MUJI Metrotown: Western Canada's First

"無"

MUJI Metrotown just opened and the logo is already messed up. I hope they order some little red rectangles and fix it.

I was giddy with school-boy excitement when MUJI announced its first location in Western Canada would be at Metrotown; the giant crimson wall blocked off a large section of what was probably a few lots that have long since been forgotten. I assumed it would open later in the Fall of 2017 (it's what the JAPAN UNLAYERED MUJI pop-up representatives told me back in February) until my co-worker mentioned August 26. Sure enough, the opening date was advertised throughout the mall by way of ample adhesives on the doors, and large drop banners hung ceremoniously from the ceiling manner.

I didn't go on opening day. It conflicted with HAVEN's warehouse sale in Downtown Vancouver, but I was trading one line up for another (I waited three-and-a-half hours before I reached the front gate... was worth it though. I regret not doing a reportage on my HAVEN warehouse experience... It didn't occur to me until AFTER the cool brands and pieces that were on sale—next time) because while in the HAVEN line, my newsfeed showed photos of the MUJI line-up, and it was insane. I thought the HAVEN line-up was nuts, MUJI's line went out the door at the Kingsway entrance and wrapped the building! I got to Metrotown in the mid-afternoon and MUJI's line up was the same: out the door and wrapped the building. It is now a little over a week since opening day and the line-ups are still there, albeit moving much faster. The first time I lined up I waited approximately 20-25 minutes as they let in groups of about 15-20 at a time. I visited again the following day and the wait was about 15 minutes, and they let in groups of about 30-40. With the exception of the Coach store at the McArthurGlen Outlet out by YVR, I have never seen line-ups that long and lasting throughout the day. I have a feeling they will continue for another week, at least.

The menswear section is located in the back corner, after ladies apparel up front, and children in between. They pack an impressive amount of merchandise into 7700 sq ft. of space. Apparel takes about one-third of the total retail space, with menswear probably taking up about 500 sq ft.

I had no intention of purchasing anything in my first visit, and in my second visit I considered their wool turtlenecks and cardigans but ultimately left empty-handed. I mostly wanted to observe and soak in the experience of just being there, looking thoroughly through all of their offering. Needless to say, the store was packed with customers. Some areas were elbow-to-elbow and difficult to navigate. There easily could have been 100 to 120 customers in the store at any given time. The line up to cash out reached the back of the store.

Knit cardigans, turtlenecks, and pullovers were/are my main point of interest. They are quite pricey—around $70 to $90, but are constructed from 100% wool, wool/silk blend, or a wool/yak hair blend (which looks itchy). The collars on their turtlenecks are made from a cotton/polyester blend that MUJI says prevents the neck from itching.

Maybe not the most exciting thing, but cedar wood hangers are dope. As a softer wood, cedar is known to absorb moisture and deter insects, and while cedar wood hangers may be a novelty for some people, they are essential for others. The price tag certainly reflects its luxury; the big coat/suit hangers go for $30 a pop, while a group of three regular hangers will set you back about $20.

A wall of sneakers near the entrance. Clean, brandless canvas and suede slip-ons, and basic canvas lace-ups. With the exception of the slender shaped style, most of the them are unisex; I believe that's a universal size chart hanging there. The suede slips-ons feel premium, soft and thick, unlike the cheap-o, rough, dry, and thin "suede" you find at some fast fashion retailers.

Tote bags featuring the orca, maples leaf, and inukshuk. There are smaller blank totes customers can purchase and customise at the gift station.

MUJI patrons at the gift station, decorating various notebooks. I saw a young lady a day earlier customising a tote bag with focus and poise, which caught my attention and that's when I saw the stamps...

There are easily 100 stamps covering the entire alphabet, number set, and Canada-centric stamps like the moose, the obvious "CANADA", the maple leaf, beaver, inukshuk, crossed hockey sticks with puck, and my favourite "eh?" My favourite non-Canadian stamp has to be the Buddha.

Close by the gift station is the ever popular stationary. Wouldn't expect anything less form MUJI than a colourful rainbow display of pens.

Extensive, neatly organised kitchenware display. These items were expensive, to say the least. The crystal wine glasses are $25 each; the chrome hot/cold retention water bottle was $35; and their made in Japan iron frying pan, not pictured, ran for a hefty $95 if I recall correctly. I would rather pick up a $30 solid chuck of cast iron.

The tiny made in Japan porcelain soy sauce container with pouring spout on the left went for a cool $18.

Assorted wooden bowls. They are among the pricier items at MUJI.

Skincare. I absolutely love the packaging: multi-coloured containers to signify a different product; matte squeeze tubes and glossy bottles; and clean white labels with no branding, true to the MUJI philosophy. The only thing that irks me is the haphazard way the labels were placed. They were crooked for the most part, and some labels were stuck closer to the bottom of the container and some closer to the top. Maybe this is part of the charm, but have some chaotic consistency! Still, small deterrent to my love of this packaging.

Ultrasonic aroma diffusers with pure essential oils.

Ultrasonic aroma diffuser

With a population of about 35 million thinly spread throughout a vast land mass, Canada is a relatively small market. So it's no surprise we tend to be at the bottom of the list when it comes to multinationals looking to expand. And even when Canada is penetrated the Toronto (already with four MUJI stores) or Montreal regions are priority, being Canada's number one and two largest metropolitan areas inhabited by nearly one third of the country's population. While Greater Vancouver is still less than half the size of Toronto, we are an international city that's still maturing.

In Vancouver, we feel like anything Eastern Canada gets first is a test run. It has been nearly three years since MUJI entered Canada by way of Toronto, and eight years to decide on a proper location for its inaugural Vancouver store. All the while rumours build hype around the brand (ironically) and its eventual west coast arrival, and when Vancouver gets its turn, we get the biggest and best. The Metrotown location is currently the largest in Canada, but only until the now reported 16,000 sq ft. flagship Robson location opens in Q4 of 2017, which will be one of the largest in the world. Vancouver certainly gets pampered.

MUJI's presence at Metrotown strengthens its retail portfolio. Before MUJI I had no reason to wander into that part of the mall. Another welcome Japanese brand I look forward to, also making its Western Canada debut this year, is... UNIQLO! Not unlike MUJI, UNIQLO has been poised to open a store in Vancouver for years, and also not unlike MUJI, it was about finding the ideal location, which happens to be in Metrotown. The two-level store will be strategically situated right across from H&M and Forever21. With UNIQLO finally landing, Metrotown's retail portfolio will improve yet again. Don't count on a Downtown Vancouver location being far behind.

Societal Enlightenment: I Am Not Your Negro

Ever since I saw the trailer I have long anticipated watching I Am Not Your Negro, a documentary based on James Baldwin’s unfinished manuscript Remember This House, and I finally had the privilege of watching it twice. It deals with the longstanding institutionalised racism in the United States against African Americans, which is unfortunately still rampant. As I watched I Am Not Your Negro it was difficult not to analyse the film concurrently, hence the second watch. After the second third watch, I do not believe that we can achieve true “colour blindness”. At least not in my lifetime.

I became aware of Baldwin a few years ago when I saw his final bit of commentary from an older documentary, Take This Hammer. Baldwin’s speech is deliberate and articulate; delivered with a charisma and passion to affect change to an unfair set of circumstances over which he has little control insofar as his white oppressors are willing to empathise. His rationality on wholly rejecting the word “nigger” is far from how it has become accepted by, and within, contemporary African American culture. It is no longer the white man’s word to use freely as a pejorative—the black community has (re)claimed it. Or have they? Baldwin reasoned that the nigger is a white man’s problem and is, therefore, his moral imperative to discover why it is necessary. The two conflicting views means the word will continue to exist in purgatory: shameful and offensive because of its origin, but homely and affectionate when used exclusively within a community. It is the only word I am aware of that has this dichitomic quality, which one can only realise the amount of burden one word can bear.

From Baldwin’s point of view it would seem the number of people who have this “problem” have grown. The word is still used liberally and nonchalantly, as if in an act of defiance or, in some cases, a misplaced sense of privilege or familiarity by (mostly) whites and non-blacks. The Internet’s comment sections are a haven for the most laissez-faire, gratuitous users of the word where anonymity enables and protects the most hateful intentions. I cannot hide the YouTube chat feature fast enough when streaming without seeing the word used needlessly a dozen times; technology is evolving faster than our capacity to be civil with each other.

I Am Not Your Negro, though based on content from some 30 years ago, provides relevant criticism and commentary today on what seems to be an intensified acting out (or escalated media coverage) of racial divisiveness after the installation of Donald Trump as president of the United States. As if somehow because he was “elected” to the country’s highest office that this abhorrent behaviour is justifiable; as if the true nature of this small but rambunctious and regrettable subset of the American people feel safe and free, and dare I say encouraged, maybe even obligated to unleash bigotry and contempt because the president ran—and won—on a platform of “alternative facts” (i.e., lies, fallacies, and contradictions) supporting his delusional reality; of preaching the construction of a border wall and trying to deny an entire religion access to the United States.

A reference to Donald Trump’s America is the usual pretext to a salvo of racial slurs, finger pointing, berating threats, and ultimately cursing off unwelcomed receivers of their verbal assault to go back to their country of origin regardless of the fact that they were born on American soil or became naturalised US citizens. I am seemingly baffled by what to make of our southern neighbours. My reaction to this behaviour originated from a place of genuine surprise—how can people consciously choose to treat one another with such side-eyeing malice? No thanks to the constant bombardment of media outlets, and admittedly my own curiosity to want to stay informed, I now react with a mind-numbing, eye-rolling, heavy-sighing “this shit is actually happening.”

The current state of American racism extends far beyond the black community, but I Am Your Negro is a lesson in humanity rearing one of its ugliest sides. It is a reality check because it is real, yet at the same time unbelievable. It is a case study into just what is dangerously possible when intolerance, hate, ignorance, and highfalutin sense of superiority are manifested in a mob mentality.

Director Raoul Peck juxtaposes powerful imagery and footage against the backdrop of Baldwin’s poignant words, narrated flawlessly by a sombre, almost unrecognisable Samuel L. Jackson. One of his first accounts in his manuscript involves the above photograph of Dorothy Counts in 1957 making her way to Harry Harding High School in Charlotte, North Carolina, while being humiliated and scorned by a crowd of white students and protesters opposing the state’s attempt at desegregating public schools. Seeing this photo printed in French press prompted Baldwin’s return to America from self-exile.

One of the most disturbing parts of the documentary, lest you overlook the haunting stills of lynched African Americans, shows long-enough footage of Rodney King’s sadistic beating at the hands of eight police officers, which has become a stain on modern American history. The 27 seconds will induce a wistful questioning of where exactly humanity went that day, and although I am well aware of King’s story I never saw at length the video of his thrashing until watching this documentary. I do not intend, nor dare, to watch the eight-minute raw footage. What was shown is enough to rouse revulsion.

The montage of murdered young African Americans rolls to an excerpt of a speech Baldwin deliveredin London reminds us of the continued brutality against the black community today. Their deaths range from being (“accidentally”) shot by police to being carelessly murdered by an elderly neighbour. It is difficult to deny the immediate link to racism every time a black person is killed. This partiality is derived from, among other things, racial stereotyping, the ill-informed general population, misinformation from the media, and the fear that arises from the combination of these factors. The shooting of Trayvon Martin is the most well known case in recent history. As complex as these kinds of cases are, it is easy to break them down to a few defining points, and when the finer details are ignored or not further examined, subjective conclusions are drawn prematurely. George Zimmerman was ultimately found not guilty on all accounts, but then goes on to do this.

Perhaps more subtly, underlying prejudices are best observed in the opening scene where Baldwin appears on the Dick Cavett Show and the host poses this to Baldwin:

"Mr. Baldwin… I’m sure you still meet the remark that: What are the Negroes… why aren’t they optimistic? Um…  They say, “But it’s getting so much better—there are Negro mayors, there are Negroes in all of sports, there are Negroes in politics; they’re even accorded the ultimate accolade of being in television commercials now. Um… I’m glad you’re smiling. Uh… it is at once getting much better and still hopeless?"

Baldwin airs his hopelessness and criticises the use of “this peculiar language” as restricting progress of African Americans. Cavett’s face expresses a mixture of innocence, ignorance, curiosity, condescension, and a semblance of regret all within one second. Instead, Baldwin asks what he believes should be the real question: What is going to happen to this country? Rather than focusing on how the black man can progress and overcome, how can the country which oppresses a population based on the colour of their skin progress and overcome.

Cavett’s questions were not intended to be disrespectful. One can tell by the way he nervously stumbled through the question, and felt a moment of relief when Baldwin smiled, that his intentions were not ill-willed. But his position comes from a place of arms-length sympathy, at best. It is a shame their exchange does not continue to reveal further context as Cavett’s show format allowed for in-depth conversations with his guests. So perhaps, if anything, it started the discussion.

I do not want to reduce this documentary to mere sound bites, but there are a few moments of archival footage of Baldwin that stood out. One of those moments, again, comes from the Dick Cavett Show when another guest, Yale philosophy professor Paul Weiss, joins the discussion. Weiss by and large disagrees with Baldwin, and rebuts accordingly:

“All this emphasis upon black man and white does emphasise something which is here, but it emphasises or perhaps exaggerates it, and therefore makes us put people together in groups which they ought not to be in. I have more in common with a black scholar than I have with a white man who is against scholarship. And you have more in common with a white author than you have with someone who is against all literature. So why must you always concentrate on colour, or religion, or this? There are other ways of connecting men.”

Weiss’s point of view proves he is a few steps removed from the black man’s plight, as he prefaces his statement with the idea that everyone is “terribly alone” and that everyone lives their own individual lives with their own trials and tribulations. By this standard, if Weiss lives in a silo, he either is completely ignorant of, or is just downplaying the inequity that exists. No amount of philosophy, especially without appropriate frame of reference, can substitute real experiences and observations. Baldwin gives Weiss a dose of reality that draws a less than enthusiastic, dismissive response from the Yale scholar.

Oh shit.

Two of the more poetic moments from Baldwin, and take what you will from them, is where he laments about the state of his country. While I understand that the situation has arguably improved in the present day there is no denying that Baldwin’s words still ring true.

“There are days—this is one of them—when you wonder… what your role is in this country and what your future is in it. How precisely are you going to reconcile… yourself to your situation here; and how you are going to communicate… to the vast, heedless, unthinking… cruel white majority that you are here? I’m terrified at the moral apathy—the death of the heart—which is happening in my country. These people have deluded themselves for so long they really don’t think I’m human. I base this on their conduct, not on what they say. And this means they have become in themselves… moral monsters.”

The shot of Baldwin delivering his speech at Cambridge University in 1965 concludes with the film transitioning from black and white to colour as the audience rewards him with a standing ovation. A bit of an embellishment from the director, but the symbolism and metaphors for this affect are limited only by one’s imagination.

“It’s a terrible thing for an entire people to surrender to the notion that one ninth of its population is beneath them. And until that moment, until that moment comes, when we, the Americans, we the American people are able to accept the fact that I have to accept, for example, that my ancestors are both white and black. That on that continent we are trying to forge a new identity for which we need each other and that I am not a ward of America. I am not an object of missionary charity. I am one of the people who built the country. Until this moment, there is scarcely any hope for the American dream because the people who are denied participation in it, by their very presence […] will wreck it. And if that happens, it is a very grave moment for the West.”

I am about as far removed from this equation as possible. I am neither white nor black and do not live in the United States, so why does this matter to me? As Baldwin posits, the actual problem is ignorance and apathy. It does not matter whether or not I have skin in the game, as it were, I Am Not Your Negro tells a story that can affect anyone. Much like the transitioning from black and white to colour, the issue of race is complicated. It affects us in different ways. It makes me think about my own position in society; my naivete; my prejudices, subconscious or otherwise; my understanding or misunderstanding of other people; my level of self-awareness and the ability to reflect on whether my actions or inactions contribute to the solution, or the problem. If I can take one more step toward my own enlightenment...

JAPAN UNLAYERED II

I was so eager to revisit the JAPAN UNLAYERED exhibition I went back the next evening after work (many couples on dates happening at this time). While I toured all the displays I felt my first visit was too MUJI-centric, which wasn't necessarily a bad thing but I wanted to give some love and attention to all exhibits.

First off—the second level. The entire second floor is dedicated to architect Kengo Kuma. It displays a selection of his archive from around the world, his collaborations with exhibition sponsor Westbank, and design concepts of Alberni, the project being promoted between him and Westbank (Peterson is there, too).

Layering
The most interesting part of this tribute for me is the "Layering" exhibit, which features many things, each panel depicting different Japanese art forms; precise craftsmanship, especially in woodworking; philosophy on nature, space, and spiritualism; how they all relate with one another, and how they can be integrated them into everyday living. The result of understanding how to harmonise these (abstract) ideas are a beautiful explosion of eye-candy. Unfortunately that's all we get—images.

"Layering", the art of Japanese space-making

Given the direct lighting focused on each panel any pictures I took were either too dark or overexposed, unfortunately. Either way, they're meant to be enjoyed in person. The descriptions printed for each "layer", however, are well written and those I did capture. This one is my favourite.

Kigumi is a part of the exquisite art of Japanese woodworking and just one of many complex methods used. The description is vague, secretive, and unrevealing, much like the culture from whence it came. It's only with imagery (below, which were part of the kigumi panel) that one can begin to grasp the idea of how the Japanese view the use of wood in not only architecture, but also in art.

What is implied and omitted from the panel is kigumi does not use nails or any other external source of reinforcement of the wood. It is purely through interlocking joints and brackets that structures are held together. There are miniature models that use a simplified version of kigumi but they don't do it justice.

The Japanese temple (functional architecture; apologies for the low resolution) and the swimming pool concept (artistic architecture) of the Alberni are prime examples of the possibilities of woodworking, and that's how all the panels were presented: a concept example from the currently under development Alberni, and a source example from Japan. Both images play well with one another because the Alberni is a shared vision between the Japanese architect and its Canadian partner, and thus the ideas were modified to suit a western audience.

Also present in both pictures is the idea of new and old, not just in styles and time period, but in physical age. The temple's weather-beaten wood has slowly developed a beautiful patina over many years, dare I say decades or possibly longer time intervals. If the conceptual art structure over the swimming pool ages like the temple, how beautiful would that look? The joinery will also tighten over time, the joints and brackets strengthening their hold, and the knowledge of knowing that the entire structure is held together with its own strength is symbolic in and of itself. Kigumi is just one of the artistic and functional ingenuities of the Japanese presented in the Layering exhibit. I could write a piece on all the panels.

BEAMS Japan
The BEAMS pop-up is incorporated in the giovane café. If it wasn't for the giant BEAMS adhesive wrap on the refrigerator I would have missed it. The store is unassuming but the whimsical products speaks for itself. I don't have much to say except that I want everything.

I'll eventually pick up a copy of this book. From what I can tell flipping through quickly it's filled with colourful, vibrant imagery.

My impression of BEAMS has always been their clothing line, and while I knew they sold non-apparel items as well it wasn't until this pop-up that I realised they are a lifestyle brand with a wide product portfolio. I can't say I wasn't disappointed, however, because I was expecting more clothing on display than the limited selection of sweats available (above). But I understand that this pop-up was curated with the Vancouver audience in mind. It's a good selection given the casual nature of this city and its focus on lifestyle and culture.

This little corner of Porter × BEAMS bags was nice to see. I've been wanting to pick up a Porter bag myself but just haven't found the right one. They produce so many styles, sizes, colours, series, limited edition options and collaborations to choose from, and while I didn't pick up any of these in the BEAMS pop-up I was inspired to look intently and I ended up buying a waist bag from their VERVE line, which I should receive within the month.

Coming back from my tangent, these are the highlights from my visit to JAPAN UNLAYERED. There are other aspects of the exhibition I didn't cover, like the other half of the Kengo Kuma tribute, "Small to Large"; the reservation-only Gozen, a four-plate single course lunch served by two Japanese chefs (one of which runs a two Michelin star restaurant) at the cost of $62+VAT/fees per person, limited to 15 plates per day, and sells out fast (I may keep trying); and a few other simple exhibits that would make this post way too long.

I mentioned in my first post the fleeting nature of pop-ups, but I think it's worth mentioning again. I likely won't write another post about JAPAN UNLAYERED, but it feels like I can't take this exhibition for granted. I've been back a few times between the first and second post and will likely go back (I don't know why), because I want to discover something I didn't see before, or experience the Gozen, or the Sakurai Japanese Tea Experience. The exhibition is halfway done, so I still have time!

Thrifting Adventure: Big John (Dad) Jeans (ﾉಥ益ಥ)ﾉ

Big John Jeans is one of Japan's oldest denim brands. It pioneered the introduction of

Americana to Japan after the Second World War.

Big John, then Marou Clothing Co., started importing Made in USA goods to eventually

manufacturing American-style clothing for the Japanese audience.

I started thrifting and buying vintage about two-and-a-half years ago when I moved into my current house. There's a Value Village (henceforth, VV) across the street and I visit every so often looking for deals and rare finds. Since it was snowing heavily today going anywhere far was out of the question. I wasn't looking for anything in particular—I never do, especially when I go thrifting. That's the thrill of treasure hunting! The other thrill, though this one frustratingly so, is finding amazing items that aren't in your size, or don't fit properly... which was what happened today.

After 2½ hours of scouring and trying things on I ended up buying a charcoal Gloverall Morris Duffle Coat for just under $35 after VAT. Apart from some mild pilling and a minor tear in the lining the coat is in amazing condition. This is the second duffle coat I got from VV; the first being a rare camel from The Scotch House, defunct since 2001, for the same price. Ahhh... the high I get from finding gems like these, and the possibilities they contribute to my wardrobe. So why the angry crying face? The photo on the right, that's why.

This VV's denim rack (though arguably all of them...) is full of crap most (all) of the time, like fast fashion brands or cheap Levi's with the parchment patch—jeans that aren't worth thrifting because they are barely worth buying at full price. It's not like I need another pair of denim either, but I wanted to do a good run-through of the men's section (hence 2½ hours). There was a pair of Lee Union Made sanforised jeans, and a pair of poorly taken care of raw Evisu (it was folded weirdly resulting in the left leg having a long diagonal faded crease, which I'm guessing was the reason it was donated because otherwise it was in good condition). The pair that caught my attention, however, was this pair from Big John.

It may look like any old pair of Levi's but it was unique in subtle ways. I don't know my denim weights by heart, but these were heavier than your average mall offerings; I'd say on the higher end of mid-weight range. They were stiff, too, despite the heavy wash, but were malleable when worn (VV doesn't wash their incoming donations. Ew, but now you know). The reasons why I call these Big Johns dad jeans are because of its

1. high rise; the waist hits right below my bellybutton
2. straight leg cut
3. uniform vintage wash

But damn it if they aren't the coolest dad jeans I've ever seen!

#Japanesedoitbetter

The raw selvedge 501s I'm trying to break in on the right

The thread used to construct this pair of Big John is noticeably thicker than the 501s I wore. The branded copper rivets are a nice detail, too, and you can tell from the slubs on the Big Johns that the denim is thicker than my 501s.

Beautiful patina

That's one thick-ass piece of rugged leather

Coveted MADE IN JAPAN

It's a no-brainer. Why wouldn't I snatch these?

Depending on the brand, I am a 29 or 30 waist. The price is mind-blowing when you consider a pair of new Big Johns runs from $200 to $300 USD retail price. So why didn't I pick these up? They were tight on my waist.

(ಥ﹏ಥ)

Standing could be bearable after a while, but when sitting the waist was restricting and uncomfortable. I could breathe, but I would be aware of the waistband digging into my belly (or it could mean I need to lose weight). I'm tempted to go back and check them out again. I mean, they could loosen up in the waist, right? There has to be some give left, I just need to break them into my own body... right?
.
.
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and to add insult to injury...

Oh FFS...

This was a size 54 Italian, which translates to 38/39 US. They were practically new. I spent a minute examining the pants and it could've come straight off the Brunello Cucinelli rack. And this is the frustrating thing about thrifting. There are some unbelievable things to be found, sometimes by accident, like these Cucinelli flannel jean-trousers, which wasn't in my size range. I just happened upon it when I saw that beautiful brown patch and prayed that it was hung on the wrong size rack, but alas... disappointment.

JAPAN UNLAYERED: MUJI Pop-up

I found this cultural exhibition from a sponsored post on Instagram. It was from real estate developer Westbank Corp and it featured BEAMS JAPAN, so naturally I was curious. Is this how targeted ads work? I don't remember the last time I was influenced by something sponsored. Usually they're just white noise.

I didn't know what else to expect, but knowing BEAMS is opening a pop-up shop was good enough for me. I checked out the exhibition exhibition website and there was a MUJI feature as well, and it was also a pop-up!

(ﾉﾟ0ﾟ)ﾉ /gasp!

I've been a fan of MUJI for a little while now and have been waiting for news of a possible Vancouver location, but a pop-up is the next best thing. The MUJI pop-up requires registration as they are expecting a lot of people to show, and to be fair the everyone interested reservations are released 48 hours in advance for any given day. That said, they sell out fast, like people-camping-in-front-of-their-computer-for-12:00am fast. I got lucky and nabbed an available spot in the morning. JAPAN UNLAYERED will run until the end of February at the Fairmont Pacific Rim. I will more than likely visit again. The Kengo Kuma architecture exhibition is worth a thorough look.

MUJI stationary

The MUJI pop-up shop was tiny. It couldn't have been any larger than 250 sq ft (excluding the MUJI Pavilion just outside) and occupied a small corner immediately to the left of the Pac Rim entrance.

Despite its size, the shop housed a good representation of what MUJI has to offer. I didn't get to capture some of the wares, like the patterned socks, the array of coloured pens, acrylic storage units, or the sweet snacks for sale. The claustrophobic space quickly became such. I was there for about 10 minutes just taking it all in and before I knew it everyone else scheduled for their reservations showed up!

I was chatting with one of the MUJI sales associates and my eyes widened when she told me that MUJI is in fact opening up in Downtown Vancouver and Burnaby! Robson Street and Metrotown to be exact. While she was unsure when, their special promotion leaflet states Fall 2017—I'm giddy with anticipation. I was tempted to pick up many items form the pop-up. The price and quality of MUJI products is too attractive to pass up: mechanical pencil, polycarbonate LED flashlight/lamp, those socks I mentioned, a wall-mounted CD player (because it's kind of in retro territory now), and various porcelain ware. I ended up buying two of the small compact mirrors seen on the second bottom shelf—one for myself and one as a gift. I figure I can wait a few months when the permenant (yay!) retail locations eventually open.

Aroma diffusers. The scents were soothing at first, but after a while it was too much in such a small space.

Those mechanical pencils are amazing for $7 CAD. The steel grip gives the pencil a satisfying weight.

Minimalist porcelain dinnerware and miniature teapots

The JAPAN UNLAYERED exhibition was a good opportunity for me to work on my photo capturing abilities. I thought about correcting the white balance of these photos but the exhibit lighting, display stands, and general mood was quite warm, so I left the pleasant natural yellow tint that cast itself on everything (plus, I'm way ahead of myself to correcting white balance accurately and consistently within a set of photos).

I use a Fuji x20. When I was looking for a camera I tossed around the idea of a DSLR versus a compact shooter. The more I looked at the x20 the more I fell in love with it. It has many features of a DSLR but in a smaller and more stylish body. In fact, one of the MUJI sales associates complimented on the cuteness of my camera. I still have lots to learn, however. My composition is still shaky, and I'm not used to the crop of the x20's viewfinder. My focus is also off sometimes. Eventually I'd like to be able to shoot entirely in manual, but for now automatic is my friend!

It made the expected cuckoo clock noise

I am definitely coming back to visit JAPAN UNLAYERED. That's the thing about temporary exhibitions. They're fleeting, drawing on a sense of urgency even though it will be here for a little while longer. If I don't go I'll miss it!. I'm usually not one to dwell on the idea of fear of missing out, but Japanese culture will do that to me.

If I can get another reservation to the MUJI pop-up I would love to capture more of the products, especially the multi-coloured pens. Then there's the rest of the exhibition, which I also got a good look at, but what's another visit or two. The Kengo Kuma part of the exhibition is loaded with content and takes up the entire second level. The "Layering" wall explains many Japanese traditional art forms and gives an architectural application, or interpretation of that art form.

Of course, I can't forget the BEAMS JAPAN pop-up. MUJI was my main focus today simply because it required a reservation, and I wanted to take in as much of that as possible. I hope to explore and apprehend the rest of the exhibition soon!