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.

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The pride of Amami Oshima

Most think of Amami-Oshima when they hear the world Oshima associated with Kagoshima. It is the fifth largest remote island in Japan and was registered as a World Natural Heritage in 2021.　A 30-minute drive from Amami airport, the atelier for Kanai Kougei is located at the tip of the island with a clear blue ocean and tropical plants. Kanai Kougei still continues to use traditional methods to dye the textile naturally, a method that is exclusive to this island.

Characteristics of Oshima Tsumugi which is popular as kimono

Oshima-tsumugi is one of the world’s top 3 textiles, alongside the French Gobelin’s tapestry and Persian rugs from Turkey.
It take anywhere from 6 months to more than 1 year to create one sheet of Oshima-tsumugi which requires 30-40 steps.
Characteristics of Oshima-tsumugi include the beautiful shine which results from the careful handwork of the craftsperson and the lightweight warmth that is also wrinkle resistant. Made durable to last 150 to even 200 years, many pieces are worn by three generations.

“Oshima-tsumugi has a history of about 1300 years, and is a staple craft of Amami characterized by a division of labor. I left Amami, but came back to take over the atelier when I was 25. I enjoy the interaction with both the locals and transplants, thinking of ways to carry on this tradition.” (Yukihito Kanai)

Using a plant that is local to Amami, the tannin reacts with the iron in the dirt, bringing out a dark black. Although the plant is seen around the country, the breed in Amami has a particularly dark color.

“Many think of the shiny black silk kimono representative of Oshima-tsumugi, but how many times do you have to repeat the dyeing process to achieve the black color?” (Nakata)
“It takes 80 to 100 times. It’s soaked in the dye, then allowed to have a chemical reaction in the dirt, hung dry, then washed. This process is repeated over and over again. It takes about a week when the weather is good.” (Mr. Kanai)

The dirt contains a lot of iron that seeped out from 150 year old soil layers, bringing out a black color that is exclusive to this area.

Fusion of traditional “Oshima Tsumugi” and modernity

While it is a craft that is rooted in local nature, only 4 or 5 ateliers remain from the more than 100 that used to thrive on the island. In the adjacent gallery, tapestry, scarves, t-shirts, dresses, and other items dyed in dirt are displayed and sold. Known for fusing traditional and modern techniques, Kanai Kougei is often approached by brands interested in collaborative efforts. The beauty of Japan is supported by skilled craftspeople who are committed to their craft, and the intuition of the young is helping to unearth the potential that Japan has to offer.

Most think of Amami-Oshima when they hear the world Oshima associated with Kagoshima. It is the fifth largest remote island in Japan and was registered as a World Natural Heritage in 2021.　A 30-minute drive from Amami airport, the atelier for Kanai Kougei is located at the tip of the island with a clear blue ocean and tropical plants. Kanai Kougei still continues to use traditional methods to dye the textile naturally, a method that is exclusive to this island.

Oshima-tsumugi is one of the world’s top 3 textiles, alongside the French Gobelin’s tapestry and Persian rugs from Turkey. It take anywhere from 6 months to more than 1 year to create one sheet of Oshima-tsumugi which requires 30-40 steps. Characteristics of Oshima-tsumugi include the beautiful shine which results from the careful handwork of the craftsperson and the lightweight warmth that is also wrinkle resistant. Made durable to last 150 to even 200 years, many pieces are worn by three generations. “Oshima-tsumugi has a history of about 1300 years, and is a staple craft of Amami characterized by a division of labor. I left Amami, but came back to take over the atelier when I was 25. I enjoy the interaction with both the locals and transplants, thinking of ways to carry on this tradition.” (Yukihito Kanai)

Using a plant that is local to Amami, the tannin reacts with the iron in the dirt, bringing out a dark black. Although the plant is seen around the country, the breed in Amami has a particularly dark color. “Many think of the shiny black silk kimono representative of Oshima-tsumugi, but how many times do you have to repeat the dyeing process to achieve the black color?” (Nakata) “It takes 80 to 100 times. It’s soaked in the dye, then allowed to have a chemical reaction in the dirt, hung dry, then washed. This process is repeated over and over again. It takes about a week when the weather is good.” (Mr. Kanai)

The dirt contains a lot of iron that seeped out from 150 year old soil layers, bringing out a black color that is exclusive to this area. While it is a craft that is rooted in local nature, only 4 or 5 ateliers remain from the more than 100 that used to thrive on the island. In the adjacent gallery, tapestry, scarves, t-shirts, dresses, and other items dyed in dirt are displayed and sold. Known for fusing traditional and modern techniques, Kanai Kougei is often approached by brands interested in collaborative efforts. The beauty of Japan is supported by skilled craftspeople who are committed to their craft, and the intuition of the young is helping to unearth the potential that Japan has to offer.

The post One of the world’s three greatest textiles – Oshima-tsumugi, Kanai Kougei first appeared on NIHONMONO.

Recycle old cloth

It is a folk art written ”裂織” and read ”sakiori”. Sakiori is tearing old cloth into fine pieces, and weaving them together with other yarn. It is said that originally, it started during the mid Edo period in the Tohoku region when textile products such as cotton or silk were valuable. Also in the Nanbu region in eastern Aomori, cotton was a rare material, and people used ”sakiori” in order to cope with the cold climate. That is the origin of Nabu Sakiori that has been passed on to the present. We interviewed Sumiko Inoue who opened Nanbu Sakiori Koubou ”CHOU” and continues to weave in the regional tradition.

Sakiori, which was woven 150 years ago

Nanbu Sakiori is not only used for clothing, but various other large items such as kotatsu covers or small things like accessories or bags. ”I made you a present.” Inoue said and gave Nakata a business card holder. The business card holder used to be a thickly-wadded large size kimono, exuded a warmth. She also showed as a sashiori which was woven about 150 years ago saying ”This sashiori was woven about 150 years ago during the Meiji era. So, the original cloth that we use here is from the Edo period. ”

Thinking about how people used to live

To use an old cloth means there was someone who had used the cloth in the past. Saying that ”You have to give care for things you use” might sound rather moralistic. But if you think about the lives of those who used the cloth before you, the words have a different meaning. The cloth is connected to those people in the true sense of the word. Rather than being old, they are new, beautiful and present. The images of those people might come to mind. This is the ultimate form of recycling.

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Bringing out the natural colors

We visited dyer Kofu Suwa, who uses natural dyes made from plants and flowers to dye threads and weaves them into textiles. Born to a family of dyers in Yonezawa, Suwa helped the family business and learned the skills naturally.
Seeking a unique methodology, he studied and publicized shellfish dye using domestic shellfish. He also studied saffron dyeing, gromwell root dyeing and other rare dyeing methods. He is an artist who developed many “colors”. Currently he is the representative of the Yamagata Safflower Dyeing Weaver’s Council and promotes the branding of “Yamagata Safflower Dye”. When he showed us Yamagata Safflower textiles, he explained the meaning of the mark on the label. The red marks mean 100% dyed with safflower, the pink marks mean dyed with safflower and other natural dyes, yellow ones are dyed with safflower and artificial dyes. All 3 types use domestic silk and clear exacting standards to maintain quality.

Weaving various textiles

The Oitama region where the workshop is located, is famous for its textile industry and has a tradition of thread spinning and highly sophisticated “kasuri” pattern textile skills. Suwa’s son, Goichi, who is also a dye-weaver, showed us around the workshop. A large thread spinning machine caught our eyes.
“The textile production skills for hemp threads from Joetsu (southern Niigata) was the start of textiles of this region. This equipment has been used since the olden times. There are only a few workshops left that still use this kind of equipment. “ he explained.
In the workshop, there were several types of looms, ranging from the large “takabata” loom to smaller ones, and some that are partially mechanized. It showed that the workshop deals with a multitude of weaving techniques.
Also, rather surprisingly, baskets and bags using wild vine and tree barks were under production. The looms were operated by female craftsmen, and baskets were woven by men. The sound of the looms echoed incessantly in the workshop.

The difficult process of “building” indigo

Suwa has been dyeing with indigo since about 30 years ago. For indigo dyeing, you must first “build” indigo. ”Build” means to bring indigo ingredients ”sukumo” and lye together in a pot, ferment it, and have the textile absorb it.
“How long does it take to “build” indigo?” asked Nakata.
“It depends on the temperature, but we spend about 7 days on average. Those 7 days are very intensive“, described Suwa.
“It’s really difficult. We have no idea what can happen. You can do this for 20 years, 30 years and only then do you develop the intuitions that you need to get it right. “
He said with deep emotion.
That day, the indigo was not doing well. The cotton cloth that was sunk into the pot for testing was a deep green when it was pulled out. “It is green in the beginning. It turns blue after it touches the air, but it has to be a more beautiful blue.“ Goichi-san said, wondering what was wrong.
Indigo can only dye while the fermentation process is going on, so sometimes “sake” is added to promote fermentation. Yes indigo is “alive”. The condition of the indigo needs to be watched every day.
We got to see a rare dyed textile. “Sakurazome”, or cherry blossom dyed textile. Dye for “sakurazome” is made by boiling the tips of the branches before they blossom.
“An amateur would think that color would come from the flower petals.” Nakata said.
“Yes maybe, but the cherry tree in early spring has its vitality all tanked up before the blossoms bloom. But when it blooms, all the vitality is used up and we can’t get any color from the actual blossoms.” The “sakurazome” textile was a very subtle color that was indescribable in words.
The skills that were brought up in a land with a long and flourishing textile industry, and the skills of natural dyeing that Suwa pursued. The combination of the two created textiles that reflect the features of Yamagata.

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Not getting old, even over time

“This doesn’t look old even now, does it?”
Koichi Yamagishi said as he handed Nakata a piece of textile that he wove in 1971, By “doesn’t look old”, you may imagine that the design was still modern, but no. The fabric that Yamagishi handed to Nakata was literally not old. There was not a trace of the color fading. In fact, the colors made a distinct impression, capturing our eye. “This is the good thing about plant-based dye.” Explained Yamagishi. However, ”getting old” does not mean something doesn’t or shouldn’t change. “In current day Japan, the emphasis is on the present, and not changing at all is considered to be a good thing. However, in the past, changing was good. It improved the subtle shades or texture, or such. ”Not becoming old or outdated” can only happen if things can change.””

Aiming for the best, starting with thread

Yamagishi is a plant-dyeing artist who undertakes the entire process from dyeing to weaving. His family business was weaving, but as he progressed, he became interested in dyeing. At first, he was using threads dyed with chemical dyes, but he learned about plant dyeing from the artist Seiju Yamazaki, and became strongly attracted to plant dyeing. Since then, he collected various materials and finally settled down at the current location in Akakuzure, where the ideal growing conditions exist. He now grows his own silkworms, and undertakes the entire process from spinning his own thread. In addition, he grows his own safflower and other plants he needs for dyeing. His policy is to grow all the materials he uses on his own.
“Gee, that must really take a lot of work.” Nakata said.
“Yes, but now I know what is good and I can’t go back.” He told Nakata.

Distortion fits the body

During his father’s generation, people’s clothing was changing from Japanese clothing to western clothing. So, people sought to catch up with the western world.
However, as he produced western dresses with a Jacquard loom, he started to feel that something wasn’t right.
So, he tried weaving with a manual loom after hours. He compared the difference between machine woven and manually woven products with the same design. They were completely different. He had some puzzling experiences. For instance, the hand-woven products did not leave an imprint of the fingers even when pressed hard.
Yamagishi says that the charm of hand-woven ”kimono” is in the distortion. “The distortion is what makes it easy to wear. When you put it on, people’s faces stand out. It makes the person wearing it stand out. Machine woven ”kimono” lacks this quality.“ Yamagishi told us.
His comments made us think about the process of detailed observation, deep thought and consideration, and applying the findings into creating a ”kimono”. Yamagishi will continue to think about what clothing is, what threads are, and what colors mean? He will continue his quest for dyeing and weaving one by one.

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Shirataka Tsumugi, a tradition of Shirataka Machi

As we entered the workshop, we saw people adjusting what looked like a press machine. We said hello and asked them what they were. We were told that they were machines that they used to dye thread. We were at Komatsu Orimono Kobo, one of the workshops that manufacture Shirakata Tsumugi, a type of Oitama Tsumugi textile that is designated as an Intangible Cultural Asset by the government.

History and Characteristics of Shirataka Tsumugi

The history of Shirataka Tsumugi begins in the Edo period. It is one of the textiles that flourished in Yamagata as the result of the promotion of textile manufacturing, and the production of their raw materials by the Yonezawa clan. THis is the same as the ”Nagai Kasuri” which we also visited on this trip to Yamagata.
After a period when ”Yoneryu” Kasuri was manufactured, skilled workers from Tochigi Prefecture were invited along with the technique called “Itajime”, and a unique textile came to be produced here. The machines that looked like press machines were the machines for the “itajime” method. Shirataka Tsumugi is characterized by the detailed patterns compared to other “kasuri” products in other areas. The “shibo”, or the unique texture of a kind of crease on the textile, is also one of its feature. What gives these characteristics to the Sirataka Tsumugi is the technique called “itajime”. Shirataka Tsumugi flourished in the Meiji era, but there are now only two workshops that continue to make this product. The skills for “itamjime” only survive in these workshops .

Itajime requires fine skills

Norio Komatsu and his son Hiroyuki were at our interview session.
“Itajime” is a skill where threads are placed between two boards where patterns are sculpted and dyed. What surprised Nakata was the fact that there were patterns sculpted on each board, and the boards have to be combined properly according to the desired pattern.
Normally 30 to 50 boards are used, but the tension of the strings have to all be uniform when the boards are wrapped, or the patterns don’t appear properly when made into a piece of cloth. So utmost care must be given.

Technology of the machine and the finesse of nature

After the strings are wrapped around the boards, they are tightly pressed together by the press machines. Then the dyes are poured over them and the fabric is dyed. This process is called “bukkake zome”, and the dye is poured repeatedly for over an hour. When that’s complete, the entire process is finally done. Nakata asked him why this process is almost extinct, Mr., Komatsu answered “if the boards get too dry, they can crack and warp. It takes a lot of work to take care of the boards and maybe that’s why people quit using this method.”
The wood used in the boards is natural wood. That makes it difficult to control. But the flexibility of natural wood is not found in artificial materials, and only the natural material can express the finesse of the art. Komatsu also stated “PCs have broadened our horizons in terms of the patterns we can challenge. I want to challenge many new patterns.” The patterns made possible by machines expressed by the flexibility of natural wood. That’s how tradition restarts itself.

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The relationship between safflower and Yamagata

Yamagata and Safflower are deeply related . Every July, they hold the Safflower festival in Yamagata, Yamagata Prefecture, and the national sports competition held in 1992 was dubbed the Benibana (safflower) Games. Safflowers originated in Egypt. It got to Japan in about the 4th century through the Silk Road. Then they gradually spread throughout Japan, and by the Azuchi- Momoyama period, they came to be valued for dyeing along with indigo, madder and gromwell root.
It is said that it was around that time when they started to be widely grown in Yamagata. By the Edo period, they were being grown in areas long the Mogami River, and Yamagata became a major production site for safflower. According to one source, safflower output during the Kyoho era (early 18th century) exceeded 40% of the national safflower production.

“Benimochi”, used in lipstick

”The weather has to be hot in the summer, cold in the winter, and hot and humid during the rainy season to early summer. That kind of climate is needed for good flowers to bloom.” the dyeing artist Takao Suzuki told us. He was born to a family of dyers, and was trained in places like Kyoto when he was young. After coming back to Yamagata, he established himself in the dyeing business, but when the Benibana Games were held, he was requested by the regional government of Kahoku to revive safflower dyeing and started his research in the field.
At the time, the amount of the raw material safflower was very limited. And, in order to get a brilliant red color, plain dried safflower did not work. Something called “benimochi” had to be made, and that in itself was major work. You have to add water to the harvested safflower flowers, add pressure to get the yellow juice, and rinse that off with water. Repeat the process for several days until all the yellow pigment is gone. When all the yellow juice is extracted, the flowers are fermented for several days in the shade, and utilizing the gooey texture after fermentation, it is pounded in a mortar into a ball and flattened and dried in the sun. That product is called a “benimochi”.
High quality “benimochi” is still used in cosmetics such as rouge. It can produce a brilliant color, but it is extremely labor intensive. It takes 20 kg of “benimochi” to dye two rolls of 10m x 30cm cloth, so it cannot be mass produced.

No end to dyeing

Still, the textile dyed by “benimochi” is more brilliant than items dyed any other way. In addition, it has a subtle scent that makes you appreciate the quality. “You use good materials, put in the work you need to put in, and you get a good product.” Says Suzuki. As he taught himself how to dye with safflower, he made many discoveries. One of the major discoveries he made is that you get better colors when you combine natural things.
Another thing is being particular about water. Suzuki uses underground water from Mt. Chokai. The purity of the water stabilizes the output of the color. Another discovery was dyeing with chemicals such as acetic acid or citric acid can result in unevenness or discoloration.
So that got him thinking, and as he was eating some sweet pomelo, he accidentally hit upon a brilliant pink color. That gave him a hint, and now he uses a mixture of plum, sweet pomelo and apple juice for dyeing. “You know there is really no end to dyeing.” Suzuki, the veteran 70 plus year old craftsman laughed.

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Yonezawa Ori, the tradition of Yamagata

Yonezawa was already flourishing with ramie and safflower cultivation by the Edo period, but the textile industry became a full fledged industry thanks to Kanetsugu Naoe, a high-ranking Samurai serving Kenshin Uesugi. He bought out the products from farmers and sold them to various regions known for textile production, and built a financial foundation for his feudal domain.
Later in history, in the late 1700’s, Yozan Uesugi became the lord of the Yonezawa area, and he promoted the fiber and textile industries as a part of his plan to revitalize Yonezawa. He invited instructors from the present-day Niigata prefecture, directed farmers to raise silkworms, and built a foundation for “Yonezawa Ori” textiles. Since then, “Yonezawa Ori” has become a 200-year-old tradition.

The Characteristic of Yonezawa Ori

The feature of “Yonezawa Ori” is the colors that come from natural dyes. In recent years, research has advanced, and in addition to the natural dyes from plants, other colors have been added. In some products, chemical fibers have been woven in and many attempts to advance the tradition further have been taken.

Good things have “power”

We interviewed Gentaro Nitta, the Representative Director and President of Nitta Textile Arts Inc., a 130-year-old textile company founded in 1884. Nitta was born in 1980. He learned the basics working at an old kimono sash maker in Kyoto, and has been active in Yonezawa since 2005. He won the Japan Kōgei Association Freshman Award at the Japan Traditional Art Crafts Exhibition in 2011.

The award-winning item was a “hakama” skirt. Its innovative design with gold threads received high praise. ”There are certain rules you have to follow in the patterns for “hakama”, but I wanted to start a new design. I wanted to be particular about design for people who are actually particular about the “hakama” they wear.“ Nitta told us.
“A good item has something like power in it. It’s hard to explain but, it’s like a feeling that anyone can pick up. I call it softness or even “sweetness”, but it’s a feeling you can feel when you take it in your hands, when you wear it, and when you see yourself in it. It’s something you feel.“

Dyed with many colors

Many “Yonezawa Ori” workshops specialize in weaving and don’t have a dyeing workshop. But at Nitta’s workshop it’s not just about weaving. They start with dyeing, and go through the entire process of Kimono making. That’s why they are able to bring the final product closer to their ideals, as they can experiment and control the threads and the weaving process.
“This one was presented by my grandparents” Nitta explained as he showed us a safflower dyed textile. “You can even still smell the dye. It’s entirely dyed using safflower. I am confident that there is no other product like this in the world. When you hold it up against the light in the dark, you can see the red color.“
Presently, a variety of workshops operate in Yamagata, from those specializing in thread spinning, to those specializing in weaving or sewing. It is very unusual for all the workshops to be concentrated in one region. Kyoto is one of the few. This means that Yonezawa is a comprehensive textile production region within Japan. Each workshop comes up with new ideas and skills every day. Products made in Yonezawa will surely be worth following.

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Established and expanded “kataezome”

Keisuke Serizawa was born in Shizuoka Prefecture in the 28th year of Meiji (1895), and he graduated from Tokyo Higher Technical School (now Tokyo Institute of Technology), faculty of design. Afterwards, he was greatly influenced by his lifelong teacher Muneyoshi Yanagi, and also by the traditional stencil dyeing of Okinawa called ”bingata”, and he himself started dyeing cloth and paper using paper patterns of tannin paper and dye-resistant -glue made of sticky rice.
His designs are bold and brimming with originality and have symbolic beauty which are projected to his works including kimono, ”noren”, folding screens, calendars, picture books, glass pictures, book covers, and the like.

In 1957, when he was designated a Living National Treasure, the word ”kataezome” was coined to describe the technique he used. He is responsible for establishing and developing ”kataezome”, the art of stencil dyeing.
Serizawa was a master of not only dyeing but many other art forms, and his richness of style was loved by many.
Many of his works can be seen at the Tohoku Fukushi University Serizawa Keisuke Art and Craft Museum, where Nakata visited on his trip to Sendai-shi.
Photo on the left: ”Nawa Noren Fuminoren” stencil dyed cotton 1955 from the collection of Tohoku Fukushi University Serizawa Keisuke Art and Craft Museum

Numerous works and a huge collection

Serizawa Keisuke Art and Craft Museum is situated in the 2nd building of the Kunimi campus of Tohoku Fukushi University, and it consists of six exhibition rooms on the first, 5th and 6th floors.
Within the collection, there are about 3000 pieces by Keisuke Serizawa, and about 10,000 stencils which were essential for his creations. Also, there are valuable collections such as stained glass designs, and hand painted pictures and drawings, which illustrate the artist’s creative process.

Another characteristic of the museum is, that it owns and displays a collection of folk art which Serizawa had collected from around the world. The items collected from China, Southeast Asia, Africa, Central and South America and North America, are given added value through the aesthetic eyes of Serizawa, and are called ”his other creation”.
In order to display the huge collection, the museum changes the exhibits three to four times a year, and displays the pieces according to certain themes.
Photo on the right: ”a swimming red snapper Fumi-Kimono” stencil dyed on ”tsumugi”

Tohoku and Keisuke Serizawa

Serizawa had a deep relationship with the Tohoku region. He empathized with ”the Japanese Folk Craft Movement” advocated by Yanagi Muneyoshi, became one of its leading members. He was devoted to replace the value of folk craft that existed in the everyday life of the Japanese as well as those items which had not been regarded as artistically valuable. The word ”folk craft” itself was born out of this movement.
He visited potteries in Tohoku, encountered the cultural climate of the snow country, and loved visiting the town of Sendai and Naruko Onsen. And it was his own wish for a museum in Tohoku to display pieces of his work.

The works in the Serizawa Keisuke Art and Craft Museum lauded their beauty quietly, even after several decades. ”They are traditional but modern. They don’t feel old at all though they are from more than fifty years ago.” said Nakata. A museum in a university. We would definitely recommend a visit.
(Photo provided by: Tohoku Fukushi University Serizawa Keisuke Art and Craft Museum)

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Well established store selling only dyed goods.

”Matsuya Dyed Goods Store” in Koyamachi town, Yonego city is such a well known name that when local people hear ”Koya”, they say ”Matsuda”. This is because the store has continued business uninterrupted for more than 300 years since the Edo period, and is currently led by the 12th generation. The name of the town is pronounced either ”Koya” or ”Konya”, also being synonymous with dyed goods.

Name of the dyeing craftsman

During the Edo era, dyed goods were produced by a division of labor, and the names of the craftsmen varied depending on the dye color they were responsible for.
●”Murasaki shi”: Worked with the purple dye using the plant, leptospermum erythroidine. The color did not take very well, and required more work to dye using this plant.
●”Kurenai shi”: Worked with the red dye. They worked during the winter using safflower.
●”Chazome shi”: Responsible for the intermediate colors such as brown, using plants such as Roger’s bronze leaf and the sawtooth oak. During the middle ages, the brown master was in charge of dyeing clothes for the aristocrats in the Imperial Palace.
●”Koya”: In ”ai-zome” or indigo dyeing, the indigo is fermented and dyed separately according to the type of cloth. They are also called ”indigo dyer”.
Among these, ”Koya” became very successful during the Edo era, and people began using the name to refer to not only ai-zome but also all dyed goods stores.

Handmade flags for fishing boats

”Matsuda Dyed Goods Store” started as a ”koya” for ”ai-zome” at the end of the Edo era, and began ”tsutsugaki” from the beginning of the Meiji era. ”Ai-zome” uses ”sukumo dama”, which is a ball made from dried knotweed leaves. The fermentation is adjusted to dye the cloths various colors of indigo. ”Tsutsugaki” is the process of placing glue made from glutinous rice flour using a tanned paper cylinder for the outline of the patterns on the cloth. The glue prevents the dye from adhering to the cloth.
One of the products created using ”tsutsugaki” is the flag used by fishing boats with the characters ”tairyo” or ”big catch”. The flags are given to the captains of new boasts as gifts, and many orders come from people in the fishing industry in Sakai port and Okishima Island. Matsuda Dyed Goods Store also get requests for national, corporate, victory, and school flags, ”furoshiki” and ”happi”.
Nakata was given an opportunity to try ”tsutsugaki” dyeing. It was astonishing to be able to create so many detailed patterns by hand. This kind of delicate sensitivity is an attribute the Japanese people can be proud of.

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