History of “Masashichi Nakagawa Shoten”

Many people have probably seen “Masashichi Nakagawa Shoten” and “Yuu Nakagawa” at commercial facilities and station buildings around Japan. These stores are operated by Masashichi Nakagawa Shoten Co. The company that operates these stores is Masashichi Nakagawa Shoten Corporation, whose vision is to “Energize Japanese crafts!

Nakagawa Masashichi Shoten has a long history. In 1716, Kihei Nakaya I founded the wholesale business of Nara Sarashi in Nara Prefecture. Nara-zarashi is a hand-woven, hand-bleached hemp fabric that has been bleached to a pure white, and because of its high quality, it was valued during the Edo period as formal clothing for samurai warriors and for use at shrines and temples.
However, with the Meiji Restoration, the demand for Nara-sarashi began to decline as the samurai, who were the biggest consumers of the fabric, disappeared. While many Nara-sarashi shops changed their business, Nakagawa Masashichi Shoten tried to survive as a hemp shop by opening up new markets such as sweat absorbent for bathing and maternity clothes. The strategy paid off, and the high quality of the “Sweat Cloths” was recognized and the company was honored with an Imperial warrant. In 1925, the company exhibited a handkerchief made of handspun hand-woven linen as a representative of Japanese craftsmanship at the Paris Exposition, and received a certificate of merit. The certificate of the exhibition is still displayed in the main store. Today, the factory in Japan is no longer in operation, but in order to preserve the handmade texture, some of the production has been moved overseas to keep the handspun hand-woven hemp handkerchiefs alive.

The challenge of “Masashichi Nakagawa Shoten”

In 1985, Masashichi Nakagawa, who had been engaged in wholesale and manufacturing until then, opened “Yu Nakagawa” in a vacant workshop following the relocation of the head office and started the retail of linen accessories. At the time when Masashichi Nakagawa joined the company, about 70% of its annual sales of 1.2 billion yen were related to tea ceremony utensils, and sales of Japanese goods using linen fabrics accounted for only about 30% of total sales, 80% of which were wholesale and 20% of which were retail. After determining how to keep up with the competition, the company decided to strengthen its brand power, in other words, to dramatically increase the number of points of contact with customers. In this way, the company succeeded in accelerating sales at directly managed stores and the development of its own brand, thereby raising its brand recognition. The company began to collaborate with makers across the country to develop products not only for hemp, but also for general household goods based on Japanese craftsmanship. In particular, “Hanafukin,” made of two layers of 100% cotton kaya-ori fabric, won the Good Design Gold Award in 2008 for its functionality and lovely appearance, and continues to be a best-seller today. Today, the company has grown to have approximately 60 stores nationwide, and in the 16 years since Mr. Nakagawa joined the company, sales in the household sundries business have increased 13-fold. Furthermore, under the vision of “Revitalize Japanese crafts! the company expanded its business to include management consulting and distribution support for craft manufacturers nationwide.

An “industrial revolution” in crafts and “industrial tourism” to spread their appeal.

Mr. Nakagawa’s goal is to energize the entire manufacturing region. Crafts are based on the division of labor, and if any part of the craft is interrupted, the whole process comes to a halt. For example, in a pottery production area, if all processes could be completed in one place, including the fabric and mold makers involved, rather than just the potter, an “industrial revolution” would be born in the world of crafts. However, this would require a huge investment. So what should be done to make it happen? The concept that we came up with was “industrial tourism. By gathering manufacturing sites in one place and preparing them so that visitors can come at any time, it will be easier for them to come into contact with local craftsmanship and industrial tourism will become a reality. Industrial tourism requires not only manufacturing, but also attractive contents such as good food and lodging. After nearly 10 years of planning, the city decided to open a three-story commercial complex “Shikasaru Kitsune” in April 2021 as a base for “revitalizing Nara as a city”. The three-story commercial complex “Shikasaru Kitsune Building” opened in April 2021 as a base for “revitalizing the entire city of Nara.

Designed by one of Japan’s leading architects, Mr. Hiroshi Naito, the building’s appearance blends in with the wooden architecture of Naramachi, and the alleyways within the building are intended to create a nostalgic atmosphere, expressing the newness of the old while preserving the old. The building is designed to be a place where many people who come to Nara to visit the “Shika Sarukotsu Building” can enjoy food and shopping, as well as an area where visitors can learn about the history of Nakagawa Masashichi Shoten’s craftsmanship. In addition, the “JIRIN” area was established to provide multifaceted support for small businesses in order to create an opportunity for people to try starting something in Nara against the backdrop of Nara’s rich cultural heritage. It holds study sessions on business management, and right next to the space, Nakagawa and his team have set up an office. New small businesses have already sprung up here, and the first star that will energize Nara, as Mr. Nakagawa envisioned, has begun to shine.

Nakagawa says that even at this point, they have only reached the second stage of their goal.
The challenge of Nakagawa Masashichi Shoten will continue in order to restore the pride of Japanese craftsmanship.

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Creator of the beautiful and gentle white “White Mud Oshima”

Many people may think of Oshima tsumugi as beautiful black or dark blue fabrics produced through a chemical reaction between the iron in the mud and the tannin in the dye. However, Mr. Yukichi Masuda of Kagoshima City is an Oshima pongee artist known as the creator of “HAKUDEI OHSHIMA,” which overturns such conventional wisdom. The white silk kimono hanging in his workshop is beautiful with its pale and mellow white tone and detailed patterns. Most of the white Oshima produced by Mr. Masuda are original designs. Most of the white Oshima produced by Mr. Masuda are original designs, created to suit modern sensibilities, and there are few so-called classic patterns.
The white Oshima is not pure white, but has a beautiful, delicate coloring. It is a milky white, or a gentle white like porcelain.
That is exactly the starting point. Oshima tsumugi uses the same mud as Satsuma-yaki, a ceramic ware, but there are black Satsuma and white Satsuma in Satsuma-yaki. I thought that the white color of Oshima tsumugi could also be made with mud, so I continued my research,” says Masuda.
Mr. Masuda is from Kikai Island, located east of Amami Oshima, and when he was 21 years old, he started working for Kei Oshima Tsumugi Textile and became involved in the development of white mud-dyeing technology. He spent many years researching to produce beautiful white Oshiman Tsumugi silk, which inherited the softness and gloss peculiar to mud-dyed Oshiman Tsumugi, and developed the white mud-dyed Oshiman Tsumugi silk. In 1984, Mr. Emi Michio registered the trademark of “Hakkeidoro” under the name of “Hakkeidoro” and Megumi Oshima Tsumugi Textile closed its business, so the trademark of “Hakkeidoro” was inherited by Mr. Masuda.

To know all about Oshima Tsumugi

Before Mr. Masuda started the white mud dyeing process, there were Oshima pongees that were whitened with chemical dyes, but this did not give them the moist, supple feel and color that are the characteristics of mud dyeing. Shirae mud is the white clay of white Satsuma porcelain. It takes about two months to thoroughly remove impurities from the mud particles that have been formed over tens of thousands of years before dyeing the yarn. By doing so, the fine mud particles penetrate deep into the threads of the cloth, and each thread is slightly aerated, creating a fluffy texture. By not dyeing, the threads are resistant to fading, yellowing, and friction, and they recover from wrinkles quickly. The deep off-white color with reduced luster is a unique color that can only be produced by the power of nature.

Today, most Oshima tsumugi is made at major factories, where the division of labor from design to dyeing and weaving is the norm. However, Mr. Masuda does everything himself. In the back of his ordinary home, there is a workshop for dyeing and a weaving machine.
It took me nine years of searching for the right color before I found it,” he says. It’s hard to work alone, but that’s why it’s so interesting. But that is why it is so interesting. It has long been said that craftsmen rely on experience and intuition, but it is also important to gather data. There are many things to be learned from traditional techniques,” says Masuda.

Dyeing alone is hard work, but Mr. Masuda’s weaving technique, which uses the remaining kasuri threads in the design, is also very detailed and time-consuming. It is like creating a puzzle from a huge number of pieces. Even so, Mr. Masuda continues to work at it day after day.
He has never been satisfied with his work. I want to make better Oshima silk,” says Mr. Masuda.
He has a big smile on his face as he talks about this. I have learned that a person who has found a job to devote his/her life to can look so good.

NIHONMONO – 「にほん」の「ほんも…

世界三大織物の一つ「大島紬」古代天然染色工房「金井工芸」／鹿児島県大島郡 – NIHONMONO 奄美大島が誇る「大島紬」 鹿児島で大島といえば、奄美大島のことだ。離島としては、日本で3番目の大きさを誇り、2

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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.

Yuki-tsumugi representing Ibaraki

After the cocoons are boiled for about an hour, skilled workers carefully form silk floss in tubs. Sild thread is carefully pulled from the floss. This traditional method is still being used to create Yuki-tsumugi in Yuki, located in the western part of Ibaraki prefecture. Yuki-tsumugi is a traditional craft from Ibaraki and is also a registered UNESCO intangible cultural heritage.
“We use our saliva to weave the thin threads together. The protein in saliva allows us to bundle the thin fiber together to form the thread.”
Hajime Mori is one of the craftsperson who carry on the tradition of Yuki-tsumugi. The atelier is equipped with a “jibata”, or weaving machine, and a stand used to dye the thread before its woven.
Yuki-tsumugi uses a method where the thread is dyed before it’s woven. There is careful calculation involved in creating the flowers, plants, and other designs by weaving the dyed thread vertically and horizontally.
Portions of the thread are covered with cotton thread to allow the original color to remain during the dye process, and used to create the final design.
The dyed thread are beautiful even before they are woven, and Nakata commented that “displaying the thread would be attractive.”

The quality of Yuki-tsumugi is recognized around the world and has been used for collaborations with renowned brands to create suits and fabric. We spoke with Yoriyuki Okusawa, the 5th generation of Okujun, the weaver which has carried on the traditions of Yuki-tsumugi since its establishment in 1907.
“The characteristic of Yuki-tsumugi is that the thread is hand-pulled from the silk floss and woven with a `jibata` weaver. The `jibata` is low to the ground compared to other weavers, requiring the weaver to use the entire body. The unique shape is said to be the inspiration for the folk tale `the crane’s gratitude`. It can take up to 5 months for 1 sheet of fabric because there are more than 40 steps involved including pulling the thread from the floss. Complicated designs can take a few years.”

Museum telling the story of Yuki-tsumugi

Pulling thin fiber from a large floss of silk and threading them by hand. The daunting task of making thread can take up to three months.
“The cocoon protects the silkworm. It doesn’t allow ultraviolet rays through, maintains a comfortable level of humidity, and even has anti-bacterial properties. This is incorporated in the Yuki-tsumugi, allowing for the comfort when you adorn it.” (president Okusawa)
The dyeing process is also painstaking. Tying cotton string to the silk thread to create a pattern. Bunching several millimeters of thread together and adjusting the cotton thread to achieve the desired pattern. The knots must all be the same tightness. On some days, Mr. Mori repeats this process more than 2000 times in a single day. Yuki-tsumugi is light and graceful, a result of the many painstaking hours of labor. It must be delightful to be enveloped in a kimono made from this very special fabric. It is sure to be a top candidate when Nakata has a new kimono made.

Okujun is involved in planning, designing and selling Yuki-tsumugi as a wholesaler. In 2006, a museum was opened on the property housing documents that relay the technology and history of Yuki-tsumugi. Okujun is also involved in developing new products such as scarves and small products in addition to the traditional kimono. There is also a store selling Yuki-tsumugi items and a workshop where visitors can experience the craft. It is a comprehensive cultural facility that passes on the significance of Yuki-tsumugi.

The post The only silk weave registered as a UNESCO Intangible Cultural Heritage – Yuki-tsumugi, “Okujun” first appeared on NIHONMONO.