- PR
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Produced by The Yomiuri Shimbun
Business Bureau
Sponsored by ACE
Moving Forward
with the Japanese Spirit
Objects crafted in Japan are admired not only for their quality and practicality, but also for the sense of functional beauty they embody. Proteca has long embraced this philosophy. Kabuki, too, reflects a deep respect for Japanese tradition. Actor and kabuki star Matsuya Onoe, who continues to expand his career across stage, film, and musicals, shares his thoughts on Japanese values, travel, and craftsmanship.
Craftsmanship and Performance:
The Spirit of Japanese Sensibility
When people around the world speak of Japan, they often praise its culture, craftsmanship, and attention to detail. But according to Matsuya Onoe, what truly defines Japan cannot be seen with the eye alone. It lies in a deeper sensibility.
"People often describe Japan as refined and meticulous. But I don't think that comes only from what you can actually see. I think it's the spirit behind what we do that shapes Japan's distinctive sense of beauty. Kabuki is the same. Its beauty isn't found only in the costumes or stage props, but in the subtle gestures, the emotions they express, and the sensitivity behind every movement. I believe that's what makes Japanese culture so distinctive."
Having devoted his life to the traditional art of kabuki, Matsuya sees Japanese tradition as something unique—neither universally superior nor inferior, but unlike anything else. He believes one of the defining strengths of the Japanese people is their adaptability.
"Many musicals performed in Japan originate overseas, but no matter how hard we try, we're still Japanese. Our own sensibilities naturally find their way into our performances, so Japanese qualities emerge without us trying to emphasize them. I think Japanese people are quite adaptable. We're good at embracing ideas from other cultures and reinterpreting them through our own sensibilities. In the end, what matters is how you respond to a role and express it honestly."
While remaining deeply rooted in kabuki, Matsuya has expanded his career into musicals, television dramas, and films. His goal, he says, is to perform naturally in any genre while still bringing something that only a kabuki actor can offer. More recently, he has also taken on the role of director in new kabuki productions, giving him a broader perspective on creating performances.
"Of course I think about how audiences will respond. But before that, I have to find the work enjoyable myself. If I don't enjoy creating it, there's no way the audience will enjoy watching it. Even if I keep the audience in mind and genuinely enjoy the process, you never really know how a performance will be received until the curtain rises. That's what makes it difficult—but it's also what makes it so exciting."
When people around the world speak of Japan, they often praise its culture, craftsmanship, and attention to detail. But according to Matsuya Onoe, what truly defines Japan cannot be seen with the eye alone. It lies in a deeper sensibility.
"People often describe Japan as refined and meticulous. But I don't think that comes only from what you can actually see. I think it's the spirit behind what we do that shapes Japan's distinctive sense of beauty. Kabuki is the same. Its beauty isn't found only in the costumes or stage props, but in the subtle gestures, the emotions they express, and the sensitivity behind every movement. I believe that's what makes Japanese culture so distinctive."
Having devoted his life to the traditional art of kabuki, Matsuya sees Japanese tradition as something unique—neither universally superior nor inferior, but unlike anything else. He believes one of the defining strengths of the Japanese people is their adaptability.
"Many musicals performed in Japan originate overseas, but no matter how hard we try, we're still Japanese. Our own sensibilities naturally find their way into our performances, so Japanese qualities emerge without us trying to emphasize them. I think Japanese people are quite adaptable. We're good at embracing ideas from other cultures and reinterpreting them through our own sensibilities. In the end, what matters is how you respond to a role and express it honestly."
While remaining deeply rooted in kabuki, Matsuya has expanded his career into musicals, television dramas, and films. His goal, he says, is to perform naturally in any genre while still bringing something that only a kabuki actor can offer. More recently, he has also taken on the role of director in new kabuki productions, giving him a broader perspective on
creating performances.
"Of course I think about how audiences will respond. But before that, I have to find the work enjoyable myself. If I don't enjoy creating it, there's no way the audience will enjoy watching it. Even if I keep the audience in mind and genuinely enjoy the process, you never really know how a performance will be received until the curtain rises. That's what makes it difficult—but it's also what makes it so exciting."
FULLESTER EX
| NO. | Size | Weight | Capacity | Price |
|---|---|---|---|---|
| 01550＊1 | H45×W34×D20(24)cm | 2.8kg | 26(33)L | ¥78,100 |
| 01551＊2 | H55×W37×D23(27)cm | 3.4kg | 36(45)L | ¥80,300 |
| 01553 | H71×W41×D30(34)cm | 4.9kg | 76(89)L | ¥91,300 |
| 01555 | H79×W46×D33(37)cm | 5.6kg | 105(120)L | ¥96,800 |
Figures in parentheses indicate expanded capacity.
Available in:
Gunmetal Hairline / Silver Hairline / Gold Hairline / Mistral Hairline
＊1 Complies with the carry-on baggage requirements for domestic flights operated
by aircraft with fewer than 100 seats.
＊2 Complies with the carry-on baggage requirements for domestic flights
(aircraft with 100 seats or more) and international flights.
Dimensions include wheels and handles.
Specifications and prices are current as of September 2026
and are subject to change without notice.
All prices include tax.
The Essence of Japanese Craftsmanship Is Caring
for the User
Matsuya's approach to kabuki reflects a simple philosophy: respecting tradition while continuing to create something new. That philosophy extends beyond the stage to the craftsmen who help bring each production to life—people he describes as his "partners."
"Stage props are an essential part of kabuki. For new productions, we work closely with craftsmen to create them together. For classical plays, we use props that have been handed down through generations. In the end, the craftsmen and the performers are doing the same thing. We create new work while protecting what should never be lost. To me, they're not simply suppliers—they're partners in creating
the same performance."
Working alongside craftsmen has given Matsuya a deep appreciation for Japanese craftsmanship. Asked what comes to mind when he thinks of products made in Japan, his answer is immediate: durability, quality, and ease of use.
His expectations for luggage are equally practical.
"I'm a huge sneaker fan. If I'm traveling for ten days, I'd happily take ten pairs with me. Sometimes I even bring a separate suitcase just for shoes when I'm touring in winter. So capacity is really important. At the same time, I'd like a suitcase that's large enough without having to pay oversize baggage fees. On a trip overseas last year, I kept worrying whether my suitcase would exceed the size limits every time I boarded a domestic flight. And, unfortunately, baggage isn't always handled gently overseas, so durability really matters."
When he learned that Proteca offers a three-year unlimited repair warranty, Matsuya was genuinely impressed. Among the collection, the 360G5 particularly caught his attention.
"I like its clean, boxy shape. It's spacious yet remarkably lightweight. I never throw away my sneaker boxes, and I think I could even fit them inside. Of course, I'm sure that's not what it was designed for," he laughs. "I also like having handles on both the top and the side—they make it much easier to lift into a car trunk. And the 360-degree opening is a great idea. You can really tell that every detail has been carefully considered from the user's point of view. They've really thought through what makes a product easier and more convenient to use. That thoughtful approach feels distinctly Japanese to me, and I think Proteca captures it well."
Three Sixty G5
| NO. | Size | Weight | Capacity | Price |
|---|---|---|---|---|
| 02620＊1 | H45×W34×D20cm | 2.5kg | 24L | ¥82,500 |
| 02621＊2 | H54×W36×D25cm | 3.3kg | 38L | ¥89,100 |
| 02622 | H61×W43×D26cm | 3.8kg | 53L | ¥93,500 |
| 02623 | H66×W48×D27cm | 4.2kg | 71L | ¥99,000 |
| 02626 | H77×W44×D37cm | 5.1kg | 105L | ¥112,200 |
Available in:
Black / Cosmic Navy / Midnight Green / Warm Gray / Citrus Yellow
＊1 Complies with the carry-on baggage requirements for domestic flights operated
by aircraft with fewer than 100 seats.
＊2 Complies with the carry-on baggage requirements for domestic flights
(aircraft with 100 seats or more) and international flights.
Dimensions include wheels and handles.
Specifications and prices are current as of September 2026
and are subject to change without notice.
All prices include tax.
Travel Inspires the Next Performance
Whether he is acting or directing, each role requires a different perspective. As Matsuya has taken on more creative responsibilities in recent years, travel has become an important source of inspiration.
"For the past couple of years, I've tried to take a longer vacation once a year and travel somewhere new. Of course, it's a chance to relax, but directing also requires imagination and creativity. By experiencing places I've never been before, I hope to discover fresh ideas and inspiration for future productions. Travel has become an important part of my work. Every place has its own atmosphere, way of thinking, and culture. I never know exactly how those experiences will shape my work, but I can feel them changing me."
One trip that left a lasting impression was a visit to Egypt during the New Year holidays last year.
"Egypt has an extraordinary history. I was overwhelmed by the scale of the ancient ruins we visited, but also by the realization that they were built entirely by human hands. Standing there, I felt something of the atmosphere and spirit of that time. That's something you can only experience by actually being there. Every trip is inspiring, but it also reminds me of what I appreciate about Japan—its services, public facilities, and, of course, its food."
Asked where he hopes to travel next, Matsuya doesn't hesitate.
"I'd love to visit South America and Europe, but first I'd like to explore more of the United States. I'm also a huge baseball fan, so I'd love to visit every city where Japanese players are based. Los Angeles and Chicago are definitely on my list."
For Matsuya, travel is more than a break from work—it's part of his creative process.
"There are many productions I'd like to create, but I don't spend much time thinking about what I want to become. I'd like to keep growing, work with talented people from different fields, and help create an environment where great work can be made together."
Whether he is acting or directing, each role requires a different perspective. As Matsuya has taken on more creative responsibilities in recent years, travel has become an important source of inspiration.
"For the past couple of years, I've tried to take a longer vacation once a year and travel somewhere new. Of course, it's a chance to relax, but directing also requires imagination and creativity. By experiencing places I've never been before, I hope to discover fresh ideas and inspiration for future productions. Travel has become an important part of my work. Every place has its own atmosphere, way of thinking, and culture. I never know exactly how those experiences will shape my work, but I can feel them changing me."
One trip that left a lasting impression was a visit to Egypt
during the New Year holidays last year.
"Egypt has an extraordinary history. I was overwhelmed by the scale of the ancient ruins we visited, but also by the realization that they were built entirely by human hands. Standing there, I felt something of the atmosphere and spirit of that time. That's something you can only experience by actually being there. Every trip is inspiring, but it also reminds me of what I appreciate about Japan—its services, public facilities, and, of course, its food."
Asked where he hopes to travel next, Matsuya doesn't hesitate.
"I'd love to visit South America and Europe, but first I'd like to explore more of the United States. I'm also a huge baseball fan, so I'd love to visit every city where Japanese players are based. Los Angeles and Chicago are definitely on my list."
For Matsuya, travel is more than a break from work—it's part of his creative process.
"There are many productions I'd like to create, but I don't spend much time thinking about what I want to become. I'd like to keep growing, work with talented people from different fields, and help create an environment where great work can be made together."
J5 Collection INRYU LTD
| NO. | Size | Weight | Capacity | Price |
|---|---|---|---|---|
| 03611＊2 | H55×W36×D23cm | 3.6kg | 35L | ¥181,500 |
| 03612 | H61×W43×D26cm | 4.2kg | 56L | ¥203,500 |
| 03615 | H77×W44×D37cm | 5.6kg | 108L | ¥225,500 |
Color: Amber (Scheduled for release in mid-September.)
＊2 Complies with the carry-on baggage requirements for domestic flights
(aircraft with 100 seats or more) and international flights.
Dimensions include wheels and handles.
Specifications and prices are current as of September 2026
and are subject to change without notice.
All prices include tax.
Matsuya Onoe
Matsuya Onoe was born in Tokyo in 1985. He made his kabuki debut at the age of five, performing the role of Tsuruchiyo in Meiboku Sendai Hagi under the stage name Matsuya Onoe II. Since then, he has taken on many leading roles in both classical and contemporary kabuki productions.
In addition to preserving the kabuki tradition, Matsuya has actively explored new creative possibilities through original productions, including adaptations of Final Fantasy X and Ryushirabe Nagareboshi. In Touken Ranbu: Tsukinotsurugi Enishi no Kiri, he not only starred in the
production but also made his directorial debut.
Beyond kabuki, Matsuya has built a diverse career spanning musicals, television dramas, films, and variety programs. He voiced Maui in the Japanese dubbed version of Disney's live-action Moana and stars as detective Kosuke Kindaichi in the film The Village of Eight Graves, opening on September 18. He is also scheduled to appear in the stage production Yoshitsune of Okehazama this October, followed in 2027 by the musical RRR, based on SS Rajamouli's acclaimed film, in which he will both star and serve as director.
Special In-Store Offer: Get an Original Sticker
Visit one of the participating stores and show this article
on your screen to a staff member to receive
a limited-edition original sticker.
Offer Details
- With a purchase: Receive a set of three stickers.
- Store visit only: Receive one sticker.
Stickers are available while supplies last.
For the single-sticker offer,
you may not be able to choose the design.
Participating Stores (6)
-
＜TOKYO＞
・PROTECA Hibiya Store
1F, Hibiya Sankei Building, 1-9-1 Yurakucho, Chiyoda-ku, Tokyo
TEL: 03-6273-4911
Opening hours: 11:00-20:00 -
・PROTECA Tokyo Midtown Yaesu Store
2-2-1 Yaesu, Chuo-ku, Tokyo, Tokyo Midtown Yaesu 2F
TEL: 03-6665-0095
Opening hours: 11:00-21:00 -
・ACE Bags & Luggage Yaechika Store
Yaesu Underground Shopping Mall, Central 1st Street
(Sotobori Underground Street 2nd Street), 2-1 Yaesu,
Chuo-ku, Tokyo
TEL: 03-6262-2760
Opening hours: 10:00-20:00
-
＜TOKYO＞
・ACE Bags & Luggage Marunouchi Oazo Store
1F, Marunouchi Oazo, 1-6-4 Marunouchi, Chiyoda-ku, Tokyo
TEL: 03-6810-2585
Opening hours: 10:00-21:00 -
・ACE Bags & Luggage Courtyard by Marriott Ginza
Courtyard by Marriott Ginza Tobu Hotel, 1F, 6-14-10 Ginza,
Chuo-ku, Tokyo
TEL: 03-6264-0180
Opening hours: 10:30-20:30 -
＜OSAKA＞
・PROTECA Hilton Plaza Store
Hilton Plaza West B1, 2-2-2 Umeda, Kita-ku, Osaka City,Osaka Prefecture
TEL: 06-6345-1188
Opening hours: 11:00-20:00
