December 2025 Newsletter

A Commitment to Quality
Preserving Traditional Cultivation Techniques of Uji Matcha (Daiki T.)

At this year’s Japanese Tea Selection Paris, our tea got a few awards, including:

• Hand-Picked Organic Gokou Matcha received the Gold Award
• Organic Gokou Matcha received the Silver Award
• Organic Samidori Matcha was honored with the Encouragement Award

For our hand-picked tea gardens, we employ traditional shelf-style cultivation and carefully adjust fertilization management. Only the tender new shoots are harvested by hand, leaf by leaf. The harvested leaves are then processed into tencha at our own factory and stone-milled on-site to produce matcha.

In the Uji region, organic tea cultivation remains extremely rare. Moreover, organic teas are often perceived as compromising on flavor and quality. Against this backdrop, we at d:matcha have consistently pursued tea-making that achieves both organic certification and uncompromising taste and quality. Receiving recognition alongside conventionally cultivated teas is therefore deeply meaningful to us.

We are also particularly pleased that the awarded teas were not produced in small quantities solely for competition purposes. They are products that our customers can actually purchase through the d:matcha website and at our physical locations. This fact makes the recognition all the more significant.

Sales of our hand-picked organic matcha will begin sequentially from late December, once our original d:matcha tins are completed.

Looking ahead, d:matcha will further strengthen its commitment to cultivating higher-quality organic Japanese tea. In 2026, we plan to install two double-layer shading棚 systems, which allow shading materials to be applied in two stages, achieving a higher level of light control. This will enable us to expand our lineup of hand-picked teas using new cultivars.

The Yubune district is home to many veteran tea producers with over a decade of experience in hand-picking tea in Uji. By welcoming their guidance into our fields, we aim to continue learning while refining our tea-making practices. The straw required for shading will be sourced from rice grown in d:matcha’s own paddies.

In 2027, we will take on the challenge of cultivation using traditional reed screens (Hon-Yoshizu). As artisans capable of making yoshizu continue to decline in number, we plan to work together with young reed-roof craftsmen, learning the process from the very beginning. This includes harvesting thick, durable, high-quality reeds from Lake Biwa and crafting the reed screens ourselves.

As matcha experiences an unprecedented global boom, we are deeply grateful for the growing interest. At the same time, we believe it is our responsibility to show proper respect for the traditional culture and cultivation techniques that Japan—and Kyoto in particular—has developed over generations. Rather than pursuing expansion for its own sake, we place our management focus on depth: preserving authenticity and conveying its true value to the world with care and integrity.

About the Fields – Abandoned Tea Plantations (Hiroki A.)

What happens when a tea field is abandoned? Once management stops and a tea plantation is left unattended, deterioration progresses at an astonishing speed. Normally, tea bushes are maintained at about waist height for an adult, but within just one year of abandonment, they can grow to the height of a person. At this stage, it is still possible to restore the field to its original condition through pruning and other management. However, if the plants continue to grow beyond this point, returning the plantation to its former state becomes extremely difficult.

As branches that emerge from the surface of the tea field grow larger, they severely block sunlight from reaching the lower branches and leaves. When this condition persists, the lower foliage eventually stops growing and begins to wither. After several years, the tea plants come to resemble wild, naturally growing tea trees, far exceeding human height, with only a few thick trunks standing upright and foliage concentrated at the top. As time goes on, other plants begin to invade, and the area turns into a tangled woodland.

Abandoned tea fields not only damage the beautiful landscape of tea-producing regions but also increase the management costs of neighboring tea plantations. Once a field reaches this state, replanting requires the removal of a massive number of tea trees, ultimately reducing the land’s value and usability.

Today, the tea industry faces serious challenges such as labor shortages and an aging workforce, and the number of abandoned tea fields continues to rise. Suppressing the occurrence of abandoned plantations while preserving the landscape and maintaining the productive capacity of tea-producing regions will be a major issue going forward.

Understanding Guest Roles in the Japanese Tea Ceremony (Seiya H.）

In the tea ceremony, the host prepares and serves matcha for the guests to enjoy. However, depending on where each guest is seated, their role changes. This time, I will focus on explaining the mindset and roles of the guests.

In a formal tea gathering (or chaji), it is common to invite around three guests. When the host holds a tea gathering, they often invite the person they wish to honor or welcome as the shōkyaku (main guest). At the same time, the host personally selects and sends invitations to the other guests as well.

The Host’s Position from the Main Guest’s Perspective

Shōkyaku (Main Guest)

The act of guests entering the tea room from outside is called seki-iri (entering the seating). The shōkyaku always enters the room first. In celebratory occasions, this role clearly represents the guest of honor.

Receiving wagashi (Japanese sweets), drinking matcha, and viewing the utensils (haiken—the opportunity to see the tea utensils prepared by the host for that gathering) are all done first by the shōkyaku. The shōkyaku is usually seated in a position where the host’s tea-making procedure is easiest to see.

Another special aspect of being the shōkyaku is the time for mondō (dialogue), during which the shōkyaku asks the host about each of the utensils. As expressed by the tea concept ichigo ichie (one time, one meeting), encounters with tea utensils may be truly once in a lifetime. Depending on the tea gathering, the host may bring out utensils that are rarely used and reserved only for very special occasions—sometimes solely for the shōkyaku. This makes it a precious opportunity to share a space with utensils that one may never encounter again.

Note: Nowadays, there are tea gatherings that host dozens of people at once. However, if you end up sitting in the shōkyaku seat, you will be expected to engage in dialogue with the host. Since the shōkyaku also plays the role of expanding the conversation within the tea room, a certain level of knowledge is required. Without it, one may struggle to

keep the conversation flowing. For this reason, it is generally safer to leave the shōkyaku role to someone with experience and knowledge, and to enter the seating later in the order.

Jikyaku (Second Guest)

The jikyaku sits next to the shōkyaku and follows them in all actions, such as entering the seating and viewing the utensils. The jikyaku is expected to help facilitate smooth interaction between the host and the shōkyaku, using conversation skills to enliven the atmosphere and keep the proceedings flowing smoothly. After that come the third guest, fourth guest, and so on.

Makkaku (Last Guest)

Also known as otsume, the makkaku is the last to enter the seating and the last to view the utensils. While enjoying the matcha, this guest is expected to quietly support the host without drawing attention. By calmly observing the timing, the makkaku may inform the host that all guests have entered or help return utensils. Unlike the jikyaku, who supports the gathering through conversation, the makkaku supports the entire setting through keen observation and thoughtful action—very much a “behind-the-scenes supporter.”

Personally, the position I like most is the makkaku. It allows me to enjoy the tea while carefully judging the situation, making it an excellent learning experience at the same time. Next month, I will explain the movements guests perform from entering the seating to drinking the matcha.

At a tea gathering held by a nearby university, the guest seated closest to the host becomes the shōkyaku (main guest). On this occasion, I attended with two colleagues from the same year and one senior member, and the senior took on the role of shōkyaku.

The History of Japanese Tea ② – The Philosophy of the Tea Ceremony (Misato T.)

As explained in the previous installment, the tea ceremony contains elements of self-discipline aimed at exploring the true nature of things. Beyond wabi-sabi, there are many other important concepts within the tea ceremony. Here, I would like to introduce some of them.

1. Wa–Kei–Sei–Jaku (和敬清寂)

This is a well-known principle that expresses the fundamental mindset required in the practice of the tea ceremony.

• Wa (Harmony): The host and guests open their hearts to one another and share a sense of harmony and friendliness.
• Kei (Respect): To show sincere respect toward one another.
• Sei (Purity): Not only outward cleanliness, but also purity of the heart and mind.
• Jaku (Tranquility): A calm and composed state of mind that remains unshaken in any situation, allowing one to face others with quiet serenity.

2. Ichigo Ichie (一期一会)

Ichigo means “one lifetime.” The encounter with the guests you meet today is a precious meeting that will happen only once in your entire life. Therefore, this teaching encourages us to cherish each moment and do our very best within it.
It reminds us to be grateful for every encounter and to live fully in the present moment.

3. Equality and Peace

This concept corresponds to the “wa” (harmony) and “kei” (respect) in the principle of Wa–Kei–Sei–Jaku.
The entrance to the tea room is called the nijiriguchi (crawling entrance). It is extremely small, requiring everyone—regardless of social status—to bow their heads and lower themselves as they enter. In fact, the nijiriguchi is a square measuring about two shaku on each side (approximately 60–70 cm). Additionally, samurai are not allowed to bring their swords into the tea room.

Through this design, the tea room becomes a place where all people meet as equals, fostering peace and mutual respect.

The Crawling Entrance of Tai-an, a National Treasure

In addition, the guests share koicha (thick tea) by passing the bowl and drinking from it together. Drinking matcha directly from the same bowl is not something that can be done easily unless there is mutual trust and openness of heart. By sharing a single bowl of matcha, a sense of unity is naturally created among the participants.

At a time when social hierarchies were extremely rigid, this practice was truly revolutionary. Through the tea ceremony, Sen no Rikyū sought to create a world in which people could cherish one another as equals.

4. Purification

One concept that is especially important in Japanese culture—including the tea ceremony—is “purification.”
For example, before welcoming guests, the host sprinkles water along the garden path leading to the tea room to cleanse the space. Before preparing the tea, the host also purifies the utensils in front of the guests.

In Japanese culture, impurity is deeply disliked. Dirt, dust, and cluttered or disorganized spaces are believed to invite defilement and misfortune. This belief is one reason why Japanese people are known for their strong sense of cleanliness.

In the context of the tea ceremony, however, “purification” goes far beyond simply cleaning to make things look neat. It means calming the mind, dispelling distractions and negative energy from the space, and removing even the invisible impurities of the spirit.

Purifying the Chashaku (Tea Scoop)

Simply explained, the tea ceremony is “a way of welcoming and serving guests with tea.”

However, beneath this simplicity lies a deep sense of respect for others and a Zen spirit that purifies the mind itself—a form of mindfulness that people in any era continue to value.

The reason the tea ceremony is loved across generations and beyond national borders is because people deeply resonate with this underlying philosophy.

Trying Organic Oolong in Ine (S. Mahdaria)

A week after teaching Tea Business School at d:matcha, I traveled north of Kyoto to Amanohashidate and Ine. Unlike my solo trip to Naoshima, this weekend felt more lively, shared with Emma, my home girl at d:matcha, which made the journey feel complete.

In Amanohashidate, we tried the must-do experience, Matanozoki, viewing the sandbar upside down from Amanohashidate View Land to create the “bridge to heaven” illusion. It was playful and lighthearted. As a foodie, I was also drawn to the local rice gelato sold everywhere—and of course, I tried several.

The highlight of the trip, however, awaited us in Ine. Hidden among the funaya houses, we discovered a small Taiwanese tea house, 台湾茶専門店 靑竈—a true hidden gem for tea lovers.

Although we couldn’t communicate fluently and only had about 20 minutes before our bus arrived, the owner kindly shared that he carries around 50 types of Taiwanese tea. I simply asked for oolong tea. This brief exchange alone motivated me to improve my Japanese.

Using traditional Taiwanese tea utensils, he showed us how to brew the tea. The organic oolong could be brewed more than five times with boiling water, yet remained naturally sweet, intensely floral, and almost free of bitterness. Despite being lightly fermented, its clear green color surprised me and quietly challenged everything I thought I knew about oolong.

Sitting there with Emma, overlooking the calm waters of Ine, time felt precious. In that moment, tea became more than a drink—it was connection, presence, and stillness. 

I left knowing I would return. If you ever visit Ine, I wholeheartedly recommend stopping by this tea house. Sometimes, the most meaningful experiences are found in the quietest corners.

D:matcha Holiday Dinner (Emma C.)

This year, I hosted a Thanksgiving dinner at d:matcha. Of course, Thanksgiving is not traditionally celebrated in Japan, but to me, it’s a perfect occasion to bring people together, and celebrate the year’s end. At its heart, Thanksgiving is about gathering around a table, cooking for others, and sharing a moment together. That idea resonates deeply with what we try to do every day at d:matcha: create spaces where people connect, slow down, and feel welcome.

For the menu, I wanted to take the familiar structure of an American Thanksgiving meal and reinterpret it using Japanese ingredients and flavors. Instead of American sweet potatoes, I used kabocha and yaki imo. Fusion was the name of the game. I took inspiration from French cuisine to make a miso shiitake steak au poivre, and from Italian cuisine in a mozzarella persimmon earl grey salad. The result was elevated comfort food with a Japanese accent.

I am a big fan of plating (盛り付け), and although Thanksgiving food is more so focused on abundance and taste rather than presentation I did try to make a few “fancier” dishes. In particular, 

the plating I was the most proud of was my yuzu ginger salmon crudo. I had iterated on many presentations of crudo over the last few months, and was satisfied with the final result: rich salmon slices layered with thinly sliced cucumbers and radishes, embellished with microgreens.

The table was filled with classic, but reinterpreted sides: steamed herby kabocha with an almond peperoncino gremolata (a crowd favorite!), glazed carrots with Okinawan brown sugar, rosemary butter mashed potatoes, and miso brûléed sweet potatoes that balanced savory and sweet.

Dessert was a nod to both Thanksgiving and d:matcha: a hojicha kabocha pumpkin pie, layered with a spiced kabocha ganache and hojicha whipped cream. I was worried as the kabocha ganache had ended up denser than I hoped, but the airiness and roasty flavor of the hojicha whip perfectly balanced it out.

What made the night special wasn’t just the food, but the people. Food is one of the simplest ways to bring people together, and it always makes me incredibly happy to create bonding moments through it. I’m really grateful for my team at d:matcha!

Looking Back on the Year (Sora N.)

Hello! Happy New Year, and I look forward to working with you again this year. It has been about a year and a half since I joined d:matcha. Looking back on the past year, I feel that while the number of things I can do has increased, my challenges have increased as well.

In 2025, I was often entrusted with work beyond confectionery production, such as working at the tencha factory, preparing breakfast at the accommodation, and product development. I have become accustomed to many of these tasks, and the amount of work I can handle on my own has increased. However, this familiarity sometimes reduced my sense of tension and responsibility, and I feel that I often made mistakes even in simple tasks.

There were also times when things I struggle with in my personal life—such as maintaining consistent cleanliness around me and managing my time—affected my work. Because of this, I want to be more mindful starting from my everyday life. I feel that my challenges lie more in my mindset than in my technical skills: a lack of initiative, panicking when I am short on time, and still being mentally immature in certain situations.

Going forward, rather than thinking of tasks simply as “work I was asked to do,” I want to approach them with the mindset that this is my own shop’s work—putting in thoughtful effort, not cutting corners, and carrying each responsibility through to the end.

Last year, I set a goal of continuing to take on challenges. Over the past year, there were many unfamiliar tasks, but I believe I was able to persist by thinking creatively and not giving up. From here on, I hope to continue stacking small challenges without becoming satisfied with the status quo.

In mid-January this year, we will be going on a company trip to Taiwan. It will be my first time traveling abroad, so I am really looking forward to it. Thank you to everyone who took the time to read my newsletter, even just once, last year. I look forward to your continued support again next year.