Daiki T.

Founder & CEO

Partner Visits: Kuwait and Berlin, Germany

In mid-February 2026, I visited d:matcha’s business partners. While we are not currently accepting new corporate clients, we continue to work with long-standing partners—many of whom have collaborated with us for years or are former interns—who use our products with clear attribution to d:matcha Kyoto.

Kuwait

I visited Neighbors Matcha, operated by Dalal, a graduate of the Tea Business School. As my visit coincided with Ramadan, the café was operating in the evenings. I had the opportunity to attend both the main store and the opening day of a Ramadan-only pop-up event, which made the visit especially meaningful.

Dalal’s passion, dedication, and sincerity toward her products were clearly conveyed. While matcha lattes form the base of the menu, what stood out were drinks blended with cinnamon and salt, or those lightly sweetened with maple syrup—never overly sweet, and always allowing the true flavor of matcha to shine through.

Because alcohol is not part of the local culture, matcha plays an important role as a social beverage. I was reminded of how essential it is to adapt offerings to local culture, such as positioning matcha as a drink for social gatherings and creating events aligned with Ramadan.

What impressed me most was their hospitality. From the airport pickup to sightseeing at major landmarks, receiving traditional local clothing as a gift, and being invited to a family Ramadan gathering, I was able to deeply experience the culture. It was an incredibly precious time, and it renewed my determination to put even more care into this year’s tea production.

Berlin, Germany

In Berlin, I visited Atelier KYO, operated by Franziska, a former d:matcha intern. We hosted around 20 guests, and I personally joined to conduct a cultivar-based tasting session followed by an extensive Q&A.

What struck me most was how well Berlin’s customer base aligns with d:matcha’s values. Organic certification is a given, but beyond that, there is a strong culture of appreciating tea through deep knowledge—understanding cultivars, cultivation methods, preparation styles, and the roots of production and farming. The Q&A session was nonstop, and the level of interest and the quality of questions made it truly enjoyable.

Berlin is also home to many highly curated specialty shops—focused on themes such as specialty coffee, chocolate, or soy—each run with strong commitment and philosophy. Franziska has been actively collaborating with many of these businesses, which was also very impressive. Having a partner who engages with matcha so seriously in such an environment is extremely reassuring, and as she prepares to open a permanent location, I hope to deepen our collaboration even further.

Ultimately, visiting partners in person is invaluable. Localized strategies can only be conceived by local partners, but by being on the ground myself, I was able to better understand the characteristics and key dynamics of each market. That understanding itself reaffirmed how important it is for future collaboration.

It was a fast-paced trip with only four nights in hotels over the course of a week, but it was deeply meaningful.

SEIYA ALAN H.

Tea Production Lead

The Art of Drinking Matcha

Last month, I explained the general flow regarding the proper mindset of a guest. This time, I will explain in detail how to drink matcha.

Usucha (Thin Tea)

For usucha (thin tea), in principle 1.5g of matcha is used per serving. However, the host adjusts the amount and strength according to each guest’s preference.

For this reason, before receiving a bowl of usucha during practice, you greet the host by saying, “Otemae chōdai itashimasu” (I humbly receive your tea preparation).

You pick up the tea bowl from the side with your right hand, place it on your left palm, then reposition your right hand so that it supports the right side of the bowl. In this position, you make a slight bow while gently lifting the bowl slightly upward.

This gesture expresses gratitude for the bowl of tea. After conveying your thanks, you begin the motion of turning the bowl. If you imagine the bowl as a clock, hold it at the 2 o’clock position with your right hand, and rotate it clockwise twice so that your hand moves to the 4 o’clock position. By doing so, the bowl will naturally end up facing 180 degrees opposite from its original position.

The reason for this is that every tea bowl has a “front.” When the host prepares the matcha and presents the bowl to the guest, it is always facing forward. After expressing gratitude, by turning the bowl and avoiding the front, the guest symbolically shows the front toward the deity in front of them.

In most cases, bowls with designs make the front easy to recognize. However, some bowls have no visible design. In such cases, the direction the bowl faces when the host presents it to the guest is considered the front.

After turning the front away, you may drink the matcha.

Incidentally, when I was first learning how to drink matcha, I received detailed instructions for each movement starting from how to hold the bowl, and there were times when it took nearly ten minutes just to finish one serving.

After finishing the tea, wipe the rim with your fingertips, examine (appreciate) the bowl, and return it to the host. When the host gives the bowl to the guest, and when the guest returns it to the host, the bowl is always handed over with the front facing the other person.

At large tea gatherings, assistants in the back prepare the matcha and carry it to where the guests are seated. They turn the bowl before handing it over, and when guests return the bowl to the server, they also make sure to face the front toward them.

Koicha (Thick Tea)

In principle, 3.75g of matcha per person is used. Typically, one bowl is shared among several people. So, for three people, more than 10g of matcha would be used in a single bowl.

This style was created by Sen no Rikyū. He had seven main disciples known as the Rikyū Shichitetsu (Seven Sages of Rikyū), and since many of them were Christians, sharing one bowl among everyone symbolized equality in the tea room, regardless of social status.

When there are three or four guests, they share one bowl. After the host presents the bowl facing the principal guest, the main guest (shōkyaku) receives it. Once back in their seat, all guests perform a formal bow together called sōrei (a full, sincere bow).

The main guest then takes the bowl, turns it as in usucha, and drinks—but does not finish it entirely (usually about three sips). The bowl is then passed by hand to the next guest.

Before passing it, the rim is wiped with a small white cloth called a kochakin, which has been wetted and wrung out beforehand. While the subsequent guests drink the koicha, the main guest engages the host in conversation and may ask about the matcha and sweets served that day.

When the last guest finishes drinking, the bowl is then examined and appreciated.

Hiroki A.

Farm Production Lead & Head Pâtissier

About the Quality of Tencha

The quality of tencha (the raw tea leaves used to make matcha) is mainly evaluated based on the following inspection criteria:

Appearance

The color and shape of the tencha are evaluated visually.
High-quality tencha has a bright, vivid green color, with minimal unevenness and an overall uniform tone. The leaves should be thin, and when touched by hand, they should feel soft and fluffy.

Aroma

Tencha should have a characteristic “covered aroma” (a seaweed-like fragrance) created by shading during cultivation, along with a moderate roasted aroma (produced in the tencha drying furnace). Burnt smells or musty odors result in point deductions.

Liquor Color (Suishoku)

This refers to the color of the liquid when tencha is brewed.
It should be clear, with a light amber or golden hue, and convey a sense of richness. A reddish or darkened liquor color lowers the evaluation.

Kara-iro (Leaf Color After Extraction)

This evaluates the appearance of the tea leaves after brewing.
It correlates with the grinding color once the leaves are made into matcha. Leaves that are vivid and free of color unevenness are highly rated, especially if they maintain their color even after some time has passed.

Taste (Umami and Overall Flavor)

This is judged comprehensively based on the taste in the mouth and the aroma that passes through the nose when the infusion is sipped.
Tencha that has a pleasant covered aroma, an appropriate roasted note, and a rich umami flavor is highly evaluated. Bitterness, harsh astringency, raw leaf smells, or grassy/green odors result in deductions.

Tencha is evaluated based on these criteria. Even after being processed into matcha, the final product correlates closely with these same standards. For this reason, tea wholesalers use these evaluation criteria when deciding how to blend different tencha batches.

Recently, I participated in a tea appraisal event and had the opportunity to examine many different tencha samples. What I found interesting is that these evaluation categories do not necessarily correlate with one another. For example, a sample may have an excellent appearance but receive a low score for taste. Conversely, some tencha with less impressive liquor color may still receive relatively high overall evaluations.

Although it may be difficult to see in the photograph, the sample on the left appears to have less color unevenness and a richer hue compared to the one on the right. However, in the overall evaluation, the tencha on the right received the higher score.

These inspection criteria also serve as cultivation targets for producers. This experience once again made me realize the importance of advanced evaluation skills in order to produce high-quality tea.

Misato T.

Co-Founder, Head of Design & Operations 

Japanese Ceramics (Part 1)

There are many ceramic-producing regions throughout Japan.

Historically, the Japanese have had a deep love for ceramics. This is because, for them, ceramics are not merely “tools for daily life,” but objects through which they can discover a beauty that brings joy and color to everyday living — the beauty of utility (yō no bi).

Historically, as the practice of tea ceremony (chanoyu) developed, certain tea utensils came to be called meibutsu (famous or treasured objects) and were highly prized — sometimes attaining artistic value comparable to that of an entire castle.

Because Japan has so many pottery regions, each area has developed its own distinct character. This diversity itself can be said to be one of the great charms of Japanese ceramics.

Among them, we will look at representative ceramic-producing regions of Japan, beginning from the Kyushu area.

Source: Japan Ceramic Museum

1. Imari / Arita Ware (Arita, Saga Prefecture)

Said to be the first place in Japan where porcelain was produced.

It is a region known for high-quality porcelain, characterized by delicate and elegant overglaze enamel decoration. It was once presented as tribute to the shogun and flourished in the mid-17th century as an export to Europe. Arita ware continues to be highly valued as fine art and as luxury gifts.

2. Karatsu Ware (Karatsu City, Saga Prefecture)

A pottery region that has continued since the Momoyama period.

It is characterized by its earthy texture and rustic simplicity. In the world of tea ceremony, it has been praised with the saying: “First Raku, second Hagi, third Karatsu,” indicating its esteemed status. Techniques introduced from the Korean Peninsula merged with Japanese sensibilities to shape its development.

Source: MIHO Museum

3. Hagi Ware (Hagi City, Yamaguchi Prefecture)

A traditional pottery region with about 400 years of history.

Because it uses soft clay that is not fired to complete hardness, moisture gradually penetrates through fine surface cracks (kannyū). Over time, the color changes beautifully with use. This phenomenon is known as “Hagi no Nanabake” (the Seven Transformations of Hagi).

Hagi ware has a rustic and gentle texture that conveys the warmth of the clay. It is rarely painted; instead, its expression is determined by the glaze application and the effects of the flame during firing. Overall, it tends to have a slightly pinkish tone.

Like Karatsu ware, it is highly esteemed in tea ceremony circles and included in the saying, “First Raku, second Hagi, third Karatsu.”

4. Bizen Ware (Bizen City, Okayama Prefecture)

Among the “Six Ancient Kilns” (Rokkoyō), Bizen is considered the oldest, with pottery production said to have begun about 1,200 years ago.

It uses no glaze and is typically undecorated. Clay rich in iron content (hiyose) is fired at extremely high temperatures (around 1300°C) for about two weeks. Its sturdy, rustic tea-brown surface and the kiln effects created by flame and ash (yōhen) are distinctive features.

Source: MIHO Museum

5. Shigaraki Ware (Shigaraki, Shiga Prefecture)

One of the Six Ancient Kilns, with a history of about 800 years.

Its clay contains feldspar from the ancient Lake Biwa strata, mixed with various soil types. It is highly fire-resistant and suitable for producing large and thick-walled works. Historically, large water jars and tea storage jars were produced here.

During firing, the iron content reacts to create a distinctive reddish-brown color. As tea ceremony developed, Shigaraki ware came to embody the aesthetic of wabi-sabi and was prized as tea utensils (such as water jars and flower vases). Today, it is also famous as the production area for tanuki (raccoon dog) statues.

6. Kyō-yaki (Kyoto Ware) – Kyoto

A general term for traditional ceramics produced in Kyoto.

Kyoto has long been the cultural center of Japan and has produced many artists. Rather than having one fixed style, Kyō-yaki is characterized by the wide variety of highly artistic works created by different craftsmen. Many artists are known for their brilliant overglaze color decoration.

7. Kutani Ware (Southern Ishikawa Prefecture)

A traditional craft representing Japan’s overglaze porcelain.

It is characterized by five main colors: green (blue), yellow, purple, dark blue, and red. Its designs often feature flowers, birds, and landscapes. It is also known for lavish porcelain pieces decorated with fine gold detailing.

8. Tokoname Ware (Tokoname City, Aichi Prefecture)

One of the Six Ancient Kilns, with about 1,000 years of history.

It is well known for teapots made from iron-rich red clay (shudei). Because the clay contains a high amount of iron, it is said that when brewing tea, the iron interacts with catechins, resulting in a mellower flavor. Tokoname accounts for about 90% of Japan’s teapot production.

9. Seto Ware (Seto City, Aichi Prefecture)

Another of the Six Ancient Kilns, with about 1,000 years of history.

It is one of Japan’s most representative ceramic regions. In fact, the Japanese word for ceramics, setomono, originates from Seto ware. It is characterized by high-quality white clay and produces a wide range of items, from fine craft works to everyday tableware.

10. Mino Ware (Mino Region, Gifu Prefecture)

Pottery production began in the Heian period, and during the Momoyama period it became closely connected with tea culture, giving rise to distinctive styles such as Shino and Oribe. It is characterized by a wide variety of techniques and glazes.

Famous examples include:

• Shino – Characterized by a milky white glaze and soft white tones.

• Oribe – Known for its deep green glaze and intentionally distorted shapes, reflecting the aesthetic preferences of the tea master Furuta Oribe.

• Kiseto – Features a pale yellow glaze, often accented with copper spots or incised line patterns.

• Setoguro – Distinguished by its deep black color, created using an iron glaze and a technique called hikidashi-guro, in which the piece is removed from the kiln at around 1200°C and rapidly cooled.
  

Emma C.

Digital Marketing & Web

On Slowness

Some months are about slowness. February, in particular, feels like the epitome of it at d:matcha. Tea trees are dormant, the air is cold, and the landscape is suspended in time. Yet, many things are happening under the surface, waiting for the arrival of spring.

We are often built to crave immediate gratification and reward. In the case of making matcha, I often see videos about how many seconds to whisk for, or how to optimize the process for quicker foam or a faster end result. However, is there truly a perfect number? Shouldn’t we just do it until we are satisfied with the creaminess of the matcha? Until the surface becomes glossy and smooth? Until the earthy aroma lifts and fills the air around us?

Efficiency has its place, of course. Some moments require structure, speed, and productivity. But we’ve started to optimize even the smallest rituals, the moments that are meant to anchor us in the present. We see things as goals, not processes. Slowing down and appreciating the time something takes really changes the way we experience it. 

This month reminded me that everything works in its own time, sometimes slowly.

When it snowed heavily in Yubune, we expected the snow to melt and leave within a day, as it usually does here. Instead, the white blanket of snow lingered for a week. It softened at the edges of the tea bushes first, melted unevenly, revealing the green patches of the leaves underneath.

Last month, we also started making ikebana. Our first batch of flowers came in mid-January. Usually, I’m used to flowers waning in about a week, and yet, over a whole month later, they were still alive. Not unchanged, but evolving into something different: petals opened wider, and colors softening.

I’ve also thought about this in the kitchen. Every so often, I like making more elaborate meals, and those take time: waiting for dough to rise, for meat to marinate... Other times, I make mistakes, and fixing them takes longer. I’ve found that I don’t get annoyed anymore when that happens, and just see it as normal - another step in the process. It’s a quiet reminder that we cannot control everything, and sometimes, we are forced to be slow.

But, slowness is not stagnation. It is often growth happening out of sight. And, just like tea trees, we need dormant months.

Sora N.

Confectionary Assistant

Matcha Ganache Donuts

Hello everyone! It’s still quite cold, but it’s slowly starting to warm up a little, isn’t it? Since we started fertilizing at the end of February, it had been a while since I worked outside, so I ended up sore the next day. Some of the fields have very steep slopes, which can make the work quite tough at times.

Now then, this time I’d like to introduce Matcha Ganache Donuts.

Ingredients

• Ganache: 60g heavy cream, 90g white chocolate, 8g matcha.
• Dough: 100g mochi, 130g soy milk, 1 egg, 70g cake flour, 10g cornstarch, 25g sugar, 2g baking powder, 5g matcha. You can substitute 100g of pancake mix for the flour ingredients

Instructions

First, make the ganache.

1. Put the chocolate and half of the heavy cream into a container and microwave until just before the cream begins to boil.
   
2. Mix until emulsified, then add the matcha and mix well. Finally, add the remaining cream and mix.
    ✔︎ When mixing in the matcha, make sure no lumps remain. If there are lumps, strain it after adding all the cream.
   
3. Portion into 15–20g pieces using plastic wrap and chill in the refrigerator.

Making the dough

1. Put finely chopped mochi and soy milk into a heatproof container. Microwave at 600W for 3 minutes and mix. Then heat for another 2 minutes and mix until the dough becomes uniform.
   
2. Add the egg and mix. Then add the dry ingredients and mix until no flour remains visible.
3. Preheat oil to 170°C. Divide the dough into 50–60g portions. Place the chilled ganache in the center and shape into balls.
    ✔︎ When handling the dough, coat your hands with oil. Otherwise, the dough will stick and you won’t be able to work with it.
   
4. Fry at 170°C until golden brown. Finish by coating with sugar.
   

Done! This time, I made mochi-based donuts filled with matcha ganache. The outside is crispy while the inside stays chewy. The ganache is melty right after frying, and if you chill it in the refrigerator, it firms up into something like nama-chocolate, so you can enjoy it in two different ways.

If you have extra mochi or chocolate and aren’t sure what to do with it, please give this recipe a try!

Thank you very much for reading until the end!