World wide Tsumami-zaiku Artist Vol.4 Ms. Cora Fung

The famous Tsumami-zaiku artists will talk about their thoughts about Tsumami-zaiku.

The fourth Tsumami-zaiku Artist is British artist Cora Fung. She has her own art studio for Tsumami-zaiku. Her work is very delicate and she has been selling Tsumami-zaiku worldwide.

Profile

2016 – Started learning Tsumami-zaiku in Spring. First demonstration and Christmas craft fair at the Millennium Gallery, Sheffield, UK. I started a company named “Takara Crafts” with a friend and have been selling Tsumami-zaiku worldwide ever since.

2017 – Started stocking in “All Good Stuff”, a local gift shop for local artists and makers. Demonstrated at Craft Jam #4 at the Millennium Gallery. Ran a stall at the “Doki Doki” Japanese Festival at Manchester for the first time and have been participating in the event in subsequent years. Ran my first workshop.

2018 – Started taking bridal range orders at Vyn Johns, a local wedding dress boutique. I also worked with them for a bridal photoshoot. Demonstrated at the Open Studio Sheffield 2018 event. Opened a pop-up shop with other local artists.

2019 – Ran a stall at the Yorkshire Cosplay Convention for the first time. I started learning and practicing Kitsuke.
2020 – I moved into my first art studio. Started a Youtube Channel.

Links to my shop and social media pages:
Website: takaracrafts.co.uk
Etsy: https://www.etsy.com/uk/shop/takaracrafts

IG: @takara.sheffield
FB/twitter: @takaracrafts

Youtube:
https://www.youtube.com/channel/UCT5eH-CoFAhdsStbppjoQCA

Q1. How did you start working on Tsumami-zaiku? (Or did you get involved?)

At the beginning of 2016, I had a lot of difficulties in my research work in the university. It was very stressful, and I started learning different kinds of craft as a way to improve my mental health. One day, I came across a blog post about someone making some very beautiful geisha hair accessories and I was instantly intrigued. At the time, I had no knowledge on the craft at all. I only thought the pieces were wonderful and I wanted to make one. Fortunately, I can understand Japanese and I found a lot of information on Tsumami-zaiku very quickly. I learnt by watching YouTube videos and reading blogs and built up my skills from there.

Q2. What are your commitments to your work and what do you care about?

I have never been to a Tsumami-zaiku lesson so my ways of creating may not be the most orthodox, so I keep learning and trying every day to further improve my skills.
I think it is crucial to consider how an accessory will look from all angles. In the beginning, I only thought about how a piece looks from the front. However, when I put a headpiece on the mannequin, I noticed that the piece did not look as good from the side. Ever since, when I make a new headpiece, I will always consider how it looks from different angles. Apart from the appearance, I also take how the wearer would feel into account. Therefore, I would avoid creating pieces that are too heavy and I want to keep the back of the piece as tidy and clean as possible.

Q3. What is the attractiveness of Tsumami-zaiku for you?

The texture and the intricate structure of Tsumami-zaiku artwork always fascinate me. I once created a picture that is completely white to accentuate these characteristics. Although colour combinations and dyeing techniques are also interesting, shapes and structures interest me more. Perhaps my experience in engineering had influenced my preference.

Q4. What do you think about the future possibilities of Tsumami-zaiku?

In the past, Tsumami-zaiku was used for making floral hair accessories that pair with kimono. The craft has since evolved, covering more motifs and being used to create different kinds of accessories and artwork. I think this shows that the craft is versatile and has many possibilities. Recently, more and more abstract patterns and ways of presentation have appeared in the circle and I believe this will become a much bigger part in Tsumami-zaiku in the future. This is because abstract objects make great complement to a wider range of styles, be it fashion or interior design.

Q5. What do you want to make in the future?

I don’t have a specific picture in mind but I always want to make something very ambitious and elaborate. I have been working on a “mermaid crown” project lately. It has been a long project and I am still working on it. I hope this will open a door for me into something even bigger.

Q6. How do you think you can use/arrange or deploy Tsumami-zaiku in your country?

I live in the UK and we have a history of wearing hats and fascinators to special events such as weddings and horse races. This is very similar to the tsumami-zaiku kanzashi that women and girls wear for coming-of-age and wedding ceremonies in Japan. I think Tsumami-zaiku can be incorporated into the tradition of hats. I experimented with this idea and made a Tsumami-zaiku fascinator for the wedding of my two friends last year. I love the combination and will definitely make more in the future.

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