It is said that about 1300 years ago, Princess Shirataki, who served in the imperial court, married into the Yamada family of Kiryu and introduced sericulture and weaving to the villagers, which marked the beginning of this tradition.
The rise of Nitta Yoshisada's banner at the end of the Kamakura period and the use of Kiryu's white silk banner by Tokugawa Ieyasu at the Battle of Sekigahara in 1600 brought KIRYU Ori (Textiles) nationwide fame. Furthermore, in the first half of the 19th century, with the protection of the shogunate, they began producing high-quality textiles such as kinran donsu (gold brocade) and itonishiki (thread brocade), and these techniques and methods have been passed down to KIRYU Ori (Textiles) today.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. In the case of Omeshi weaving, the fabric shall be a crinkled fabric woven using the following techniques or methods.
  (1) The fabric shall be plain weave, twill weave, satin weave, or a variation thereof, and shall be pre-dyed or pre-processed.
  (2) The threads used for the Omeshi silk should be twisted first, and then bracken starch or other plant-based starches should be manually incorporated into the twisted threads.
  (3) For twisting the silk threads of the Omeshi silk, use the Hachijo-shiki twisting machine.
  (4) The wrinkles should be formed by "hot water massage".
  (5) The density of the warp threads shall be 100 or more per centimeter.

   

  2. In the case of weft brocade, the patterned fabric shall be woven using the following techniques or methods:
  (1) The fabric shall be a plain weave variation, twill weave, satin weave, or a variation thereof, using a "Jacquard loom" with pre-dyed or pre-processed yarn.
  (2) For weaving, a hand-thrown shuttle, a pull shuttle, or eight or more shuttles, six or more heddles, or a pull device shall be used.
  (3) The crest shall be represented by the weft thread. In this case, if weaving is done using "eight or more shuttles", the crest shall be "embroidered".

   

  3. In the case of warp brocade, the patterned fabric shall be woven using the following techniques or methods:
  (1) The fabric shall be a pre-dyed plain weave or twill weave using a "Jacquard loom".
  (2) The warp threads shall consist of three or more colors, and after being drawn from two or more spools and made into a group, they shall be manually pulled into each reed.
  (3) Adjusting the position of the "Twill Bamboo" and weaving while manually adjusting the tension of the warp threads to be uniform.
  (4) The weft threads shall be woven in alternatingly with "shadow threads" and "ground weft threads." In this case, the density of the weft threads shall be 40 or more per centimeter.
  (5) The crest shall be represented by the warp threads.

   

  4. In the case of openwork weaves, the patterned fabric shall be woven using the following techniques or methods:
  (1) The fabric shall be a double weave using a "Jacquard loom" with pre-dyed or pre-processed yarn.
  (2) Weaving shall be done by double weaving using warp threads of two or more colors and weft threads of two or more colors so that the front and back of the fabric can be reversed.
  (3) To have a "stitched crest" applied.
  (4) The warp thread density shall be 120 threads or more per centimeter, and the weft thread density shall be 40 threads or more per centimeter.

   

  5. In the case of warp-woven fabrics, the patterned fabric shall be woven using the following techniques or methods:
  (1) The fabric shall be pre-dyed or pre-processed and woven in a warp layer using a "Jacquard loom".
  (2) The warp threads shall consist of two or more colors, drawn from two or more spools to form a group, and then manually pulled into each reed. The warp thread density shall be 150 threads or more per centimeter.
  (3) Adjusting the position of the "Twill Bamboo" and weaving while manually adjusting the tension of the warp threads to be uniform.
  (4) The crest shall be either "floating" or "floating" and "picture weft".

   

  6. In the case of warp ikat weaving, the woven fabric shall be made using the following techniques or methods:
  (1) The fabric shall be pre-dyed or pre-processed and woven using a "Jacquard loom".
  (2) The dyeing method for the warp threads shall be by "hand tying," "board clamping," or "stencil dyeing."
  (3) The crest shall be either a "picture weft" or an "embroidered crest".

   

  7. In the case of gauze weave, it shall be a gauze fabric woven using the following techniques or methods:
  (1) The fabric shall be pre-dyed or pre-processed gauze woven using a "jacquard loom".
  (2) For weaving, a hand-thrown shuttle, a pull shuttle, a pattern shaker, or a modified reed shall be used.

   

  raw materials

  1. The threads used shall be raw silk, spun silk, floss silk, or silk, cotton, hemp, gold, or silver threads of equivalent quality.

  2. The foil used shall be gold foil, silver foil, or lacquer foil, or one that has equivalent properties.

• Work scene

  Work scene

  KIRYU Ori (Textiles) involves a process of spinning, twisting, dyeing, designing, weaving, and finishing to create a single bolt of fabric. The refined techniques, achieved through a division of labor, are among the most advanced in Japan.
  KIRYU Ori (Textiles) employs seven techniques: Omeshi weaving, weft brocade weaving, warp brocade weaving, open weaving, floating weaving, warp ikat pattern weaving, and twisted weaving. It is characterized by its rich expressiveness achieved through the use of jacquard weaving.
  Here, we will introduce the process of making a typical "Omeshi weave."

  Process 1: Yarn production

  Silk threads are spun from silkworm cocoons to produce "raw silk." Different types of threads are used for the warp and weft threads.

  

  Step 2: Scouring, dyeing, and sizing

  The raw silk is kneaded in boiling water with chemicals for 60 minutes, and after removing any excess material, the thread is dyed to the specified color.
  Next, in order to create the unique crinkled texture of Omeshi fabric, twice the weight of the fibers in starch is manually rubbed into the weft threads. The starch prevents the twist from returning to its original state during the subsequent twisting process.

  

  Step 3: Twisting the yarn

  Twisting very thin threads together to make a stronger yarn is called yarn twisting. For Omeshi silk fabrics, a specially developed eight-spin yarn twisting machine is used to twist the yarn 1,500 to 2,000 times per meter. After this, the yarn is reeled in and prepared for warping and winding onto bobbins.

  

  Process 4: Warping and winding into tubes

  The number and width of the warp threads are determined, and they are prepared to the required length. This is called warping, and winding the weft threads onto wooden bobbins is called bobbin winding. There are manual, mechanical, and automatic winding methods. At this point, the preparation of the threads is complete.

  

  Step 5: Design and pattern cutting

  The process involves designing kimonos. The pattern is transferred onto a grid-like paper called "design paper," and then holes are punched in the paper according to the design, indicating the raising and lowering of the warp threads. Currently, cutting-edge technology is being skillfully incorporated, and designs created on a computer are saved as image data, which is then sent directly to the loom to weave the pattern. This has broadened the range of designs and further enhanced the rich expressiveness of KIRYU Ori (Textiles), which has always been highly regarded.

  

  Step 6: Jacquard machine setup

  A Jacquard is a machine that inputs pattern data from pattern paper or a computer to the heddles (devices that move the warp threads up and down). The movement of the Jacquard is transmitted from the threading to the warp threads, causing them to open up and creating the pattern.

  

  Step 7: Weaving

  The fabric is woven by inserting the weft threads into the gaps between the warp threads as they move up and down (this is called reed beating). The threads, which are "lines," become the "surface" of the fabric. The jacquard guiding the openings at the top and bottom of the warp threads creates various patterns on the surface of the fabric. The surface of the finished fabric is then meticulously inspected.

  

  Step 8: Texture

  The fabric is immersed in hot water to remove the starch from the weft threads, causing them to twist. This twist appears on the surface of the fabric as a crinkled texture (a raised or recessed surface).

  

  Step 9: Organize

  The fabric, which has shrunk after being crimped, is then steamed to widen it. It is then hammered with a wooden mallet to create a textured finish. The width and length are measured, and any damage or stains are inspected and repaired to complete the process.

  

   

   

• Close-up

  Close-up

  KIRYU Ori (Textiles) A pioneering spirit that colors the times.

  Kiryu has flourished as a textile production center since long before the Edo period. The history of KIRYU Ori (Textiles) which has blended tradition with innovation, offers a glimpse into Japan's industrialization process.

   

  The history of KIRYU Ori (Textiles)

  The history of KIRYU Ori (Textiles) is long, and existing documents show that as early as the 8th century, ashiginu silk was presented to the imperial court as tribute from Kozuke Province (present-day Gunma Prefecture). During the Battle of Sekigahara, Tokugawa Ieyasu requested 2,410 bolts of silk to be used as banner silk to hastily return his troops from Oyama to Sekigahara, and Kiryu responded to this request. Because of this connection, Kiryu was treated favorably by the shogunate and developed into a major textile production center.
  Minoru Arai is a traditional craftsman and the 20th-generation head of a weaving company in Kiryu. We spoke with him about his vision for the future of traditional crafts.

  

  The expressiveness is a defining characteristic of KIRYU Ori (Textiles)

  Introducing computers into manufacturing?

  "There are two types of traditional crafts. One is one that should be carefully preserved, and the other is one that should be integrated with cutting-edge technology of the times. Kiryu's textiles were able to become a world-renowned textile industry precisely because they made new technologies their own."
  At KIRYU Ori (Textiles), cutting-edge computer-aided image processing technology is used to design patterns. This is a sight that seems out of place given the image of "tradition." "Even when we say we're introducing machinery, there's a huge difference between automatic looms for rationalization and machines that are introduced to increase added value and refine the technology," he says, emphasizing the importance of not being swallowed up by cutting-edge technology but rather making it one's own. This is a way of thinking that is very typical of Japanese technology, which has adopted Western technology and created products that surpass those of the West.

  

  Computer-aided design planning

  KIRYU Ori (Textiles) has made a significant contribution to Japan's textile production regions.

  The roots of their ability to embrace cutting-edge trends can be traced back to the Edo period. In 1738, a famine and a great fire struck Kyoto. Weavers from Nishijin who were left without work were invited to Kiryu, and at the same time, talented individuals from various regions moved to Kiryu to learn weaving techniques. These weavers were then invited to the current textile production areas, spreading their skills throughout the country. "There are few true Kiryu natives in Kiryu. Many people from other regions were granted permission to become weavers. Therefore, they didn't have a conservative mindset to begin with, and they spread their techniques to various regions." The spread of weaving techniques through Kiryu can be seen in the pattern cards used to record the opening movements during pattern weaving in various regions. This is because the pattern cards used in almost all textile production areas across the country are the same as those used in Kiryu. "While Kiryu learned the techniques from Nishijin, they didn't simply adopt them blindly. The pattern cards from various regions show that they adapted the techniques to suit Kiryu's style before passing them down."
  Mr. Arai speaks with pride about Kiryu's history, saying that it was precisely because weaving techniques were spread throughout the country that Japan was able to quickly establish its textile industry during the later Industrial Revolution.

  

  The jacquard pattern on the top of the traditional loom is the design of the fabric.

  Its rich expressiveness was only possible because of its fusion with modern technology.

  KIRYU Ori (Textiles) employs seven techniques. Among them, the expressive power of textiles woven using the jacquard technique is remarkable. "This pattern, too, was developed with the intention of exporting it to the world." During the Meiji period, Kiryu focused on wide-width textiles for export. Wide-width textiles have richer patterns woven from the weft threads than traditional textiles. By applying the techniques of wide-width textiles to narrow-width textiles, it became possible to express even more intricate patterns.
  "During the war, we lost our precious looms. But in Kiryu, we built looms ourselves and achieved reconstruction on our own." Currently, computer-aided jacquard weaving is widely introduced in the region. The Kiryu method has become the standard for jacquard weaving nationwide. This is also due to the unity and cooperation of the weavers of Kiryu. Cooperation, self-reliance, and proactiveness—these may be the reasons why industry took root so smoothly not only in Kiryu's textile industry, but also in Japan, which previously only had handicrafts.

  

  One of the seven techniques, the gauze made using the "twist weave" method.

  A glimpse of hints for the future

  The textile industry, which has led Japan since the early 20th century, has developed its technology while weathering the turbulent times. While incorporating Western technology, it has also firmly preserved its unique traditions. In the 21st century, how will KIRYU Ori (Textiles) ride the next wave? It's a fusion of tradition and cutting edge that offers a glimpse into understanding the future.

  Craftsman Profile

  Minoru Arai

  "The difficult thing is to make new technologies your own without becoming overwhelmed by them," says the managing director of KIRYU Ori (Textiles) Cooperative Association. He also serves as the vice chairman of the Japan Traditional Craftsmen's Association and is one of the most eloquent speakers in the association.

  

  Anecdotes

  A modern recreation of Kiryu's traditional Saya Market.

  Kiryu silk has a history of being used as flags by Sengoku period warlords, such as the silk used for the banner of Nitta Yoshisada when he fought against the Kamakura Shogunate, and the silk used for the banner of Tokugawa Ieyasu when he sent his army from Oyama to Sekigahara. Because of this connection, Kiryu was cherished by warlords of the era, and its favorable geographical location allowed it to develop into a key trading center.
  The picture shows a depiction of the Saaya market, a place still talked about in folklore today. The thriving silk trade made the town prosperous, and products from all over the country gathered there.
  In an effort to revive the traditions of Saaya City in the modern age, an event called "SAYA City" is held in the city every year in early November.

  • 

    A reproduction of Saaya Market using pictorial weaving (by Minoru Arai)