Behind the Scenes of a Bedding Craftsman: Interview with Yuma Kinoshita

In 2017, while searching for work in textiles and manufacturing, Yuma Kinoshita came across Daitou Shingu and joined the company. He started in fabric cutting and later moved to cotton filling, a crucial step often considered a key process in futon making. “I had never done cotton stuffing before, and I wasn’t sure if I could handle it.”

He trained under a craftsman with 50 years of experience for about five years.
“He would put his hand inside a cushion and say, ‘Stuff the cotton like this,’ but I couldn’t see his fingers at all. At first, I just watched, confused.” Over time, he came to appreciate the complexity of the work and the responsibility it carries. This time, we interviewed him, now in his ninth year, to reveal the life of a craftsman and what happens inside the workshop.

Yuma Kinoshita
Manufacturing Section Manager

With a passion for clothing, Kinoshita studied pattern making at Ueda Yasuko Fashion College after high school. After working at an apparel company, he joined Daitou Shingu and began working in bedding manufacturing. 

“I wasn’t very skilled at first, but through repeated trial and error, I gradually developed my skills and came to enjoy making things.”

 

Q. What does a typical day at the workshop look like?

9:00 – Arrive and start work. On days when cotton stuffing is performed, the work is often physically demanding, involving long periods of sitting in seiza and repeated movements such as standing and squatting.

12:00–13:00 – Have lunch and take a short nap to recharge.

13:00 – Continue sewing and other tasks. Even when the work is repetitive, focus is maintained to ensure each piece is finished accurately.

18:00 – Finish work for the day.

Q. Which products or episodes have left the strongest impression on you during production?

The egg-shaped cushions we made for Expo 2025 Osaka. We produced over 200 pieces in three seasons. Unlike regular cushions, their unique rounded shape required precise cutting and sewing. Even slight misalignments ruined the smooth curve, so I repeatedly recut and adjusted it. When I visited the booth and saw many people naturally touching them, I realized that my work was truly useful to others.

Q. Could you tell us about your work outfit and the tools you use regularly?

1. Lee denim apron: It has many pockets and is easy to use. The one I’m wearing now is my second. I bought it this January after using the first one for 5–6 years. The color had faded, so I replaced it with the same model. The thick denim is durable and doesn’t tear easily during work.
   
   

2. Jersey pants: I used to wear chinos, but futon-making requires a lot of kneeling, and they wore out within three months. I tried switching to jersey pants; they don’t attract cotton and allow easy movement, so I now prefer them.
   
   

3. Dressmaker’s shears: I bought them 18 years ago when I started vocational school, and I still use them today. With regular maintenance, they still cut just as well as when they were new.

Q. Do you visit shrines for tools?

I went to the Needle Shrine in Arashiyama about two years ago to attend a memorial service for bent or broken needles. Kyoto has many kimono tailors, and that may be why such shrines exist.

Q. You passed the Level 1 Bedding Production Technician exam last year. Can you tell us about it?

It’s a national qualification certified by the Ministry of Health, Labour and Welfare, ranging from Level 2 to Level 1, that demonstrates skills and knowledge in futon-making. In the Level 1 practical exam, I made kaimaki (a kimono-style futon garment with sleeves) and comforters in six hours, and the written exam covered materials, processes, safety, and laws. I had never seen a kaimaki before then, so I received instruction at the Osaka Bedding Skills Association.

I practiced after work, on Saturdays and even at home before the exam. The kaimaki has sleeves and a collar, making it very complex, and it requires around 100 internal stitches. Time management was crucial. Exam practice helped me review the basics. Passing gave me confidence, but I know I still have much to learn.

Q. What makes manufacturing at Daito Bedding appealing?

Having an in-house workshop allows us to quickly turn prototypes and new product ideas into reality. Craftsmen can experiment hands-on and enjoy the process.

Personally, I’d like to keep working on the patchwork tetra I started whenever I have time. I also want to make a hanten, but so far, I haven’t been able to create anything I’m truly satisfied with. I’ve mainly been learning through imitation, so it still feels unfinished. I’ll keep working toward finishing it.