We were coincidentally born in the same year, 1950 (Showa 25)

Showa’s 30’s and 40′ (1955 – 1970) were time when Beatles was very popular in the world and we were young and blooming. I think you and me have such happy memories in common. And the match was necessity in our life those days. Match labels have attracted boys like you and I, as we are the type of person who has interest in pictures and drawings, right?

Yes, I understand what you mean. Menko was also a necessary item for us. But, when did you start collecting?

Well, what made you conscious of matches as collection item, rather than daily-use item? I mean what was the turning point for you to start buying matches to collect?

Yes, I think so, too. It was like the world of hand-made had gone and the industrially modernized world emerged. Talking about matches from industrial aspects, the highest production was in Showa 40’s (around 1965 – 1970). Until the end of Showa 30’s (1955 – 1960), matchboxes were made of wood, namely they were wooden boxes. Then in Showa 40′, they were made of corrugated paper, I mean paper boxes replaced wooden boxes to contain matchsticks. Thanks to the change of material, the efficiency of match production was improved a lot, and they were manufactured on mass production. However, for me, it was a little sad seeing something essential of woodcraft was replaced by other thing of unfamiliar efficiency. But, at the same time, there was a good phase for me in such transforming period, because I was able to make comparison of things: I compared to see which was better, old one or new one. Thinking back the time, I feel grateful that I spent my youth in such a significant era. Literally speaking, speedy transformation we experienced was kind of dizzy and stimulating, and in a way, it produced an ambivalent sensation in me. I started to collect matches because there was an inclination of evaluating things made in American culture or by American design be modern and good, when American culture surged over the Japanese shore in 1960’s, and traditional things in Japan seemed to be denied. It was almost the same craze of cultural blossom right after the commencement of Meiji Era. I spent days with my feeling somewhat between uncomfortableness and suspicion toward new things. Under such circumstances, Mr. Tadanori Yokoo and Genpei Akasegawa actively revealed their works: the works which were characterized by Japanese authentic coloring and designs and they drew great attention. Frankly speaking it was the incident that helped me to recover self-assurance and positiveness, as I considered, “Yes, I am right after all. My senses have been functioning OK.” At the same time, I was stunned by the designs on match labels these two artists created. I screamed, “This is it!” I thought the designs symbolized the anti-modernization. I was in university at that time, and those two designs on match labels motivated me to start a periodic exchanging meeting of match labels with my friends.

Yes, that’s right. (Laugh)

You met a good advocate for your study, and the teacher ignited your collecting passion. Mr. Machida’s collection originates in entomology! (Smile)

Yes, I understand you. (Smile) Without your consciousness of entomological study, those packages and wrapping papers you have been collecting must go to trashcans. Looking at them and considering they are genuinely printed items, I think some are quite elaborate so I want to keep them, though I understand they were apparently made in the period when printing technology was not advanced yet. Those designs are more like calligraphic art of drawing. And I think I am attracted to the delicacy of the drawing. So I am as well interested in other items as matches with almost same sensitivity, but I also realize that they (other items) need to be more organized under systematic exposition of topics. In this sense, you surprised me, Mr. Machida. (Smile) Because I don’t think I can systematically organize so many things like you even spending whole life. (Laugh)

“Working on a thing continuously will make great power of the thing.” Suppose other people say, “Hey, you’re wasting your time,” since it seems so useless to them, but if we still pursue it, I’m sure it will make enormous assets. The capacity we need for collection is “interest,” isn’t it? If other person says, “Do this, as this is your work,” I’ll never be able to do it unless I am interested in it.

By the way, I once collected boxes of “Marble Chocolate,” too, but the collection didn’t last long. You are not collecting packages of any candies, are you? They have been produced endlessly.

Yes, I think so, too. Observance of items guides me to find their dissimilarity, and I am urged to look for the reason; why? Why are they different? And examining the history, I encounter serendipity of the reason or find that my assumption was after all correct, etc. And it is a lot of fun.

I agree with you. We are collectors who collect valueless items (grin) and only particular people are doing it: therefore information and data about these things are scarce. Then we have to depend on our own discoveries and studies. Good thing is that I can show my knowledge with confidence because it is what I have acquired through my own experience. I feel also beneficial that I can investigate uncertain things to my satisfaction; therefore my knowledge is further deepened. I think our laborious efforts for collection in lengthy time will become compiled reference in the related fields, then our accomplishment will be highly valuable. Originally I didn’t start collecting things for money. My hobby of collection has been straightforwardly satisfying my mind. Yea, I know for doing such a thing, curiosity and spiritual eagerness are necessary simultaneously. (Grin)

he significance of collection is to be in annulled competence.