patina of Japanese sword steel, and the sharp edges created through Sallaz polishing.
The Japanese concept of mederu (to admire) refers to a distinct aesthetic sensibility: to be moved by beauty, to appreciate texture, and to cherish it with care.
This watch embodies our wish that MINASE timepieces will continue to be admired by people around the world.
Dial
– Maki-e
Dial Motif
– Asagimadara
– Phoenix
Case Back / Bow
– Black Patina of Japanese Sword Steel
– Tamahagane Steel
Special Box
– Special Box Made of Akita Cedar
Accessories
– Watch Stand and Accessories
Specifications
– Asagimadara
– Phoenix
Artist
– Lacquerware Artist / Junichi Hakose
– Swordsmith / Kunihisa Ishida
Dial
Maki-e is a lacquer art form that developed uniquely in Japan. Patterns are drawn in lacquer, and before it dries, gold powder or colored powders are sprinkled to create the design.
Its history dates back to at least the 9th–10th century Heian period and is even mentioned in The Tale of the Bamboo Cutter, one of Japan’s oldest narratives.
The process begins with a brass dial base that is fired and polished. Layers of lacquer are repeatedly applied and dried to form a foundation. Gold powder is then sprinkled, followed by further applications of lacquer, drying, and polishing.
It takes several months to complete a single dial. Each piece reflects patience, precision, and a tradition refined over centuries.
Dial Motif
The Asagimadara is a butterfly known for migrating over 1,500 kilometers across seas and continents in Asia. Its pale blue wings resemble stained glass.
This motif expresses lacquer artist Junichi Hakose’s wish that the pocket watch serve as a bridge between Japan and the wider world.
The white areas of the wings are created using an eggshell technique passed down in Wajima. Because pure white is difficult to achieve with lacquer alone, finely crushed quail eggshells are carefully placed, much like maki-e.
The small square windows evoke the lights of a city.
Dial Motif
The phoenix is a mythical bird traditionally depicted with the head of a rooster, the wings of a crane, and the tail of a peacock. It has long been regarded as a symbol heralding peace and prosperity under a virtuous ruler.
In Japan, it is famously represented at Byodo-in’s Phoenix Hall and Kinkaku-ji Temple.
Within the circular dial, the phoenix is depicted in dynamic motion—an expression characteristic of Hakose’s work. Even the finest down feathers, invisible to the naked eye, are rendered with careful brushwork.
At the final stage, the eye is painted as if giving life to the figure.
We sincerely hope that this watch brings peace and well-being to its owner.
Case Back / Bow
The tang (nakago) of a Japanese sword develops a deep black patina over time through handling during maintenance and appreciation.
This patina not only prevents red rust but also serves as an important indicator of a swordsmith’s skill. Observing its gradual change is itself part of the appreciation.
The most valued tone is a deep purplish black.
The case back and bow are made from forged Japanese steel, to which a swordsmith applies this patina.
The color deepens over 50 to 100 years. Owners are invited to handle the watch regularly and allow the patina to develop over time.
Case Back / Bow
Tamahagane is a special steel produced using the traditional tatara method and used for Japanese swords.
Swordsmiths repeatedly heat, hammer, and fold the steel, reducing impurities and refining it from an initial 7–8 kg to approximately 700 g of highly pure steel.
This steel is shaped into the case back and bow at the Minase workshop, then returned to the swordsmith for repeated cycles of patination and refinement.
The same material used in Japanese swords is thus incorporated into the watch.
Special Box
Each watch comes with a custom-made box crafted from Akita cedar by a local woodworking company near the Minase workshop.
The lid bears a branded mark featuring the MINASE logo and the kanji “皆瀬,” expressing both the warmth of the material and the presence of the brand.
The box can store the watch stand and may also be used as a jewelry box.
Accessories
The wooden watch stand is produced by a local craftsman and finished with lacquer by Hakose.
The metal ornament at the top is made of stainless steel, inspired by the case’s multi-faceted form and finished with Sallaz polishing on all surfaces.
Two braided cords (long and short) and a leather pouch are also included.
MD11-ASSS-STR
MD11-AS18K-STR
SPEC
Case
Stainless steel / 18K gold
Movement
Hand-wound mechanical KT5002 (based on Chronode C101)
approx. 162-hour power reserve
Crystal
Sapphire crystal
Case back / Bow
Tamahagane steel
Case size
39mm
Thickness
9.7 mm (including crystal)
PRICE
Stainless steel model
USD 54,500
18K model
Price upon request
MD12-PHSS-STR
MD12-PH18K-STR
SPEC
Case
Stainless steel / 18K gold
Movement
Hand-wound mechanical KT5002 (based on Chronode C101)
approx. 162-hour power reserve
Crystal
Sapphire crystal
Case back / Bow
Tamahagane steel
Case size
39mm
Thickness
9.7 mm (including crystal)
PRICE
Stainless steel model
USD 54,500
18K model
Price upon request
* Delivery time: approximately six months to one year.
Lacquerware Artist
Born in 1955 in Wajima, Ishikawa Prefecture, Junichi Hakose apprenticed under the maki-e artist Masaru Tanaka in 1975 and became independent five years later. Since then, he has continued to create works guided by his own sensibility.
At times, he has deliberately gone against prevailing trends: when ornate maki-e was at its height, he chose to produce plain lacquerware; when simplicity became widespread, he expressed himself through maki-e. Although such choices may have appeared unconventional, he has been supported by those who appreciate his work. He continues to pursue forms of lacquer expression that resonate with each era, with a commitment to working freely and on his own terms.
The term “divine craftsmanship” is often used to describe techniques so extraordinary that they seem beyond human ability. However, in the presence of Hakose’s work, even such a term feels inadequate. When one recognizes that these works are created by a person living in the same age, they evoke a profound sense of admiration.
Even in Wajima, a center of the highest levels of lacquer artistry, there are now few artisans who practice maki-e at a full scale. Among them, Hakose avoids compromise, continuing to create works that are meant to endure—works that carry a sense of life within them. Grounded in tradition, he continues to open new possibilities for maki-e expression.
Swordsmith
Born in 1977 in Tomioka, Gunma Prefecture, Kunihisa Ishida apprenticed in 1995 under Kunihira Kawachi (Holder of Intangible Cultural Property of Nara Prefecture). In 2001, he received official certification from the Agency for Cultural Affairs to produce art swords, and in 2002 he established the Kunihisa Swordsmith Workshop.
From 2020 to 2021, he participated in the restoration of an Important Cultural Property held by Uesugi Shrine, Yari Mei: Jōshū Umetada Saku, dated December, Bunroku 2. In 2022, he was selected for the Reiwa Master Craftsmen and Master Swords Exhibition.
Each New Year, he exhibits his work and performs inscription carving demonstrations at the Dedication New Year Sword Exhibition (Yushukan Museum, Yasukuni Shrine). In 2025, he forged a ceremonial sword dedicated before Atsuta Shrine. He is also involved, on an occasional basis, in activities with “Tetsugei,” an organization dedicated to promoting Japanese sword culture.
To describe the powerful presence inherent in Japanese swords, Ishida uses the expression haki, referring to a spirit filled with energy and intent. While haki originally signifies a strong will to take initiative and strive for mastery, the idea that a divine force resides within the blade is uniquely rooted in Japanese thought.
“Japanese swords are meant to be admired—that is, they represent a culture that appreciates the material of iron itself,” Ishida explains.
His ideal is to create a boldly curved blade reminiscent of the great swords of the Kamakura period (12th–13th century). He speaks with conviction about the responsibility of a swordsmith: that a well-forged blade may carry its maker’s name across 800 years, and that releasing work he cannot stand behind would bring shame to future generations.
This spirit is embodied in the case back and bow of the pocket watch.