With its vivid and bold colors and patterns, Ryukyu Bingata is a dyeing technique passed down in Okinawa since ancient times. Bingata was originally crafted and presented as garments for the royal family of the Ryukyu Kingdom. Toma Chinen, the 10th-generation head of the Chinen Bingata Research Institute in Naha, engages with Bingata every day while infusing it with a fresh perspective.

One of the three leading families of Bingata, which used to present Bingata textiles to the royal family

Bingata is a traditional craft unique to Okinawa and the only form of dyeing practiced there. In ancient times, it was produced exclusively as clothing for the royal family of the Ryukyu Kingdom, but today it is widely enjoyed in the form of kimonos, obi sashes, and accessories. Originally, it was written in hiragana as “bingata,” but it is said that during the Showa period, it came to be written in kanji as “Bingata.”

During the Ryukyu Dynasty, which lasted until about 120 years ago, Bingata was crafted as a tribute to the royal family by the three Bingata master families: the Shirogane family, the Takushi family, and the Chinen family.

The Decline and Revival of Bingata Due to the War

However, with the abolition of the feudal domains and the establishment of prefectures, as well as the invasion of Satsuma, the monarchy was dismantled, and the work that had been passed down through generations for some 450 years came to an end. Although they could no longer sustain it as a livelihood, some families continued to produce Bingata after the Meiji era, determined not to let the technique die out. The Chinen family, while making a living through other work, continued to carefully preserve their Bingata tools and materials. As time passed, during Okinawa’s postwar reconstruction in the Showa era, Fuyuma’s grandfather, Sadao, learned the Chinen-style Bingata from a relative who had kept the tradition alive and revived it as a family business.

Artisans began producing Bingata for Ryukyu dance costumes and souvenirs, reviving it as an Okinawan craft. Around 1972, orders began coming in from the mainland for use as Japanese-style clothing, bringing new vitality to the Bingata industry. Consequently, in 1984, “Ryukyu Bingata” was designated as a Traditional Craft by the Minister of Economy, Trade and Industry.

The 10th-generation successor to the historic Ryukyu Bingata tradition

The Chinen Bingata Research Institute is located in a workshop near Naha Airport. The current head of the institute, Fuyuma Chinen, studied graphic design in Kyoto and worked as a designer in Osaka before moving to Milan, Italy, to further his studies in art. There, surrounded daily by works of art and historic buildings that have stood the test of time, he realized, “I want to create things that endure rather than being consumed. I want to express my own world.” The Benibana craft, the family business he had always intended to inherit one day, perfectly aligned with the vision he had arrived at.

With that resolve in his heart, he returned to Okinawa, and his days of dedicating himself to Benibana at the Chinen Benibana Research Institute began. Returning home at the age of 22 was sooner than she had anticipated, but considering that honing her skills was her top priority, it was the best choice. However, shortly thereafter, her grandfather, who had been running the workshop, passed away suddenly, and within just a few months of joining the workshop, she found herself having to take over its management. Looking back, she recalls those years as a time when she was truly struggling.

Chinen has received numerous awards, including the Newcomer Award from the Japan Traditional Crafts Exhibition and the Japan Crafts Association in 2021. She currently serves as a director of the Ryukyu Bingata Promotion and Preservation Consortium and as vice director of the Ryukyu Bingata Business Cooperative.

The Process Behind Okinawa’s Unique Bingata

Bingata is created using stencils carved with the designed patterns. The stencil is placed on the fabric, and resist paste is applied over it. After drying, pigment is applied in layers to the areas not covered by the paste. Next, resist paste is applied to the dyed areas, and finally, the base color is applied to the remaining areas. To set the colors, the fabric is steamed, rinsed, and dried to complete the process. While this is a general overview, there are actually more than 10 distinct steps involved in the process.

There are no strict rules regarding the fabric material, but silk and cotton are commonly used. Because there are no restrictions, a wide variety of dyeing techniques can be employed.

This beautiful indigo-colored pattern is called “Amefibana.” In the Okinawan language, this means “rain flower,” and the design features morning glories. The blue background is dyed with Ryukyu indigo. Ryukyu indigo is characterized by a deeper, more intense blue hue than the indigo found on the mainland.

The background color is created using natural dyes derived from plants, while the pattern itself uses pigments; the vivid pigments are used to express the boldness of Bingata. Since the dye is water-soluble and penetrates deep into the fabric, it blends seamlessly with the base material, while the pigment adheres to the surface as particles, allowing for vivid colors. The contrast in colors, which leverages the distinct properties of each, is a key focus.

Chinen explains, “The pigment comes to the forefront, while the softer dye recedes slightly into the background. This creates a dynamic three-dimensional effect, resulting in a work with great depth.” She uses a variety of pigments and blends the colors specifically for each design.

When she returned to Okinawa and began working with Bingata in earnest, she was strongly motivated to create her own original designs that differed from her grandfather’s. While she did experiment with various approaches, she says that as she continued her daily work, she increasingly came to appreciate the ease of dyeing the traditional patterns passed down through generations and the beauty they exhibit when colored.

Since many people still love the classic patterns that have been popular for generations, she continues to create these historic designs. In addition, she consciously incorporates modern patterns that appeal to younger people, aiming to produce products that will be cherished for a long time as the times change.

This involves a process called “katazuke,” where a stencil is placed on the fabric and resist paste is applied with a spatula. The paste acts as a mask to prevent the dye from penetrating the areas covered, ensuring the pattern remains intact. The artisan scoops up the paste, spreads it evenly, gently peels off the stencil, and places the next one adjacent to ensure the pattern connects seamlessly. If the process is too slow, the paste dries too quickly and clogs the fabric, or the stencil may tear, leaving holes in the design. Chinen’s movements are fluid and smooth. She explains that when she first returned to Okinawa, she could only complete one roll of fabric per day, but now she can produce as many as 15 rolls a day.

The resist paste, made by hand from glutinous rice and rice bran, is mixed with blue pigment. Apparently, this enhances the color intensity when the fabric is dyed later.

“Color application,” the process of layering fine colors, is performed by holding two brushes simultaneously. Pigment is applied with a dipping brush, and then a rubbing brush is used to work the coarser pigment into the fabric to help it penetrate more easily. In the next step, to emphasize the design, color is applied further while blending with the brush to create a sense of depth.

There are several types of brushes, and the one used varies depending on the fabric. Many of the tools are handmade.

Every year, I take on the “Oboro-gata,” a major project that requires twice the effort

This kimono, named “Island of Falling Flowers,” is made using a technique called “oborogata,” in which two stencils with different patterns are layered and dyed together. Since this process takes twice as much time and requires a high level of skill, few artisans attempt it. Although it’s labor-intensive, Ms. Chinen loves this oborogata technique and often works with it. The fabric used is a thin silk known as “kakujou-nuno,” produced in the nearby town of Haebaru.

Growing the Bingata Fan Base Through Social Media

She also actively pursues collaborations with other industries, working on projects that combine Okinawan specialties—such as transferring Bingata patterns onto local pottery or incorporating Bingata designs into Awamori bottle labels. She believes this creates opportunities for people who aren’t interested in dyeing to discover the art, and vice versa.
Currently, Mr. Chinen is actively posting on social media. He shares content designed to spark interest in Bingata, such as videos showcasing the production process. He reportedly handles not only the posting but also all video editing himself.

Perhaps as a result, the number of visitors to the workshop continues to grow, and it seems that our social media posts are reaching younger generations across the country who were previously unfamiliar with Bingata.
I also frequently visit the kimono shops on the mainland that carry our products. While interacting with customers there, I’m able to directly hear about their preferences—which differ from those in my hometown of Okinawa—tailored to each specific region. I often bring these insights back to incorporate into my work.
Currently, about 10 people work at the Chinen Bingata Research Institute, ranging from seasoned artisans to young people who have come with the goal of becoming Bingata artisans, and they all work briskly at their respective stations.

Looking Toward the Future of Ryukyu Bingata

“It’s not about it being culture or tradition—it’s not something special. We’re continuing it as a profession. I believe that’s how it becomes part of our history and culture,” says Chinen. His words convey a sense of determination to look ahead to the future of Ryukyu Bingata and carry that responsibility.
“If it isn’t fun, you can’t keep it up, and because there are challenges, you don’t get bored and can take on new ones. I want to show my staff that I’m taking on these challenges myself, and I want to keep pushing myself to create a form of Bingata that fits the modern era,” he says with sincere conviction.
As he continues to pass down the craft to ensure Ryukyu Bingata’s ongoing development, he will likely continue to take on challenges with a light yet stoic spirit, brightly leading the way for the Ryukyu Bingata community.

The post Toma Chinen of the Chinen Bingata Research Institute, who creates works with an eye toward the future of Ryukyu Bingata / Naha City, Okinawa Prefecture first appeared on NIHONMONO.

Iyogassuri, one of Japan’s three great kasuri weaves and a traditional craft of Ehime. Kuniko Murakami, an Iyogassuri artist who began weaving around age 54. Her challenge to participate in traditional craft exhibitions and her approach to Iyogassuri truly embody the philosophy that “to live is to weave.”

Weaving and Iyogassuri: A Meeting in Her 50s

　Born in 1948, Ms. Murakami works as an Iyo Gasuri artist. Surprisingly, she only began weaving after turning 50. She had long worked as an art flower instructor, but wrist injuries made creating pieces difficult, leading her to leave that path. She then distanced herself from “teaching others” and began searching for a new form of expression she could genuinely enjoy herself.

　While trying new crafts like pottery and woodcarving, weaving captivated her most. “As a child, there was a kasuri factory along my school route. They worked right there on the embankment along the Ishite River, stretching threads.” That scene became a primal landscape within her.Memories of secretly watching the indigo-dyed thread weavers at work, and the childlike sense of wonder it sparked, stirred something deep within him years later. Fortunately, the motions of weaving suited his impaired hand movements, making it a craft he could continue. He enrolled in the dyeing and weaving classes at Iori Kogei, led by contemporary Iyo Kasuri artist Nobutoshi Shirakata, studying there for five years.

The charm of kasuri, born from time and effort

　In the Iyo region, including Matsuyama, cotton was once cultivated. Within this culture where cotton was woven into daily life, “Iyo Gasuri” developed.

　Kasuri is a woven fabric characterized by a blurred, faint appearance along the outlines of its woven patterns. This is achieved by partially tying off warp or weft threads to create areas that resist dye absorption, then applying indigo dye. The resulting contrast between white and indigo creates the unique, beautiful texture characteristic of kasuri.Iyo Kasuri is counted among the “Three Great Kasuri of Japan,” alongside Kurume Kasuri (Fukuoka Prefecture) and Bingo Kasuri (Hiroshima Prefecture). However, it is noted for its composition centered around the “Yokokasuri” pattern, where the kasuri threads are used primarily on the weft threads.

　”When setting up 17 meters of thread per bolt, the weft threads alone can require tying over 1,000 points,” explains Mr. Murakami. Consequently, while tying the warp threads takes about a month, tying the weft threads takes two to three months, making it an extremely labor-intensive process.Horizontal kasuri allows for delicate, regular pattern expression because the design unfolds continuously in the horizontal direction. However, this requires advanced skill and considerable time. This characteristic is closely linked to Iyo kasuri’s simple, approachable design aesthetic, creating its appeal as a practical, everyday fabric.

Shaping Curiosity, Meticulously Woven

　Murakami-san’s early Iyo-kasuri designs often featured floral motifs. However, as she continued creating, she began incorporating elements that moved her in daily life. As she says, “I finish each piece while gazing at it repeatedly,” her works vividly reflect her curiosity. In recent years, motifs related to Earth and space—such as the fault lines at Dogo Park and the asteroid probe Hayabusa2—have emerged as new themes.

　Once the design is complete, the process moves to meticulously calculating and designing the position and amount of thread ties to ensure the pattern is woven precisely. “I strive to avoid any misalignment during finishing. While some say misalignment is part of the charm of kasuri, I find it sad when something I calculated doesn’t turn out exactly as planned. I suppose that’s just my personality,” Mr. Murakami says with a smile.

The workshop is at home, where daily life breathes with handcraft

　Murakami operates without a dedicated workshop, handling every step of the process alone at home. Weaving accounts for only about 20-30% of the total work; most time is spent on dyeing and preparing the threads. She conceives designs in her bedroom and dyes fabrics using fermented indigo in her garage.Maintaining the indigo in optimal condition is crucial, requiring constant monitoring of humidity, temperature, and the pH level of the dye bath to indicate its acidity or alkalinity. The dyeing process is repeated about 40 times, taking roughly a month to complete. Afterward, she takes time to unravel the yarn and shape it.

　Then, weaving progresses on the loom placed in the living room. Surprisingly, this loom was handmade by the couple themselves. After closely observing a loom at the Iyo Kasuri Hall, Ms. Murakami drew the design plans, and her husband built it to fit her height.

Challenging Traditional Craft Exhibitions and Passing on Iyo Kasuri

　Working on multiple processes simultaneously, Ms. Murakami completes only 2 to 3 Iyo Kasuri pieces per year. She says her heart races with excitement when a piece woven over such a long time is finally finished.

　In 2011, her Iyo Tsumugi woven kimono “Time of Fragrant Winds” won the Sanyo Shimbun Award at the 45th Japan Traditional Crafts Dyeing and Weaving Exhibition. Since then, she has actively exhibited her completed works at dyeing exhibitions and the Japan Traditional Crafts Exhibition. Challenging the Japan Traditional Crafts Exhibition, which tours nationwide, is a valuable opportunity to spread awareness of Iyo Kasuri. Continuing to take on these challenges is what connects to its preservation.

　In 2021, she was certified as a full member of the Japan Craft Association. In 2025, Iyo Kasuri was designated as an Intangible Cultural Property of Ehime Prefecture, and Ms. Murakami was recognized as a holder of this technique. She will continue to engage in her craft while promoting Iyo Kasuri as a cultural asset.

“Housewives work on it between kitchen chores and cleaning,” Mr. Murakami says calmly. “Alone, bit by bit, enjoying it. It’s a blessing to have something to pour myself into at this age.”

　Starting in her 50s, she arrived at Iyo Kasuri while seeking “something she could truly enjoy.” For Ms. Murakami, the process of engaging with thread in daily life and gradually completing her work is life itself. “How many fine pieces I can leave behind is also a challenge,” she says. Her words reveal a steadfast spirit of inquiry and a clear determination to carry the inherited skills of traditional craftsmanship forward into the future.

The post Iyo Kasuri woven in a home workshop. Connecting traditional craft to the future. Iyo Kasuri artist Kimiko Murakami / Matsuyama City, Ehime Prefecture first appeared on NIHONMONO.

Located in Yahata Higashi Ward, northern Fukuoka Prefecture, the Yū Dyeing and Weaving Studio is a workshop dedicated to Kokura-ori, a traditional craft of which Kitakyushu is proud. Studio founder Noriko Tsuki continues to create vibrant Kokura-ori textiles, dyeing threads with plants and weaving them by hand. What is the source of this creativity that captivates people both in Japan and abroad?

Thick and durable. Captivating with beautiful vertical stripes.

Kokura-ori is a simple weave created by crossing warp and weft threads one by one. Its distinctive feature, however, is the high density of warp threads—used in greater quantity, approximately three times that of the weft. This makes the weft threads less visible, allowing the vertical stripes to appear sharply defined and radiate a captivating beauty.It is a unique fabric with a smooth texture, creating a three-dimensional effect through the gradations of thread color.

During the Edo period, it was used for hakama and obi. In the Meiji era, it circulated as student uniforms.

Originating in the Edo period in the Buzen Kokura domain (present-day Kitakyushu City), Kokura-ori emerged. As this region was a cotton-producing area, samurai women began weaving textiles using cotton yarn.Its thick, durable fabric gradually led to its use for samurai hakama and obi, spreading nationwide. It gained fame when Tokugawa Ieyasu wore it as a haori during falconry, earning the praise “Kokura-ori that even a spear cannot pierce” and becoming highly valued.

During the Meiji era, the gray fabric “Shimofuri Kokura,” made by twisting black and white threads, became popular nationwide as the summer uniform for male students. However, as cheap machine-woven imitations began appearing in various regions, production in Kokura waned, overwhelmed by this trend.Furthermore, Kokura flourished as an “iron town” with its steelworks, and by the early Showa period, the last Kokura-ori factory closed, leading to the discontinuation of the fabric.

A Fateful Encounter with a Scrap of Kokura-ori at an Antique Shop

Nestled in the quiet foothills of Yahata Higashi Ward, Kitakyushu City, lies the Yusei Dyeing and Weaving Studio. Its director, textile artist Noriko Tsukiji, is the person who revived Kokura-ori. Born and raised in Kitakyushu, Tsukiji, who loved literature, became captivated by the beauty of Noh costumes while studying classical performing arts like Noh and Joruri at university.

While visiting a Nishijin-ori weaving workshop in Kyoto, Tsukiji was moved by the mastery of the artisans. Yet she realized that what she truly wanted to express was not patterns, but “color.” She boldly dropped out of university and threw herself into the world of dyeing and weaving.After mastering the fundamentals of yarn dyeing and weaving at a textile research institute in Kitakyushu, he traveled to Kumejima Island in Okinawa. There, he learned tsumugi weaving by assisting elderly women at a workshop producing Kumejima Tsumugi, a fabric passed down since the Ryukyu Kingdom era.Kumejima is considered the birthplace of tsumugi, the weave that spread nationwide from there. Kumejima tsumugi is also designated as an Important Intangible Cultural Property of Japan, making it an essential place to learn dyeing and weaving techniques. However, he struggled to create a piece he felt truly satisfied with.

One day, a shocking encounter came to Tsukiji. At an antique shop she happened to visit, she found a scrap of Kokura-ori fabric. This small piece, about 10 centimeters, showed only vertical stripes despite being woven. When the shopkeeper told the astonished Tsukiji, “This is Edo-period Kokura-ori,” she only associated Kokura-ori with the gray student uniforms of her youth.The beautiful gradient of the vertical stripes, the substantial yet silk-like texture, appeared to Tsukishiro as something incredibly fresh, hard to believe it was from about 150 years ago. “To discover that the very fabric I aspired to weave existed right in the land where I was born and raised! It was such a happy encounter,” Tsukishiro says, his eyes narrowing with satisfaction.

Reviving and Regenerating Kokura Ori 

At the time, no one around him knew about Edo-period Kokura-ori. Tsukishiro had the scraps sent to the Industrial Research Institute for weave analysis. There, he learned that while most textiles have a 1:1 warp-to-weft ratio, Kokura-ori had a 2:1 ratio, meaning it had more warp threads.She immediately tried weaving with that ratio, but couldn’t achieve the smoothness of the old scrap. Further investigation revealed that the smooth texture came from years of use.

Tsukishiro sought to create fabric with a smooth texture from the start, not through aging. By using finer threads, increasing the number of threads, and raising the density, he achieved a lustrous sheen reminiscent of silk, despite the fabric being cotton. This can be seen as Tsukishiro’s “recreation” and evolution of the historic Kokura-ori. Thus, in 1984, Kokura-ori was revived. Tsukishiro began presenting his work as Kokura-ori, paying homage to his predecessors.It was precisely the instantly recognizable, vibrant striped patterns that made it widely accepted. His first work was selected for the Japan Traditional Crafts Exhibition.

However, even after successfully restoring the technique, it took three years to fully master the design of the satisfying Kokura stripes. Driven by a desire to use color more freely, unbound by traditional color schemes, he wove the pale pink obi “Plum Blossom Season,” which won the Asahi Shimbun Award at the Western Japan Traditional Crafts Exhibition in 1991.To date, she has produced over 600 pieces. Today, Kitakyushu is recognized as a center for Kokura-ori weaving, and several new artisans have emerged.

Borrowing the power of plants to express translucent colors 

Tsuki dyes cotton threads using natural materials like plants found around her workshop. “Dyeing with plants is incredibly fascinating. For example, rosemary dyes a yellowish color before the flowers bloom, but once they bloom, it dyes a stronger olive hue. Even the same plant changes color depending on the season.”

Unlike chemical dyes, plant-based dyeing takes time and doesn’t happen instantly, making it ideal for creating gradations. You can add more thread later to achieve lighter shades, and it easily reflects whims or moods, perfectly aligning with human rhythms. “Above all,” Tsukiji says, “the soft, naturally derived colors have a translucent quality.”

Preparing thousands of warp threads before weaving

Due to its characteristic of raised vertical stripes, Kokura-ori fabric has many constraints—it cannot form check or horizontal stripe patterns. “But that also means Kokura-ori’s distinctive character remains consistent. Since only the warp thread colors show, the thread’s color is directly reflected—that’s its strength. So the key is how many ‘paints’ you possess, which is why we constantly dye threads.”

Preparing these threads in advance according to the design, known as “warping,” is also a crucial process. The warp threads are arranged on the warping machine, rotated, and combined into the necessary colors while considering factors like length and tension before being wound onto the beam. Preparing around 2,300 warp threads for a single obi involves this painstaking, mind-numbing work. It is precisely this effort that produces the delicate colors.

Textiles suited to the climate and character of Kitakyushu

When Tsukiji weaves Kokura-ori on her loom, it’s not a light “tick-tock” sound that resonates, but a loud “thud-thud!”It’s a surprisingly intense sound, hard to imagine coming from such a delicately beautiful fabric. “I weave with strong force to increase the thread density. If I weave gently, the fabric becomes fluffy and lacks firmness. If I slack off, irregularities in the weave become noticeable. So once I start weaving, I just focus intently and keep going.”

“It’s a very stubborn fabric,” Tsukiji-san says with a smile. “This region, even after the tradition once faded, has stubbornly woven this difficult fabric for 400 years. It’s inflexible and clumsy—a fabric that’s quintessentially Kitakyushu.”

Modern, refined textiles captivate the world

Hand-weaving yields limited production, so to introduce Kokura-ori to more people, Tsukiji launched the machine-woven brand “Kokura Shima Shima” in 2007, which she oversees. This allows for the creation of wider fabrics impossible with hand-weaving, enabling larger-scale works like furniture, interiors, and art.Collaborations with global creators like architect Kengo Kuma and Kunihiko Morinaga of the fashion brand ANREALAGE consistently draw the attention of highly discerning individuals.

However, Tsukiji’s core focus remains hand-weaving in the workshop. “No matter how many colors overlap, I aim for a world where colors respect each other, playing a symphony,” Tsukiji states. While he has expressed abstract worlds through Kokura weaving until now, over the past two or three years, he has been challenging himself to incorporate concreteness within them. For example, within vertical stripes, a single diagonal line like rain falling…”Inorganic vertical stripes and organic natural elements seem incompatible, but I want to bring that into the world of vertical stripes. I’m still in the prototyping phase, but I hope to complete it someday.”

Tsukiji-san restores and revives Kokura-ori while seeking new forms of expression. The world eagerly awaits what new beauty will emerge from Tsukiji-san’s meticulous, refined Kokura-ori, woven with such expansive sensibility.

The post Ogura-ori, expressing delicate colors through vertical stripes. Yusei Dyeing and Weaving Studio, Noriko Tsukishiro / Kitakyushu City, Fukuoka Prefecture first appeared on NIHONMONO.

Long ago in snowy Aomori, cotton cultivation was difficult, so cloth was used with great care. Worn-out kimonos were eventually cut into strips and woven on a floor loom to make work clothes and other items. This later became known as Nanbu Saki-ori. Teruko Kobayashi carries on the founder’s vision and is striving to spread the appeal of Nanbu Saki-ori in the Reiwa era.

What is Nanbu Saki-ori?

The historical background of Nanbu Saki-ori, truly unique to this land

Born from the wisdom of women who cherished their possessions, Nanbu Saki-ori boasts a tradition spanning over 200 years, tracing its history back to the Edo period.In snowy Aomori, cotton was difficult to grow. Cotton and old cotton cloth transported by Kitamae ships were extremely precious, so farmers at that time wove the natural fiber hemp they cultivated into cloth for clothing. They didn’t discard scraps either; they layered them for sashiko stitching or, finally, tore them and joined them to create a single piece of cloth. This was the prototype of Nanbu Saki-ori.

When the railway opened in 1893, worn cotton fabrics began circulating in this region. Farmers started weaving them on floor looms, using threads from unraveled hemp sacks as warp threads and thin strips of worn cloth as weft threads.The thick, coarse-textured saki-ori weave was well-suited to this region’s harsh, cold winds and was used for work clothes and kotatsu covers. “In this way,” Kobayashi explained, “the people of this area have lived by devising various ingenious methods to overcome the cold.”

Diverse yet each a one-of-a-kind piece

Despite being a very simple weave—”hemp yarn and old cotton shredded into strips about 1 cm wide woven on a floor loom”—the variety of weaving techniques is by no means limited.The most basic plain weave, the saguri weave where cloth and thread are interwoven alternately, the ichimatsu weave and ajiro weave created by warping two colors of thread, the interesting diagonal pattern of the hikikaeshi weave, the tsuzure weave that creates patterns within the fabric, and many other variations exist.

Today, while utilizing traditional techniques on floor looms, it’s possible to create a wide range of items suited to modern life—such as vibrant kotatsu covers, tote bags, bedspreads, tapestries, and slippers.

One of the major charms of Nanbu Saki-ori is that “you can create original items found nowhere else in the world.” “Even if you use the same fabric, the texture changes completely depending on when you weave it in and how much force you apply while weaving,” laughs Kobayashi. “Even if you try to make the same thing, you can never make it twice.” This is why each piece of Nanbu Saki-ori is said to be one-of-a-kind.

The Beginnings of the Nanbu Sashiko Preservation Society: A Miraculous Encounter

It all started when Kobayashi’s sister, Eiko Kanno, then 35 years old in 1971, attended the distribution of her beloved aunt’s belongings.A purple sash made of split weave lay in a corner of the room, seemingly worn out and unwanted. Yet Kanno was deeply drawn to its rich color and the meticulous texture of its weave. “If no one wants it…” she thought, and took it home. The more she looked at that sash, the more captivated she became by the warm, handwoven character of the fabric, and she grew increasingly eager to learn about split weaving.

However, by that time, Nanbu Sashiori was already on the verge of extinction, as people considered “weaving worn-out clothes and rags shameful.” Persistently searching for someone who could teach her its roots and techniques, she eventually found Ms. Kiyé Higashiyama and Ms. Mise Akasaka in Towada Lake Town the following year.Both women initially refused, telling her, “You won’t earn a single penny doing rag weaving,” but through her sincere and repeated visits, she finally gained permission to learn.

A Life Devoted to Nanbu Saki-ori with Burning Passion

Kanno-san reevaluated the value of Nanbu Saki-ori, learned its techniques and spirit to become an inheritor herself, and established the Nanbu Saki-ori Preservation Society on July 7, 1975, Tanabata Day. She started a “Saki-ori Classroom” at her home, pouring her heart and soul into promoting the weaving. Her contributions were highly recognized, earning her the title of “Aomori Prefecture Traditional Craftsman” and many other honors.

Driven by his desire to “introduce Nanbu Saki-ori to as many people as possible,” he lobbied Towada City for years. His efforts culminated in 2002 with the opening of the Towada City facility, the Master Craftsman Workshop “Nanbu Saki-ori no Sato,” adjacent to the Towada Pia Roadside Station.The sight of about 75 looms lined up is spectacular, most of which were collected by Ms. Kanno. “She gathered them not only within Towada City and the Nanbu region, but also traveled to places like Fukushima Prefecture whenever she heard about them,” Mr. Kobayashi told us, gazing fondly at the looms.

After successfully organizing the Nanbu Saki-ori Festival in Towada in October 2003 to commemorate the 30th anniversary of the preservation society’s founding, Kanno passed away in March 2004. He had been suffering from cancer but kept it hidden until the very end. He was 67 years old.

Sister Carries On the Legacy

Kobayashi-san explained that in an era when weaving rags was considered shameful, she initially faced social disapproval and was against Nanbu Sakiori. However, about ten years after Sugano-san began working with Nanbu Sakiori, Kobayashi-san tried it herself on a whim and was immediately captivated. “Sitting at the loom, touching the fabric, and weaving was truly enjoyable. It was a real healing experience for me, who was exhausted at the time.Before I knew it, working until 1 or 2 in the morning became normal. That’s when I truly began to take Nanbu Saki-ori seriously,” Kobayashi says with a smile.

Today, the Nanbu Sashiko Preservation Society has 130 members, most of whom are housewives. While women face various worries and hardships, like raising children, the society strives to embody the founder’s vision: “Leave all that behind when you come here.” They make every effort to ensure no one accumulates stress while participating.About 50 students attend the weekly Wednesday classes, which have no set start or end times. The group gets along so well that laughter is constant. They work to complete one item per year for the city’s cultural festival, ensuring everyone can submit their work.

Beyond the regular classes, they offer experiences, attracting many foreign visitors and groups of children and students. “It seems especially fresh for the kids; they weave with such enjoyment,” Ms. Kobayashi says, her eyes crinkling. She recalls one child who came for an experience and then pleaded, “Daddy, I want this loom. Please buy it for me.” The number of people who have experienced weaving here has surpassed 11,000.

Preserving the Founder’s Vision for Nanbu Saki-ori

The used cloth used for the weft threads comes from donations nationwide, including yukata from hotels and inns, and even sumo stables. “Some people send us cloth, saying, ‘My grandmother passed away,’ or ‘My mother passed away,’ but it feels wasteful to throw it away, so could you take it?'” says Kobayashi. “That’s why we’re supported by everyone.”

While Kobayashi wishes to spread Nanbu Sashiko with this widespread support, he also states, “This isn’t a facility for training artists. Passing on sashiko to future generations and keeping it alive is the most important thing.”Back when Ms. Kanno was still running the workshop, other municipalities with growing numbers of enthusiasts apparently offered, “We want to hold a contest. Please plan it and judge it for us.” However, Ms. Kobayashi firmly refused, believing that裂織 is absolutely not something to be competitive about. “裂織 isn’t about competition,” Ms. Kobayashi told us. “Everyone is a first-place winner. You should just do it freely, following your own sensibilities. That’s one of the strong convictions I inherited from my sister.”

The Society’s Half-Century Journey and Future Initiatives

In 2025, the Nanbu Saki-ori Preservation Society will celebrate its 50th anniversary. As part of the commemorative events, themed “Connecting to the Next Generation,” they are holding a commemorative exhibition and free hands-on sessions. They are showcasing over 500 pieces demonstrating the inherited techniques, displaying a 50-meter-long woven fabric created collaboratively across all their classrooms, and attempting various other challenges.Driven by the belief that “Nanbu Sashiko is a cultural treasure our region can be proud of and has the potential to become a future local industry,” the association is producing and selling not only traditional pieces but also sashiko designs suited to modern tastes. They even received an order from a Japanese designer living in France for indigo-dyed sashiko fabric to be used in men’s suits.

“Nowadays, everything runs on electricity with the push of a button. I feel it’s essential to teach children that, just like in the past, their own hands and feet can be the energy to create things.The reason Nanbu裂織 remains timeless is probably because everyone shares that feeling of cherishing things. My mission is to make more people aware of it,” says Kobayashi. Carrying on the tradition of Nanbu裂織 and the founder’s vision, and striving to create a society where everyone has a place, Kobayashi and her team continue weaving today. They weave, one step at a time, using colorful warp threads and strips of fabric as weft threads.

The post Carrying on the Founder’s Vision: Teruko Kobayashi, Southern裂織 (Setsuori) Weaving Tradition Bearer / Towada City, Aomori Prefecture first appeared on NIHONMONO.

Kota Nakamura is the fourth generation of “Edo Kumihimo Tadashi Nakamura,” a 130-year-old kumihimo (braided cord) workshop, and is a Chiba Prefecture-designated traditional craftsman who mainly makes hand-knitted obi-jime and haori cords. He has won many prizes at the East Japan Traditional Crafts Exhibition, and his braided cords, which enhance the beauty of kimonos, have been well received and he has given many demonstrations at department stores and kimono stores.

Edo Braided Cords Supporting Japanese Clothing Culture

Matsudo City borders Tokyo and Saitama across the Edo River. The area around Matsudo Station, the center of the city, has a history of prosperity as a post station along the Mito Kaido Road in the Edo period (1603-1867). Despite its location amidst such scenery, Nakamura Masashi, a long-established Edo kumihimo (braided cord) shop in Matsudo that has continued to carry on the history of traditional crafts for about 130 years since the Meiji Era, is located in the area.

Edo Kumihimo passed down from generation to generation

Kumi-himo is a traditional craft with a history of about 1,400 years. As the name suggests, it is made by combining several strings of threads to create a strong cord that is easy to tie and hard to untie. It has been used for a variety of purposes, such as strings for scrolls with sutras written on them and strings for armor, but demand for obijime expanded especially in the middle of the Meiji period (1868-1912), when the o-taiko knotting style of tying obi (sash) became popular. Even today, “Edo Kumihimo,” which was refined in the old town people’s culture, continues to support the Japanese dress culture.

Nakamura Tadashi also mainly produces obijime and haori cords. Nakamura Tadashi says, “The method of making kumi-himo has been handed down from generation to generation through trial and error. So, in this braided cord business, I am faithful to what has been handed down, and I do it with precision,” says Nakamura. Without being eccentric, the braided cords are to stabilize the obi or haori and to enhance the overall appeal of the kimono. Nakamura’s braided cords are so highly regarded that he now receives requests for haori cords from professionals and comic storytellers.

Fresh colors in tradition

The raw materials for the braided cords made in Nakamura’s workshop are silk yarns, and most of the plain dyed cords are dyed by Nakamura himself.

Nakamura says, “I dye while envisioning the shape of the finished braid. He says, “The color must be one that can be used to coordinate with a kimono. I am always looking for colors that have been around for a long time, but also give a fresh impression. How can we interpret tradition in the modern age and brush it up? The dyeing process offers a glimpse of such a quiet challenge.

Unique techniques and tools for kumi-himo

Braided cords are made in various parts of Japan, and each region has its own characteristics. Kyoto’s kumi-himo has a flamboyant coloring, reflecting the noble culture of the nobility. Edo kumihimo, on the other hand, reflects samurai society and merchant culture, and is unique in its use of subdued colors and the braided patterns created by the crossing of threads and yarns.

There are four main types of stands for braiding: round, square, twill bamboo, and high.

Hand-kumihimo, a technique that requires a fine sense of balance

The most typical stand for Edo kumihimo is the round stand. The first step in the process is to make a bundle of threads and tie it to a “kumitama” (braided ball).

As the number of threads per bundle is reduced and the number of balls is increased to 8, 16, 24, and so on, it takes more time to complete the braid, but more detailed expression can be achieved. Nakamura calls this “the number of pixels in a braided cord” in a modern way.

The strings attached to the braided balls are placed on a round stand and braided while crossing diagonally opposite strings. The braided cords extend downward each time they are braided because the braided cords are suspended by weights from holes in the upper board of the round stand, and the weights are gradually applied to the cords. This is the reason why Mr. Nakamura calls “kumi-himo is mechanics.

Nakamura says that good braided cords are “moderately tight and flexible,” and that machine braided cords tend to be too tight and hard. The proportion of machine braided cords has increased considerably due to the balance between cost and productivity of obijime, and almost all cords distributed are machine braided. The percentage of hand-knitted strings is really decreasing. That is why the value is found in hand-knitted strings, which have both the skill of braiding and the ability to determine the weight of the weight to be used,” he says.

In addition, the degree of twisting to give strength to the strings also affects the hardness of the finished product, so the degree of twisting must be adjusted one by one with fingertips. The difficulty of braided cords lies in how to balance these various factors,” he says. But the abundance of variations is the fun part of making things.

Inheriting tools filled with the wisdom of predecessors

In addition to the round stand, Mr. Nakamura also makes active use of the “Ayatake stand. Ayatake stands are used for weaving by inserting a weft thread to a warp thread, just like in weaving. While the beauty of the braid is accentuated by the use of a round stand, the ayatake stand is not as thick because it is hammered in with a spatula, and is characterized by its neatness and fine texture.

Mr. Nakamura is also in the process of repairing an old kumidai he inherited from a retired craftsman. The wooden gears mesh with each other to form a semi-automatic string. Mr. Nakamura hopes to pass on the wisdom of his predecessors.

Mr. Nakamura’s Aim for Kumihimo

Mr. Nakamura began learning to make kumi-himo at the age of 17. After two years at a crafts school, he became involved in the family business in earnest, but at first he was so absorbed in the process that he was not interested in the colors and designs. However, after she began to sell kimono at department stores and kimono stores, Nakamura’s mindset changed.

Obijime that enhances the beauty of a kimono

I went from looking at braided cords at home to actually meeting people wearing kimonos at demonstrations,” he says. From there, I became more and more interested in coordinating kimonos, and I got into making obijime,” he says. Mr. Nakamura is now particularly interested in kumi-himo, a type of braided cord. In addition to the functional aspect of a firm tightening, it is “an obijime that looks beautiful when combined with an obi and a braided cord.

Nakamura’s approach to making obijime with the idea of coordinating with kimono and obi in mind is as follows: “Subtract patterns and colors rather than adding them. Even a single color can be seen as expressive enough,” and the goal is “the beauty of the overall appearance of the kimono rather than an over-emphasis on the obijime. By doing so, he says, “Obijime that can be easily matched with various kimonos are created.

Nakamura’s style incorporates a modern sensibility into this basic stance. Nowadays,” says Nakamura, “a slightly thinner obijime is more popular. It gives a cleaner appearance,” he says. Nakamura says that the observation he has gained through demonstrations enriches his own sensitivity.

Handing down the culture of kumi-himo to future generations

Nakamura confides that the number of craftsmen in the world of kumi-himo is decreasing. Even if the younger generation is interested in kumi-himo, it would be a waste if they are forced to say that it is impossible for them to work with it. At least, I would like to lay the groundwork so that they can manage to make a living. The reason why he has started participating in traditional craft exhibitions is not only to brush up his skills, but also to have people recognize the quality of his work and to link it to a reliable sales channel. In fact, until now, he has dealt almost exclusively with wholesalers, but the number of kimono stores and other interested parties has increased, leading to the diversification of sales channels.

Mr. Nakamura also focuses on training his assistants. I think the great value of traditional crafts is that they can be handed down to future generations and continue to be made, even after my death,” he says. Edo kumihimo is the product of Nakamura’s will. It is sure to continue to beautify people’s outfits in the future.

The post Kota Nakamura of “Tadashi Nakamura,” an Edo-style braided cord company that enhances the beauty of kimonos and passes on the tradition to future generations / Matsudo City, Chiba Prefecture first appeared on NIHONMONO.

Isesaki City in Gunma Prefecture has long been known as a textile town. In its heyday, Isesaki was so popular that it accounted for half of the nation’s kasuri (patterned fabric) production, but today the kasuri makers have ceased to exist. Sadao Saito of “Kasuri Ryobo Saito” is working to keep the Isesaki kasuri tradition alive by passing it on as a Gunma Prefecture Hometown Traditional Craftsman.

Meisen made in Isesaki City, Gunma Prefecture, a textile town

Isesaki City, Gunma Prefecture, is located in the center of Gunma Prefecture and is rich in nature, connecting Gunma and Saitama prefectures across the Tone River. The city flourished as a sericultural area and has a long history of textile production, with textiles dating back to the 6th century excavated from an ancient burial mound.

The Isesaki kasuri, a simple yet chic kasuri or striped pattern, attracted attention. In the late Meiji period (1868-1912), a textile company was established in Isesaki, and power looms were introduced and some of the textiles were converted to factories. As the needs of the times changed, Isesaki kasuri became known throughout the country as “Isesaki Meisen” and production increased dramatically. From the Taisho era (1912-1926) to the early Showa era (1926-1989), “Isesaki Meisen” was so popular that one out of every ten Japanese women was said to wear it.

However, the times changed from Japanese to Western-style clothing. As the lifestyle of the Japanese people changed, production decreased and the number of producers also declined. Today, there are no more factories producing Isesaki kasuri. Sadao Saito of “Kasuri Workshop Saito” was so concerned about the situation that he decided to preserve the traditional technique of Isesaki kasuri.

One-man operation to preserve the traditional Isesaki kasuri weaving process.

Saito-san has been in the weaving business since he was a teenager, and at the age of 23, he set out on his own as a craftsman. Soon after becoming an independent weaver, Saito-san began working alone on the complicated Isesaki kasuri process, preserving the traditional technique and teaching it to a wider audience.

The reason for this is because, “In order to increase production volume and quality, the Isesaki kasuri process has been divided into separate operations, and people have been trained in each process to improve their skills. However, with the decline in production, the problem has arisen that if there are no successors in one process, products can no longer be made. He says.

Fearing that Isesaki kasuri would cease to be made, Mr. Saito decided to learn all the techniques of the Isesaki kasuri process, from designing patterns to kukuri (wrapping) and dyeing, and to become a person who can do all the processes to make his products.

While creating Isesaki kasuri, he teaches the techniques of all the processes he has learned to younger generations, and he also offers elementary school students in Isesaki City the opportunity to experience weaving Isesaki kasuri, thereby conveying the history and culture of the region.

Isesaki kasuri is protected by strict definition.

At one time, Isesaki kasuri took the world by storm. Production continued to decline, but fearing that this valuable traditional technique would fall into disuse, the company applied for and received designation as a national traditional handicraft in 1975. This led to the establishment of definitions and rules to clarify the differences between Isesaki kasuri and the kasuri of other regions.

The main definitions of Isesaki kasuri are “yarn-dyed,” “plain weave,” and “silk thread. In the dyeing process, we dye the yarn according to the pattern, using techniques such as kakuri kasuri, itajime kasuri, and nasen (textile printing) to create simple to precise kasuri patterns. The patterns of the dyed kasuri threads are adjusted by hand and woven to match the pattern.

Always striving to express new designs, Mr. Saito experiments by combining two or more techniques.

Weaving is a path of threads that keeps us in touch with the threads.

Mr. Saito says that he has to have perseverance in order to perform more than 10 processes all by himself.

I think you have to be a patient person to do the work of Isesaki Kasuri all by yourself. If you don’t think about what you really want to make and make it yourself, rather than imitating others, you won’t be able to improve your skills.

For example, when you want to make a stole, if you weave in thick yarn, a layer of air is created in the unevenness of the yarn when it is wrapped around the stole, making it warmer. Then, how can we put them in to create originality in terms of both function and design that no one else can imitate? Mr. Saito says the only way to solve this problem is to think about what you want to make in your mind and make it with your own hands.

People can teach you procedures and methods, but the only way to learn the “power” of technical skills is to try it yourself,” he says.

Mr. Saito has designed more than 1,000 kasuri patterns. He has kept all of them as proof that he actually created them with his own hands.

Warp and weft threads weave the vivid patterns

Of the yarn-dyeing techniques that are used to create designs by dying colors in the thread stage before weaving the cloth, Mr. Saito specializes in a technique called kakuri kasuri.

In kakuri kasuri, the part of the yarn not to be dyed is tied up with tape to prevent the color from entering the yarn. By using the warp and weft yarns made from the kasuri threads, the undyed and dyed portions blend together to create a unique pattern that looks as if it has been blurred.

Weaving with warp and weft threads that are both or either made with kasuri yarn and matching the pattern requires a high level of skill and experience.

The technique of dyeing the kasuri threads, and the use of the warp and weft threads and how they are used, create a kasuri expression that cannot be imitated by anyone else.

Mr. Saito spoke of the appeal of kakuri kasuri, and today he is the only person who has inherited the kakuri kasuri technique from Isesaki.

Keeping Isesaki Kasuri alive

The textile industry has declined with the passage of time, but Isesaki kasuri is undoubtedly one of the industries that contributed to the development of this region. Due to its complicated technique and time-consuming production process, the number of makers has decreased and there are hardly any people left who can make Isesaki kasuri using the traditional method. That is why Mr. Saito puts his skills and knowledge into his work and tries to convey Isesaki kasuri to as many people as possible as a valuable traditional craft.

The river flows fast and slow, and there is movement,” he says. I find things in nature that move interesting, and when I come into contact with nature, I am filled with endless ideas. I try to express patterns that are not regular, such as the way the kasuri pattern is blurred.

Not only Isesaki kasuri, but traditional crafts that require time and effort are disappearing in all fields amid today’s emphasis on efficiency. In such an environment, it would be reckless to carry out the time-consuming and labor-intensive process by oneself and pass it on to the next generation. Nevertheless, Mr. Saito’s desire to pass on the traditional techniques that have taken root and developed in the region to as many people as possible is reflected in Isesaki kasuri, a modern-day “meisen” (meisen).

The post Sadao Saito, Gunma Prefecture’s Hometown Traditional Craftsman, passes on the traditions and techniques of Isesaki Kasuri / Isesaki City, Gunma Prefecture first appeared on NIHONMONO.

Gunma Prefecture, home to the World Heritage-listed Tomioka Silk Mill, has long been a center of the silk industry. One woman is fascinated by the history of the silk industry and the process of producing thread from cocoons. She is Hiroko Nakano, a Zaryo dyeing and weaving artist. Ms. Nakano has inherited the “Jyoshu Zaguri,” a thread-making technique that had nearly died out, and has been presenting works that meet the needs of the modern age while preserving the traditional technique.

Inheriting the traditional Gunma Prefecture “Jyoshu Zaguri” silk spinning technique

Sericulture has long flourished in Gunma Prefecture. In 1872, the Tomioka Silk Mill was established as a model factory for mechanical spinning, contributing greatly to the development of the Japanese silk industry. The “Jyoshu Zaruri” developed in Gunma Prefecture at the end of the Edo period (1603-1867) is a method of spinning cocoons using wooden tools to draw threads from cocoons.

A device called a kosha is used to wind the cocoon silk from cocoons boiled in hot water to the desired thickness while turning the handle of the zaruri.

In order to inherit the now rare traditional technique of “Jyoshu Zaruri,” Mr. Nakano first studied spinning techniques at Usui Silk Mills, one of the largest silk mills in Japan, which produces 60% of Japan’s silk yarn, before opening the Zaruri dyeing and weaving studio “canoan” in 2003.

Zaruri” culture takes root in Gunma

One of the reasons why Nakano, who was born and raised in Takasaki City, Gunma Prefecture, was attracted to zaruri in Jyoshu is the historical background of this region, where from the end of the Edo period until around 1965, women in each household made thread from cocoons and made clothing for their families as a handicraft for sericulture farmers in Gunma Prefecture.

In order to protect the quality of the silk, cocoons that were no longer suitable for the factory and could no longer be shipped to the factory were used for zaruri in Jyoshu, which was practiced by the women of the farming households. While the Tomioka Silk Mill and other mechanized mills have been mass-producing yarn since the Meiji Era (1868-1912), the farmers did not want to see the “loving family business,” which had been passed down in the local community, die out.

Another reason he was attracted to Jyoshu zaruri was the overwhelming difference in feel.

He said, “There is something special about the fluffy, smooth, airy, and uniquely supple texture of textiles made from threads drawn by hand while slowly turning them with a wooden tool.

The charm of spinning raw silk from cocoons by hand

Nakano’s workshop produces a wide variety of cocoons, from ultra-fine yarns to extra-thick yarns suitable for thicker fabrics such as tapestries, and by taking advantage of the characteristics of cocoons, she produces threads of various cilia (ratio of length to weight, which indicates the thickness of a fiber or thread) and textures.

In the usual process of making yarns, thin yarns are first made and then twisted together to the desired thickness, but Nakano decides on the thickness of the yarn from the beginning and adjusts it directly from the cocoon to suit the purpose while feeling the thickness of the yarn with his fingertips.

Kimonos, obis, scarves, and other fabrics all require a certain thickness of fabric. The process of winding threads directly from cocoons according to the thickness of the fabric, with an image of the product to be made in mind, is truly a craftsman’s art.

Creating richly textured products by hand

Generally, the process of making cloth is a division of labor. Silkworm farmers raise silkworms and ship cocoons, which are then made into yarn at a silk mill. The dyeing shop dyes the finished threads, and the weaving factory weaves the dyed threads into cloth. The general public rarely learns about the process of how cloth is made.

Mr. Nakano, who has always loved cloth, became interested in how cloth is made, and in the process of researching, he came across Jyoshu Zaruri. He was fascinated by the process of making thread from cocoons and textiles from the thread.

Designing the threads and weaving the cloth by himself

With a desire to produce silk fabrics designed from threads, he began to learn various techniques of thread-making, including Jyoshu Zaruri, which utilizes the characteristics of cocoons to produce various textures. I also became interested in dyeing threads, so I studied natural plant dyeing. After producing beautifully colored threads, I wanted to try my hand at making cloth, so I learned to operate a high loom, a type of handloom used for silk weaving, and began to weave cloth. I learned to dye cloth and weave by hand on a loom through trial and error, although I sometimes learned from local dyeing and weaving experts.

Having mastered the techniques of thread-making, dyeing, and hand-weaving one after another, Nakano began making kimonos, obis, and scarves that emphasize the texture and quality of the threads, which could not be achieved through the division of labor.

He dyes threads ground from cocoons with herb dyes and weaves them by hand into fabrics. I am fascinated by the depth and mystery of the consistent cloth-making process, which is done by hand as much as possible, using only natural materials.”

Dyeing with plants and trees, focusing on natural products

Nakano says that the charm of herb-dyeing lies in the fact that any combination of colors obtained from nature can be harmonized in a mysterious way.

He says, “I sometimes go to the mountains myself to gather materials for dyeing. I have more opportunities to get in touch with nature, and even with the same dye, the finished color differs depending on the environment in which it was grown, the season when it is dyed, the quality of the water when it is boiled, and other factors.

The Jyoshu Zaryo yarn, which has excellent dyeability, is dyed in natural colors by herb-dyeing, using only natural plants. When these yarns are woven on a high loom, they have a rich and deep expression depending on the fineness and color of the dyeing process, resulting in a beautiful silk fabric that is both fluffy and smooth, a quality that can only be achieved by handwork.

Preserving traditional techniques while making products that can be used in modern life

The silk industry that Mr. Nakano is engaged in is generally regarded as a niche industry that does not attract much attention.

Until now, the value of machine-made threads was that they were more neat and beautiful, but recently, more and more people understand the quality of handwork and the desire to preserve traditional techniques, and we are doing business with people with whom we have such relationships,” he says.

Because he adjusts the thickness of the thread as he designs, he often receives custom-made orders, but he also sells his own creations at exhibitions and private shows. Mr. Nakano believes that having more people use his zarrow thread creations will help pass on the traditional technique and convey the importance of the cultural background.

Aiming to create a traditional culture that can be worn easily

Mr. Nakano, who handles everything from yarn making to dyeing and weaving by himself, uses traditional methods to perform all processes by hand, which naturally limits the number of pieces he can make.

He says, “I want many people to use my products, but because they are not mass-producible, it is difficult for me to reach my customers.

Because they cannot be mass-produced, we aim to create products that will be used for many years to come.

Kimonos are characterized by their unprecedented lightness, and obis are highly regarded for their elasticity and ease of fastening. Scarves are also light and warm, and have a comfort that is different from machine-made products.

Although only a small number of scarves are made, the longer they are used, the more they become more comfortable to wear, as evidenced by the large number of repeat orders from people who have used them once.

Passing on skills and the possibilities of traditional crafts

Nakano has been an inheritor of Gunma Prefecture’s traditional crafts for more than 20 years, opening the Zaruri Dyeing and Weaving Studio and launching his own brand to preserve and disseminate the techniques and culture of Zaruri yarn-making in Jyoshu.

In order to promote awareness of traditional techniques and culture, I not only exhibit and sell my work at gallery exhibitions, but also demonstrate the Jyoshu Zaruri technique.”

In the future, he hopes to create a place where the process from thread to fabric can be conveyed in a more realistic manner. He said emphatically that he would like to expand awareness of traditional techniques and convey the charm of Jyoshu Zaruri to more people by having people who come into contact with silk fabrics there learn about and experience the world of sericulture and silk industry, which they had not known before.

The post Ms. Hiroko Nakano, a Zaruri dyeing and weaving artist who has passed down the Zaruri tradition in Jyoshu / Takasaki City, Gunma Prefecture first appeared on NIHONMONO.

Gunma Prefecture has developed as a country of sericulture. Takasaki City, in particular, has a history of the development of dyeing techniques, as when Ii Naomasa, the lord of Minowa Castle, moved to Takasaki Castle, dyeing artisans also moved with him. In Takasaki City, Gunma Prefecture, there is a workshop that dyes Edo komon. It is Aida Senko Co., Ltd. established by Masao Aida, the predecessor of the company. Currently, his apprentice, Aida Airo, has taken over the business and continues to produce works that convey the tradition, technique, and spirit of Edo komon.

Creating Edo komon that live on today

Aida Dyeing Co., Ltd. in Takasaki City, Gunma Prefecture, is a workshop that carries on tradition and craftsmanship in the field of “dyeing” in Gunma Prefecture, where industries related to silk fabrics have developed.

His predecessor, Mr. Masao Aida, who honed his skills as a migratory craftsman and returned to Takasaki to establish Aida Dyeing Co. in 1977, was recognized as an important intangible cultural property holder designated by Gunma Prefecture, and was awarded the Order of the Rising Sun in 2011 and the 60th Commemorative Award at the 60th Japan Traditional Crafts Exhibition in 2013, as the leading expert on Edo komon In 2013, he received the 60th Commemorative Award at the 60th Japan Traditional Crafts Exhibition. At the same time, he devoted himself not only to training successors of Edo komon artists, but also to training successors of Ise-katagami, an essential part of Edo komon.

After Masao passed away in 2017, his apprentice Airo Tanaka inherited the name and techniques of Aida, and under the name “Aida Airo” continues to make products that convey the beauty of Edo komon made with Isekatagami and the excellence of hand-dyeing. Just as his master Masao did, Airo is also creating works that blend in with the lifestyles of modern people.

Precise and delicate Edo komon

Compared to woven fabrics, in which the threads are dyed first and the pattern woven, dyed fabrics, in which the fabric is dyed afterward, can express more delicate patterns. Among these, the Edo komon, dyed using the katazome technique that has been handed down from the Edo period (1603-1868), uses a particularly precise and detailed pattern paper. It is said that a high level of skill is required to dye patterns so fine that they appear plain from a distance, and the finer the pattern, the higher the value of the dyed item.

It is said that the Edo komon originated in the Edo period (1603-1867), when samurai wore a plain kamishimo (kamishimo) with a clan pattern on it as a samurai’s kamishimo (kamishimo).

Since the Meiji period (1868-1912), the Edo komon has gradually changed to reflect the times. With the motto of “not only valuing tradition, but also creating Edo komon that matches the times,” Airou’s master, Masao, started blotch dyeing himself and devised his own unique technique that went beyond mere dyeing.

Collaboration with a stencil carver

In the workshop, all the processes of dyeing Edo komon are done by hand using the precious Ise-katagami inherited from Masao.

Before his death, Masao once said, “An Edo komon artist has no skill.

Even if an Edo-komon artist has the skill, he cannot do any work without katagami. I think it is my mission as a craftsman to preserve katagami for the next generation and to encourage katagami carvers in Ise to make as many katagami as possible.

True to his words, Masao frequently visited Shiroko-cho, Suzuka City, Mie Prefecture, where Ise katagami is produced, and even begged Mr. Hiroshi Kodama, a living national treasure, to make katagami for him. Later, he received valuable katagami from Kodama and asked a kata carver in Shirako-cho to make the katagami he wanted, thereby nurturing and preserving the valuable katagami techniques essential to Edo komon.

Fascinated by the charm of Edo komon

Mr. Aida Airo’s first encounter with Edo komon was at his coming-of-age ceremony. She was drawn to the charm of Edo komon after attending a coming-of-age ceremony wearing an indigo-dyed Edo komon kimono and haori, dyed by Mr. Aida’s mother, Masashi Naka, who is the youngest brother of Mr. Aida Masao.

I didn’t know anything about kimonos at the time, but I remember that the kimono I wore for my coming-of-age ceremony was very comfortable and it was the best day of my life,” she said.

Unable to forget the excitement he felt at that moment, after graduating from college, he knocked on the door of Aida Dyeing Co. and became Masao’s apprentice. He spent his apprenticeship watching his master’s back, learning the techniques of the heart, and sincerely confronting himself.

He says, “I learned not only technical skills, but also the practical use of the master’s experience.

It did not take long for Airou, who quickly absorbed Masao’s teachings, to emerge as a master of Edo komon, thanks in part to his natural sense of style and dexterity.

What I want to express in the age of 2025

Inheriting Masao’s belief that “what we make must be used in accordance with the times,” Airou is also actively challenging himself to create new works while preserving traditional techniques.

In 2025, when fewer people wear kimonos on a daily basis, Mr. Airou wants to create items that go well with both Japanese and Western clothing, and he is taking on new challenges, such as dyeing an organdie stole with Edo komon (a traditional Japanese pattern).

My master told us to think about what we, living in that era, want to express now. At the same time, he also told us that we cannot express anything unless we have the basics.

He was taught that, as a craftsman, he should be able to express what he wants to express only when he has the skills to dye whatever he is asked to dye.

One of the most important messages that Masao has passed on to me is that when I receive an order to make something like this, I should not become a craftsman who says, “I can’t do it.

The pattern will break someday.

Edo komon requires a steady and precise technique, as a single pattern is used 70 to 90 times to dye a single piece of cloth. At the same time, the katagami must be able to withstand such a large number of uses, and it is important that the stripes are not crushed and that the glue is applied evenly and cleanly.

Ise katagami used for Edo komon is made of strong and well-preserved Mino washi coated with persimmon tannin, and patterns and designs are carved on katagami made by pasting three or four layers of alternating longitudinal and transverse fibers together to increase the strength of the paper.

The shimabori technique is so delicate that only a few craftsmen are able to carve it, and the aging of katagami craftsmen and the lack of successors have become serious problems.

Aida Dyeing still has many of the valuable Ise katagami that Masao raised and protected. If used, they become worn and their durability deteriorates, and one day they will break and become unusable. When dyeing Edo komon, Airo takes great care not to put too much strain on the stencils and trusts in his own skills.

While preserving traditional techniques, he also challenges new expressions.

Masao Aida, who has mastered the Edo komon technique in dyeing, served as a member of the judging committee for the “Japan Traditional Crafts New Works Exhibition” and the “Japan Traditional Crafts Dyeing Exhibition” during his lifetime, and has worked hard to pass on and develop the Edo komon technique while building a close relationship with pattern makers. Having witnessed Masao up close, Airou says, “One day, I will be able to see the precious kata in his workshop.

I would like to use the valuable katagami in the workshop in a way that I am satisfied with,” he said.

Some of the katagami in the workshop are so elaborate that one wonders if there are craftsmen in the world who have carved such katagami. Looking at such formidable katagami, one gets excited just thinking about how they can be used to create interesting works of art. At the same time, he says that the fact that such katagami are still in the workshop makes him feel great appreciation for his master’s greatness and his achievements.

Dyeing organdie with Edo komon

In addition to traditional Edo komon kimonos and fabrics, Airou now produces scarves made of 100% silk organdie, dyed with a single pattern to avoid monochromatic colors.

Thin and soft organdie cannot be patterned unless it is attached to a board. The fabric is so thin that at first it tore.

At first, it was difficult to peel off the board because it tore, and the lightness of the fabric made it easy to slide off the board, and it also made it stick. We then devised the quality and quantity of glue and the method of application, and finally succeeded in attaching the Edo komon pattern to the organdie.

For Edo komon with fine patterns, the artisan’s skill is to dye the pattern so beautifully that the seam between the pattern and the mold cannot be seen. The same is true for thin and light organdie. After successfully applying the Edo komon to organdie, Airo used the patterns in his workshop to add various colors and patterns.

I think this is also Edo komon of 2021.”

Making things that are used by people according to the times

While preserving the traditional dyeing techniques of Edo komon, Airo is now taking on the challenge of new expressions.

I believe that culture must change along with the changes in our lives, because culture is something that is connected to the way we live at a given time. I think it is important to create works that people want today, not just to change nothing because they have traditional value.

While preserving traditions, such as dyeing on thin fabrics, the company is also working to develop new techniques for materials and dyeing. Living in 2038, he says that they need to make not only traditional Edo komon kimonos, but also stoles, pocket chiefs, and other items that match the times. From the works created by Mr. Airou, one can feel the “iki” of Edo that is in tune with the times, which can only be expressed by a craftsman with traditional skills.

The post Inheriting the master’s techniques to create works that blend into modern life. Aida Airou, Edo komon master / Takasaki City, Gunma Prefecture first appeared on NIHONMONO.

In the southern part of Fukuoka Prefecture, in the satoyama of Tanushimaru-cho, Kurume City, there is Aiseian, a Kurume-gasuri weaving company that has been in business for seven generations. Kurume kasuri is one of the three major kasuri fabrics in Japan. More than 200 years after its birth, Kurume kasuri still attracts people with its simple texture of cotton, elaborate kasuri patterns, and beautiful indigo color that can only be achieved by indigo dyeing.

Kurume Kasuri, Born of a Young Girl’s Curiosity

Kurume City is located in the Chikugo region of southern Fukuoka Prefecture. In the late Edo period (around 1800), Kurume-gasuri was invented by a girl named Inoue Den, who was born under the castle of the Kurume Domain.

Inoue Den was intrigued by the spotted pattern on faded old clothes and unraveled the cloth to find out how it worked. He found white spots on the threads themselves, and using this as a clue, he tied white threads together, dyed them with indigo, and wove them, resulting in the appearance of a white pattern in the cloth. This was the beginning of the history of Kurume kasuri, a craft born of one girl’s curiosity and inspiration.

Since then, Den has continued to teach this technique to many people throughout her life and has worked hard to popularize Kurume kasuri. Kurume-gasuri became popular as a side job for farmers during the off-season, and from the Meiji period onward, it became popular throughout the country as clothing for the common people. In the early Meiji period, when production began to flourish, “Aiseian” also began its history as a weaving company.

Integrated production of about 36 processes

Aiseian’s current workshop is located in Tanushimaru-cho, Kurume City, at the foot of the Mino Mountain range. 30 years ago, the workshop was relocated to its current location in search of water, which is important for indigo dyeing. Takahiro Matsueda, the seventh generation, and his mother Sayoko, the sixth generation, produce Kurume-gasuri in the workshop surrounded by rich nature.

Kurume kasuri was the first cotton fabric to be designated an Important Intangible Cultural Property of Japan in 1957. The three requirements for certification are: “use of hand-knotted kasuri yarn,” “dyeing with genuine natural indigo,” and “weaving on a handloom. The process involves 36 steps, including designing (pattern design), weaving (dye-proofing), indigo dyeing, washing, hand weaving, drying (……), and so on. In its heyday, the division of labor was well advanced, but as times and demand changed, the number of weavers decreased. Today, there are only about 20 weavers left, and most of them are engaged in integrated production.

Ai fabric is made the old-fashioned way, using only the finest raw materials.

Among the many processes, one of the most distinctive of “Aiseian” is the indigo building process. Ai-kenchiku is the process of fermenting natural indigo in a jar to produce the indigo solution used to dye the yarns. The quality of the water is said to affect the quality of the dyeing process, and each weaver has its own method.

We do not use chemical dyes or chemicals, but use a technique that has been handed down since the Muromachi period (1333-1573). Natural indigo produced in Tokushima Prefecture, maltose and pure rice wine are added to the indigo jar, and fermentation is promoted by the action of microorganisms. My father loved to drink, but the indigo jar also loves to drink (laughs),” smiles Takahiro.

Takahiro first came into contact with Kurume kasuri when he was seven years old. His father, Tetsuya, would playfully let Takahiro help him dye the threads. In addition to the dyeing process, Takahiro also tried his hand at weaving by sitting on his mother Sayoko’s lap and learning as he went along. The workshop was close to where he lived, and the smell of indigo and the sound of weaving embraced him during his childhood. It did not take long for Takahiro to decide to pursue this career.

What is the unique way of expression at Aiseian?

Kurume kasuri is characterized by the various patterns expressed by the warp and weft threads. Because the threads are dyed before weaving, the outlines of the patterns become slightly out of alignment and blurred, which is what gives the kasuri its unique texture. In 1839 (Tempo 10), dyeing and weaving artist Taizo Otsuka invented the traditional pictorial kasuri technique using a picture stand, a technique that has survived to this day. This was an opportunity that greatly expanded the expressive possibilities of kasuri.

Even within the Kurume kasuri, there are regional differences in the kasuri pattern. In the Chikugo region, which is dotted with Kurume kasuri weavers, small patterns are specialized in Hirokawa Town and Yame City. In the area of Sanma-gun, where the head family of Aiseian is located, they produce large patterns, medium patterns, and even pictured kasuri.

The pictured kasuri technique is said to have been pioneered by Takahiro’s great-grandfather, Matsueda Tamaki, the third generation of the Aiseian family and a living national treasure. His outstanding technique and deep knowledge of waka poetry led him to create unique patterns, further expanding the range of expression of Kurume kasuri. His large, poetic, pictorial patterns inspired by the nature of Chikugo and the beautiful gradations of indigo color. This creativity has been passed down through the generations to Takahiro’s father, Tetsuya, who is certified as an Important Intangible Cultural Property Kurume-gasuri Technician, his mother Sayoko, and the current owner, Takahiro, and has shaped the current “Aiseian” style.

Chasing the Light Left Behind by My Father

After graduating from university, Takahiro left his hometown and worked for a company, but in 2020, when his father Tetsuya became ill, he decided to follow the path of Kurume-gasuri. For Takahiro, the Kurume Kasuri workshop is a part of his life and a place that holds fond memories of his parents. He had no hesitation in returning to his parents’ home. At the time, however, Tetsuya was a nationally renowned artist who had won numerous titles at prestigious exhibitions in the craft world, including the Japan Traditional Crafts Dyeing and Weaving Exhibition and the Japan Traditional Crafts Exhibition. Tetsuya was somewhat apprehensive about following in his father’s footsteps.

I am familiar with Kurume kasuri,” he said. Even after I returned to Kurume as his successor, even though I was anxious, I did not feel any gap or discomfort. My father never showed any pain in his face until he passed away, and he passed on his skills and heart to my mother and me to the best of his ability. It was a really good father-son time,” Takahiro recalls.

Tetsuya passed away shortly after Takahiro returned to his parents’ home, but coincidentally, Tetsuya’s posthumous work, Kurume-gasuri kimono “Hikaraku” won the Minister of Education, Culture, Sports, Science and Technology Award at the 67th Japan Traditional Crafts Exhibition (FY 2020), the largest publicly-collected exhibition of its kind in Japan. This achievement was a ray of hope for the two surviving members of the family.

The two men took each other’s hands and wiped away their tears in a desperate attempt to look forward. However, just as they were gradually regaining their normal lives, the next disaster struck the workshop.

In the summer of 2023, the workshop was hit by a massive landslide caused by heavy rain. Sand and muddy water poured into the workshop. The indigo jar and loom were damaged, and valuable materials were covered in mud. I think we may be doomed. ……,” she said. Seeing his mother’s despondent look, Takahiro also felt a complete loss of hope.

Immediately after the disaster, the two were at a loss. Soon, however, Takahiro’s friends from his days as an office worker, as well as Kurume City and Oki Town officials involved in the protection of cultural properties, arrived to help clean up the workshop, and the two gradually regained their composure. The two gradually regained their cheerful spirits. “The production of Kurume kasuri is a self-contained process, so sometimes there are moments when we feel lonely,” said Mr. Takahiro. However, the disaster made us realize once again that we have the support of many people.

Now, I am also pursuing the theme of “light,” which my father had set as the theme of his work. I am trying to dye not only with indigo but also with yellow, green, and various other colors of plants and trees. I would like to find my own unique way of expressing Kurume kasuri by getting various hints from nature, such as the wind blowing in the mountains, the murmuring of rivers, and the sound of leaves rustling in the wind. Takahiro’s journey of exploration continues, using the light left behind by his father, Tetsuya, as a guide.

The post Light shines through the deep indigo color. Takahiro Matsueda, Aiseian / Kurume City, Fukuoka Prefecture first appeared on NIHONMONO.

IKEUCHI ORGANIC, a globally recognized Japanese brand of Imabari towels, takes a unique stance in the production of safe and environmentally friendly towels. 70 years after its establishment, the long-established company’s creative approach is based on the strong belief of its representative, Keiji Ikeuchi. The Imabari Factory Store was renovated from the factory where the company was founded, which is also the company’s starting point.

What is “Imabari Towel” again?

Towels were introduced to Japan from Europe in the early Meiji period. Towel production began in Imabari City, where cotton fabrics had been produced since the Edo period (1603-1867). Since towel production requires a large amount of water, the abundance of water is a prerequisite for the production area. The subsoil water of the Soja River, which flows through the center of Imabari City, is soft and gentle to yarns and fabrics, and brings out the original softness of cotton, which is one of the reasons why Imabari City became a towel production center. Currently, 98% of all towels produced in Japan are produced in Imabari City and Senshu City in Osaka, and Imabari City is a major towel production center with nearly 200 towel-related factories, including twisted yarn factories, dyeing factories, and weaving factories.

Imabari Towel Quality Embodied in the Brand

However, not all towels produced in Imabari City can claim the name “Imabari Towel. Only towels manufactured by the 75 companies of the Imabari Towel Manufacturers Association that meet the strict quality standards set by the association can call themselves “Imabari towels. The most obvious example is the “5-second rule,” which guarantees a towel’s absorbency: when a piece of towel cut into 1 cm squares is floated in water, if it begins to sink within 5 seconds, it has passed the test.

In addition, there are several other strict quality standards, such as pile retention, light resistance, friction, tensile strength, and dimensional change rate, and only towels that have passed all of these standards are called Imabari towels.

Pursuing quality that has been recognized in towel-producing countries since the company’s establishment

IKEUCHI ORGANIC was founded in 1953, and has continued to pursue safety and environmental impact reduction through its commitment to organic production. At that time, bath towels were not yet widely used in Japan, and IKEUCHI ORGANIC began exporting them to the Middle East, Europe, and the United States. In order to produce products that would be recognized in Europe and the United States, the leading towel-producing countries in the world, IKEUCHI ORGANIC made a series of corporate efforts, including the introduction of the latest weaving machines ahead of its competitors, and established itself as a towel manufacturing company specializing in exports.

Keiji Ikeuchi, the current president of the company, became the second president in 1983. Following in the footsteps of his father, the founder of the company, he took on a series of industry firsts, including the introduction of a CAD system, ultra-high speed Jacquard weaving, and computerization. In 1989, the company was also one of the first to be certified under the just-beginning Eco Mark system. Perhaps it was around this time that the fire for the development of environmentally friendly products was lit in Mr. Ikeuchi’s heart.

The foundation of manufacturing is sincerity in quality

High-quality towels have excellent water absorbency and feel soft and dry on the skin,” says Ikeuchi. Towels with good water absorbency can be made by removing impurities and grease from the raw threads, removing glue from the woven fabric to make it easier to process on a weaving machine, and by taking all the time and effort necessary to make each step properly. However, if rationality in manufacturing is prioritized, towels that do not absorb water will be produced.

If you want to make towels softer on the skin, you should unravel the yarns and make them softer to the raw cotton. However, he says that while this may make the towels feel soft to the touch, it also makes them prone to shedding fluff and reduces their durability. Mr. Ikeuchi pursues IKEUCHI ORGANIC’s “high quality” by focusing on the balance between absorbency, comfort, and durability, and by seriously considering the needs of each user.

Rare organic cotton, which accounts for only 1% of the world’s cotton production, is used.

IKEUCHI ORGANIC’s corporate philosophy is “maximum safety and minimum environmental impact,” which is a prerequisite for high quality. Cotton used to be grown organically, but in the pursuit of production efficiency, pesticides and chemical fertilizers began to be used, and the excessive use of these chemicals gradually became a problem. However, because towels are daily necessities, Mr. Ikeuchi came to believe that he wanted to produce the safest towels in the world. Therefore, IKEUCHI ORGANIC now uses only fair trade organic cotton grown from non-genetically modified seeds in fields where no pesticides or chemical fertilizers have been used for more than three years.

The company discloses the traceability of all its products, from cultivation methods in the fields to the spinning process, which is another sign of its honest manufacturing. There are many devoted fans who share this policy, and in the year of the 70th anniversary of the company’s founding, volunteers even placed a poster on the Kyoto Municipal Subway as a surprise advertisement in support of IKEUCHIORGANIC.

Thoroughly reducing environmental impact from the manufacturing process to after sales

The company’s environmental considerations extend to the manufacturing process as well, such as using wind power to supply all electricity used in the company and preparing wastewater from the dyeing factory to meet the effluent standards of the Seto Inland Sea, which is said to be the strictest in the world. This is a reflection of Mr. Ikeuchi’s belief that “clean energy is the only way to produce the safest products possible.

He has not forgotten to consider the environment in the way the towels are used after production. Based on the idea that towels are not consumable goods, but rather beloved items that can be used for a long time, the company is developing permanent standard products and manufacturing products that extend the life of the product.

In addition, the company also provides maintenance services for purchased towels. The company has in-house professional cleaners who maintain IKEUCHI ORGANIC towels brought in from customers at the head office factory, restoring them to a state close to that of the original purchase. They have also supervised the washing machines of a major home appliance manufacturer. All of these efforts are aimed at ensuring that towels are used in better condition for longer periods of time. We are amazed at their solid activities from a broad perspective, rather than just taking environmental measures from a verbal standpoint.

Aiming to create the one and only “edible towel

On the occasion of the 60th anniversary of the company’s founding, the then president and representative director of the company, Mr. Masahiro Nakamura, said, “We will make edible towels by 2073, the 120th anniversary of our founding. This was the goal declared by Mr. Ikeuchi, then president and representative director, on the occasion of the 60th anniversary of the company’s founding. At present, however, both name tags and sewing threads are 99.9% organic. He says that it is difficult to make the threads used for sewing completely organic. We have already achieved this for some of our products, but I think it will take more time to achieve 100% for all of our products,” he said. However, we intend to achieve it for sure,” says President Ikeuchi.

At the “Imabari Factory Store,” which was renovated from the historic wooden building used when Ikeuchi Towel was founded in 1953, there are a variety of IKEUCHI ORGANIC towels of different absorbency, texture, color, design, size, etc. Visitors can actually touch them and ask staff members to help them to see the differences. You can choose the one you like best by touching the towels and asking the staff to help you. The IKEUCHI ORGANIC towels mentioned above are also maintained here. The towels are washed at high temperatures in a special washing machine to refresh them and restore their original softness and absorbency. The high quality and safety of the towels are appreciated as wedding and baby gifts, as well as thoughtful gifts. Visitors can also watch the factory’s looms in action through the windows.

In 2024, “ORGANIC120,” the first organic cotton towel developed by IKEUCHI ORGANIC, won the “Good Design Award” (sponsored by the Japan Institute of Design Promotion). The award was given in recognition of the company’s 25 years of evolution in pursuit of its ideal as a manufacturer, while deepening its knowledge of environmental issues and organic cotton. Towels are used every day. We want to bring the safety of towels up to the level of food, so that people can choose towels as they choose food,” he says.

In pursuit of the ideal of edible towels, Mr. Ikeuchi and IKEUCHI ORGANIC will continue to take on new challenges.

The post IKEUCHI ORGANIC’s ultimate goal is to create “edible towels” / Imabari City, Ehime Prefecture first appeared on NIHONMONO.