The story of 1616/Arita begins with Arita, a town in northwestern Kyushu that became synonymous with Japanese porcelain. The region’s ceramic history is traditionally traced to 1616, when Korean potter Ri Sam-pyeong (Yi Sam-pyeong) is credited with discovering porcelain stone at Izumiyama in Arita. This discovery enabled the production of white porcelain in Japan and eventually established Arita as one of the country’s most important porcelain-producing regions.1

Over the following centuries, Arita-yaki developed into a major Japanese ceramic tradition recognised for its refined white body, technical precision, thinness, and durability. The manufacturer behind the modern brand, Momota Touen, traces its predecessor’s kiln-related work in Arita back to 1647, when the Momota family was involved in kiln production under the Nabeshima domain’s Arita administration.1 Consequently, 1616/Arita is not a newly established factory attempting to imitate an old craft; its contemporary design programme is built upon an existing local ceramic-production ecosystem.

The modern brand emerged from a desire to give Arita porcelain a new direction. Around 2011, Momota Touen approached designer Teruhiro Yanagihara regarding a Tokyo store project. According to Yanagihara, this initiative evolved into developing an entirely new porcelain brand rather than simply creating a retail space. The result was 1616/Arita, formally launched in 2012.

Instead of treating Arita ware purely as traditional craft, the project explored what Arita porcelain could become if its traditional manufacturing expertise were combined with contemporary international design. Yanagihara became the brand’s creative director, while Momota Touen provided the manufacturing base and connection to the local ceramic industry.1 The first collections were presented internationally at Milan’s Salone del Mobile in 2012, where the brand attracted attention from the global design community.1

The central philosophy of 1616/Arita combines traditional Arita craftsmanship with contemporary design and everyday usability. The company deliberately moved away from the notion that Arita porcelain must look traditionally Japanese. Instead, the brand exploits the technical qualities of Arita porcelain—its strength, thinness, precision, and material character—to create objects that function naturally within modern lifestyles globally.1

This approach is evident in Yanagihara’s “borderless” design philosophy, which attempts to cross boundaries between cultures, industries, and traditional crafts.1 As a result, a 1616/Arita plate does not necessarily resemble traditional Japanese porcelain but is equally appropriate for Japanese cuisine, Italian food, Scandinavian-style meals, or contemporary restaurant presentation. The intention is to make Arita porcelain international rather than culturally restrictive.

The name “1616” refers directly to the historical origin of Arita porcelain. The brand uses this date as a bridge between past and present, describing it as a name derived from the history of Arita and the origins of Japanese porcelain.1 The nomenclature communicates two elements simultaneously: “1616” represents historical heritage, while “arita japan” signifies geographical and cultural identity. This juxtaposition pairs an ancient date with a modern, international brand identity.

A defining characteristic of 1616/Arita is restraint. Rather than emphasising decorative motifs, the brand focuses on geometric forms, thin profiles, subtle colours, tactile surfaces, stackability, modularity, multifunctionality, material qualities, and visual lightness.

This is particularly apparent in the TY “Standard” collection. Yanagihara developed a high-density porcelain body using a traditional Arita technique involving clay made from crushed stone, but with a modified composition. The resulting material is described as highly strong and resistant to heat and staining, even without glaze. Its characteristic light-grey matte appearance is one of the collection’s signatures.1

TY “Standard”

Designed by Teruhiro Yanagihara and introduced in 2012, the 1616/TY “Standard” collection serves as the visual foundation of the brand.1 It translates Arita’s technical capabilities into simple contemporary tableware where objects are not always assigned a single rigid purpose. For example, a square plate may function as a tray, a small round plate can act as a lid, and bowls can accommodate both rice and Western breakfast foods. This concept of “borderless” functionality results in tableware that feels architectural, featuring simple shapes and carefully calculated proportions.1

S&B “Colour Porcelain”

The second major launch collection, 1616/S&B “Colour Porcelain”, was designed by the Dutch duo Scholten & Baijings. While Yanagihara concentrated on material and geometry, Scholten & Baijings explored colour and form based on research into historical Arita ceramics. Their work translated these references into a contemporary palette, demonstrating that Arita craftsmanship need not be paired exclusively with Japanese designers.1

PC “Outline”

Introduced in 2018 and designed by Pierre Charpin, this collection investigates the relationship between form and decoration, bringing a distinctive French design sensibility to Arita porcelain.1

CMA “Clay”

Designed by Cecilie Manz and introduced in 2021, this collection consists of four elements intended to work within both Japanese and European kitchens, emphasising simplicity and softness.1

MANZ “Contour”

A later collection by Richard Manz featuring designs such as the Tea Cup and Hojicha Cup, continuing the brand’s exploration of enduring, everyday forms.1

The brand maintains an international roster of designers:

• Teruhiro Yanagihara 🇯🇵: Born in Kagawa in 1976, Yanagihara established his studio in 2002. He serves as creative director and designer of the Standard collection, emphasising cross-cultural and cross-disciplinary approaches.1
• Scholten & Baijings 🇳🇱: Dutch designers Stefan Scholten and Carole Baijings founded their studio in 2000. Their involvement brought a European perspective to the Arita tradition, particularly through sophisticated colour treatment.1
• Pierre Charpin 🇫🇷: French designer who contributed the Outline collection, focusing on the relationship between shape and decoration.1
• Cecilie Manz 🇩🇰: Danish designer who created the Clay collection, applying Scandinavian sensibilities of simplicity to the porcelain.1
• Richard Manz 🇩🇪: German ceramicist and designer who created the Contour collection, drawing on his background in ceramic training and stove-tile craftsmanship.1

Unlike many contemporary design brands, 1616/Arita products are manufactured within the Arita production environment. The brand states that its items are produced in the same factories associated with traditional Arita pottery, albeit with a different design approach.1 This ensures that the value proposition relies on genuine Arita porcelain technology and craftsmanship rather than merely aesthetic imitation.

While Arita porcelain is traditionally associated with a distinctive white body derived from local porcelain stone, 1616/Arita experiments with material composition. The Standard collection, for instance, uses specially developed high-density clay that provides considerable strength while remaining thin. This material produces a characteristic matte light-grey surface without conventional glazing.1 This shifts the emphasis from decoration-led craftsmanship to a progression of material, form, function, and craftsmanship.

From its inception, 1616/Arita was designed for an international audience. Following its 2012 debut in Milan, the brand expanded to more than 20 countries, particularly in Europe.1 The products aim to coexist naturally with diverse food cultures rather than catering solely to Japanese cuisine.

Physical retail spaces are treated as integral to the brand experience. The Tokyo flagship originally opened at Palace Hotel Tokyo in 2012 with a restrained interior complementing the porcelain.1 In 2020, the Momota Touen Arita Showroom was completed after a year of renovation. Spanning approximately 330 square metres, it incorporates living, kitchen, bathroom, and café areas to present the porcelain as part of a lifestyle rather than merely a product display.1

1616/Arita does not attempt to preserve traditional Arita design literally. Instead, it preserves local manufacturing knowledge, ceramic technology, material expertise, and craftsmanship while transforming forms, proportions, colours, functionality, and visual language.1 This represents a continuation through transformation rather than preservation through repetition.

The brand demonstrates how a traditional regional craft can be repositioned for the global design market by connecting Arita craftsmen with contemporary designers and international consumers. It argues that the technical knowledge of a traditional craft remains relevant even when its visual language changes.

The brand is defined by five key concepts:

• Heritage: Over four centuries of Arita porcelain history.
• Material: Porcelain treated as a primary design element rather than a substrate for decoration.
• Function: Products designed for real everyday use rather than display.
• Internationalism: Japanese craftsmanship paired with designers and lifestyles from outside Japan.
• Minimalism: Removal of unnecessary decoration to prioritise form, proportion, and material.

1. ABOUT – 1616 / arita japan