Episode 12 [Final Episode]
Jeanne Grut
Blue Fish (1963) *The owned piece is a reissue.
A masterpiece by sculptor Jeanne Grut, this life-size stoneware (also known as high-fired ceramic) of a coelacanth was produced by Royal Copenhagen. Though it was discontinued, the company revived it four years ago. However, due to environmental concerns over glaze, the firing method differs slightly from the original. There are two types: "Straight" and "Curve," both intricately capturing the details of the coelacanth's anatomy.
I first saw the Blue Fish in person during my university days. It was around the late 1960s, possibly near the Osaka Expo. I don’t remember the exact location, but I think it was in a Royal Copenhagen shop in Tokyo or Osaka. The moment I saw it, I was overwhelmed by its presence. Since then, I had seen it a few times on TV. I remember watching the news, likely in the 1990s, reporting that the Danish Royal Family had presented this Blue Fish to the Emperor of Japan during his visit. More recently, I caught a glimpse of it in a television program introducing the Suzuhiro Kamaboko Museum in Odawara, where it was displayed at the entrance. That brief moment stayed with me so vivily that I seriously considered negotiating with the museum to acquire it.
In September 2024, a woman visited my home through an introduction from an acquaintance. She had also attended the "Nordic Design Exhibition" of the Oda Collection held at Takashimaya in Tokyo in 2023. She had worked in product development at Royal Copenhagen for 24 years, and during our conversation, I learned that Blue Fish had been reissued as a limited contract order. A Tokyo real estate company had requested to decorate multiple new buildings with Blue Fish, leading to a limited production of just over a hundred pieces using the original molds. A few of these remained in Tokyo.
Aside from the works of Axel Salto, which I previously introduced in this series, Royal Copenhagen rarely produces art pieces. Blue Fish had a very limited production from the start, and I estimate that only about ten pieces initially arrived in Japan. It is a truly iconic model for the company. Naturally, I expressed my intent to purchase it immediately. For 50 years, I have lived by the philosophy that "money can be earned through work," but things are different nowadays. However, to ensure that an authentic piece remains in this region, the best way is to add it to the "Oda Collection" in Higashikawa Town. I made an effort to secure it, believing it was my responsibility. When it comes to collecting, if you don’t acquire something when you encounter it, you may never find it again.
The actual Blue Fish is not only powerful but also has the beauty of a sculpture. The motif is the living fossil, the coelacanth, meticulously crafted with fins resembling arms or legs, giving it a dignified, dinosaur-like presence. The use of ceramics enhances its unique features. Since I finally obtained it, I want to keep it close and admire it for a while. The purpose of owning an object like this is precisely its "useless usefulness." It serves no practical function, yet it enriches a space and brings joy whenever seen. That alone is an invaluable quality beyond functionality.
The Oda Collection includes many art pieces, just like its collection of chairs and daily-use items, all selected as cultural design heritage worth preserving. Personal values may vary, but I believe nurturing an eye for quality is important. Since I was young, I have consciously chosen "a life of selecting good things," not in a lavish way but by ensuring everything aligns with my aesthetic sensibilities. If you buy a fine tie, you naturally want a good suit to match it. You take care of well-made shoes and wear them with pride. When you stretch a bit financially to buy something meaningful, you cherish it more, and it enhances your confidence. Naturally, your demeanor also becomes refined. Investing in oneself raises the standard of living gradually. On the other hand, surrounding oneself with low-quality, inexpensive items leads to an entire lifestyle of the same level. Constantly choosing fast, disposable goods lowers cultural standards. Low-priced products driven by cost-cutting are merely temporary and do not lead to long-term satisfaction. I recall architect Dan Miyawaki expressing his regret over a hastily purchased office chair, saying, "I hated it because I couldn’t even throw it away."
During the interview, the topic of Thonet No. 14 came up. He quickly illustrated it, saying, "This part is solid wood, this part is thin veneer and glue—."
The Swedish educator Ellen Key, who was active in the 1800s, left behind the words, "Beauty in everyday life makes people happy." Does beauty exist in every home today? There is a TV program where strangers visit people's homes, and watching it was a cultural shock. A rich life is not about the abundance of objects. In the past, homes were simple and modest, yet they provided a refined space for living with a sense of fulfillment.
Today, excessive giveaways and buy-one-get-one-free deals lead to an overflow of unnecessary items that are often discarded quickly. Such habits erode the traditional Japanese value of carefully choosing, maintaining, and cherishing quality items. I only bring things into my home that I personally select with care.
The essence of design is to create beauty and functionality that enhance people's lives and society. Deceptive designs—whether by prioritizing low cost over proper development, using false bottoms, imitations, copy products, or exaggerated advertising—take away from someone’s happiness and well-being. Such products diminish the user’s spirit over time. Since this is the final episode, I may have gone on a bit of a lecture—please forgive me! (laughs)
This series has shared the struggles and surprises behind each piece in my collection. Thank you for reading over the years. On a personal note, I will be stepping down from my position in Higashikawa and moving from Higashikagura to Sapporo this autumn. My current home will be taken over by a new owner, who is considering opening it as a Living Design Museum. If that happens, I will gladly support the project. Until now, visits were by personal invitation, but in the future, it may become a more public space for a wider audience to appreciate.
The long-anticipated plan for a design museum in Higashikawa is finally beginning to take shape under the town’s leadership. Even after relocating to Sapporo, I will continue my work related to the Oda Collection. The dream of establishing a design museum, which I have pursued throughout my life, is now on the verge of realization. I sincerely thank everyone who has supported me. A formal thank-you letter will be sent to the members and supporters of the Oda Collection Organization, but I wanted to share this announcement here first. I appreciate your continued support.
February 3, 2025, at CentPure (Higashikawa)
Interviewer: Kano Nishikawa
After the interview
I had heard about Mr. Oda moving to Sapporo for some time. Managing that large home while maintaining an extensive collection of chairs, household items, and literature, as well as keeping the space beautiful and welcoming visitors, made me wonder—when does he even have time to prepare for lectures or write manuscripts?
At the beginning of this interview, he jokingly said, “I’m exhausted,” but what made him truly delighted was recalling the words of Anne-Louise Sommer, Director of the Danish Design Museum: "The Oda Collection is one of a kind. Every item has a story because Professor Oda carefully worked to collect them. There’s no one else who researches design by using the objects themselves." This series has shared those stories, and while it concludes here, we are discussing new projects. "There’s still so much more to share," he said—so please look forward to what’s next!
Copywriter Kano Nishikawa
After working at a design office in Tokyo and Sapporo, I started working as a freelancer in Asahikawa in 2001. Until now, I have been involved in the production of advertisements for local companies and organizations, including Asahikawa Furniture. I have known Mr. Oda for about 30 years through my work.
