Boxed In Beauty: A Digest of the New York Times Article on Japan’s Deeply Rooted Packaging Culture
Kiribako Box to hold precious
Exploring how Japan’s reverence for boxes—crafted from paulownia wood, lacquer, and cloth—reflects centuries of artistry, order, and cultural meaning.
“Boxes Almost as Valuable as What They Contain” by Nick Haramis (The New York Times, April 22, 2025)
This article explores Japan’s centuries-old reverence for packaging—particularly boxes—not merely as containers, but as objects of craftsmanship, meaning, and cultural continuity. From ancient folklore like *Urashima Taro* to the ornate *inro* of the Edo period and the lacquered *tomobako* reserved for the aristocracy, the Japanese box has evolved as both a functional and symbolic artifact. Historically, boxes served to preserve valuable items and to convey honor, order, and a deep respect for the contents they hold.
Monika Bincsik, curator of Japanese decorative arts at The Met, underscores the cultural centrality of packaging in Japan, dating back to the 7th century. Everyday practices—from bento boxes to religious *saisenbako* and wooden sake cups—illustrate the box’s role in both sacred and daily life. Even soba and udon noodles are often served on box-like trays, emphasizing the omnipresence of containers in Japanese culture.
At the heart of the article is Mayumi Kuwada, a 62-year-old box artisan who runs Akebono Kougei, a family-owned factory in Fukuyama specializing in *kiribako*—lightweight paulownia wood boxes prized for their durability, humidity control, and symbolic association with prosperity. Her team handcrafts precision boxes for clients including BMW and Lanvin, with features like tightly fitted lids that open with a satisfying friction—an effect said to have influenced Apple’s iPhone packaging.
Kuwada’s international collaboration with Ray Suzuki, a Brooklyn-based entrepreneur and founder of Chowa Library, exemplifies how traditional crafts are being reintroduced to global audiences. However, preserving this heritage requires both trust and cultural integrity. Some artisans remain fiercely protective, refusing to work with foreign brands that may decontextualize their craft.
Despite rising interest abroad, traditional box-making faces serious threats. The once-thriving kiri furniture industry has dwindled, and mass-produced plastic alternatives dominate the market. To adapt, Kuwada has expanded her line with innovative designs, such as rounded keepsake boxes for baby teeth or umbilical cords—items deeply tied to memory and family.
Ultimately, the Japanese box encapsulates a cultural philosophy: that form and care elevate the value of what’s inside. As Suzuki reflects, *“The kiribako is beautiful, but it never distracts from the protagonist.”* Still, without the reverent attention to packaging, the significance of the contents themselves might be lost. In Japan, a box is not just an object—it’s a vessel of meaning, memory, and quiet artistry.
