Back in December, Paul from Slow Spin Society helped the Weis Mfg team set up events and pop-ups in Tokyo and Osaka for their first trip to Japan. While Paul was there to coordinate, he couldn’t resist documenting the New York-based framebuilders’ journey and how they navigated the Japanese cycling scene, known for its passionate riders who are highly selective about what’s cool and what’s not.

Quick introduction for those who don’t know me: I’m Paul, the person behind Slow Spin Society, an independent media platform that explores cycling through photography, stories, and on-the-ground experiences. After spending two weeks with the Weis Mfg team in Japan, I jumped on a call with Cole Bennett (Weis founder and welder) and Logan Sholmire (who handles Cerakote, paint, anodizing, and finishing) to debrief and hear their thoughts on the experience.

First things first! Why this trip in the first place, and why Japan?

Cole: Well, we’ve always been intrigued by and interested in expanding within the Asian market. Through our presence in the U.S., we felt that doing crit racing over and over again was starting to feel like beating a dead horse. We love racing, but this time, we wanted something more focused on culture and people rather than just showing up for a few days at a crit and calling it a day. This trip was really about connecting with locals and having a more immersive lifestyle experience.

Logan: I also think a lot of underground cultures share a mutual appreciation between Asia and the U.S. It feels like we’re constantly ping-ponging ideas back and forth, and we’ve been talking about it a lot in the shop. So Japan felt like the first logical step.

During your tour around Japan, were there specific places you wanted to visit?

Cole: Of course! There were so many, but our schedule was so packed that I feel we missed out on a lot of places we wanted to see: NJS builders, Keirin races, so much that we’ll definitely have to come back for. We did visit Blue Lug and got to meet some of the guys working there, but at the end of the day, this trip was really about getting a feel for how we could connect with the Asian scene. To be honest, we’ve been trying so hard to break into the Japanese market, but you can’t do that from home. You need to physically be there, meet people, show your craft, and really get into that groove.

How does the Japanese approach to frame building and finishing differ from what you see in the U.S.?

Logan: The craftsmanship is definitely very different, especially with their use of steel lugs. I truly believe they produce some of the most timeless track frames ever made. On the other side, I’d say Weis’s approach is more contemporary, we focus more on having a distinct identity. For example, compared to the more classic model of steel frame building, which relies more on decals and lugs, I’m sure you can recognize a raw Weis frame from pretty far away. Personally, I draw a lot of inspiration from vintage NJS frames. I’m constantly looking at old Panasonic, Kalavinka, or Samson paint schemes, and my personal favorite, those from Kiyo Miyazawa.

Cole: And the thing with Japanese builders is that sometimes they come up with a paint scheme where your first reaction is, “What the fuck?” but somehow, it works, and they manage to keep it classy. You’ll see them doing the sickest “Klein fades”, and yet it still appears totally natural on the bike.

What was your most memorable moment in Japan, both on and off the bike?

Cole: Off the bike, it was definitely when we were trying to get to Bike Lore. This guy told us he could take us there, but as the night went on and everyone kept getting more hammered, we were all thinking, “There’s no way he’s showing up tomorrow morning”. Lo and behold, 6 AM sharp, he was there, waiting for us in his Subaru Impreza with his giant dog.

Logan: And somehow, we managed to fit four grown men, a very big dog, and all our gear into that Impreza! But for me, working with MIN-NANO was incredible. Coming from a skateboarding and a street background, these were exactly the kind of people I wanted to connect with.

On the bike, the secret alleycat in Tokyo was amazing. The turnout was huge, and knowing they only do this special race once a year made it even more special for us to be part of it. Also, there’s this gravel path behind Osaka Castle for some reason… That was a pretty surreal place to ride.

How did Japanese cycling culture influence your perspective on your own work?

Cole: That was actually a big revelation for me. Cycling in Japan is way more of a lifestyle, compared to the U.S., where it’s often seen as more of a sport. They’ve been doing what we’ve been trying to do from the beginning, building character into things that might be considered stale over here. You go to Japan, and every bike, every part has so much personality, and they really take it to the next level. There’s much less concern for performance and more focus on giving everything its own individuality. Coming back from that, we feel even more confident in pushing our weird side, with crazy finishes, unique details, and all the things that can make a bike fun. Not saying that there is no space for performance, we love that as well, but we want to create bikes with a story to tell.

Is there anything that surprised you with Japanese cycling infrastructure?

Logan: I’ve never really felt unsafe on the road here, whether on a big street or a tiny side street with blind spots at every corner. I think Japan made all of us slow down a little, especially Tony and Amelia, who were both on brakeless track bikes. Riding in a city that feels more open than NYC, even they were more relaxed, naturally adapting to the pace of Tokyo.

A great example was the Weis group ride through Brotures in Osaka. I didn’t see anyone surging off the front trying to throw a sprint, and I know for a fact it wouldn’t be like that in NYC. In my eyes, one of the best things was that we could stop to grab drinks, get back on the road as a group, and everyone was happy to tag along.

What stood out the most about Japanese people and their relationship with their bikes?

Cole: As I was saying before about building character into your bike, I feel like that’s more common here because bikes are seen more as a tool. In NYC, you have to be a bit more hardcore to use your bike as your primary way to get around, but in Japan, it feels much more accepted and accessible.

Logan: I personally love the personalization aspect. Walking into shops and seeing all the little accessories people add to their bikes, like saddle charms or unique handlebar mounts, really stood out to me. It makes their bikes feel truly their own. In NYC, a lot of avid cyclists are more performance-driven, which is great for us since we make performance products, but we also love when bikes have that personal, individual touch.

Have you seen any trend in Japanese bike culture that hasn’t caught yet in the US?

Cole: The ‘yet’ is interesting here, but I think the adventure side of cycling, like what you see with Crust or Rivendell, has caught on much more in Japan than in the U.S. It’s not as popular here yet, probably because there are a lot of systemic changes that need to happen in how cycling is perceived and how cycling infrastructure is built.

In the end, Weis feels like one of those rare brands genuinely merging design, art, and culture into cycling, making it more than just a sport. It’s refreshing to see people not only creating something new but also caring about the culture as a whole.

If you’d like to know more, I also did a bike check of Cole’s gravel bike, which you can see now on Slow Spin Society.