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.

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.

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.

The post “Ebisuya Ono Sensaisho” Clean water that produces infinite color first appeared on NIHONMONO.

Karamushi fabric is cool like hemp

”Karamushi weaving” is a designated Important Intangible Cultural Property. of FUkushima. The fiber is taken out of out of ramie or ”Karamushi”, a perennial plant of the urticaceae family, spun into yarn, and women to make fabric. At first glance, it looks like hemp cloth, but it is firmer than hemp. It is versatile and can be used for small accessories to fabric for kimono.
While Miyako or Ishigaki are famous for high quality fabric using ramie, Showa is the only region on the mainland of Honshu where ramie is grown. We were told that it has been passed down from generation to generation under strict quality management for about 600 years.

The appeal of Karamushi weaving

We visited a workshop in Showa village and spoke to Tamaki Saito, a Karamushi weaver. Saito is not a native of Showa village. In fact, the village government recruits four trainees every year to relocate to Showa village and learn about Karamushi weaving. Saito came to Showa village as one of those recruits. She remembers being impressed with the snow covered scenery when she first arrived.
”What made you want to try Karamushi weaving?” Nakata asked, to which she laughing answered ”Actually, I didn’t have any particular reason.”
”I can grow the ramie, spin it, and weave it. I can create it with my own hands from start to finish. That had the greatest appeal. It made me want to try it out. And Karamushi has been passed on from generation to generation, and is ingrained in the local lifestyle. I am very enchanted with Karamushi weaving and life in this village now.”

Spinning takes the most time

Saito is involved in the entire process from start to finish. She grows the plants, harvests it, spins yarn and weaves. Of all the different steps, what is most time consuming, more than sitting in front of the loom, is spinning the yarn.
We observed the spinning process. Dried ramie fibers are soaked in water to soften, then split one by one using a nail, and are twisted by hand to connect them together.
”The thickness of the thread that is used for kimonos is different from that used for small accessories. It is difficult to make thin thread. It takes a lot of time.” Each technique was taught by the elderly women in the village.

Carrying on the tradition of Karamushi weaving

Even now, Showa village recruits Karamushi weaving trainees every year. They are out in the fields from spring to fall, and also spinning yarn. In the winter, they weave Karamushi fabric using the yarn. Among the trainees, there are many who remain in Showa village and continue making Karamushi fabric. The tradition that is alive in the local region continues to attract people to the area.

The post Growing the material to create the woven fabric “Karamushi weaving, Tamaki Saito” first appeared on NIHONMONO.

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.

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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.

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Cool hemp “kimono”

Chijimi-ori utilizes the strong twist of the weft thread as it is woven, then kneaded in warm water to give the fabric crinkles. The “Ojiya-chijimi” is so popular from long ago that when referring to a “kimono” made from crinkled fabric it would automatically mean “Ojiya-chijimi.” “Ojiya-chijimi” masterpieces are usually “kimono” and “yukata” made with hemp thread. They are actually cool to wear as they are cool to the eyes. Why were summer “kimono” produced in an area with such heavy snowfall? Takashi Higuchi’s explained, “Thin hemp thread does well in cool air. The fiber also easily breaks in low humidity. With the snows as much as two to three meters deep in this area, it is as if the whole house is enveloped in a snow dome. The temperature is 0℃ whereas the humidity is 100%. This climate is ideal for making ’kimono’ with hemp.” The ancestors made this discovery as they exerted ingenuity in everyday life of the snowy region. It is a fabric made by the snowy climate. “Yuki-sarashi” is a process in which the fabric is exposed and dried in snow, a common scenery in this region during winter. “Ojiya-chijimi” and “Echigo-jofu” was designated as an Intangible Cultural Heritage by UNESCO in 2009.

Possessing both practicality and elegance.

Nakata shows keen interest as he had been searching for summer “yukata” or “kimono.” for himself. He listens as fabric’s features are explained to him as he tries on the “kimono.” They are extremely light, absorbs sweat, and ventilates well. It is an ideal summer-ware. Not only is it practical, the “kimono” made by Higuchi is elegant. There is a graceful beauty in his design such as the moon subtly decorating the cuff of the “kimono.” Nakata murmurs, “This is nice,” as he tries them on. “I can also change the color of the under garment. Not just white but dark grey or light blue to match the color of the ’kimono.’” It was as if he could already see himself in “Ojiya-chijimi.”

Kimono that you can wash

The greatest feature of hemp “kimono” is that you can wash them at home. “You can wash them yourself. Wash it with cold water and it will be dry by morning. It may be wrinkled after you wear them but if you spray water on it, the wrinkles will come out. They said it was the original ’wash-and-wear’ when it was introduced on TV.” Of course you cannot wash silk “kimono” at home, so being able to do this a big advantage. During summer it is cool, comfortable and you can enjoy the texture and the coloring of the material. “Ojiya-chijimi’s” long popularity is based on the climate and wisdom of the people.

The post Textile woven with Niigata climate “Ojiya-chijimi, Takashi Higuchi” first appeared on NIHONMONO.