The prevailing theory is that the ikat weaving technique used for Echigo-chijimi fabric became established in the first half of the 18th century.
It wasn't until the late 19th century, after the success of warp ikat weaving, that it began to be applied to silk fabrics. In the early Meiji period, weft ikat weaving also began. During this time, there was remarkable progress in ikat weaving techniques, and the "tsuki-kasuri" (thrusting ikat) technique was also developed. Initially, oil paper, ramie thread, and bamboo leaves were used for the binding threads, but in the Taisho period, cotton thread and flat elastic were used instead.

• 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 and weft threads are manually matched to create the ikat pattern.

   

  2. The dyeing method for the ikat thread shall be by hand-tying or rubbing.

   

  3. In the case of "Hon-shibo Kasuri," the "ground weft" shall be "Omeshi weft." The yarn used for "Omeshi weft" shall be pre-twisted using a "Hatcho-shiki twisting machine," and then hand-twisted with fabric starch, bracken starch, or other plant-based sizing agents.

   

  raw materials

  The thread used shall be raw silk, spun silk, or floss silk, or silk thread of equivalent quality.

   

   

• Work scene

  Work scene

  The process of making TOKAMACHI Kasuri (Ikat) is complex. The raw material is silk, and the ikat patterns are applied to the silk threads. To create the ikat patterns, a ruler is made to transfer the design onto the thread, which is then placed against the thread, marked with ink, and dye is rubbed into the thread using a spatula called a "surikomi-hera." After dyeing the threads, the warp and weft threads are set on the loom, and weaving can finally begin. Weaving is done carefully, while checking the position of the ikat patterns in the warp and weft. Finally, the starch is removed as a finishing touch, and the finished product is inspected before completion.

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

  Based on the original design or sample, the pattern placement is determined on graph paper to create the ikat pattern, and the exact location of the threads where the ikat will be applied is precisely set. Then, based on that pattern, the warp ikat and weft ikat are separated, and a ruler is created.

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  Process 2: Twisting and scouring

  Raw silk and spun silk (also called sujiito, a thick thread with many streaks; it is made from a tamamayu, a cocoon produced by two silkworms) are put through a twisting machine and twisted. Twisting makes the strength and thickness of the thread uniform. After that, it is scouring to remove dirt and other impurities.

  

  Process 3: Hand-stretching

  After sizing to make it easier to handle, the threads are wound onto bobbins or frames using a repetitive machine, and then hand-stretched to the required number and length for each type of warp and weft ikat, according to the design specifications.

  

  Step 4: Marking and shaping

  The warp and weft ikat threads are stretched onto a stretching stand, and the selvage marks on both ends of the ikat ruler, which indicate the woven fabric, are aligned. Then, ink marks are made to indicate the position of the ikat pattern.
  Additionally, the marked sections of the warp and weft threads are tightly tied with cotton thread or elastic. This prevents the color from lingering in these areas. If the tying is not done properly, the color may fade to the tied sections or result in uneven coloring.

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  Step 5: Rubbing and dyeing

  Using a rubbing spatula, the dye is thoroughly rubbed into the areas that have been marked with ink. The threads are tied into skeins and dyed together with the ground threads (the parts that are not ikat). After that, the color is stabilized with steam at about 100 degrees Celsius.

  

  Step 6: Preparation for weaving

  The process differs depending on whether you're working with the warp or weft threads. For the warp threads, the knots are removed and the threads are loosened before being wound onto a reel while checking the pattern. Then, each thread is passed through the heddle holes of the loom, and two threads at a time are passed through the reed. This process is done carefully to avoid mistakes in the order of the threads due to the ikat pattern. The standard number of threads is around 1200. The weft threads are also removed and loosened in the same way as the warp threads before being wound onto a reel frame, placed on a small winding stand, and finally wound onto bobbins for weaving. Finally, the fabric is ready to be woven, and the weaving can begin.

  

  Step 7: Weaving

  By preparing the loom's heddles and reed to pass the warp threads, the threads are suspended vertically, creating a path for the weft threads. The weft threads move back and forth through this path, and are woven by being sandwiched between the upper and lower warp threads. For the ikat patterns, the selvage marked during the ikat-making process is examined, and the pattern is precisely aligned, ensuring that not a single thread is misaligned. Finally, the fabric is inspected for stains and weaving irregularities.

  

   

• Close-up

  Close-up

  A variety of patterns created through weaving.

  TOKAMACHI Kasuri (Ikat) where silk threads are meticulously spun and woven to create intricate patterns. It is a delicate feast of threads woven from traditional techniques that have been passed down through generations in this snowy region.

   

  The world created through weaving

  The Uonuma region, also known as Tsumari (meaning "endless") from the perspective of the plains of Niigata Prefecture, is where Tokamachi is located. According to Suzuki Bokushi, a literary figure from Echigo, "It is said in ancient texts and by people that Echigo is the country with the most snowfall in all of Japan. (omitted) Uonuma County, where I live, is the place with the most snowfall in Japan." In winter, the area is mostly cut off from the outside world by snow. During the heavy snow season, the people living in this area made their living by weaving. Because they were people who had endured long winters, the painstaking work of weaving continued, the techniques improved, and were passed down. The inherited TOKAMACHI Kasuri (Ikat) is a textile that uses silk threads, and the intricate ikat patterns are created by the intersection of warp and weft threads. This time, we spoke with Shigehisa Abe, who holds the qualification of a traditional craftsman.

  

  TOKAMACHI Kasuri (Ikat) has a warm, inviting texture.

  In history, the parts that breathe life into the world and the parts that change.

  It is said that textiles woven using the kasuri technique were being produced at least as early as the mid-18th century. In particular, while white kasuri on a navy background was prevalent in other regions, white kasuri was also woven in Tokamachi, leading to the belief that TOKAMACHI Kasuri (Ikat) is a technique developed independently in the area. Furthermore, the area including Tokamachi originally possessed the technology to produce hemp textiles. This was called Echigo-chijimi and was highly regarded, even being designated as an official fabric for the shogunate during the Genroku era. However, in the late Edo period, the shogunate gradually faced financial difficulties, and Echigo-chijimi, whose buyers were samurai and the upper class, suffered a considerable blow. Forced to change direction, a new tool called the takahata was created, and the technique of weaving silk textiles called sukiya-ori was developed. Through repeated improvements, TOKAMACHI Kasuri (Ikat) evolved into its current form. Regarding the techniques that have been passed down for generations, Mr. Abe says, "I think we should continue to use the techniques that have been around since ancient times, adapting them to each era." For example, he creates products using themes like the Choju-giga scrolls, adapting them to modern sensibilities. Apparently, these are "very well-received by women." He also produces a variety of other products, such as business card holders and small accessories. However, there are also traditions that stubbornly persist. That is precisely why TOKAMACHI Kasuri (Ikat) "cannot be imitated anywhere else," is produced.

  

  A bolt of TOKAMACHI Kasuri (Ikat) fabric produced at Mr. Abe's workshop. It has a calm atmosphere.

  Experience and knowledge are required.

  TOKAMACHI Kasuri (Ikat) take approximately three months to make. "Even after dozens of tries, it doesn't always turn out the way you want," says Abe, highlighting the profound depth of the craft. Abe herself has experienced frustration, saying, "No matter how many times I make one, it never turns out the same." However, she also says, "Sometimes, after much deliberation, it just clicks into place." It seems that when all the accumulated experience and knowledge suddenly fall into place, it becomes possible. Of course, the effort required to reach that point where it "just clicks" is unimaginable. Even Abe, however, says that recently, "I'm finally able to make some things the way I wanted." Experience and knowledge are crucial in making Kasuri. And moreover, "knowing the principles" is essential. Indeed, in order to pass on the techniques and make them even better, one must understand the deepest aspects of things.

  

  Small items like these too

  It's no good if only you are satisfied; things won't go well.

  "At our place, we buy yarn, dye it, make ikat patterns, unravel them, put the ikat patterns together, and weave them. We outsource the weaving, but we do everything else ourselves. I may look nice like this now, but I'll be putting on my raincoat soon and heading to the factory to work." As soon as she finished speaking, Ms. Abe said she would head back to the factory. "I have to be the one to lead," she said, her words carrying a weighty weight despite her lighthearted tone. "We started from scratch, knowing absolutely nothing, and everyone took on the responsibility of 'doing it' themselves. If you have the motivation, you can do anything." Her words revealed the craftsmanship of Ms. Abe, who said, "Only production areas with pride will survive."

  

  A business card holder that seems suitable for long-term use.

  Craftsman Profile

  Shigehisa Abe

  Born in 1929 (Showa 4).
  He initially became a teacher, but at the age of 18, he started helping his father and entered this field.

  

  Anecdotes

  The moment you feel the joy of creating

  Anyone involved in manufacturing would feel happy to see their work being used. Ms. Abe, whom we interviewed this time, also said, "I feel happy when I see someone wearing my kimono." However, in Ms. Abe's case, that joy seems to be especially great. "When I spot someone wearing one, I immediately run over saying 'Ah!' I go right up to them and look at it intently. Then I ask, 'Excuse me, but when did you buy that kimono?' The person wearing the kimono probably thinks it's strange, but when I say, 'Actually, we made this ourselves,' they say, 'Oh really? It's nice, it's comfortable to wear.'" She spoke in a lighthearted manner, sometimes with humor.