Towards the end of the 19th century, samples of summer fabrics from Nishijin in Kyoto were brought back and applied to the existing weaving technique called Tokamachi Sukiya to conduct research and development of new products.
Since then, research into the techniques of highly twisted weft threads and finishing methods has been diligently pursued. By improving upon the twisted openwork twill already being woven in Tokamachi, they succeeded in creating a prototype of a new type of fabric called "openwork crepe" using highly twisted yarn for the weft. This was named "Akashi Chijimi" and put onto the market around the middle of the Meiji era.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. In the case of ikat weaving, the fabric shall be a crinkled fabric woven using the following techniques or methods:
  (1) The fabric shall be plain weave with pre-dyed yarn.
  (2) Kasuri thread shall be used for warp and weft threads or as weft threads.
  (3) The ikat pattern of the ikat thread is matched by hand and woven into the fabric.
  (4) The dyeing method for the ikat thread shall be by hand-tying or rubbing.

   

  2. Striped, checked, and solid-colored fabrics shall be crinkled fabrics woven using the following techniques or methods: pre-dyed plain weave, twill weave, satin weave, or variations thereof.

   

  3. For the weft yarn used in textured fabrics, "Akashi weft" yarn shall be used. The yarn used for "Akashi weft" shall be pre-twisted using a "Hatcho-style twisting machine," and then hand-twisted with cloth starch, bracken starch, or other plant-based sizing agents.

   

  4. The wrinkles should be formed by "hot water massage".

   

  raw materials

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

• Work scene

  Work scene

  The process of making TOKAMACHI AKASHI Chijimi (Crepe Textiles) is complex, but broadly speaking, it involves dyeing the warp and weft threads with ikat patterns, weaving, and finishing. Raw silk and spun silk are used, and first, ikat patterns are applied to the threads. A ruler is made beforehand, and the threads are marked with ink along the ruler. Dye is then rubbed into the threads using a spatula called a "rubbing spatula." The weft threads are strongly twisted to create the unique crepe (wavy wrinkles) characteristic of chijimi fabric. The resulting threads are then set on the loom, and weaving can finally begin. Even then, the fabric is carefully woven while checking the position of the warp and weft ikat patterns. Finally, a unique chijimi process called "yumomi" is performed to bring out the crepe.

  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.

  

  Step 2: Twisting the yarn

  Raw silk and sujito (also called sujito, a thick thread with many streaks; it is taken from a tamamayu, a cocoon made by two silkworms) are combined on a spinning machine and twisted on a twisting machine to achieve the required thickness and strength. The main method used is komayori (a type of twisted silk).

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  Process 3: Hand-stretching

  On a repetitive machine, the threads wound onto bobbins or frames are manually stretched to the specified number and length for each type of warp and weft ikat weaving, according to the design specifications.

  

  Step 4: Marking and shaping

  The warp and weft ikat threads are stretched on a stretching stand, and the marks on the selvage (the part that indicates the width of the fabric) at both ends of the ikat ruler are aligned, and ink marks are made in the position of the ikat pattern. Then, the ink-marked parts of the warp and weft threads are tightly tied with cotton thread or elastic. This prevents the color from being absorbed into these areas. If the tying is not done tightly, the color may be lost even in the tied areas, or the color may become uneven.

  

  Step 5: Rubbing and dyeing

  Using a rubbing spatula, the dye is thoroughly rubbed into the areas that have been marked with ink. Once the color has been rubbed in, the thread is tied into a skein and dyed repeatedly by rubbing it together with the ground thread (the part that will not be dyed). After that, the color is stabilized with steam at about 100 degrees Celsius.

  

  Step 6: Starching and top twisting

  This process is essential for creating the unique texture of Akashi fabric. The starched weft threads are strongly twisted using an eight-spinning machine. This thread is called Akashi weft, and it is this thread that creates the distinctive crinkled texture of Akashi crepe fabric.

  

  Step 7: Preparation for weaving, weaving

  The process differs depending on whether you're using warp or weft threads. For warp threads, the kinks are removed and the threads are loosened before being wound onto a reel while checking the pattern. This requires careful work as the threads must be wound according to the design. Then, each thread is passed through the heddle of the loom, and two threads at a time are passed through the reed. 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 reeling stand, and finally wound onto bobbins for weaving. The weaving is finally ready, and you can start weaving. The weft threads pass back and forth between the heddle and reed of the loom, and the fabric is woven. For ikat patterns, the selvage marked during the ikat-making process is used to precisely match the pattern, and the fabric is woven without a single thread being misaligned.

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  工程8： 仕上げ

  Finally, the fabric is thoroughly kneaded by hand in hot water to create a crinkled texture. Lastly, it is inspected for stains and weaving irregularities.