The name Nishijin originates from the fact that during the Ōnin War in the Muromachi period, the Western Army established its headquarters there, and after the war, artisans gathered there to weave textiles. The history of Nishijin weaving can be traced back to the weaving techniques introduced by the Hata clan before the Heian period. NISHIJIN Ori (Textiles) has developed as a bearer of weaving culture, centered on court culture.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. In the case of tapestries, they shall be tapestries woven using the following techniques or methods:
  (1) The fabric shall be plain weave with pre-dyed yarn.
  (2) The weft threads (excluding the patterned areas) are beaten diagonally into the reed using a hand-thrown shuttle.
  (3) For patterns, the weft threads in the patterned areas are beaten diagonally into the reed using a small shuttle, and then pulled in parallel to the reed using a fingernail or a slitting tool.

   

  2. In the case of brocade, one of the following shall apply:
  (1) In the case of warp brocade, it shall be a patterned fabric woven using the following techniques or methods:
  (i) The fabric shall be a pre-dyed plain weave or twill weave using a "Jacquard loom".
  (b) The warp threads shall consist of three or more colors, drawn from three or more male spools to form a group, and then pulled into the reed one by one by hand.
  (h) The weft threads should be woven in by alternating between "shadow threads" and "ground weft threads." In this case, the density of the weft threads should be 40 or more per centimeter.
  The crest should be created using the warp threads.
  (2) In the case of weft brocade, it shall be a patterned fabric woven using the following techniques or methods:
  (i) The fabric shall be a modified twill or plain weave using a pre-dyed or pre-processed "Jacquard loom".
  (b) For weaving, a "hand-thrown shuttle," a "drawn shuttle," or "eight or more shuttles," six or more "heddles," or a "drawn foil device" shall be used.
  C. The crest shall be represented by the weft thread. In this case, if weaving is done using eight or more shuttles, the crest shall be "embroidered".

   

  3. In the case of satin, it shall be a patterned fabric woven using the following techniques or methods:
  (1) The fabric shall be pre-dyed or pre-processed satin weave using a "Jacquard loom".
  (2) For weaving, a hand-thrown shuttle, a pull shuttle, or eight or more shuttles, ten or more heddles, or a pull device shall be used.
  (3) The crest shall be either a "ground-raised crest" or an "embroidered crest".

   

  4. In the case of vermilion silk, it shall be a patterned fabric woven using the following techniques or methods:
  (1) The fabric shall be a pre-dyed satin weave using a "Jacquard loom".
  (2) For weaving, a hand-thrown shuttle, a pull shuttle, or eight or more shuttles, six or more heddles, or a pull device shall be used.
  (3) The crest shall be represented by the weft thread. In this case, if weaving is done using "eight or more shuttles", the crest shall be "embroidered".

   

  5. In the case of Shōba, it shall be a patterned fabric woven using the following techniques or methods:
  (1) The fabric shall be a pre-dyed twill weave, satin weave, or plain weave variation using a "Jacquard loom".
  (2) For weaving, a hand-thrown shuttle, a pull shuttle, or a double-leaf shuttle shall be used.
  (3) The crest shall be a "ground-raised crest".

   

  6. For ventilation, the fabric shall be a patterned fabric woven using the following techniques or methods:
  (1) The fabric shall be a double weave using a "Jacquard loom" with pre-dyed or pre-processed yarn.
  (2) Weaving shall be done by double weaving using two or more warp threads and two or more weft threads of different colors so that the front and back of the fabric can be reversed.
  (3) To have a "stitched crest" applied.
  (4) The warp thread density shall be 120 threads or more per centimeter, and the weft thread density shall be 40 threads or more per centimeter.

   

  7. In the case of gauze weave, it shall be a gauze fabric woven using the following techniques or methods:
  (1) The fabric shall be made using a "Jacquard loom" for gauze weaving.
  (2) For weaving, a hand-thrown shuttle, a pull shuttle, a pattern shaker, or a modified reed shall be used.

   

  8. In the case of velvet, it shall be a pile fabric woven using the following techniques or methods:
  (1) The fabric shall be pre-dyed or pre-processed and woven in a warp pile weave.
  (2) The pile is formed by manually inserting "pile wire" parallel to the reed.

   

  9. In the case of genuine crepe weave, the crepe fabric shall be woven using the following techniques or methods.
  (1) The fabric must be pre-dyed or pre-processed, and be plain weave or double weave.
  (2) The threads used for the Omeshi silk are twisted at the bottom and then manually mixed with rice starch or other plant-based starches.
  (3) For twisting the silk threads of the Omeshi silk, use the Hachijo-shiki twisting machine.
  (4) The wrinkles should be formed by "hot water massage".
  (5) The density of the warp threads shall be 100 or more per centimeter.

   

  10. In the case of ikat weaving, the ikat fabric shall be woven using the following techniques or methods:
  (1) The fabric must be pre-dyed plain weave or satin weave.
  (2) Kasuri thread shall be used as warp thread or as both warp and weft thread.
  (3) In the case of vertical ikat weaving, the ikat patterns of the ikat threads sent out from the male reel are manually aligned to create the ikat pattern.
  (4) In the case of warp and weft ikat weaving, the warp ikat and weft ikat are matched by hand to create the ikat pattern.
  (5) The dyeing method for the ikat thread shall be by "hand tying," "hand printing," or "board clamping."

   

  11. In the case of Tsumugi silk, it shall be a plain fabric, patterned 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) A hand-thrown shuttle or a pull shuttle shall be used to insert the weft threads.
  (3) The warp threads shall be made of raw silk or spun silk, and the weft threads shall be made of slub silk or spun silk.

   

  raw materials

  1. The threads used shall be raw silk, spun silk, floss silk, or silk, cotton, hemp, gold, or silver threads of equivalent quality.

  2. The foil used shall be gold foil, silver foil, or lacquer foil, or one that has equivalent properties.

• Work scene

  Work scene

  NISHIJIN Ori (Textiles) involves weaving patterns using pre-dyed threads, but the process before weaving is incredibly diverse, starting with designing the pattern and preparing the threads accordingly. Furthermore, NISHIJIN Ori (Textiles) encompasses many types, including velvet, ikat, tapestry, pongee, and Chinese weaving, each with its own unique process. Here, we will introduce the process of weaving using a handloom.

  Step 1: Design

  This is the most important process for NISHIJIN Ori (Textiles), a type of pre-dyed patterned woven fabric. Traditional designs are combined with a new sensibility to create the final artwork.

  

  Step 2: Pattern design drawing

  This will be the blueprint for the fabric. Enlarge the design and transfer it onto graph paper, then color in the grid lines to indicate how to weave it.

  

  Step 3: Engraving the crest

  Based on the pattern design, holes are punched into a rectangular pattern card measuring 33 cm vertically and 4.5 cm horizontally using a piano-type pattern engraving machine. These holes allow the Jacquard (a device for transmitting information) to instruct the warp threads to be raised or lowered. Nowadays, the process is computerized, and some looms create the patterns using computer graphics based on the pattern design, save the engraving information on a floppy disk, and then instruct the Jacquard.

  

  Step 4: Twisting the yarn

  Within NISHIJIN Ori (Textiles), there are textiles with various textures, and the twisting process involves combining several thin threads, adjusting the thickness of the threads, and applying a special twist to the threads to create these textures.

  

  Step 5: Dyeing the yarn

  For NISHIJIN Ori (Textiles), a type of pre-dyed patterned woven fabric, dyeing is one of the most important processes, along with the design. The fabric must be dyed to the exact colors specified by the weaver.

  

  Step 6: Thread winding

  The dyed yarn comes in skeins, and this process involves winding them onto bobbins so that they are easier to handle during the warping and weft winding stages.

  

  Process 7: Warping and weft winding

  Nishijin textiles use as many as 3,000 to 8,000 warp threads. Preparing the necessary length and number of warp threads for the textile is called warping. The process of preparing the weft threads is called weft winding.

  

  Step 8: Comprehensive Lighting

  To weave a fabric, a path must be cleared for the shuttle (the part around which the weft thread is wound) through. The heddle is a device that lifts the warp threads according to the instructions of the Jacquard. The warp threads are set here.

  

  Step 9: Handloom

  High-end items such as kinran (gold brocade) and maru obi (formal sashes) feature intricate patterns that cannot be woven on power looms. This requires the exquisite craftsmanship of highly skilled artisans.

  

   

• Close-up

  Close-up

  Luxurious and magnificent! NISHIJIN Ori (Textiles) the epitome of imperial court design beauty.

  For approximately 1200 years since the founding of Heian-kyo, Nishijin has devoted itself wholeheartedly to the creation of elegant and magnificent silk textiles throughout its long and rich history. We spoke with Eijiro Kitamura, a master handloom weaver in NISHIJIN Ori (Textiles), about the allure of NISHIJIN Ori (Textiles).

   

  Refined beauty and skill nurtured by dynastic culture

  The history of Nishijin cannot be told without mentioning Heian-kyo (Kyoto). With the birth of this political city, skilled artisans and materials with superior techniques and designs were gathered in the capital to create the elegant clothing and daily necessities of the imperial court and aristocracy. The natural beauty of Kyoto, known as the capital of scenic beauty, the splendid lifestyle of the Heian aristocracy, and the flowers of the arts such as Noh, tea ceremony, and flower arrangement that flourished during the Muromachi period—all of these aesthetic sensibilities and the skills of the artisans gave birth to the magnificent art of NISHIJIN Ori (Textiles). The vibrant spirit of imperial court culture that can be felt in NISHIJIN Ori (Textiles) is a testament to the long historical background in which it was cultivated.

  

  A gorgeous and elegant pure silk obi (from the Nishijin brochure)

  A handheld machine where skilled craftsmanship comes to life.

  Even within the broad category of NISHIJIN Ori (Textiles) weaving, there is a wide variety, including not only brocade and satin, but also velvet, tapestry, ikat, and pongee. In particular, the maru obi woven by Ms. Kitamura is the most formal type of obi. The maru obi is known as the "darari obi worn by maiko (apprentice geisha)." In addition to maiko, it is used as an obi for formal occasions such as wedding attire and tea ceremonies. While a typical fukuro obi has a plain weave in the parts that are not visible, the maru obi is entirely patterned. It is twice as wide as a regular fukuro obi, woven to a length of approximately 4.5 meters. While a typical fukuro obi uses as many as 8,000 threads, a maru obi requires handling as many as 9,600 threads. Even with Ms. Kitamura's skilled hands, it takes about three months to weave a single maru obi.
  "These kinds of high-quality, intricate textiles simply can't be made without a handloom and the crucial details being finished by hand. You have to be careful not to let the gold or silver threads turn over, and make sure you don't mix up the weft threads, while weaving without changing the position of your hands on the loom. Otherwise, the weave will become disordered, the needles will get caught and the threads will get tangled. You can't let the loom do the work of you. It takes years of experience to truly master using a loom."
  While chatting with a cheerful smile, she carefully checks the condition of her weaving in the mirror in her hand, weaving rhythmically and without faltering—a true display of expert skill.

  

  Eijiro Kitamura, a skilled storyteller

  Weaving a new era's sensibilities into traditional techniques.

  I understand the excellence of NISHIJIN Ori (Textiles) weaving, but when I asked if it was too expensive and out of reach for younger generations, he replied, "That's true. But good quality items can be passed down from grandmother to daughter to granddaughter, for three generations. Obi (sashes) in particular are easy to mix and match regardless of body type. They're practical, aren't they? Even so, recently, we've been making some obi about 8 inches (approximately 25 centimeters) longer to suit the body types of younger people. We're also incorporating new sensibilities into the thread colors and patterns. Rather than stubbornly sticking to traditional patterns, we believe that creating high-quality items that are relevant in the modern age using traditional techniques and making customers happy is what truly makes a craftsman's worth."
  He possesses a broad capacity to embrace new sensibilities while bearing the weight of history and culture. His easygoing and unpretentious personality embodied the refined elegance of a Kyoto native.

  

  Six pieces of this fabric are sewn together to complete one maru obi (a type of formal sash).

  After the end of the Edo period, the relocation of the capital to Tokyo caused a temporary decline in the vibrancy of Nishijin. However, in the Meiji era, a device called "Jacquard," which transmits instructions for warp threads, was imported from France. With the introduction of modern technology and the spread of mass-market goods, Nishijin experienced significant development. Before the introduction of Jacquard, it is said that people stood on the loom and lifted the warp threads by hand.

  Craftsman Profile

  Eijiro Kitamura

  She entered this field at the age of 15 and has dedicated herself to weaving for over 55 years. In 1999, she was recognized as an outstanding technician by Kyoto Prefecture.

  Jacquard and pattern paper

   

  

  Anecdotes

  The beauty of NISHIJIN Ori (Textiles) shines in modern life.

  In Nishijin, we are not only preserving and passing on tradition, but we are also trying to create something new by incorporating a fresh sensibility and bringing NISHIJIN Ori (Textiles) to modern life.
  They produce a wide range of products, including fashion accessories such as ties, scarves, shawls, and handbags, as well as interior tapestries, tablecloths, and other fabrics and screens.
  Another popular item right now is "Kyoto Nishijin Ribbon." These ribbons are woven from silk and come in a variety of designs, from Western-style checks and polka dots to traditional Japanese styles like elegant vertical stripes. A pack of 10 ribbons, each 1 meter long, costs 800 yen. With gift wrapping currently trending, they're gaining popularity for being both cute and practical.

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    Ties, scarves, and other items that are well-suited to modern lifestyles. (From the Nishijin pamphlet)

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    "Ribbons raised in Nishijin, Kyoto"
    Made of silk, it has a supple sheen. It's popular not only as a souvenir for tourists but also with locals, who often come back to buy more.