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| An All-Japanese Mash-Up
| 07/02/2010 | Name: Guest
Comments: THOUGH the Japantown area of San Francisco has remained largely static since the 1970s — stretches of concrete, blocky mini-malls and lots of sushi restaurants — a new wave of Japanese popular culture, from monster movies to Lolita dresses, has hit the area, thanks to the recent arrival of New People, a five-level, glass-walled, 20,000-square-foot shrine to all things Japanese.
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Opened last August, New People (1746 Post Street; 415-525-8630; newpeopleworld.com) is a modern mash-up of culture, art, design and fashion. It has a ground-floor cafe that serves vegan doughnuts, Blue Bottle Coffee and bento boxes by Delica, the upscale Japanese deli. The next two floors are dedicated to merchandise, specializing in items rarely found outside Japan; one level carries a wide selection of books, stationery, music and other goods, including skinny silk neckties ($139) from the Japanese brand Giraffe and hand-printed postcards ($2.25) by the popular Tokyo-based artist Yuki Koishikawa.
The second level is mostly devoted to three permanent labels — Black Peace Now; Sou-Sou; and Baby, the Stars Shine Bright — that are all big players in Tokyo street fashion and run from punk-rock goth to Lolita schoolgirl chic. An additional rotating boutique space introduces other works to Western audiences, including a line of white ceramic pins and rings that sprout live moss ($190) by the jewelry designers On Za Line, and whimsical line drawings by Noritake, an artist who collaborates with fashion houses and magazines in Japan.
Seiji Horibuchi, who founded New People as an extension of VIZ Pictures, his San Francisco-based Japanese film distribution company, says that Japantown is on the cusp of change. “We’re just the beginning, I think, of a more recent, more modern presentation of Japan and Japanese popular culture here,” he said.
New People also has its own state-of-the-art movie theater, VIZ Cinema (vizcinema.com), billed as the only movie theater in the United States entirely dedicated to Japanese film. (Recent mini-festivals have focused on works by three of Japan’s most acclaimed directors: Akira Kurosawa, Yasujiro Ozu and Kenji Mizoguchi.)
The complex also features its own art gallery, Superfrog (superfroggallery.com), named after a Haruki Murakami story, “Super-Frog Saves Tokyo.” A recent exhibition at the art gallery, titled “The Surf Shop,” was an experimental collaboration of 17 Japanese artists inspired by surf culture. The result was a multimedia extravaganza: hand-shaped balsa big-wave boards by Yoshihiko Kushimoto; a “Surfing Barbie” exhibition by the graphic designer Taku Satoh; men’s swallowtail suits reminiscent of surfboard designs, by Hiroshi Kubo; a glorious photograph of a stand-up paddleboarder in a snowy Japanese island riverscape, by Mie Kushimoto.
Superfrog is exhibiting works by the Taiwanese multimedia artist Yu-Cheng Chou through Aug. 1, in a show called “Because 64 Crayons Made in the USA.” Fittingly for New People, much of his work is preoccupied with the globalization of cultures and the creative mash-up of new media.
“It’s kind of a hybrid space — it’s not about ‘this is all the cool stuff from Japan now,’ “ said Mika Anami, the manager of Superfrog. “The whole thing speaks to the person who is borderless, taking in a lot of cultural influences and sensibilities, of Japanese pop culture and the Bay Area specifically to start.”
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