The origins of SHINSHU Tsumugi (Pongee) can be traced back to "ashiginu," a type of silk fabric woven during the Nara period.
In the early Edo period, sericulture flourished as various domains in Shinshu competed to encourage it, and the entire Shinshu region prospered as a production center for tsumugi silk fabrics, with large quantities of tsumugi being sent to Kyoto every year.
However, the production of Tsumugi silk fabrics declined thereafter, and until the mid-Showa period, it was only continued to a limited extent in the name of preserving the techniques. After the war, the prefecture and municipalities put effort into reviving Tsumugi silk weaving, and production became active throughout the prefecture, and the reputation of SHINSHU Tsumugi (Pongee) as a high-quality fabric gradually grew.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. The fabric must be a kasuri fabric, striped fabric, or similar fabric woven using the following techniques or methods.
  (1) The fabric shall be plain weave with pre-dyed yarn.
  (2) The warp threads shall be made of raw silk (including wild silk), spun silk, or hand-spun floss silk, and the weft threads shall be made of spun silk or hand-spun floss silk.
  (3) A hand-thrown shuttle is used to insert the weft threads.

  2. The dyeing method for ikat threads is by "hand-tying".

   

  raw materials

  The yarn used must be raw silk (including wild silk), spun silk, or hand-spun floss silk.

• Work scene

  Work scene

  Process 1: Refining cocoons and silk

  The once common practice of boiling cocoons and scouring raw silk with lye was superseded by scouring using sodium sulfite and soda ash after 1926. However, since around 1950, lye-based scouring has been re-evaluated and revived.
  When silk is refined using lye made from the supernatant or filtered liquid of straw ash, the potassium and other metals contained in the straw ash are adsorbed onto the fibers, resulting in a beautiful luster. The fabric becomes firm and develops the characteristic rubbing sound of silk. This is an important process that enhances the character of Tsumugi silk.

  

  Step 2: Making raw silk

  There are various types of raw silk floss, including floss made by spreading refined cocoons into a bag-like shape with the fingertips, and square floss made by hanging them on a wooden frame. The quality of raw silk floss depends on the selection and blending of the raw cocoons. Raw silk floss has good elasticity and is best for silk floss pongee. Spring cocoons prevent the appearance of slubs in the floss, while ex-shelled cocoons and spun cocoons give the floss luster and elasticity. High-quality raw silk floss is basically made with a blend of 70-80% spring cocoons and 20-30% high-quality ex-shelled cocoons and spun cocoons. The quality of the raw silk floss determines the quality of the hand-spun yarn.

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  Process 3: Hand spinning

  In SHINSHU Tsumugi (Pongee), a flyer-type hand spinning machine is used to spin the yarn from the raw silk floss, resulting in a relatively low twist. This allows the unique texture of hand-spun silk floss to shine through. Unlike machine-spun yarn, which is uniform and lacks individuality, the subtle differences in yarn thickness create a unique character that can only be achieved through hand-spinning.

  

  工程4： 染色

  This is the process of boiling the yarn in a dye solution. The plant dyeing method, using natural dyes, has been passed down through generations.
  We use plants, fruit trees, and nuts that are available in each season to create dyes that are appropriate for the time of year. We try dyeing with the same dye multiple times, drying each time to achieve a deeper color, or layering different dyes to enjoy the fusion of colors. The charm of natural dyeing lies in the way we create the colors, showcasing the skill of the dyer.

  

  工程5： 製織

  In SHINSHU Tsumugi (Pongee) workshops, hand weaving is performed on a high loom. After stepping on the foot pedals to open the warp threads, the shuttle is thrown in with one hand and passed through to the other side. The shuttle is caught with the other hand, and the foot pedals are pressed to close the warp threads while simultaneously beating the reed. This series of actions is repeated. When the loom is woven by a skilled craftsman, a pleasant, consistent rhythm of weaving sounds resonates throughout the workshop.
  By spinning the yarn with a hand-thrown shuttle, the fabric becomes firmer, giving it thickness and body, resulting in the finest quality kimono.

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• Close-up

  Close-up

  SHINSHU Tsumugi (Pongee) meticulously woven from the bounty of the earth.

  SHINSHU Tsumugi (Pongee) is created through the hand-dyeing process, resulting in vibrant colors from natural dyes and a hand-weaving technique that reflects the individuality of each weaver. The power of nature nestled in the Alps and the heartfelt dedication of the weavers are both embodied in this silk.

   

  SHINSHU Tsumugi (Pongee) born in the "Land of Silkworms"

  Shinshu, the birthplace of SHINSHU Tsumugi (Pongee), has long been known as the "Land of Silkworms" and the "Land of Silk," and has a long history of sericulture. Furthermore, the mountains and fields of this region are abundant with plants that can be used as raw materials for plant dyeing, making it a rich source of dyeing materials. The various types of Tsumugi silk fabrics produced in this way are collectively called SHINSHU Tsumugi (Pongee).
  SHINSHU Tsumugi (Pongee) is characterized by its diverse combinations of threads, unique to the "land of silkworms," and the exquisite beauty of its richly colored plant dyes. This time, we visited Ina Tsumugi, which follows in the tradition of SHINSHU Tsumugi (Pongee) and continues to uphold traditional, time-honored methods.

  

  There are 10 to 15 different types of plants. I'm using plants that are easy to obtain, can be stored for a reasonable amount, and are readily available.

  Reasons for insisting on domestically produced raw silk

  All the raw silk used in the twisting process is domestically produced. Sometimes, they even use cocoons from wild silkworms that are only raised in Hotaka Town, Shinshu. "It's not easy to twist raw silk from multiple regions together, not just imported silk. The same goes for dyeing. With foreign dyes, it feels like the dye is just applied to the surface of the thread, but with domestically produced threads, the dye pigment can penetrate deep into the thread," says Masaru Ota, a traditional craftsman of SHINSHU Tsumugi (Pongee). He is a skilled craftsman who has been involved with SHINSHU Tsumugi (Pongee) for 25 years.

  The nostalgic traditions of the old high-speed aircraft

  "The texture of handwoven silk, meticulously woven on a high loom, is one of the charms of Ina Tsumugi," says Ota. Currently, there are about 20 weavers working in the workshop, all of whom are women. She says that you can really get a sense of a person's character after they've worked there for about a year, as their individuality shines through in the finished product. Furthermore, the fabric produced by handweaving gradually changes in texture to suit the personality of the person who uses it.
  "Machine weaving produces a visually appealing and sturdy product, but over time, its freshness, strength, and durability deteriorate." The rhythmic tapping sound of a loom requires years of experience. Weaving is a task that uses the entire body, including the fingertips. It's even said that elderly people who continue weaving are less likely to develop dementia.

  

  Tsumugi silk yarn, possessing a gentle, natural texture, patiently awaits its time to be woven on a high loom.

  The charm of plant dyeing, utilizing the blessings of nature.

  The materials used for plant dyeing include locally sourced walnuts, larch, wild cherry, birch, yew, and apple. The trees are cut down in winter before buds appear, the bark is peeled, and the bark is preserved. The yarn is repeatedly dipped in a decoction of these bark materials to dye it. The resulting color is slightly different each time. "It's rare to get the exact color you want. So I adjust to the 'condition' of the dye solution," says Haruhide Kubota, who has been doing this for 35 years, in a cheerful tone. Mr. Kubota is the third generation of Kubota Textile Dyeing Industry, which weaves Ina Tsumugi silk in Komagane City, Nagano Prefecture. "Yarn dyed with chemical dyes will clash unless they are woven with other compatible materials, but interestingly, with plant dyeing, any colors will never clash. So it's much easier." The simple yet deep colors unique to plant dyeing can be increased to thousands of variations by adjusting the mordant method and the intensity of the dye. Adding weaving patterns further expands the combinations infinitely. "I'm happy when I discover interesting patterns or when I can create something that exceeds my expectations, regardless of whether the customers are pleased or not."

  I want people to know the beauty of kimono.

  "These days, people don't wear kimonos easily, because they don't know how to put them on, or they have to coordinate their hairstyle and shoes as well. When I talk to people who have worn them, I often hear them say that they are soft and warm. I really want people to wear kimonos." The Nagano Prefectural Textile Industry Association plans to produce clothing made from kimono fabric in the future. "We are thinking of making Western-style clothing that makes the most of the texture of kimonos. If people are going to spend a lot of money on something, wouldn't most people choose Western-style clothing that they can wear more often?" Kimonos have their own merits, but it's hard to appreciate them unless you actually wear one. "I want to make Western-style clothing that makes the most of the charm of kimonos," Ms. Kubota said enthusiastically.

  Craftsman Profile

  Yoshiaki Urano

  Born in Komagane City, Nagano Prefecture in 1935.
  In 1981, he became a traditional craftsman SHINSHU Tsumugi (Pongee).
  From craftsmanship to communicating with the wearer, he is a veteran with 40 years of experience in this field.

  Haruhide Kubota

  Born in Komagane City, Nagano Prefecture in 1945, he began helping with the family business at the age of 18. He has been running the family business for 35 years. He was certified as a traditional craftsman in 1991.

  Masaru Ota

  Born in Ina City, Nagano Prefecture in 1943.
  I have been making SHINSHU Tsumugi (Pongee) silk for 30 years. I became a certified traditional craftsman in 1996.

  

  Anecdotes

  The vibrant green glow emanating from the wild: the wild silkworm

  When people hear the word "silkworm," they usually imagine the domesticated silkworm that produces white silk threads. However, in Hotaka Town, Nagano Prefecture, wild silkworms, which have a different ecology from domesticated silkworms, have been raised for a long time. Hotaka's wild silkworms are native to Japan, and the vibrant green, lustrous, and elegant sheen of their silk threads is a beauty that cannot be achieved with domesticated silkworm threads. People have called these silkworms, which emit such a beautiful natural light, "yamako" (wild silkworms). Due to their rarity, yamako are highly prized and are also called the "queen of fibers" and the "diamond of fibers," and Hotaka Town is the top producer of yamako in Japan.
  Compared to domesticated silk, wild silk has less ability to absorb dye, resulting in significant differences in how it is dyed, creating unique shades and textures. This can give it an ikat-like or mottled appearance, making it popular for its ingenious design possibilities. Furthermore, there is a saying, "Three generations of wild silk," that textiles woven with wild silk are durable and beautiful, and can be worn by three generations—parent, child, and grandchild.
  (Reference: Hotaka Town tourist pamphlet "Ten no Kinuito")
  For inquiries regarding wild silkworms, please contact us at the address below.
  Hotaka Town Hall, Commerce and Tourism Division, TEL. 0263-82-3131
  Hotaka Town Silkworm Center TEL. 0263-83-3835

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    Known as the "queen of fibers" and the "diamond of fibers," wild silk possesses an elegant luster and a sheen not found in other fibers.