Written by Kinan Kawuryan, Japanese interpretation by Bernhard Dwi Rendragraha | Read in Indonesian

“There’s nothing new under the sun” is a favourite phrase people use to defend themselves against accusations of plagiarism. But when the similarities are too obvious to ignore, does this line still hold weight?

Fuguku, an Indonesian cult favourite known for its edgy designs and iconic spiky texture, has become a beloved name among fashion enthusiasts. Yet recently, the brand found itself in hot water as its products were found to bear striking similarity to those of Bunzaburo, a Japanese brand with a century-old legacy, originally a kimono manufacturer, now a shibori wearable art crafter. 

In this article, design researcher Kinan Kawuryan shares her investigation with TFR to uncover the issues and explore the question: where do we actually draw the line between inspiration and imitation?

As part of the investigation, Kinan contacted Bunzaburo to hear their perspective—not just on the alleged copying, but also on what it means to protect traditional craft in an age of rapidly changing industry, as well as Fuguku for their views on the accusations. 

A closer look at Fuguku and Bunzaburo

In the morning of November 2024, Indonesian Internet personality @dariwulan told her 30K+ followers that the spiky bags and accessories she wore were not, in fact, from the local brand Fuguku, but from a Japanese label called Bunzaburo. This discovery, followed by netizens’ subsequent research, led to accusations of plagiarism on Fuguku’s part.

Left: Fuguku’s Fugu Bag Midi in Holy Red (image courtesy of fuguku.com). Right: Bunzabaro’s Mini-Mini Bag in solid red (image courtesy of shop.bunzabaro.com).

When asked about the accusations, Savira Lavinia, the designer of Fuguku, said, “Fuguku has openly responded to the plagiarism allegations. We appreciate Bunzaburo and other brands as sources of inspiration, but we emphasize our unique approach and commitment to originality.”

Fuguku said that they draw inspiration from both Japanese bai shibori and Indonesian jumputan. Savira explained, "The shibori spike technique, or what is known as jumputan in Indonesia, was chosen for its uniqueness and potential for development. However, the traditional Japanese method is complex and requires special tools, which inspired me to innovate. After a year-long research, I developed a more practical and efficient version of jumputan. The result is a 'bud' shape that is sharper compared to the Japanese technique, becoming Fuguku’s signature."

To clarify the similarities or differences between shibori spike and jumputan, Asyifa Jiniputri, a lecturer from the Craft Department at the Bandung Institute of Technology, shared her take: “From a fundamental perspective, both techniques are similar, but they differ in methodology."

From a cultural standpoint, jumputan and bai shibori are separate techniques. While jumputan involves adding material such as rice or small stones to the fabric before tying it, bai shibori focuses solely on binding the fabric, creating a 3D-spiky texture when the tie is removed. 

However, Asyifa also noted that in fashion, cultural heritage has been modernised, re-innovated and, eventually, commodified. As a result, traditional textile-related techniques often stray from their original principles, leading to a loss of the distinctive characteristics of the technique. Fuguku’s use of jumputan, for example, lacks the traditional markers of the technique, suggesting that the product may not fully capture the essence of jumputan, even though it is presented as an innovative adaptation.

While no further explanation was provided on how bai shibori can be transformed into jumputan, Katayama Kazuya, the fourth-generation owner of Bunzaburo, explained the origin of the 3D texture of bai shibori.

He said the bai shibori technique has been around for centuries, originally developed to create kimono. His father, Katayama Kazuo, highlighted the spiky texture of bai shibori when the untied fabric is not flattened, which was then applied into modern products such as curtains and scarves. Katayama pointed out that while Bunzaburo was not the first to incorporate bai shibori into contemporary design, the brand has gained recognition for popularising modern bai shibori products in Japan.

Established techniques cannot be exclusively claimed

Dupes, short for duplicates, or a knockoff, is a cheaper alternative to a typically more expensive brand, without the intention of deceiving customers into thinking it's the original. Technically, dupes are considered legal since they do not infringe on trademark protections. This loophole allows companies to produce dupes and get away with it, especially when laws are complex and enforcement becomes even blurrier across international borders. 

In the case of Fuguku and Bunzaburo, established techniques such as shibori or jumputan cannot be exclusively claimed by a single brand. For example, South Korea’s Pleats Mama is known for using pleated technique for its pleated bags. Many brands around the world make similar pleated bags, but Pleats Mama’s universal shape of square pleated tote bags generally keeps them free from plagiarism disputes. 

However, using known-practiced techniques does not mean brands cannot protect their own designs. While the technique remains part of the public domain, the distinctive silhouette and product identity can fall under intellectual property, such as industrial design protections in Indonesia. A notable case is when Issey Miyake won a JPY71,068,000 lawsuit against Largu Co., which copied the distinctive triangular design of Issey Miyake’s Bao Bao bags for their Avancer brand. Despite slight alterations to the shapes, the Tokyo court ruled that Avancer’s design was similar enough to cause confusion among consumers. 

Conclusively, Bunzaburo has the right to protect their bai shibori products, especially those with distinctive silhouettes such as their iconic spiky bag. The bag was first introduced to the overseas market at the MoMA Design Store in the USA in 2005. Since then, Bunzaburo’s popularity has led to numerous imitations, with some even operating within their own city. 

Katayama shared, “At first, I wondered, why would anyone copy? And, yes, I felt slightly angry. But as I’ve shown, Bunzaburo has explored all kinds of shapes and products [from home decor to clothes and more] and is fully committed to our work. Meanwhile, other brands are only copying a single bag or maybe just a scarf. Honestly, though, compared to my frustration, I’m now much more focused on what I’m creating. At this point, I don’t really care anymore.”

Bunzaburo’s integrity of craftsmanship 

When asked about the steps they have taken to protect their intellectual property, Katayama explained that Bunzaburo have only trademarked their brand and logo. He cited two reasons why they never patented their designs:

First, the patent process is lengthy, often taking over a year. By the time approval is granted, he said, “My ideas would probably have been copied, and there would be nothing much I could do about those who have copied my work.”

“Second, in the past, everyone wore kimono. But now, with modern clothing being the norm, kimono don’t sell like they used to. As a result, craftsmen are struggling to make a living. The entire kimono industry once worked together to protect these craftsmen, but that’s no longer possible. If our products can serve as an example to copy, then so be it. If we patent the products, craftsmen unaffiliated with us wouldn’t be able to get orders for similar items, causing them to fade into obscurity. That’s one of the reasons we choose not to patent.”

In a world where intellectual property is fiercely guarded, Bunzaburo's approach is refreshingly humble, especially within the shrinking kimono industry. Their decision not to patent shows their contribution to protect the livelihoods of fellow kimono artisans, even at the cost of their own designs being copied. While this does not justify design theft, it highlights their integrity to preserve the tradition of kimono craftsmanship in a rapidly changing industry.

The quest for originality continues

When told about the case of Savlavin—Fuguku’s designer’s other brand—that also launched products similar to Bunzaburo’s pom-pom bag collection, Katayama just laughed. However, he added, "It would have been better if they directed their efforts into creating something original instead." 

Savira gave a statement to clarify this matter:

"Regarding the allegations of similarities between Savlavin's Bolla Bag and Bunzaburo's products, it is important to clarify that the inspiration for the rounded texture comes from various references found both online and offline. When developing the Bolla Bag, my focus was on creating job opportunities and a unique product."

“Unfortunately, this [plagiarism accusation] issue led to the discontinuation of the Bolla Bag project, affecting even an artisan who is a survivor of domestic violence and had placed their hopes in this initiative. This experience has only strengthened my determination to continue innovating and empowering artisans, especially vulnerable women.”

Bunzaburo’s guide to respectful cultural adaptation

In today's increasingly interconnected world, designs, techniques and traditions often transcend borders and evolve along the way. The case of Fuguku and Bunzaburo is a good example, raising questions about the balance between cultural exchange and respect. With this in mind, Katayama offered his thoughts on how designers can ethically and respectfully incorporate foreign culture into their designs.

"In today’s world, I don’t think anything is 100% original anymore. For instance, copying and drawing inspiration are two completely different things. It's crucial to travel, see the world and experience diverse cultures, as this can spark real inspiration. 

Copying, on the other hand, means you're not using your own thinking at all. Originality comes from thinking critically and moving forward. Learn as much as you can, explore different things and then reflect and think for yourself.”

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