The Motherhouse Story Part 3: Overcoming Setbacks

Taking Motherhouse to the Next Stage

Suppressing the urge to escape, Yamaguchi began her challenge again.
What was needed to move forward was the establishment of a production system that could be completely trusted.
This was the biggest challenge for Motherhouse.

First, she needed reliable local staff.
She decided to hire someone who could work full-time in Bangladesh.
She had already been betrayed enough times.

Her last hope rested on Atif,
who had been the head of a designer training school in Bangladesh,
and had worked for ten years as an export manager at a major leather factory.
She believed he could be a trustworthy partner.
She visited him many times, spent hours convincing him, and eventually signed a contract.

Through his extensive network, which was familiar with almost every bag manufacturer,
he helped identify the best factories based on their technical capabilities, financial stability, and the reliability of their workers.
They chose a factory known for having the best pattern maker in the country, a man named Sohel.

Sohel, a craftsman who had a strong dislike for foreign buyers,
was approached and convinced by Yamaguchi.
She conveyed the passion Motherhouse put into its bags, doing her best to explain.

In the end,

• "Rough sketches by Atif and Yamaguchi"

• "Pattern making by Sohel"

• "Material sourcing by Atif"

• "Production at Sohel’s factory"

• "Inspection and quality control by Atif"
  This system was established.

The Battle Between Yamaguchi, Sohel, and Jute
The battle between Yamaguchi, the local pattern maker Sohel, and the material jute began.
Jute had a disadvantage, as it could not match the texture and luxury of leather.
Therefore, they needed to create something that leather could never achieve—something that could only be done with jute.

They experimented with cutting a meter of jute fabric, stretching it, crumpling it, washing it, and trying many different methods.
Days were spent at the factory, from morning till night, staring at the fabric.
They didn’t get stuck in conventional bag production methods but challenged themselves to create original designs that showcased jute's unique texture.

In an incredibly short period, dozens of samples were turned from sketches into physical products.
All of them were brought back to Japan, where group interviews and presentations to buyers were held,
gathering feedback and identifying areas for improvement.

In January 2007, everything was brought back to Bangladesh to finalize the details.
By February 2007, they narrowed down the dozens of samples to 9 bag designs and 5 small items.
They also selected 5 colors.

Finally, production began.
And on March 9, the first anniversary of the company's founding,
a new Motherhouse was reborn, with new products.

With Gratitude to Customers
Motherhouse celebrated its first birthday.
On the night of March 10, 2007, a customer event was held.
It was an opportunity to share the progress of Motherhouse with the customers who had supported them.
She also shared the full story, including the betrayals at the factory and the new production partners.
Customers listened attentively, nodding in understanding.
Tears welled up in Yamaguchi's eyes.

Then, with both excitement and anxiety, the moment of the renewed product launch arrived.
"Everyone, we are pleased to present the Motherhouse 2007 Spring Collection! Please look over there!"

The curtains at the venue opened, revealing a virtual store.
The sales staff bowed deeply, and ahead of them were the new Motherhouse bags.
Gasps of admiration were heard, and one by one, customers entered the store.
They picked up products, tried them on, and looked at themselves in the mirror,
as if they were enjoying a normal shopping experience at a department store.

Customers exclaimed, "It's improved!" "It's amazing!" "So stylish!" "So cute!"
The days of struggling through product development for the renewal flashed in Yamaguchi's mind,
and her heart swelled with emotion.