[Edo Inden] 68 Years of Leather Craftsmanship: A Masterful Showcase of Inden Bags and Accessories

In a quiet residential neighborhood of Matsumoto, Edogawa City, stands the workshop of Sanko Corporation. At the workbench is artisan Tada Tsukasa, who continues to make leather goods such as bags and wallets using the traditional craft of inden—patterns applied to deerskin with lacquer. Having worked with leather for 68 years since the age of 15, Tada’s products—born of distinctive skill and ideas, such as patchwork made from a wide range of komon-patterned leather pieces—are delivered from Edogawa City to customers across Japan.

Sanko’s signature works are the bags and leather accessories in its Edo Sanko Inden series, created using the traditional Japanese leather craft of inden, in which patterns are applied to deerskin with lacquer. The history of inden is long, and it is widely known as a traditional craft originating in Koshu (present-day Yamanashi Prefecture). Yet Edo Sanko Inden has evolved in its own distinct way through Tada’s craftsmanship and ideas.

One example is their “corded patchwork inden,” a delicate technique in which komon-patterned pieces of inden deerskin are arranged in a carefully planned layout, then stitched together on a sewing machine with a flat cord inserted along each seam. The roots of this technique trace back to the days when Tada entered the world of leather artisans as a 15-year-old.

Then one day, during market research at a department store on his day off, Tada’s attention was caught by a leather product: a crocodile-skin bag that was extremely expensive, yet selling well.

“I wanted to learn that technique, so I was introduced to a company in Tokyo specializing in reptile leather, and I moved there at 21. That’s where I learned a technique called tsunagihagi—joining pieces together. Working with reptile leather requires delicate joining skills unlike those used for large-area cowhide. I trained intensively for four and a half years, and at 25, I achieved my goal and went independent.”

But just five years later, in 1973, the Washington Convention was adopted, and reptiles were added to regulated categories. With his supply route cut off, Tada began searching for a new path—and eventually started handling contract production for brand-name bags. Business went well, and in 1986 he founded Sanko. Meeting the strict demands of major brands further elevated his technical skills as an artisan.

Around that same time, a trusted vendor asked him if he could make inden bags. Tada recalls that when he first held inden leather in his hands, he felt his excitement rise as he thought how easy it looked to work with.

“Crocodile leather back then had these rugged bumps, and it was really hard. Compared to the days when I was sewing that, the deerskin used for inden is extremely supple—very easy to handle. And on top of that, I was deeply drawn to the depth of this material that uses lacquer unique to Japan. You know, when an artisan encounters good materials, it makes your heart dance—and that alone changes the finish.”

After cutting, the pieces move to koba-suki—skiving the edges with a leather skiving machine to thin them. If the edges remain thick, the finish will be affected when the leather is joined.

For corded patchwork inden, Tada’s daughter, Yumiko, prepares the base. She cuts out fusible interfacing with adhesive according to the product size and carefully adheres each piece in place.

Once the layout is complete, Tada sits down at the sewing machine and stitches zigzags along the patchwork seams while placing a flat cord over them. It is a device that stabilizes the sewing while also serving as a design accent that brings out the product’s individuality. The value of Sanko’s products is created through the steady accumulation of careful processes, without sparing effort.

Now in his 80s, Tada’s passion for making things has never run dry. He watches his grandchild’s randoseru school bag and improves the structure of backpack shoulder straps. On the train, he looks at other passengers’ bags and thinks, “That pocket looks convenient.” He absorbs ideas from every part of daily life—and when inspiration strikes, he skips the step of drawing plans and starts cutting patterns immediately.

The inden process of applying lacquer patterns to deerskin is usually outsourced to specialized artisans, but after turning 70, Tada set up a workspace in his garage and began studying lacquer himself. “Even if you outsource, if you don’t have your own ‘standards’ inside you, you can’t truly make good things,” he says, his eyes shining with enjoyment.

We asked Tada, still tirelessly in pursuit of his craft, about his dreams for the future.

“I’d be happy if we could spread the appeal of inden to overseas customers as well, and have them use Sanko’s bags. And if I get the chance, I’d like to try launching a casual bag brand using offcuts and the like, rather than only making high-end inden bags. I’ve spent my life making bags—so at the end, I want to see this one big flower bloom, don’t I?”

Preserving tradition while continually creating new value—this joyful, forward-moving approach to making things may be the power that supports Edo Sanko Inden as it blossoms from Edogawa to the rest of Japan.

Writing: Kiuchi Aki

Photo: Takeshita Akiko