Revival of Nambu Shikon zome

Have you ever heard of Nambu Shikon (Purple root) zome? As the name suggests, it is a skill of dyeing with dyes made from the ”murasaki” plant with purple roots which bloom with white flowers in the early summer. The skill was conveyed to the Nambu area during the Kamakura period. After that it was protected by the Nambu Clan and was used to produce many ”kimono” and ”kosode”. This skill lost popularity during the Meiji Era, and at one time people who had this traditional knowledge completely disappeared in the Morioka area.

However during the Taisho Era there was a movement of reviving Nambu Shikon zome. They invited engineers who knew ”murasaki” dyeing from Akita Prefecture and learned their skills. At the same time, they developed their own skills through own research. Ken Fujita, first generation owner of Soshido, where we visited, was the chief engineer of the research institute at that time.

We met and spoke with the 3rd generation, Shigeki Fujita. Since Japanese native ”murasaki” plant is now an endangered species, they cultivate their own. So it is really difficult to get hold of high quality ”murasaki”. They are in need of further research and incorporating chemical knowledge as well.

Beautiful “shibori” pattern and the shade

One of the characteristics of ”shikon zome” is the different shades of color. Botanical dyeing requires repeated dyeing, so there will be some unevenness with shades that create special beauty. Also they dye after processing using a ”shibori technique” called ”Nambu Shibori” so each piece is unique. That is also a feature that adds value. The color changes little by little over the years and the shades become more beautiful.
At the workshop, we watched the ”shibori” process. First they draw a pattern on fabric using a paper pattern. There are over 800 different paper patterns, including some from old times.
Based on the paper pattern, they sew with a thread and tie each one. This is called ”shibori”. The part that is tied with thread will not get any color. So after it has been dyed, there will be a clear pattern within the brilliant color.

What we think is best

The process of dyeing and the process of ”shibori” both take a lot of time. We asked what they aim to achieve and they replied, ”We want to create what we think is best.”
”Of course sometimes it will not be accepted by the customers. But first, we need to be satisfied ourselves. Only then can we make our customers understand the things that we created. There are many people who understand us and became fans. That’s the kind of thing we look for.” said Fujita.
”Young people can wear it. And you can enjoy it when you get a little older. There are some people who want another one after they get even older.”
Each piece of Nambu Shikon zome has a different expression. The beautiful pattern of ”Nambu shibori” will never get old. We were able to encounter yet another charming ”kimono” culture.

The post “Nambu Shikon zome and Nambu Akane zome, Soshido” Kimono that is created by natural color and hand work first appeared on NIHONMONO.

Nambu Kodai Katazome that has continued since feudal period

The history of ”Nambu Kodai Katazome” in Iwate goes back to around 1620. It started when the chief of Morioka at that time invited Ebisuya Zaemon (Ono Family) as his main dye artist. He filled the ”Kamishimo” (top), ”Hakama” (pants) and ”Kosode” (kimono) with cranes which was the family crest of the Nambu Clan, and carved other various patterns.
We visited ”Ebisuya Ono Sensaisho” which has been in business since Ebisuya Zaemon. We were able to talk to the 17th generation Shintaro Ono.
The first thing that surprised us when we saw the stencil was how fine it was. Nakata sighed as he commented, ”Wow, this is so fine!”

“Stencil” that has been passed on to the Ono Family

There are many old stencils in Ono Sensaisho that have a long history. There are stencils that exist from 300 years ago which means they were from the 1700s. They showed us several of those stencils.
”This was carved by a Living National Treasure”, said Ono showing us one of the stencils. Nakata again is surprised saying, ”This is so detailed, so intricate.”
”We cannot carve this with our skills. The errors will be much more distinct.” Ono commented. These are amazing stencils that Ono will totally surrender to.
Even though they are ”old stencils”, the design does not seem that old, which is surprising. There were geometric patterns that looked even modern. Ono told us, ”The charm of the stencil is infinite.” It is true that the work is not only fine but there are many designs that look pop. The stencils shows us not only the skill of the artists, but also the sense and the fashion at that time.

Clean water that produces infinite colors

In Kyoto, carving and dyeing is separate work, but with Nambu Kodai Katazome the whole process is done as one. So Ono does everything from preparing the stencil and putting the glue, to dyeing and washing in water. As Ono told us, ”The color is infinite”, you can dye with various colors. But the basic color for dyeing is indigo.
”In order to use the indigo, you have to have good water”, Ono told us. Here they use spring water for their work. In the past, there was a time when they washed in the outer moat of Nambu Clan, but they found dirt in the water so 3 generations before, about 170 years ago, they moved to the current place and settled here.

Future challenges for the dyeing industry

Lastly, Ono said, ”It is a shame that there are fewer people making this.” The reality is that there are fewer people who want to be artisans. Nakata was excited when he saw the stencils of Nambu Kodai Katazome. Their conversation got excited and he commented, ”It will be interesting if you can make a stencil from an artist’s painting.” Beautiful ”kimono” with fine stencil and indigo. We are sure that people will notice the charm if they have the chance to see it or wear the dyed products.

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Tabi shop with 230 year history

Founder Miyokichi Fukushima established a tailor in Mita, Tokyo during the Anei period (1772-1781). Moving to Shintomicho in 1849, Ohnoya Sohonten is a well established ”tabi” shop with more than 230 years of history. Even now many Kabuki and Noh performers and dancers go to Ohnoya for the special ”tabi” called the ”Shintomigata”.
Shintomigata is a ”tabi” that is made with narrow soles, and puffy toes. This form makes the feet look thin, small, and beautiful. It is popular with actors and performers who make their living with their appearance.
”Many actors who play female roles change their ”tabi” every day. So they order 50 or 60 pairs at a time.” the 7th generation Shigeo Fukushima told us.
Not many people wear Japanese kimonos recently, so the majority of their customers work in the traditional art industry such as Kabuki. Shintomigata is still quite popular with performers. In the back of the shop are numerous foot molds used for customized orders.

10 pieces of cloth for just 1 pair

Japanese people all know what a ”tabi” looks like. But many are not familiar with how they are made or what they are made of. How many pieces of cloth does it take to one pair? The answer is 10. This was something that neither Nakata or his staff even anticipated until we actually observed the manufacturing process.
We visited the studio. The first step is cutting. Cloth is cut for the left and the right foot. 2 pieces are used for the inner side, 2 for the outer side, and 1 for the sole, amounting to 10 in total. Cutting is 2 dimensional so it requires skill. The pieces are then sewn together, but the different thread is used according to the part being sewn. The toes are difficult. Making the toes round and beautiful is difficult, even for a skilled artisan.
Yet there’s more work to be done. You still have to pound the ”tabi” with wood to soften the cloth, and then the thread is also softened so it doesn’t hurt the feet. The entire process is done with great care by skilled artisans to create a pair of ”tabi”.

An Ideal Tabi is Created by the Wearer

For someone who is not accustomed to Japanese attire, the ”tabi” may not feel comfortable when its first put on. At Ohnoya Sohonten, in addition to the customized ”tabi”, they sell 4 standard types. For those with high arches or width, small adjustments can make a big difference.
Was there a standard to good vs bad ”tabi”? Nakata posed the question to which Fukushima replied.
”That totally depends on the customer. We aim to satisfy our customers. To create something that fits.”
But it’s not just about the fit. At times they need to consider ways of easing the burden on the ankles, depending on what the ”tabi” is used for. The ideal form depends on the customer. For instance if the ”tabi” is to be worn for dancing, the feet need to look small and beautiful. For Noh and Kyogen, the ”tabi” needs to be made not to obstruct the movement of the feet, and must glide smoothly on the stage. For tea ceremonies or for people who sit with their knees folded for a long period, the ”tabi” needs to have extra room around the ankles, and must be wrinkle resistant. They are always striving to produce the perfect product for the customer’s needs. When watching a traditional Japanese performance, we hope you’ll give some attention to the feet.

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