Tsumugi silk weaving began in the mid-Edo period, along with sericulture. By the late Edo period, it was such a major production area that silk merchants from weaving centers such as Joshu (present-day Gunma Prefecture) and Kyoto would come to negotiate trade.
Tsumugi silk, made from discarded cocoons, was woven for personal use and employed the techniques of OJIYA Chijimi (Ramie Crepe Textiles) silk weaving. Although tsumugi silk was overshadowed by OJIYA Chijimi (Ramie Crepe Textiles), full-scale production of tsumugi began in the early Showa period. Through continuous improvements to the tsumugi yarn, the foundation of modern tsumugi silk was established.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. The fabric must be a kasuri textile woven using one of the following techniques or methods.
  (1) The fabric shall be plain weave with pre-dyed yarn.
  (2) Kasuri yarn shall be used as weft or as both weft and warp.
  (3) The warp threads shall be made of spun silk or hand-spun floss silk, and the weft threads shall be made of hand-spun floss silk.
  (4) By manually matching the patterns and selvages of the ikat threads, the ikat pattern and selvage markings are aligned to create the ikat pattern.

   

  2. The dyeing method for the ikat thread shall be by "hand-tying" or "hand-printing." In this case, a "wooden ruler" shall be used as the horizontal guide.

   

  raw materials

  The yarn to be used should be either spun silk or hand-spun floss silk.

• Work scene

  Work scene

  The production process for OJIYA Tsumugi (Pongee) is divided into several stages. First, the raw material, raw silk floss, is spun into yarn by hand. Ikat patterns are then applied to this yarn, but the warp threads are plain, and the pattern is created only by the ikat weft threads. This is called weft ikat and is said to be a characteristic of Ojiya textiles. When applying the ikat pattern to the weft threads, a ruler is first created, and marks are made with ink along the ruler. Then, dye is rubbed into the yarn using a spatula called a rubbing spatula. After dyeing the yarn, it is set on the loom and weaving can finally begin. Even then, the weaving is done carefully while checking the position of the ikat patterns on the warp and weft. Finally, the finishing touches are applied, and the fabric is completed.

  Step 1: Design (creating ikat patterns and making rulers)

  Fine grooves, perhaps a dozen or so, are carved into a board or paper, and the ikat pattern is transferred onto them. This breaks down the pattern into linear sections. The pattern is then transferred onto a ruler made of stacked thin boards. This ruler for the weft threads is called a wooden ruler. It determines where the color should be placed in the threads to create the ikat pattern. One ruler represents the pattern of one pass of weft thread. This process is repeated to create rulers for all the ikat patterns.

  

  Step 2: Making the yarn

  The raw silk is carefully pulled out with the other hand while being spread open with one hand, creating extremely fine hand-spun yarn. The thickness of the yarn is determined by the amount of pressure applied when pulling it out. Then, the warp threads for the base fabric, the weft threads for the ikat pattern, and the warp threads are twisted together separately. After that, the yarn is refined with hot water.

  

  Step 3: Marking and shaping

  The weft threads are stretched onto a stretching stand, and ink marks are made on the pattern positions according to the ikat ruler. Next, the ink-marked parts of the weft threads are tightly tied with old hemp. This prevents the tied parts from being dyed.

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  Step 4: Rubbing

  Using a rubbing tool, the dye is rubbed into the areas that have been marked with ink. The yarn is tied into skeins and dyed by repeatedly rubbing it together with the base yarn. It is then placed in steam to fix the color. After that, sizing is applied to make it easier to weave.

  

  Step 5: Preparation for weaving, weaving

  Following the design, the warp and weft threads are carefully positioned and tightly wound. From here, the process differs depending on whether the warp or weft is used. The warp threads are passed one by one through the heddles of the loom, and then two at a time through the reed. The standard number of warp threads is around 1200. The weft threads are unbound and then wound into 8 to 16 strands on a reeling frame, and then placed on a small reeling stand to separate them one by one. Finally, they are wound onto bobbins for weaving. Now the fabric is ready to be woven, and the weaving process can begin. The pattern is created by aligning the marked selvages on the woven fabric.

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  工程6： 仕上げ

  The silk is soaked in lukewarm water to remove excess starch, then dried and beaten with a mallet to bring out its natural texture. After that, it is inspected for stains and weaving irregularities.

  

   

• Close-up

  Close-up

  The warm and inviting world of OJIYA Tsumugi (Pongee)

  Tsumugi silk fabric achieves its unique texture by using different threads for the warp and weft. This textile is a tradition passed down in Ojiya, a region in Niigata Prefecture known for its heavy snowfall.

   

  Tsumugi silk, which gives a feeling of warmth, and Chijimi silk, which has a delicate texture.

  In Echigo, there are two types of textiles: OJIYA Chijimi (Ramie Crepe Textiles), which has a long history of linen weaving, and OJIYA Tsumugi (Pongee), which applies the same techniques to silk weaving. These two textiles were born in a region surrounded by snow during long winters, through painstaking work. Even today, these traditional techniques are passed down, delivering high-quality textiles to the world. This time, we spoke with Bonshu Takahashi, a traditional craftsman of OJIYA Tsumugi (Pongee).

  

  It has a pleasant feel to the touch and is gentle on the skin.

  The subtle texture of hand-spun yarn

  In the Ojiya region, small quantities of pongee silk made from discarded cocoons have been produced since ancient times. This is likely because sericulture was originally thriving in this area. Although OJIYA Tsumugi (Pongee) today boasts a rich array of weaving techniques, when it was first woven in the mid-Edo period, only simple colors and patterns such as white, solid colors, and stripes were available. Gradually, techniques for incorporating ikat patterns were improved, leading to the rich expressions we see today.
  The secret to its unique flavor lies in the meticulous hand-spinning process from the cocoons. Hand-spun yarn has a long thread length and a subtle twist that gives it a distinctive character. When the yarn is bundled together into floss, its texture is very individual, unlike the uniform feel of machine-spun yarn. When used in tsumugi silk, its individuality deepens even further. It is extremely well-suited for tsumugi silk.

  

  The crucial part is painstaking manual work.

  You'll understand the product best once you try it on.

  Furthermore, because the warp threads use tamaito (a type of yarn with small knots made from tama silkworm cocoons) and the weft threads use hand-spun yarn, the warp threads gently drape over the weft ikat pattern like a mist, giving the fabric a soft feel. In addition, "it has a luster and a nice texture when it's made into a kimono." OJIYA Tsumugi (Pongee) is made by transferring the linen weaving techniques of OJIYA Chijimi (Ramie Crepe Textiles) to hand-spun silk yarn, so it has a simple rather than flashy quality, and a depth of character that develops with long-term use. The difference in quality, as they say, "you can't understand it until you try it on."

  I'm doing it because I think that's how it is.

  The production system in Ojiya is highly specialized, and a major characteristic is the "debata" system. Debata is a system where weavers lend looms and supply raw yarn to other weavers for contract weaving. Unlike the weaving of the early modern period, this weaving process is partly mechanized. However, because the warp and weft threads create the ikat pattern, the weaving process still requires manual adjustment of the pattern. This painstaking manual work is still necessary to create Ojiya's delicate ikat fabrics. Despite the demanding nature of the work, Takahashi says, "All work has that aspect, doesn't it? How you perceive it is up to you." As he turned to the loom, the sound of the loom beating was pleasantly soothing. It was as if the loom and the weaver had become one.

  

  parts made more efficient by machines

  Making "Ojiya Tsumugi"

  OJIYA Tsumugi (Pongee) is a weaving technique that has been passed down through generations in a very traditional way. Apparently, one needs both "brains and skills" to become a master weaver, and she is quite blunt, saying, "Some people can do it in a year, but if you're slow, it won't work no matter how many years it takes." Of course, even after becoming a master weaver, she says, "Even if you think it will turn out to be a good color, sometimes when you actually weave it, you end up with something that makes you think, 'Huh?'" It seems that even skilled artisans don't always get it exactly as they expect. However, even when it comes to these difficulties, she speaks in a calm voice, saying, "I think that's something that will always be with you." When asked about the future, she simply says, "More than worrying about what others do, I have to bring out my own unique characteristics." She continues to weave, always being strict with herself in her work.

  

  Takahata (a type of loom). It retains its traditional form.

  Craftsman Profile

  ​Takahashi Bonshu

  She had been doing similar weaving work before, but started this job at the age of 30 as a successor.

  Anecdotes

  OJIYA Tsumugi (Pongee)- From Now On ~As the Craftsman Speaks~

  Takahashi, a craftsman of OJIYA Tsumugi (Pongee), shared his vision for the future: "I feel that from now on, it will be difficult unless you sell what you make yourself, rather than relying on others to sell your products." In other words, he emphasizes the importance of communication between people. Through that interaction, you need to be able to find out "what the other person is really looking for." One of those needs is "unusual colors for crepe." Indeed, woven fabrics like crepe tend to have relatively subdued colors. However, he argues that there is also a need for vibrant colors. "It's interesting to deliberately create such colors. That's the way of thinking, the way of looking at things," he said, a statement that could be interpreted as assertive. However, it seems to embody his determination to gain trust, to create something that earns people's confidence, such as "That place must have quality" or "I like the colors they have there."

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