Terry Ellis and Keiko Kitamura: Redefining the Spirit of Contemporary Mingei

A century has passed since the birth of the Mingei movement. Over this time, lifestyles have evolved, and so has the perception of this craft. Revisiting Mingei in a contemporary context means embracing the creative freedom that characterized its origins. By doing so, we can deepen and expand our appreciation of this timeless art form.

‘The key is to ask yourself if an object genuinely appeals to you,’ explains Keiko Kitamura of MOGI Folk Art, a driving force behind Mingei’s current resurgence. ‘The idea of ‘functional beauty’ is, of course, important, but reducing Mingei to purely utilitarian objects would be a mistake. We also select pieces that captivate the eye.’

One concept often associated with Mingei is yō no bi—the beauty of utility. While this principle is central to its aesthetic, overemphasizing it risks confining Mingei to a rigid framework, far from its original spirit of freedom and spontaneity. In truth, Mingei shines in its diversity, offering space for individual interpretation and expression.

Since the late 1990s, Terry Ellis and Keiko Kitamura have demonstrated how to seamlessly integrate Mingei into modern life. Their approach respects its history while thoughtfully adapting it to contemporary needs.

The couple’s journey into the world of Mingei began with the iconic ‘Butterfly Stool’ designed by Sōri Yanagi. Both had started their careers in the 1980s as fashion buyers for the London office of BEAMS, the celebrated Japanese select shop. In the mid-1990s, they launched BEAMS Modern Living, a homewares line that championed Scandinavian design from the 1940s to the 1960s, sparking a wave of Nordic design appreciation in Japan. Amid this, they incorporated the ‘Butterfly Stool’ into their selection.

‘The Butterfly Stool is a quintessential piece of Japanese mid-century design. While flipping through vintage European interior design magazines, we noticed it featured repeatedly. When we discovered it was designed by Sōri Yanagi, we decided to visit his studio upon returning to Japan,’ they recall.

Over time, they built a relationship of trust with him, which they continued to deepen even after securing the distribution of the ‘Butterfly Stool.’ At the time, Sōri Yanagi was the director of the Japan Folk Crafts Museum (Nihon Mingei-kan), and they visited it many times, drawn in by the richness of the Mingei movement initiated by his father, Sōetsu Yanagi.

‘Mingei is what the people of a region create using local materials to meet the needs of their community. Today, the movement of people and objects across the world has made local specificities less visible. Yet, there is no other country in the world where local craft traditions are as well preserved as in Japan,’ explains Terry Ellis.

Impressed by their discerning eye and enthusiasm, Sōri Yanagi opened his personal collection to them and introduced them to artisans across Japan. On one occasion, he even inscribed a recommendation on the back of his business card, a rare gesture they treasure to this day.

This pivotal encounter with Sōri Yanagi inspired them to travel across Japan, visiting the workshops of local artisans. At every step, they engaged in meaningful dialogue with the creators, selecting only the pieces that deeply resonated with their sensibilities to then share them with the world.

Inside MOGI Folk Art, Mingei pieces sit alongside folk art, vintage objects, apparel, and original creations. This eclectic mix embodies the contemporary spirit of Mingei that Terry Ellis and Keiko Kitamura have cultivated since founding fennica at BEAMS in 1997. This sub-label blends Japanese craftsmanship with modern design—a vision shaped by their earlier experiences at BEAMS Modern Living.

‘When we started working with Nordic design at BEAMS Modern Living, we incorporated the ‘Butterfly Stool,’ which led us to meet Sōri Yanagi and expand our interest in Mingei. While visiting Scandinavian countries, we noticed that in the homes of great Nordic designers, there were always pieces of Mingei present. For instance, Shōji Hamada’s plates were often on display in their homes. These designers appreciated Mingei and surrounded themselves with such pieces. At Hans J. Wegner’s home, there were straw-woven shoes and straw coats from Japan’s snowy regions. They collected these items simply because they found them beautiful. These objects were seamlessly integrated and displayed within the clean, precise interiors characteristic of Scandinavian design,’ recounts Keiko Kitamura.

This harmony between Nordic design and Mingei inspired them to introduce Japanese craft objects at BEAMS Modern Living. Initially, however, they faced challenges. In 1997, as Scandinavian design gained popularity, customers were drawn to clean-lined white ceramics and sleek glassware. The bold, rugged pottery of Okinawa, for example, failed to resonate.

‘At the time, Mingei was seen as something for the older generation—not as something that could fit into a modern lifestyle,’ Keiko Kitamura recalls.

Their efforts eventually bore fruit: by the early 2000s, their shop and Mingei itself began to gain recognition, laying the groundwork for the growing popularity this art enjoys today.

‘What matters most is that you genuinely love an object and want to live with it,’ Keiko Kitamura emphasizes. ‘If it feels more beautiful displayed, then display it. And if your tastes change, perhaps you’ll want to seek out an earlier piece by the same artisan. By tracing these creative lineages, Mingei becomes even more fascinating.’

She encourages people to follow their instincts when buying. By collecting objects that resonate with them, individuals naturally refine their sensibilities over time. This philosophy is evident in the carefully curated selection at their two shops—and one can only imagine the vast collection in their home.

‘There’s no need to think, ‘What’s the point of owning so many things?’ Instead, create a space where each piece can shine. When hosting guests, we rearrange displays or select tableware to suit the meal. It sparks conversations. And for those worried about small spaces, try adding larger pieces. Paradoxically, it makes the space feel bigger and more balanced than cluttering it with small items,’ Keiko Kitamura advises.

In the 1990s, when few paid attention to Mingei, Terry Ellis and Keiko Kitamura saw its beauty and relevance. They’ve spent decades demonstrating how this craft can enrich daily life—not by replicating the past but by staying attuned to contemporary needs. Their driving force? Loving what they choose and trusting their own sensibilities.

‘When buying something, don’t over-research it on your smartphone,’ Terry Ellis suggests. ‘Trust your intuition. The things you acquire instinctively always integrate naturally into your life.’

More information on MOGI Folk Art can be found on the boutique’s website.