When Friedia Niimura moved to the U.S. from Japan in her mid-20s, she shared a dream with many Angelenos: acting, or maybe fashion. A TV and media personality in Japan, it seemed a natural fit, only she didn’t take to the competitive pace of Los Angeles.
So she dove into one of her other passions: paper.
“When I came to L.A., I noticed there weren’t a lot of specialty stationery boutiques,” Niimura says. “When you’re in Japan, they’re everywhere and you take them for granted. That’s how I would spend my days off. I would go to the stationery and browse and take my notebook and draw.”
Niimura created a place where one can do just that. Chinatown’s Paper Plant Co. is her stationery outpost, made of two small storefronts that share a space with Thank You Coffee and boast outdoor seating. A communal destination since 2020, the shop has earned a reputation for specializing in notebooks, stickers and pens from Japan. Or, as Niimura describes Paper Plant’s aesthetic: “cute.”
“When we pick something and we all go, ‘Oh my gosh, it’s so cute,’ then we know it’s going to do really well,” Niimura, 45, says. “I don’t know how in Japan they always come up with cute scenarios and cute scenes and cute gestures. It’s almost like there’s a school on how to draw dogs doing cute things, cats doing cute things.”
Paper Plant will on Oct. 11-12 play host to Bungu LA, believed to be the first proper stationery festival in the city. Niimura has handpicked Bungu’s 60 or so exhibitors, with the vast majority of them traveling here from Japan. Bungu is inspired by similar events Niimura has gone to in Tokyo or New York. Paper Plant, for instance, exhibited last year at a festival hosted by Brooklyn’s Yoseka Stationery.
“There was a line every day,” Niimura says, describing the New York fest. “It was just my store manager and I, and we were like, ‘How come L.A. doesn’t have one?’ And then who would do it? It always came back to us, since we have that relationship with Japanese creators.”
Like most everything Paper Plant-related, Niimura has been figuring it out on the fly. Paper Plant, for instance, was initially funded almost entirely by credit cards, a business plan Niimura wouldn’t recommend to others. Bungu will take over part of a concourse at downtown’s Union Station, and the hope is to make it an annual event. The goal for the first year is to simply break even, as Niimura jokes that she doesn’t yet know the final cost of staging a festival.
“We had to also rent out a front sidewalk, which was another $10,000 that I hadn’t added to the budget,” Niimura says.
The response, however, has been overwhelmingly positive. Popular Japanese firms such as Hobonichi will be in attendance, but Niimura says she made an effort to secure vendors that have never before sold in the U.S. Advance tickets of $25, for which about 1,500 were made available per day, have sold out. There will, however, be walk-up tickets sold each day of the show. Niimura is hoping to attract 2,500 people per day.
Niimura herself is still discovering new joys in the stationery world. She notes that only recently has she become smitten with fountain pens.
“In Japan, fountain pens are geared toward older gentlemen,” she says. “And they’re expensive. The really nice ones can be thousands of dollars. We have ones that are a couple hundred, but also beginner ones for about $20. I started off with those, but I recently got a couple hundred dollar ones, and it’s life changing — the way the ink comes out is so smooth. Once you have one, it’s hard to go back to a regular pen.”
As part of Bungu, Niimura is encouraging attendees to explore L.A.’s public transit and the walkability of Chinatown. Maps will be given out at Bungu for which guests can collect three stamps, one at the event, one at the Chinatown Metro Rail station and one at Paper Plant. Those who complete the mini scavenger hunt will be given a free gift at Paper Plant, which Niimura is keeping a secret.
With the rise of collage and zine-making workshops, younger generations are connecting with paper and Niimura notes that one-day planners and scrapbooking today have become especially popular.
“I feel like anything work-wise, people have on their phones,” Niimura says. “But there’s this trend of scrapbooking everything — receipts for the day, the coffee cup holder, stickers. They call it ‘junk journaling.’”
Junk journaling, says Niimura, is fueling in part the sticker trend of the moment. Paper Plant sells a wide array of stickers and also makes its own — a dog, for instance, wearing a Dodgers hat, or a man wearing a dog as a hat. “The mini stickers are for the journalers and the planners,” Niimura says. “They have really teeny-tiny ones. It’s for the calendar. You use a sandwich sticker for lunch with a friend.”
The charm of Paper Plant’s two storefronts, where one can find lamps shaped like bread, diaries with adorable cats on the cover and those fancy fountain pens, belies the fact that 2025 is a stressful time for the stationery business. Niimura sighs as she notes that she’s had to raise prices this year due to tariffs imposed by President Trump.
“Everything has kind of gone up,” Niimura says when asked how the tariffs have affected her business. “If its coming from China, it’s a lot. If it’s coming from Japan, it’s a little bit.”
And yet that doesn’t deter her optimism. Niimura notes that in a way, she’s living out one of her childhood dreams, as she once envisioned her retirement life including a gig at a stationery shop.
“I always thought I would do this later in life,” she says. “I thought I would be the old lady putting out a sign and being behind the register.”
And now, Niimura speaks of Paper Plant and Bungu as something of a mission.
“This analog style of things shouldn’t die just yet,” she says. “I think it’s important. Creativity starts with a pencil and a paper. Now my son, too, doesn’t have a cursive class. That hurts. You can recognize someone by their handwriting. My son calls cursive ‘fancy writing,’ and I don’t want that to die.”
Think of Paper Plant and Bungu, then, as a way to keep a lost art alive.
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