07 The Changing Scene at Horiyoshi III's Studios

During the first years of my visits to Horiyoshi III, all manner of tattoo devotees were constantly present: foreign and domestic apprentices, Horiyoshi's clients, Horitomo and his clients, journalists, even graduate students researching their master’s thesis or doctoral dissertation.

Quite a few of the apprentices and clients I recognized from photographs in the various books about Horiyoshi's work. This photo was taken by Mr. Handa, who appeared in Takahiro Kitamura's book Bushido. This book influenced my tattoo choices, and here one the characters from the book had come to life and was taking pictures of my tattoos! What a role reversal.

Everyone took advantage of the opportunity to brandish their tattoos. Japanese of many occupations change clothes for work, which allowed the apprentices to show more skin, and of course we clients had to expose our tattoos. Outside the studio, tattoos could be displayed only at public baths and once a year at festivals, so this was a welcome respite from the disapproval lurking out there in the real Japan.

Everyone was polite, yet quite interested to see each other’s tattoos in progress. When I undressed, those present would take the opportunity to scrutinize me. Privacy was not a part of this experience. Nonetheless, I became accustomed to it, and I too was able to observe many superb tattoos.

Around 2007, the scene changed. The hangers-on were gone, and Horiyoshi and I were regularly alone during my appointments. Journalists, sensing the opportunity to record the end of an era, descended on the studios, where Horiyoshi welcomed them. I found it interesting to listen in on the interviews and even got the opportunity to comment myself. For a time, an article about Horiyoshi III appeared in almost every issue of Tattoo Burst, Japan's premier tattoo magazine.

Once in 2008 I arrived at the cramped Isecho studio to find it jammed with photographic equipment, a columnist for Tattoo Master magazine, an interpreter and a photographer. They took this fine cover photo for the Spring 2009 issue right there in that tiny room.

The mix of clients has changed over the years as well. In the early years of my experience, most appeared to be construction tradesmen, followed by an approximately equal numbers of foreigners and Yakuza.

In 2009 I mentioned these changes in clientèle to Horiyoshi and asked about the current mix. He gave the following estimate by profession:

• 60% Craftsmen and tradesmen. Through conversations with these clients, I found that many were themselves tattooists.
• 10% Yakuza. Horiyoshi added that there are other tattoo artists whose clientèle is almost entirely Yakuza.
• 30% Other. “You're in this category, John-san,” he told me with a grin.

As for nationality, 30-50% are foreigners. “In fact, today all appointments are with foreigners,” Horiyoshi commented one Saturday in 2009.

Rather than the mark of the Yakuza, these days a traditional Japanese bodysuit just might be the mark of a foreigner.