Thanks to the abundant waters of the Aichigawa River, high humidity, and the activities of Omi merchants, hemp weaving flourished in this region from the Kamakura period onward.
During the Edo period, the industry further developed thanks to the efforts of the Hikone Domain, which controlled the area around present-day Hikone City on the eastern shore of Lake Biwa, and it became a stable local industry. From that time on, dyeing techniques also advanced significantly, giving rise to the elegant ikat patterns unique to OMI Jofu (Ramie Textiles).

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. In the case of raw fabric, it shall be raw fabric woven using the following techniques or methods:
  (1) The fabric shall be plain weave using hemp yarn for the warp and hand-spun hemp yarn for the weft.
  (2) The yarn used for the weft should be soaked in water.
  (3) A "claw loom" shall be used for weaving.

  2. In the case of ikat weaving, the ikat fabric shall be woven using 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 warp and weft.
  (3) By manually matching the patterns and selvages of the ikat threads, the ikat pattern and selvage markings are aligned to create the ikat pattern.
  (4) The dyeing method for the ikat thread shall be either the "comb pressing method" or the "pattern method" using a "feather ruler".
  (5) When creating wrinkles, do so by hand.

   

  raw materials

  The yarn to be used must be hemp yarn or hand-spun hemp yarn.

   

• Work scene

  Work scene

  Process 1: Design

  I design the fabric. Since I create separate patterns for each color, I need as many patterns as there are colors. Also, I have to consider the placement of the patterns so that there are no visible seams between the patterns.

  工程2： 染色

  The weft threads are wound onto a metal frame in a process called feather winding. A pattern is then placed on top, and dye is applied using a koma-squeegee. After steaming the threads in a steamer for about 10 minutes, they are rinsed with water and dried. Yokokasuri, in which only the weft threads are dyed to create the ikat pattern, is common, but there is also combined ikat where the warp threads are dyed as well. Other dyeing methods such as tie-dyeing and comb-press dyeing are also sometimes used.

  

  Step 3: Separating the Kasuri pattern

  The yarn, which was wound together during the initial winding process, is separated into individual strands and re-wound to create skeins. These skeins are then re-wound onto a bobbin, and finally onto a small bobbin. This completes the weft yarn.

  

  工程4： 整経

  The number and length of warp threads needed for weaving are adjusted. A reed threader is used to pass the warp threads through the reed and spread them to the weaving width. Next, the warp threads are passed through the heddle to create a shuttle channel for the weft threads.

  

  Process 5: Hand-woven

  We weave with the utmost care to ensure that the ikat pattern does not shift. Recently, we have also been hand-weaving wide fabrics such as clothing material, so the variety of looms has increased.

  

   

• Close-up

  Close-up

  The nature of Lake Biwa and traditional art: OMI Jofu (Ramie Textiles)

  Blessed with the beautiful waters of the Aichi River, fed by the groundwater of the Suzuka Mountains, and the humid, hot basin, OMI Jofu (Ramie Textiles) has been cultivated for over 700 years, creating the perfect natural environment for hemp weaving. Thanks to the efforts of Omi merchants, it continues to have many admirers throughout Japan.

   

  The last inheritor

  Shinnosuke Onishi, a traditional craftsman of OMI Jofu (Ramie Textiles) linen fabric), is a man of remarkable vitality that belies his age. Though small in stature, Mr. Onishi's presence is immense, perhaps reflecting the profound spirit of a craftsman who has dedicated almost his entire life to Jofu. With a constant smile and sparkling eyes, Mr. Onishi spoke about Jofu, and one could feel his passionate dedication. However, he acknowledged the harsh reality: "In the past, 15 or 16 households produced Jofu, but now, with the production of clothing fabrics being mechanized, only two companies, including mine, still hand-weave it." As the last remaining inheritor of this tradition, expectations for Mr. Onishi are immense.

  

  Shinnosuke Onishi, a veteran traditional craftsman who has dedicated his life to OMI Jofu (Ramie Textiles) (a type of linen fabric).

  A craftsman's dedication

  While working at a bedding store, Ms. Onishi saw the textiles used in the products and gradually developed an interest in weaving. Seeing her interest, the owner of the bedding store, perhaps recognizing her talent, suggested she try weaving OMI Jofu (Ramie Textiles). She began studying at the Notogawa Industrial Research Institute and became independent at the age of 37, starting OMI Jofu (Ramie Textiles). Linen fibers are difficult to dye, and she worked tirelessly, sacrificing sleep, to achieve the desired subtlety and coolness. Even so, it took her five years to produce a finished product. Jofu, and other ikat kimonos, are made by weaving pre-dyed threads to create patterns, but the production process is so complicated that it's difficult to understand even after hearing an explanation. A simple question arose: Why can't they be dyed afterwards? "Ikat has no front or back, so when it gets old, you can turn it inside out and have it remade, making it look brand new. It's the wisdom of people from the past."

  

  Ms. Onishi weaving high-quality linen fabric.

  The price of time and effort

  It takes at least a month to weave a single kimono. Of course, she feels a sense of accomplishment when it's finished, but what makes her happiest is seeing the smiles on her customers' faces when they are pleased with their work. Ms. Onishi, who holds exhibitions in department stores in Tokyo and other cities, says that being able to talk directly with customers motivates her in her work. She also receives evaluations of her work in letters and many people actually come to visit her in Omi. "It makes me forget all the hard work," she said with a shy smile. And that smile shone brightly, that of a professional and a craftswoman.

  A new idea using OMI Jofu (Ramie Textiles)

  Beyond kimonos, Ms. Onishi creates items that appeal to young people. Her framed pictures, tapestries, and table runners are popular with modern people who appreciate unique room decor. Her ties, for example, are cool, elegant, and have a beautiful texture. Even her noren curtains are beautiful from both sides, as there is no front or back. Recently, by weaving wider fabrics, Ms. Onishi's jofu cloth is being used for a variety of purposes, such as folding screens and clothing. "I'm always thinking, 'What if I tried this?' or 'How should I handle that?' That's how I've managed to stay young," Ms. Onishi said with a smile full of youthfulness and confidence.

  

  Onishi's new work. A special loom is required to weave such a wide fabric.

  Anecdotes

  Handwoven Village Kongoen

  The spacious grounds, spanning 5,000 tsubo (approximately 16,500 square meters), include a museum, Kongō-an (a hermitage), a dyeing workshop, a silkworm rearing room, a garden, and a mulberry orchard. It is a facility where visitors can learn about the characteristics and beauty of OMI Jofu (Ramie Textiles) and Hatashō Tsumugi through exhibits and demonstrations. Visitors can observe the indigo dyeing process using indigo plants grown on the grounds, and there are also courses where visitors can experience indigo dyeing and weaving techniques such as Hatashō Tsumugi. In addition to the current production process, the Textile Hall also displays tools such as looms that were used in the past for the production of OMI Jofu (Ramie Textiles) and other textiles. Furthermore, everyday household items are displayed in Kongō-an.

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