The Name “Edo Komon” was only established 60 years ago?!

As peace prevailed during the Edo period, the feudal lords all started to compete with lavish kimonos. In despair, the Edo Shogunate issued a new regulation, banning samurai from wearing luxurious attire. In reaction, the feudal lords came up with kimonos that looked plain from afar, hiding the designs by making them small and inconspicuous. As a result, dyeing skills developed, resulting in what is now called the Edo komon.
The style of Edo komon as such has a long history, but the name ”Edo komon” has only been around for about 60 years. When Yasusuke Komiya was designated Important Intangible Cultural Asset holder, the word ”Edo komon” was used to differentiate it from other forms of komon-dyeing. We visited his sons, Yasutaka Komiya and Yasumasa Komiya. Yasutaka Komiya was also designated Important Intangible Cultural Asset holder in 1978.

Edo komon is possible because of division of labor

Edo komon is stencil dyeing. The stencils that are used are ”Ise” and dyeing skills require much experience. Yasumasa told us, ”Our mission is to preserve the technique, not the work.”
The workshop is pitch black. The reason the windows are closed and light blocked out, is to control the temperature so as not to affect the stencils and glue. White cloth is attached to a board 7.2 meters long, a stencil is placed upon it, then the glue is applied. This process is repeated dozens of times until the design is applied on the entire roll. It is dried, dyed and steamed for the color to stabilize, then everything is washed off. Finally this chic and stylish roll of kimono fabric is complete.
”It is a traditional technique, but if we find a better way, we’ll try it out.” True to these words, a boiler is used for steaming. At the same time, there is no substitute for the glue they use, which is made of rice bran. Now, as flour mills who produce this vanish, they face a critical situation.
Yasumasa mentioned that the making of Edo komon requires many processes, and the process is divided. It is important for not only his techniques to remain, but the materials and the tools as well, in order for the traditional ”kimono” to be preserved. The ”washi” for the stencils, the knife to cut the stencils, the silkworms that create the rolls of ”kimono” fabric, all of these things make Edo komon possible.

Using New Stencils

The motto of the Komiya household is that the stencils will be preserved. This does not mean that they are going to store old stencils to be reused over and over. On the contrary, they always use new stencils. Yasutaka told us that his father, Yasusuke Komiya once said, ” If you keep using the existing stencils repeatedly, the stencil makers cannot make a living. So you need to place new orders for the stencil makers to thrive. That is how skills develop.”
Without stencil makers, Edo komon would not be able to make any advances. That is why new stencils are used even for traditional motifs.
”We cannot let the stencils die out. They are the basics of Edo komon, the fundamentals.”
To succeed tradition means to consider how stencils can survive ”in the present modern world.” Understanding the past and being particular about the present. That will lead to the future. The traditional method will be handed down by continuing to create, protecting the many skills that relate to the creation of Edo komon.

The post “Edo Komon, Yasutaka Komira and Yasumasa Komiya” Preserving the Tradition and Patterns first appeared on NIHONMONO.

Bingata-zome, originated and passed on in Okinawa

Are you familiar with a textile dyeing method called ”Bingata-zoｍe?” Using colors that remind you of the Okinawa environment such as yellow, light blue, and red, this traditional stencil dyeing method originating in Okinawa was used to dye garments for royalty and aristocrats of the ”Ryukyu Dynasty.”
”Bingata-zome” was made by the ”samurai” class that served the ”Ryukyu Dynasty” for generations, but following the invasion of ”Ryukyu” by ”Satsuma-han” and Meiji government’s abolition of the ”han” system, Okinawa went through drastic changes. ”Bingata-zome” slowly declined. In addition, the stencils for dyeing which are integral in passing on ”Bingata” patterns were burned during the war.
”Bingata” was rescued by the late Yoshitaro Kamakura who was also instrumental in rebuilding Okinawa Shurijo Castle, later recognized as Important Intangible Cultural Property. Kamakura was an art historian who collected stencils for ”Bingata-zome” and had stored them at an art school in Tokyo. As a result, the stencils had escaped being damaged by war.

Passing on the very rare “Oborogata-zome”

We interviewed Akiyo Shinohara who studied under Kamakura.
After the war, the stencil patterns were brought back to Okinawa by Kamakura where a very important technique of ”Bingata-zome” called ”Oborogata-zome” was revived. Akiyo became involved in ”Bingata-zome” under Kamakura, and there she succeeded the technique that is passed on to this day.
”Oborogata-zome” is a method where the fabric is dyed several times on top of each other using two or three stencils. It is a laborious, time consuming method as you need to repeat the same process several times, but the resulting patterns and the coloring become complex.
”Oborogata is called ”Uburu” in Okinawa” says Akiyo. She does not produce as much ”Oborogata-zome” these days, but you can sense her passion towards ”Oborogata-zome” in her words.

Softness in “Oborogata-zome”

Akiyo-san works with her daughter-in-law, Yuko-san at their home studio. Because of her interest in art history and tea ceremony, Yuko-san often wore kimono which sparked her interest in textile dyeing. After marrying into to the family, she learned ”Bingata-zome” from Akiyo-san and started to work with her.
Nowadays, Yuko-san herself produces ”Oborogata-zome” cloth in Akiyo-san’s place. Using ”Oborogata-zome” method, she dyes numerous colors in patterns, but the ”kimono” carries a soft, refreshing atmosphere. ”Oborogata-zome” is a very old technique from Okinawa which was preserved by Kamakura, and Akiyo-san who studied under Kamakura. Now the technique is passed on from Akiyo-san to Yuko-san.

The post Passing on Okinawa “Bingata-zome” in Kanagawa “Textile-dyeing Artists Akiyo Shinohara and Yuko Shinohara” first appeared on NIHONMONO.

What is stencil dyeing?

”Edo-komon” and ”Nagasaka-chugata” are some of the famous dyeing methods of ”tanmono” fabric with stencils which Nakata have already visited during this journey. Takako Saito employs this ”kata-ezome” method. The process is basically the same as the other stencil using methods but the term ”kata-ezome” was introduced to differentiate this method from other similar methods when Keisuke Serizawa, a dyeing artisan, was recognized as Important Intangible Cultural Property in 1956. It was named ”Kata-ezome” due to the excellent design and picturesque nature of Serizawa’s works.
The process of ”kata-zome” is divided among specialists. Designers, stencil carvers, people who apply starch, and dyeing artisans. There is a specialist for each process. However, Takako Saito single handedly does everything from designing to fitting.

Passion for creative activity

Saito studied ceramics at Tokyo University of the Arts, but she got a position at a dyeing studio upon graduation. She has been dyeing fabrics ever since. A change occurred when she read a book about a dyeing artist. The artist was Nenjiro Inagaki, an Important Intangible Cultural Property. He was a ”kata-ezome” artist who made the stencils and did all the process of ”kata-ezome” himself. She was inspired to do the same when she realized that ”this type of dyeing actually exists”.
She then self-taught the necessary techniques for ”kata-ezome”, from which she created her very own elegant style, incorporating universal motifs such as geometric shapes, plants and flowers with her very own coloring and spacing.
”Do you prefer bright colors?” Nakata asked as he studies her work. ”Yes, the ’kimono’ are somewhat more sophisticated and flamboyant when I make them in Yokohama. Where the artist resides is a very important factor for creating.” replied Saito. On the other hand, she has traveled to the marshes in Sengokubara, Hakone and sketched plants and flowers there. In Kanagawa, there is a big city like Yokohama as well as hills and ocean abundant with nature close by. We can see Kanagawa’s environment reflected in her work.

Putting her thoughts into ”kimono”

Dyeing with stencils usually uses patterns or design that has been passed from long ago. So we asked why she makes her own stencils.
”There are merits to dyeing with traditional designs, but I start the process of making ”kimono” with deciding what I want to create. I start with an idea, design, then make the stencils. The technique is traditional, but I always want to dye ”kimono” with modern taste.”
Saito’s ”kimono” reflect her desire to express modern taste with tradition. ”The world of ’kimono’ is very deep. It is worth pursuing throughout one’s life.” Saito told us.

The post Fabric Dyeing Artist, Takako Saito – Dyeing in modern taste first appeared on NIHONMONO.

Daimon, Edo komon and aizome yukata “Nagaita Chugata”

We visited the workshop of Nobuo Matsubara, who carries on the technique ”nagaita chugata” to dye yukata.
”I always use a paper pattern when I dye. The style is called nagaita chugata,” he explained.
”What do you mean by nagaita chugata?” Nakata asked.
”Nagaita means long board. Chugata means ’medium’ as opposed to ’small crest’ in Edo komon.”
”Do you mean that there is a ”Edo chumon”?”
”No. There’s no such thing. It refers to the size of the patterns.”
”There is a large crest or ”daimon”, right?”
””Daimon” is a large pattern used for happi or short coats worn at festivals, and we also call them ”Oogara””. In contrast, ”komon” patterns are so small that they can’t be seen from afar, and they are rich in color. With the technique nagaita chugata which has been used from my grandfather’s generation, the patterns are a little larger than ”komon”, and used mostly for yukata.”

There are many yukata, but only the traditional aizome yukata made from cotton or hemp uses the nagaita chugata technique.
Aizome yukata made with the traditional method is called ”nagaita chugata”, he told us.
As for how they are made, he told us ”It’s quicker for you to see for yourself rather than trying to explain.”, so we made our way to the workshop to observe.

Experiencing the dyeing process

A cloth is strapped to a long board, and a paper pattern made from ”shibugami” is placed on top, then glue mixed with red dye is applied to the cloth. The process of placing the paper pattern and applying the red glue is repeated, so the design continues. While the red dye and glue mix acts as a guide, in the end, it will wash away with water, and the color will eventually fade away.

When the glue has been applied all throughout, it is dried in the sun, and the glue is applied to the back of the cloth as well. This is because with aizome or indigo dyeing, the cloth is immersed in the dye, so both sides of the cloth are dyed.
Yukata is worn as a single layer. There is no lining. The characteristic of nagaita chugata is that both sides of the cloth are dyed.
After observing Matsubara, Nakata also tried placing glue on a cloth the size of a ”furoshiki”.
”I’m finding that I must not move the spatula too quickly or the glue is too thin.” Nakata commented. In the margin of the fabric, he signed his name ”Hide” using the glue.

He soaked the fabric in indigo to add color, washed the glue away with water, patted it dry, and neutralized the cloth with acetic acid. Nakata held up the cloth which he had dyed. The pattern and his name showed through beautifully. Nakata was happy.
”I’d like to use this to wrap around my head when I work.” he said. Next on the list, he would like to challenge dyeing an entire yukata.

Using natural materials

Nagaita chugata takes advantage of the properties of the glue, Matsubara told us.
So the quality of the glue is important.

Matsubara makes a fresh batch of glue every day by mixing rice paste and rice bran, taking into account the day’s temperature and humidity.
The glue is easy to apply, dry and wash, and completely natural.
Matsubara looked very pleased when he was talking about the glue, and we could see the passion and love he has towards nagaita chugata dyeing.

The post Dyeing both sides of the fabric “Fabric-dyeing artist, Nobuo Matsubara” first appeared on NIHONMONO.

The emergence of ”Edo komon”

During the peaceful Edo period, when there was no fighting, many feudal lords tried to make their ”kamishimo (ceremonial wardrobe of a samurai)” as lavish as possible. But the Edo government felt the lords were taking it too far, and banned lavish garments. The lords, on the other hand, still wanted to express their sense of fashion, so they adopted ”kamishimo” with ”komon” (small patterns) on it, so that the fabric looks to be solid-colored from a distance, but you see the small fine patterns up close. The stencils used to dye the fabric in the Edo period became the original design of what is known as ”Edo komon.”

”Wow!” said Nakata who was impressed when Masao Aida showed him the ”Edo komon” stencils in his studio. It was hard to imagine how such detailed patterns were cut out. The details of the pattern makes the fabric look solid-colored in the distance, but one can see the detailed patterns up close. The fine elaborate work is just astonishing.

A lifetime of learning

Aida showed us ”the most detailed stencil that can be carved by a person”. It is a stencil carved by the late Hiroshi Kodama who was a Living National Treasure. Nakata could not help but say ”Amazing…” as he studied it closely.

Aida’s work is to dye white fabric using the stencils. He places the stencil on the fabric and applies glue over it. The dyeing process starts when the glue is dried. The pigment will only dye the fabric where there is no glue. The process requires highly honed skills, since the stencil is about the size of a sketchbook, and it has to be moved and precisely matched to the previous pattern for the pattern to be seamless. On top of that, you have to be extra careful that the glue is applied evenly.

It takes 3 years to place the stencil, 8 years to make the right glue, and 9 years to apply the glue evenly with a spatula.
Aida says the whole process is a lifetime of learning.

”Even a single drop of sweat on the fabric will ruin it. So it’s really difficult in the summer. I have to take a lot of breaks during the hot season,” Aida told us. The work requires total concentration.

Made with such delicate craftsmanship, the kimono carries a refreshing image of beauty. The pattern is subtle but it is chic and stylish. It is the product of a relentless pursuit of beauty through Japanese craftsmanship.

The post Fashion secretly enjoyed by feudal lords ”Edo komon, Masao Aida” first appeared on NIHONMONO.

“Washi”(Japanese paper) Associated with Toyama Medicine Sellers

Toyama-city is very often associated with the Toyama medicine sellers. Manufacturing and retailing of medicine started in the Edo period in Toyama. At the same time, manufacturing of Yao ”washi” paper began to strive, as medicine these days were wrapped in paper wrappers or paper bags. If you regress more in time, there are records of ”Ecchu paper” in old writings such as ”Shosoin Monjo” from the Nara period or the ”Engishiki” from the Heian period. The features of ”washi” are that they are strong and tear-resistant. It was thus valued and was used for the making of umbrellas, paper screens, and paper lanterns.

Making Kata dyeing Paper

We visited ”KEIJUSHA” this time, where vivid colored ”Katasomegami dyed paper” are manufactured. Yasuki Yoshida of KEIJUSHA explains, ”Katagami paper is dyed with persimmon tannin which is called shibugami.” Nakata recognized shibugami as he had seen it before on his trip to Mie prefecture when he visited ”Ise kata paper”. ”Katasomegami dyed paper” uses kata gami and dye-repellant glue to draw designs, all done by hand. When we visited the workshop, they were using calendar design molds to apply the dye-repellant glue onto the ”washi”.

Yao ”washi” paper in Multiple Colors

KEIJUSHA utilizes the durability of the paper and makes wallets, bags, cushions, etc. Nakata suggests to Yoshida that if thickness of paper can be adjusted and if water-proof processing can be done, perhaps they can be made into table cloths and luncheon mats. The discussion continued on about how Japanese washi paper can further be adopted into daily life. In the present, there are hardly any traditional ”Kata Somegami” dyed paper manufacturers left. ”KEIJUSHA” still continues to create Yao ”washi” paper, in the same way as in the past.

The post Continuing to create vivid “katasomeshi” “Yao Washi Keijusha” first appeared on NIHONMONO.

It was developed as a souvenir from Kishuhan

Kimono that is hang on the hanger like if both arms were spread open. And the beautiful patterns that floats on top of it. It really makes me happy to be born Japanese.
”Katagami (Paper Pattern)” is used to make these patterns and figures to dye on to Kimono. In Ise, the pattern making has been popular since the old days and it has been used to dye ”Yuzen”, ”Komon” and ”Yukata”. It is said that the origin is more than 1000 years ago and has undergone tremendous development during the Edo period with the protection of the Kishu clan.
First, three pieces of Mino Paper brushed with persimmon tannin is overlaid vertically and horizontally and after drying in the sun, it is put in the room called ”Muro” to be smoked and to form the base of the pattern. Then it is completed by engraving patterns with a carving knife. There are various techniques such as ”Pull carving (Hikibori)” which draws even striped patterns, ”Cone carving (Suibori)” carving round patterns and ”Tool carving (Dougubori)”.

“Ise Katagami” give influence to any design

We met Masaaki Kimura, who specialized in a technique called ”Stab carving (Tsukibori)”. By stabbing the paper to carve the patterns, you can create more delicate shapes.

Originally, ”Ise Katagami” was used to dye Kimono but currently it’s art has been highly valued and is also used to dye furniture.
”How beautiful this Kimono is!”, yes, the patterns that many people looked upon in the old days, are still being made by the artists after so many years.

The post “Masaaki Kimura, Ise Katagami” painting the beautiful patterns first appeared on NIHONMONO.