In the area corresponding to present-day Hachioji, silk weaving has been practiced since around the end of the Heian period, with textiles such as Takiyama Tsumugi and Yokoyama Tsumugi being produced.
In the late Muromachi period, the Hojo clan, who settled on the banks of the Tama River, encouraged the production of Tama textiles as an industry for their people, which helped establish the area as a center of production. After the Meiji Restoration, the rapid development of technology due to modernization, coupled with the development of unique techniques, laid the foundation for TAMA Ori (Textiles) as we know them 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 Tsumugi weaving, the plain fabric, striped fabric, or ikat fabric shall be 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) For plain or striped fabrics, a hand-thrown shuttle or a pull shuttle shall be used to insert the weft threads.
  (3) In the case of vertical ikat weaving, the ikat patterns of the ikat threads sent out from the male reel are manually aligned to create the ikat pattern.
  (4) In the case of warp and weft ikat weaving, the warp ikat and weft ikat are matched by hand to create the ikat pattern.
  (5) The yarn used for the weft shall be spun silk or floss silk.
  (6) The dyeing method for the ikat thread shall be by "hand tying," "hand printing," or "board clamping."

   

  3. In the case of openwork weaves, the fabric shall be woven using the following techniques or methods:
  (1) The fabric shall be a double weave using a "Jacquard loom" or a "Dobby loom" with pre-dyed or pre-processed yarn.
  (2) Weaving shall be done by double weaving using two or more warp threads and two or more weft threads of two or more colors so that the front and back of the fabric can be reversed.
  (3) Adjusting the position of the "Twill Bamboo" and weaving while manually adjusting the tension of the warp threads to be uniform.
  (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.

   

  4. In the case of modified tapestry, it shall be a modified tapestry fabric woven using the following techniques or methods:
  (1) The fabric shall be a plain weave or a plain weave with a variation, using pre-dyed yarn.
  (2) For yarns with patterns, the weft threads in the patterned areas are first driven into the reed at an angle using a small shuttle, and then pulled in parallel to the reed using a fingernail or a slitting tool.
  (3) The warp threads shall be grouped in sets of four or more, and then each reed dent shall be manually pulled in. In this case, the reed density shall be 70 dents or more per 3.78 centimeters.
  (4) Adjusting the position of the "Twill Bamboo" and weaving while manually adjusting the tension of the warp threads to be uniform.

   

  5. 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

  The yarn used must be raw silk, spun silk, or floss silk.

• Work scene

  Work scene

  TAMA Ori (Textiles) is a type of woven fabric that is pre-dyed and pre-prepared using natural plant dyes. It uses three types of yarn: raw silk, spun silk, and floss silk. Furthermore, it is divided into five varieties based on the weaving method: Omeshi, Tsumugi, Kazetsu, Kawari, and Mugiri. In all cases, most of the main processes are done by hand.

  Process 1: Scouring

  Raw silk is placed in a bag and boiled in wood lye or straw lye to remove the gelatinous coating on the surface, softening the stiff threads and giving them a sheen. After washing and drying, it is processed into spun silk.

  

  Step 2: Design creation

  I design patterns for Tsumugi silk and Omeshi silk fabrics, then color each stitch individually to create the design. Based on this design, I then revise the weave structure and pattern into a design drawing.

  

  工程3： 染色

  1. Dyeing
  The thread, threaded onto a rod, is dipped into a pot containing dye. Care is taken not to let it boil, and the thread is quickly and evenly dyed by winding it. This process is repeated several times, after which it is rinsed, wrung out, and dried.
  2. Glue
  The dyed threads are immersed in a paste solution and kneaded. In particular, with Omeshi weaving, the weft threads are strongly twisted, so the paste is kneaded in thoroughly to prevent the twist from unraveling. Next, the threads are placed on a tension rod and tightened with a tensioning rod, and then smoothed to ensure that the paste penetrates evenly.

  

  Step 4: From reeling to winding the yarn

  ●In the case of silk fabric
  1. Omeshi yarn
  The yarn is placed on a skein frame of a reeling machine and wound onto the frame while applying a constant tension. Next, to prepare the yarn for the spindle, it is wound onto a bobbin, separating the left-twisted and right-twisted yarns. Then the yarn is passed through an Hachijo-style twisting machine, where a strong twist of 3000 turns per meter is applied while maintaining a constant humidity, and the yarn is twisted simultaneously in both directions.
  2. Warping
  The warp threads are wound onto a bobbin, and the number, length, and width are determined before they are wound onto the drum of the warping machine.
  3. Winding
  While inserting a piece of string to keep the thread from becoming tangled, rewind it in a male-style winding motion.

  ●In the case of Tsumugi weave
  1. Winding the thread
  The dyed and sizingd threads are placed on a skein frame, wound onto a yarn bobbin while applying a constant tension, and the number, length, and width of the warp threads are determined and then arranged on a warp board.
  2. Marking
  We take measurements according to the design drawings, mark them with ink, and determine the positions for the hand-binding.
  3. Tie-up
  To prevent the dye from seeping into the areas to be left white, wrap the fabric in oil paper and tie it tightly. For ikat patterns with many colors, there will be areas to be dyed and areas to be left undyed, so tie and untie the fabric many times.
  4. Dyeing
  The hand-tied threads are then immersed in a dye solution to color them.
  5. Pattern matching
  The dyed warp threads are stretched outdoors for a long time to dry, and then the hand-tied ends are untied to align the patterns. Next, the warp threads, dyed according to the ikat patterns drawn on the design drawing, are combined and the twill weave is created.
  6. Winding
  To prevent the threads from becoming tangled, insert some cotton grass and carefully wind the thread onto the reel, matching the patterns precisely.

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  工程5： 製織

  The warp threads are drawn into the heddles and reed, and the warp and weft threads are interwoven according to a set standard to create the fabric. In the case of ikat patterns, great care must be taken to prevent the warp threads from shifting as the weaving progresses.

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  工程6： 仕上げ

  The fabric is soaked in warm water and carefully hand-washed to remove the starch applied during the twisting process, and then dried (hot water washing). Finally, the fabric is widened using a hand-operated rolling machine while steam is applied (hot water pressing).

  

   

   

• Close-up

  Close-up

  TAMA Ori (Textiles), a genuine technique that improves in texture with each wear.

  Handmade cloth, blanched in the Tamagawa River, has a deep connection to cloth and textiles, as evidenced by its mention in ancient Manyoshu poems from the eastern provinces. Ancient documents from the Nara period mention it as a production center for raw silk and silk fabrics, and it is said that a silk weaving guild was established in the city during the Azuchi-Momoyama period. In Hachioji, a city steeped in history, we visited artisans who are carrying on the ancient techniques.

   

  A blue storm blows over the capital of Kuwanomiya

  It was a strange place. The workshop and residence, built over 100 years ago in the mid-Meiji period, had a charming appearance at the back of an alley, and dyed yarn was drying in the courtyard. From somewhere, the sound of looms could be heard, tapping and clattering. For a moment, one could even feel as if they had wandered into the world of folk tales. Sawai Eiichiro grew up with that "tap-tap-clatter" as his lullaby. His family has been dyeing and weaving in this place since his grandfather's generation.
  Hachioji was once known as the "City of Mulberry Trees." 900 years ago, the monk Saigyo, who was traveling throughout the country, stopped in this area and composed the poem: "Crossing the Asa River, the shadow of Mount Fuji is clear, and a green storm blows over the mulberry capital." Today, the hilly area is densely packed with housing complexes and universities, but in the past, it must have been a vast expanse of mulberry fields, with lush green leaves swaying in the wind.

  • 

    This is the home and workshop of Eiichiro Sawai. The Japanese house, which is said to be over 100 years old, is solid and unwavering.

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    In the courtyard, threads halfway through the dyeing process swayed in the wind.

  A kimono that doesn't wrinkle even when you move around in it.

  Of the five types of TAMA Ori (Textiles)—Omeshi, Tsumugi, Futsu, Kawari, and Mojiri—Omeshi weaving is in high demand among people involved in traditional performing arts throughout Japan. Because the threads have a special strong twist, kimonos made from this fabric are wrinkle-free, smooth, and easy to move in. Sawai says it is especially often used in Noh and Kabuki dances and other performances.
  "I think the underlying principle of all traditional crafts is the same: using genuine materials and doing genuine work. If you try to cut corners, it's all over, and the flaws will inevitably show."
  Twill weave is also known as stylish gauze. Top-class geishas often wear this stylish gauze kimono when they appear at banquets in places like Shinbashi. In the humid and muggy season, if you choose a linen kimono because it feels refreshing against the skin, it will inevitably wrinkle as you move around. That is extremely unrefined. One of the great features of TAMA Ori (Textiles) is that it does not wrinkle even when you stand and move around.

  

  Textiles are made by interlacing warp and weft threads according to certain rules. The tool Ms. Sawai is holding is a shuttle, which is used to pass the weft thread through when weaving.

  The more care you give to the silk, the more it responds.

  "I was really put through the wringer when I was a young apprentice," Sawai says, reflecting on his apprenticeship days.
  "I often went with wholesalers to kimono shops in Ginza and Yanagibashi. There were scary shop managers at those kimono shops. If you brought in something even slightly substandard, they'd throw the bolt of fabric and yell at you. But if you brought in something of the highest quality, they'd treat you to a meal at a fancy restaurant. Kimono shops have an important duty to fulfill, you know. They can't serve substandard products to their regular customers. Looking back now, I realize that it was there that I developed my ability to discern what's good and what's bad."
  The allure of natural silk can only be understood by those who have worked with it. The process involves combining three types of threads: main thread, spun thread, and floss silk, and it is truly a work that requires a deep connection with the threads. The more care and attention you put into it, the more the silk responds.

  The real thing gets better with each wear.

  Young people majoring in art, crafts, and fashion design come to Sawai's workshop to learn her techniques. Perhaps it's because they belong to a generation that grew up with everything readily available, where anything they lacked could simply be bought. That's why they find such a fresh sense of joy in creating and producing something themselves.
  "That's only natural. Whether it's 50 years or 100 years, the real thing will continue."
  The word "authentic" came up repeatedly from Mr. Sawai's lips. "Fakes are short-lived; only the genuine article can endure through the ages." Have we become so accustomed to thin, cheap, shiny synthetic fibers that our way of life has become superficial as well? I suddenly reflect on myself and feel a jolt of unease.
  Whether it's a kimono or Western clothing, it's difficult to tell the difference between genuine and fake just by looking at it. But Sawai laughs, saying the way to tell the difference is simple and straightforward.
  "A genuine garment improves in texture the more you wear it. A fake, on the other hand, just gets worn out the more you wear it. It's just a disposable item."
  Now that opportunities to experience traditional Japanese clothing in everyday life are decreasing, it's all the more important to see, touch, and actually try on the real thing. TAMA Ori (Textiles) radiates an undeniable brilliance of authenticity.

  • 

    Sawai checks the texture of the finished fabric.

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    A scarf woven using techniques from traditional silk weaving. Silk is popular because it is both lightweight and warm.

  Craftsman Profile

  Eiichiro Sawai

  Born in 1921.
  When someone who wears my work compliments me, it makes me happier than receiving any medal. I continue my dyeing and weaving work with my son and his wife.

  Anecdotes

  Words born from textiles

  We often use idiomatic expressions like "to waste time" or "without hesitation" without giving them much thought. In fact, quite a few of these expressions are related to weaving. For example, "to twist one's arm" means to be eager to show off one's already confident skills even more. "Twisting" refers to mixing and twisting threads together, which evokes the idea of twisting threads to create a stronger fabric. "To ramble on" is linked to the buzzing sound made when winding a spinning wheel, and refers to rambling on about trivial things while drunk. Also, in the process of matching patterns before weaving ikat patterns, a process called "twill" is performed. This likely evolved into "cat's cradle," a girls' game where shapes are created using threads. Words born from everyday life are imbued with the realities of daily life. Looking at it this way, we can see that weaving was at the core of people's lives.