In Japan, there are chopstick rests shaped like flowers, animals, and even food. Among them, I had never seen one shaped like a skateboard before.
This skateboard-shaped chopstick rest is made by Kitagawa Misen Kiln, a workshop producing Arita ware in Saga Prefecture.
Arita ware has a history of over 400 years and is known for its refined white porcelain and intricate craftsmanship.
Design and Details
It comes in three colors — red, yellow, and turquoise blue. The underside is decorated with tiny wheels, making even the hidden details charming.
Because of its wider shape, it can hold not only chopsticks but also spoons and forks.
A Small Moment of Playfulness
When you place an animal-shaped chopstick rest on top, it almost looks as if it’s riding a skateboard. Though small, it adds a quiet touch of playfulness to the table.
Who These Are For
A good fit for anyone who enjoys unexpected details on the table, anyone looking for a unique Japanese ceramic gift, or anyone who wants to add a little fun to everyday dining.
In summer, I often reach for glass chopstick rests — they feel light and quietly cool on the table. But this year, I’ve been using these small uchiwa-shaped ones instead.
Design and Details
Made by Ihoshiro Kiln in Gifu Prefecture, each piece carries a traditional Japanese pattern — asanoha (hemp leaf), soft swirls, and shippo (linked circles). Each is shaped and painted by hand, so the details vary slightly from piece to piece.
The wider surface of the fan shape makes them easy to use, and even in pottery, they carry a quiet coolness that feels right for the season.
Colors
I chose a blue tone, which feels especially fitting for summer. Other designs include soft florals like cherry blossom and peach, which would suit spring as well.
On the Table
Rooted in traditional Japanese patterns, they also sit comfortably alongside Western tableware — a small seasonal detail that works quietly in the background.
Who These Are For
A good fit for anyone who enjoys bringing seasonal touches to the table, anyone drawn to traditional Japanese patterns in everyday objects, or anyone looking for a summer gift with a quiet sense of craft.
Stainless steel chopstick rests are durable, easy to wash, and hard to break — practical for everyday use in a way that ceramic ones sometimes aren’t.
These are made by Nagao, a manufacturer based in Tsubame-Sanjo, Niigata, a region that produces around 90 percent of Japan’s metal tableware.
Design and Feel
The matte stainless steel and simple shape give them a calm, understated look. They have a bit of weight, so they stay stable on the table without shifting around. The hammered finish adds a quiet texture without drawing attention to itself, and they blend naturally into the table whatever else is on it.
Who These Are For
A good fit for anyone looking for a chopstick rest they can use every day without thinking about it, anyone who prefers the practicality of metal over ceramic, or anyone looking for a simple, well-made Japanese kitchen item as a gift.
Salt is something we use every day, but rarely stop to think about. The difference between refined and natural salt is real—in taste, texture, and how it behaves in cooking. And even within natural salts, the variation is surprisingly wide depending on where and how they’re made.
Here are four Japanese sea salts I’ve tried, compared by how I actually use them.
Made through a rare air-crystallization process, Nuchimasu has a powder-like texture that dissolves almost instantly. A light sprinkle over onigiri, sashimi, tempura, boiled eggs, or salad is all it takes. The flavor is mild and faintly sweet, with no sharp edge—it enhances without overpowering.
Produced slowly on the Goto Islands using only sunlight and sea breeze, Toppen has the gentlest flavor of the four. It works across vegetables, fish, and simple preparations without drawing attention to itself. It’s the salt I reach for most in my kitchen. It can be hard to find due to small-batch production, but worth keeping on hand when you do.
Aguni salt is made from the coral-rich waters around Aguni Island, concentrated through bamboo towers and finished in flat kettles over a wood fire—a process that takes several weeks. The result is a clean, well-balanced salt that performs especially well in cooked dishes. It has a slightly more pronounced saltiness than Toppen or Nuchimasu, making it a good fit where heat and time are involved.
For macrobiotic cooking or seasoning during cooking → Umi no Sei Yakishio
Umi no Sei is made from seawater around Izu Oshima using traditional methods, then fired at high heat to create a dry, free-flowing salt. It’s a staple in macrobiotic cooking, where unrefined sea salts are preferred. The saltiness is direct and assertive, so it works best when used during cooking—where it has time to blend into the ingredients—rather than sprinkled at the table.
Looking at the numbers side by side, a few things stand out.
Finer grains dissolve quickly in the mouth, making the saltiness hit faster and stronger. Larger grains dissolve more slowly, giving a milder impression. And the more nigari (magnesium) a salt contains, the further it moves from a direct, sharp saltiness — toward something more complex and rounded.
By that logic, Umi no Sei makes sense. Fine grains, high sodium — the saltiness is direct and strong.
Nuchimasu has the highest magnesium of the four at 3360mg, and a relatively low sodium equivalent of 75.5g. Despite the fine, powder-like texture, the taste is mild. The high mineral content and lower sodium seem to explain that.
Aguni is where it gets harder to explain. High in magnesium at 1660mg, coarser grains, and the lowest sodium equivalent of the four at 73.4g. By the numbers, it should taste the mildest — but it’s the second saltiest of the four. I don’t have an explanation for that.
And then there’s Toppen. High sodium at 93.3g, low in magnesium, similar grain size to Aguni. It should, by any logic, taste the saltiest. It’s the mildest. I still don’t know why. It’s also the one I reach for most.
Final Thoughts
All four are Japanese natural salts made through traditional methods, but they differ more than you’d expect—in texture, intensity, and where they shine. If you’re trying just one, Toppen or Nuchimasu are the easiest starting points. Toppen works quietly in almost any dish, while Nuchimasu makes a noticeable difference as a finishing salt.
Once you start paying attention to which salt you’re reaching for and why, it’s hard to go back to treating them as interchangeable.
Umi no Sei is a Japanese sea salt known for its mineral-rich content and traditional production methods. It is often used in macrobiotic cooking, where unrefined natural salts are preferred.
This time, I tried the yakishio variety for the first time.
How It’s Made
Made using only seawater from around Izu Oshima, the brine is first concentrated using a net-flow salt bed powered by sun and wind, then crystallized in flat kettles. The resulting salt is fired at high heat to create yakishio — a dry, free-flowing roasted salt.
Flavor and Character
The grains are fine and dry, making it easy to sprinkle evenly. It feels light and smooth when picked up with your fingers.
The saltiness is direct, with a clear, defined taste — the most forward of the four salts I’ve tried.
How I Use It
I found it better suited for seasoning during cooking — where it has time to blend into the ingredients — rather than as a finishing salt sprinkled at the table. When used as a base seasoning for meat or fish, it helps the flavor settle in clearly without adding extra character, bringing out the natural taste of the ingredients.
Who It’s For
A good fit for anyone interested in macrobiotic cooking, anyone who wants a salt that seasons firmly during cooking, or anyone looking for a traditionally made Japanese sea salt.
Produced using a traditional net-flow salt bed, flat kettle, and high-heat firing
Naturally rich in minerals, no additives
Fine, dry, free-flowing texture
Closing
I usually reach for salts that are richer in minerals and slightly moist, so this fine, dry texture felt especially easy to handle. Even small differences in texture and saltiness can change how a salt works in cooking, which is something I noticed again here.
When I started cooking tamagoyaki in a cast iron pan, I wasn’t sure which turner to use.
Wood seemed like it would wear down quickly and might be too thick to slide under eggs. Silicone felt like it might melt under high heat. And stainless steel — I’d read reviews saying it would scratch the pan.
After some hesitation, I went with stainless steel anyway. It turned out to be the right call.
Wood Turner
Wooden turners feel gentle. They don’t scratch the surface, feel warm in the hand, and never get too hot even while cooking.
But over time, they absorb oil and moisture. They take longer to dry and can hold onto smells or stains.
The edge is also a bit thick. As the wood fibers wear down, it becomes slightly rounded. Because of that, it can be harder to slide under food.
Silicone Turner
Silicone tools are often seen as safe. They don’t scratch the surface and are easy to clean.
Most are heat-resistant, so they won’t melt during normal cooking. But with cast iron, the heat can go higher than expected. I found myself hesitating to keep the turner against a hot pan for too long — worried about the silicone degrading or leaving residue in the food.
With use over time, the edge loses its sharpness, which makes it harder to slide under food cleanly.
And when trying to lift heavier food or scrape something stuck to the pan, the flexibility works against you — it bends when you need it to hold firm.
The silicone turner bends — and won’t slide under the gyoza.
Stainless Steel
It’s firm, thin, and direct. The edge slides in cleanly, and it’s easy to lift and fold. It doesn’t absorb oil or retain odors, and it dries quickly after washing.
Even when food didn’t come off easily, I could keep the edge against the pan without worrying about it losing its shape.
I used it for gyoza, and it was able to slide under the wrapper even when the skin was stuck flat against the pan — without leaving any visible marks on the surface. This was my biggest concern going in, and it turned out to be a non-issue.
Where to Buy
This is the turner I use. It ships from Japan, so it may not be the most convenient option for everyone — but if you’re looking for something similar, a thin stainless steel turner with a firm edge should work well.
I wanted to replace my plastic jug, so I started looking for a glass water jug for daily use. Something easy to clean and comfortable to use. This is the one I’ve been using.
Why HARIO
HARIO has been making heatproof glass in Japan since 1921 — starting with laboratory glassware, where precision and quality were everything. That same standard carries through to their everyday products today.
Why I Chose This Jug
Made in Japan Crafted in Japan with care and quality you can trust.
Materials Made from simple, refined natural materials. No heavy metals are used. Just clean, pure glass.
Heat-resistant You can pour boiling water directly into it.
Easy to clean The lid can be taken apart and washed easily. The simple structure makes it easy to keep clean, and it’s also dishwasher-safe.
Fits in the fridge door It fits neatly in the refrigerator door pocket, and the handle makes it easy to take out.
What It’s Like to Use
I mainly use it for barley tea and hatomugi tea, keeping it in the fridge and drinking it over a few days. Even after a few days, the color and flavor stay clear and fresh. Since the jug is made from 100% natural materials, I feel comfortable leaving tea inside it.
The best part is how cleanly it pours — no drips at all. When pouring, I usually hold the lid or remove it.
It also fits exactly one kettle of water, so I can transfer it straight to the jug as soon as it boils.
I usually cook with a regular iron pan. As I got more used to it, I found myself wanting to try something a little more demanding. Because tamagoyaki (Japanese rolled omelette) is thin and delicate, I was curious how it would turn out.
First Use
I heated the pan thoroughly — sometimes just before it started to smoke — then lowered the heat to medium-low.
I added a thin layer of oil, enough to coat the surface, and poured in a small amount of egg mixture.
Pouring a small amount of egg and spreading it thinly.
As I rolled the thin layers, the eggs released easily from the pan, with just a light push from the chopsticks.
When I used to make tamagoyaki with a non-stick pan, I would often add more oil along the way. But this time, even without adding more oil, nothing stuck until the end.
Cooking in thin layers, keeping the inside soft and slightly runny.
The mixture also contained sugar, and since the pan was well heated, I expected some sticking or burning.
But that didn’t happen at all.
Finished tamagoyaki, with the pan still clean after cooking.
Why It Felt Easier
It may be because of the pan’s heat retention that it felt easier to cook with. Even after adding the eggs, the temperature didn’t drop much, so the surface set quickly. Because of that, the layers could be rolled smoothly without sticking or breaking.
With proper preheating, the heat stays in the pan, allowing it to cook steadily even over low heat. That may be why nothing burned, and the eggs turned out soft and juicy.
The pan I used here is the River Light tamagoyaki pan. You can read more about it here. → River Light Tamagoyaki Pan review
It turned out easier than I expected, and the result was better than I imagined. I was genuinely happy with it, and I’d like to keep making it this way.
A glass teapot and mug let you see exactly what you’re brewing and drinking — nothing is hidden. This is the set I use every day.
Pouring tea into a glass mug. You can see the color clearly.
Why HARIO
HARIO has been making heatproof glass in Japan since 1921 — starting with laboratory glassware, where precision and quality were everything. That same standard carries through to their everyday products today.
And it shows: all glass is made from 100% natural minerals. For something that touches your food and drink every day, that kind of care matters.
Teapot
Watching the leaves open is part of the process.
I use this teapot mostly for green tea and hojicha. Through the glass, you can watch the leaves open and adjust the strength as it brews.
I don’t use the included strainer, but I’ve never had issues with leaves getting stuck. It pours cleanly without dripping and is easy to wash.
A ceramic teapot can make the taste feel a bit rounder, but glass feels more direct — like you’re tasting the tea as it is.
Mug
The clear glass makes the color and aroma feel a little closer.
I use the mug for tea and coffee. I own many ceramic cups, but I often reach for this one. It doesn’t stain easily, can go in the dishwasher, and can be reheated in the microwave. It’s lightweight and easy to handle.
I also like the rounded shape. It allows air to move gently inside the cup, which helps the aroma rise and gather near the rim. Because of that, the fragrance feels a little easier to enjoy.
It’s simple, but something I find myself using every day.
