The origins of Oshima Tsumugi in Amami date back to around the 7th century. The production area was established in the early 18th century, and the techniques later spread to Kagoshima. The ikat patterns are created using a unique loom called a shimehata. The "mud dyeing" technique used to dye the threads is particularly famous.
It is said that the roots of Tsumugi silk lie in Ikat, a type of ikat weaving that originated in India. It is believed that Ikat spread from Sumatra and Java to the Sunda Islands, and at the same time, it was introduced to Amami Oshima.

• 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) Matching the patterns of the ikat threads by hand to weave the ikat pattern.

  2. The dyeing method for ikat threads is "weaving tie."

   

  raw materials

  The thread used must be raw silk.

• Work scene

  Work scene

  Authentic Amami Oshima Tsumugi silk fabrics are made through an astonishing number of processes, taking anywhere from six months to over a year to complete. People have nurtured Oshima Tsumugi as if it were their own child, drawing on the blessings of nature. This tireless accumulation of effort from previous generations has produced works that are considered unparalleled treasures of ikat weaving and possess a mystical aesthetic of dyeing and weaving. This time, we will explain the general process of making authentic Amami Oshima Tsumugi silk fabrics.

  Step 1: Design and Fabric Planning

  All Oshima Tsumugi designs are drawn on graph paper as part of the weaving design process, taking into account the type of weave, thread density, and other factors. Oshima Tsumugi production begins with this design and weaving plan.

  

  Step 2: Gluing

  To tie ikat fabric using a "shimebata" (tying machine), the required number of threads must be gathered and hardened with starch. For ikat, both the warp and weft threads are prepared according to the number of rolls of fabric, then igisu or funori (seaweed paste) is applied, and the fabric is thoroughly dried in the sun. This is the first and most important step in the production process. Igisu and funori are seaweeds from Amami Oshima. These are treated with starch and used as the starch for tying the fabric. Using seaweed starch has several advantages when used in finished products, such as making them less susceptible to insects, giving them a glossy finish and a good texture, making them easier to process, and allowing for good elasticity.

  

  Step 3: Kasuri-shime processing

  The defining characteristic of Oshima Tsumugi silk lies in the exquisite beauty of its ikat patterns, and it could be said that the secret to this lies in the shimebata weaving technique. While other production areas use methods such as thread tying or board tying, Amami uses this shimebata weaving technique. Unless the silk threads are tightly bound with the cotton warp threads according to the design, beautiful ikat patterns cannot be created. For this reason, shimebata weaving has traditionally been considered a man's job.

  

  Step 4: Dyeing the Techi wood

  The mud dyeing process, which is the very essence of Oshima Tsumugi silk, requires "techi wood dyeing" as a prerequisite. First, the trunk and roots of the techi wood (Japanese name: Sharinbai) are split into small pieces and boiled in a large pot for about 14 hours. The yarn is dyed with this liquid dozens of times, and as the tannic acid in the techi wood gradually changes the color of the yarn to reddish-brown. The techi wood bears flowers similar to plum blossoms in early spring. In winter, when the wood has stored up plenty of nutrients before flowering, it is cut down, the trunk is finely crushed, and the liquid is boiled and used to dye the yarn. The more the wood is exposed to the sea breeze along the coast, the more pigment (tannin) it contains. After boiling, the techi wood is dried and used as fuel for boiling the next batch of techi wood. The remaining ash is collected and placed in indigo vats for indigo dyeing.

  

  Step 5: Mud dyeing

  The process involves dyeing the yarn 20 times with the sap of the Techi tree, followed by one dyeing in a mud field, and repeating this 3 to 4 times (approximately 100 times in total). Through this process, the tannic acid from the Techi tree and the iron content in the mud combine to soften the yarn, resulting in a unique, deep black color that cannot be achieved with chemical dyes. This mud dyeing process, which makes the yarn moist and lustrous, offers several wonderful advantages to the garment, including A. making it less prone to wrinkles, B. giving it a warm texture, C. making it flame-retardant, D. creating a resin coating on the yarn surface, E. protecting it from dirt, and F. suppressing static electricity.

  

  Process 6: Preparation processing

  The process commonly referred to as "processing" includes the preparation steps for weaving, excluding tightening and dyeing, and when broken down, it comprises as many as 28 steps. The main ones include warping, reeling, sizing, starching, partial bleaching, stencil dyeing, unraveling ikat mats, and twill matching (pattern matching).

  

  Step 7: Hand weaving

  While the finishing touches are considered a physically demanding job for men, weaving is said to be a painstaking job for women. Each thread is woven with care and dedication using a handloom. Depending on the complexity of the pattern, weaving a single bolt of fabric can take anywhere from one month to several months.

  

  Step 8: Kasuri adjustment

  Oshima Tsumugi silk is made entirely by hand using a high loom. After weaving approximately 7 centimeters at a time, the warp threads are loosened, and each thread is carefully aligned with a needle to create the ikat pattern.

  

  Process 9: Product Inspection

  All woven Oshima Tsumugi silk fabrics are brought to the inspection facility of the Amami Oshima Tsumugi Cooperative Association. Veteran inspectors with decades of experience in this field conduct rigorous checks on 18 items, including length, weave width, and unevenness of the ikat pattern, to determine whether the fabric passes or fails.

  

  Kasuri is a dyeing technique in which patterns are dyed onto each individual thread, using a resist dyeing method where the patterned areas are tied with thread. When dyed, the tied areas remain undyed, resulting in a distinct pattern. Early Oshima Tsumugi silk fabrics were dyed using hand-tied ikat patterns made from banana fiber. Starting with simple ikat patterns, the designs gradually became more complex, with various ikat patterns being combined, and cotton threads being used for tying, resulting in finer patterns. As Oshima Tsumugi grew in popularity, there was a demand for increased production. However, hand-tied ikat could not meet the demand, and there were limitations to accurately expressing ikat patterns, such as misalignment. At this time, Ieyasu Nagae, a long-time researcher and owner of an Oshima Tsumugi weaving factory in Kagoshima City, along with his son Tohachi, developed a new ikat technique in 1907 (Meiji 40). This technique involved weaving the ikat together, a groundbreaking development that improved the accuracy of ikat and increased production efficiency. Subsequent improvements have made it possible to create a wide variety of ikat patterns. Now, regarding the production process of HONBA OSHIMA Tsumugi (Pongee) HONBA OSHIMA Tsumugi (Pongee) it takes six months to a year from the design stage to the completion of the weaving. During that time, it goes through approximately 30 complex processes. Here, we will briefly introduce some of them.

  Step 1: Planning and Development

  While keeping an eye on the times, we refine our product planning with the goal of creating Oshima Tsumugi that embodies traditional beauty while also being fresh and imbued with sensibility.

  Step 2: Design and Original Drawings

  We will concretize the product planning concept. We will simulate the final look, including the colors and patterns.

  Step 3: Design and Kasuri Pattern

  Using colored pencils and pens, each individual thread and ikat pattern is depicted on graph paper. The entire process, including dyeing, weaving, and ikat techniques, is thoroughly understood. This serves as a detailed instruction manual for the meticulous and painstaking manufacturing process that follows. The patterns are expressed using tiny cross-shaped ikat patterns. Two types of designs are created for the production of Oshima Tsumugi silk. One is called the original drawing and represents the overall image, including the shape and color scheme. The other is used as a design plan and instruction manual, where each ikat pattern is precisely drawn on special graph paper matching the weaving density. This is a meticulous and painstaking process. It is also a creative job that anticipates the needs of the times, expressing the image of the product plan with a fresh sensibility.

  

  Step 4: Yarn Design

  Based on the ikat pattern, the type, thickness, and required amount of silk thread are determined, taking into consideration the texture and density of the finished fabric.

  Step 5: Warping the fly feather

  Prepare the threads to the required length and number.

  Step 6: Gluing

  The silk threads, which are the raw material for Tsumugi silk, are bundled into the required number of strands and glued together. Then they are dried and hardened.

  

  Step 7: Kasuri-shime (ikat weaving)

  Following the design, the patterned areas are woven tightly. The cotton warp threads are used to tie back the silk threads that will become the ikat pattern, so the woven areas are resist-dyed by the cotton threads and remain undyed. The shimebata (tie-back loom) requires great strength, so it is mainly men's work. The shimebata (tie-back loom) was developed to weave patterns accurately and intricately, and it is a technique unique to Oshima Tsumugi. The silk threads that will be dyed for the ikat pattern are tightly woven into the weft using the shimebata, which has cotton warp threads.

  

  工程8： 染色

  We dye woven ikat mats and base threads. From traditional mud dyeing techniques to indigo dyeing, plant dyes such as bayberry, and a wide range of synthetic dyes, we create fashionable dyed fabrics.

  

  Step 9: Unraveling the ikat pattern and tearing the weave.

  To add accent colors, the cotton threads that are tied together are cut to expose the ikat threads.

  

  Step 10: Dyeing by rubbing, color filling

  Afterward, dyes are rubbed into the partially unraveled ikat fabric according to the design.

  

  Step 11: Completely unravel the ikat fabric, then remove the leaves.

  After the coloring is finished, the ikat mat is unraveled and the cotton threads are removed.

  Step 12: Finishing paste application

  After colorfastness treatment and washing, the fabric is finished with a starch paste. This protects the threads during hand-weaving, such as when matching ikat patterns or manipulating the yarn.

  Step 13: Arranging and separating warp ikat threads

  The ikat threads are arranged according to the design. Then, they are divided into portions for one loom each.

  

  Step 14: Vertical Kasuri Board Rolling

  The ikat threads, divided into portions for one loom, are passed through the reeds and wound onto the board, ensuring they are all the same width.

  Process 15: Machine setup

  Once the preparation process for each thread—warp ikat thread, warp ground thread, weft ikat thread, and weft ground thread—is complete, the threads finally go to the weaver. After threading through the ribs and reeds, the weft threads are wound onto bobbins. Then comes the weaving. HONBA OSHIMA Tsumugi (Pongee) and the manufacturer's logo are woven in, and the ikat pattern is created. This is the most nerve-wracking moment.

  Process 16: Loom

  Each intricate ikat pattern is carefully aligned and woven together so that they intersect perfectly. The skilled hand weaving work shines through in this mind-bogglingly painstaking process.

  

  Process 17: Product Inspection

  The woven Oshima Tsumugi silk fabric undergoes rigorous inspection at the inspection facility of HONBA OSHIMA Tsumugi (Pongee) Textile Cooperative Association. The pass/fail judgment is clearly indicated on the flag or trademark.

  

  [Process based on the yarn] The process differs depending on the type of yarn. We will briefly follow the process for each type of yarn. A. Weft yarn: Dyeing – Washing – Finishing agent treatment – Drying – Winding onto bobbins B. Weft ikat yarn: Pre-dyeing – Light sizing – Winding – Warping – Sizing – Drying – Ikat tightening – Dyeing – Partial ikat unraveling – Stencil dyeing – Steam treatment – Complete ikat unraveling – Upper frame – Washing – Finishing agent treatment – Drying – Small lifting – Winding onto bobbins C. Warp ikat yarn: Pre-dyeing – Light sizing – Winding – Warping – Stencil dyeing – Drying – Ikat tightening – Dyeing – Partial ikat unraveling – Stencil dyeing – Steam treatment – Complete ikat unraveling – Upper frame – Washing – Finishing stencil treatment – Drying – Ikat arrangement – Ikat splitting – Ikat board winding D. Warp yarn: Dyeing – Washing – Finishing stencil treatment – Drying – Winding – Warping – Ground warp winding After that, the warp yarns of C. and D. are "set up on the loom". The main weaving process begins and the fabric is completed.

  Step 1: Design

  We design the image for product development, and based on that original drawing, we represent each individual thread and each ikat pattern on graph paper. This becomes the instruction sheet for the entire Oshima Tsumugi manufacturing process. Nowadays, the design adjustments are done by drawing them on a computer.

  

  Step 2: Kasuri tying using a tie-tying machine

  Intricate ikat weaving cannot be done by hand. Operating the tie-tying machine requires considerable strength, so it is primarily a job for men.

  

  Step 3: Indigo dyeing and plant dyeing

  The fabric is dyed by repeatedly dipping it in an indigo vat. Besides indigo, other dyes such as plum, gallnut, mugwort, yellow bark, and cherry blossom are also used.

  

  Step 4: Kasuri mat

  These are ikat threads that have been dyed with indigo after being tied using a shimebata (a type of tying machine).

  

  工程5： 製織

  The ikat mats are unraveled, and the washed ikat threads are woven on a loom.

  

  Step 6: Kasuri pattern matching

  Because it has intricate patterns of fine ikat, such as tortoise shell, mosquito ikat, and jaja (half-cross pattern), I weave about 7cm and then adjust the ikat points with the tip of a needle.

  

  Process 7: Product Inspection

  The finished products undergo rigorous inspections to ensure the highest quality before being shipped out as goods.

  
• Close-up

  Close-up

  The bounty of nature is the origin of Oshima Tsumugi silk.

  HONBA OSHIMA Tsumugi (Pongee) has been nurtured by 1,300 years of history and culture, and has been highly valued as a high-quality silk textile since ancient times. Its distinguishing features lie in its unique ikat weaving technique and the mystical "mud dyeing" process, which are unparalleled in the world.

   

  The bounty of nature and HONBA OSHIMA Tsumugi (Pongee)

  It takes about an hour by car from Amami Airport to Naze city. Another 20 minutes by car from there is the factory of Matsuo HONBA OSHIMA Tsumugi (Pongee) Tsumugi silk. The factory is surrounded by tropical plants such as cycads, creating a lively atmosphere. Behind the dyeing factory is a mud field of about 30 tsubo (approximately 100 square meters). There, a young apprentice dyer was diligently working on mud dyeing. Next to the surprisingly large boiling pot inside the factory, I spoke with Mr. Nozaki. "This mud dyeing can only be done on Amami Oshima. It's not just about the technique or method; the Techi tree (Rhaphiolepis indica) is also native to this region, and mud dyeing cannot be done without the mud of Amami." Mud dyeing, which is the lifeblood of Oshima Tsumugi, requires dyeing with Techi tree in the preliminary stage. First, the trunk and roots of the Techi tree are finely chopped and boiled in a large pot for 14 hours, and the yarn is dyed with this liquid dozens of times. The tannic acid in the Techi tree turns the yarn reddish-brown. The yarn, now dyed reddish-brown, is then mud-dyed in a mud field. The iron in the mud combines with the tannic acid in the Techi tree, softening the yarn and resulting in the deep black color unique to Oshima Tsumugi. "You know that cycad plant from the tropics? The cycad is written as '蘇鉄' in kanji. The soil where cycads grow is rich in iron and is suitable for mud dyeing. Also, the mud in Amami has very fine, round particles, so it doesn't damage the Tsumugi yarn and dyes it gently," Nozaki says proudly. Next to Nozaki, a large pot is boiling for the Techi tree to be brewed. The fuel for this boiling pot is actually the Techi tree wood after it has been brewed. Furthermore, the remaining ash is placed in indigo vats for dyeing. Finally, the ash, along with the indigo, is spread as fertilizer and returned to the natural environment of Amami. It is a unique dyeing technique that is nurtured in the midst of nature and returns to nature. Mr. Nozaki smiled and said, "I really love the nature of Amami, and I've lived in harmony with nature. Nature is always teaching me something." This way of thinking and attitude towards nature seems to be a concept shared by the people of Amami Oshima.

  • The flowers of the Techi tree were blooming beside the muddy field.
  • The techi wood used for the decoction is used as fuel.

  Nozaki's "Philosophy of Dyeing"

  "I've been doing mud dyeing for 30 years, but it's really difficult. It takes 30 years for the techi tree, the raw material, to grow and become usable. The techi trees that were born when I started mud dyeing are only now ready to use. And even then, the dyeing method changes depending on whether the techi tree grew in the mountains or was exposed to the sea breeze. Humans have to adapt to the blessings of nature each time, otherwise you can't make good dyes." He mentioned that natural techi trees can be found on the mountain behind the factory, so I asked if I could see them, but Mr. Nozaki just laughed and said, "Don't do it, you'll get bitten by a habu snake." Mud dyeing is hard physical labor, involving wading in mud up to your waist and dyeing over and over again. "The summer heat is really tough. Summers in Amami are just so hot. The mud is like hot water, and the sunlight is intense... But we can't complain because we're able to make a living thanks to the blessings of nature." He maintains a humble attitude towards the great outdoors. When asked, "What does 'mud dyeing' mean to you?", Mr. Nozaki straightened his back and answered as follows. "I'm so happy that you're involved in the production of Oshima Tsumugi, a type of silk fabric that the world can be proud of. The dyeing process is especially important, and it's the dyeing that is central to the appreciation of Tsumugi. I'm proud to continue this unique work in Amami. Even after doing it for so long, I haven't been able to achieve a dyeing result that I'm completely satisfied with, but when it does turn out the way I wanted, it's truly a wonderful feeling." "Kimono culture is Japanese culture, and I believe that as modern Japanese people, we have a duty to pass on this tradition forever. I hope that young people will also take more pride in Japanese culture. At our shop, we offer hands-on mud dyeing experiences. My dream is for the next generation to experience and carry on the tradition of mud dyeing."

  Craftsman Profile

  ​Matsuo Nozaki

  Born in 1941. Following in the footsteps of his father, he entered the world of mud dyeing over 30 years ago. Currently, he continues to preserve traditional techniques alongside his son, the third generation.

  Matsuo Nozaki, who has dedicated over 30 years to mud dyeing.

  Anecdotes

  Islanders singing and dancing with the god Neriyakanaya

  The people of Amami believed that Neriyakanaya (the land of the gods) lay beyond the sea, and their lives were governed by the lunar calendar. We must not forget the existence of the "Yuta" and "Noro," people characteristic of the Ryukyu culture of Amami and Okinawa. They still enjoy the support of the islanders for their shamanistic work and as advisors on personal matters. In each village of Amami, rituals and customs presided over by the "Yuta" and "Noro" remain deeply rooted, based on the lunar calendar. Since ancient times, the lives of the islanders have been embraced by nature and blessed with the bounty of the sea. Seasons revolved with the sun and moon, and agricultural work and festivals were held accordingly. In the eighth month of the lunar calendar, there were many festivals to give thanks for the harvest and pray for a bountiful harvest, and among them, "Shochogama" is a 400-year-old event designated as an important cultural property. Early in the morning, on the thatched roof on the mountainside, the men of the village chant prayers and perform a magnificent festival of dismantling the roof. As night falls, a vibrant world of dance and song unfolds. Since the exploitative era of the Satsuma domain, known as the "sugarcane hell," people have used song to alleviate the suffering of their labor. Wherever there is song, there is always a circle of dancers. And with the island's unique traditional cuisine and shochu made from sugarcane, the islanders laugh and chat, forgetting the passage of time.

  • Shochogama is a festival held in the eighth month of the lunar calendar to give thanks for the harvest and pray for a bountiful harvest.

  Oshima Tsumugi: an exquisite crystal of dots and lines.

  The essence of HONBA OSHIMA Tsumugi (Pongee) lies in the intricate detail of its ikat weaving, with every pattern expressed through a collection of ikat threads. Skilled weavers meticulously align each individual ikat thread with the tip of a fine needle every 7-8 cm of weaving, ensuring that the warp and weft threads intersect correctly. This requires the weaver's utmost attention and patience, and it takes more than 40 days to weave a single bolt of fabric.

   

  The ikat weaving technique, passed down from the far southern islands, flourished greatly in Kagoshima.

  It is said that "Oshima Tsumugi is woven twice." This is because it is first woven and tied to create the ikat pattern, and then woven again. The tying loom is larger and requires more force than a regular loom because it tightly ties the ikat threads with cotton thread. For this reason, it was mainly men's work. A groundbreaking technique for this process was developed in Kagoshima in 1907, greatly contributing to the accuracy of the ikat and the improvement of production efficiency. Even further back, in the Edo period, it had a history of being heavily protected as a specialty product of the Satsuma domain, and its production was encouraged. After that, the popularity of Oshima Tsumugi spread throughout the country, and it began to be produced on the Kagoshima mainland, mainly by people who had migrated from Amami Oshima. The individuality of HONBA OSHIMA Tsumugi (Pongee) can be said to be "the strength and skill of the tying loom," "the unique subdued color from mud dyeing," and "the exquisite crystallization of dots and lines, the ikat pattern." This time, we interviewed Akira Hishinuma, the chairman of the Kagoshima District HONBA OSHIMA Tsumugi (Pongee) Traditional Craftsmen's Association, who is also a traditional craftsman himself. Mr. Hishinuma greeted us with a bright smile and in the Satsuma dialect, asking, "Where are you from?"

  High-quality silk threads are the lifeblood of HONBA OSHIMA Tsumugi (Pongee)

  "There are other reasons why Oshima Tsumugi became so popular here in Kagoshima," says Mr. Hishinuma. "Craftsmen have always been particular about the quality of the silk threads. If the quality of the material doesn't shine through, it won't be able to withstand the test of time as a genuine product." When it comes to Oshima Tsumugi, people tend to focus on the dyeing and weaving techniques, but Mr. Hishinuma insists that these are absolutely essential in order to create a genuine product that you can truly appreciate when you wear it. Oshima Tsumugi is already a very time-consuming and laborious process, but his commitment to the material is unwavering, and he is so particular about silk threads that he even hosts a silk research group in the area. "It's the same for people and kimonos. The real thing is determined by the material. We are especially strict in selecting the raw threads for Oshima Tsumugi, which is made through a long process. When we can weave Oshima Tsumugi with the ideal silk threads, the dyeing is truly superb, the colors of the ikat patterns become vibrant, and it exudes elegance," Mr. Hishinuma said emphatically.

  "In the world of craftsmen, even after 40 years, you're still just a snotty-nosed kid."

  "I've been in this world for 40 years now, but I'm still just a snot-nosed kid. Just the other day, the wife of a wholesaler who has been doing business with my family since my predecessor's time said to me, 'Have you finally grown up to be at least as tall as your predecessor?' I'm almost 60 years old, and that's how I feel. But my predecessor was a man with both skill and ideas who developed 'Shiro Oshima,' so I was actually happy to hear that," Hishinuma said with a smile. "Oshima Tsumugi is incredibly complex. No matter how much I work on it, I can't see the end in sight. I've never been satisfied with my own work. The only reason I've been able to continue this far is my desire to make the customers and wholesalers who go out of their way to buy the Oshima Tsumugi I make happy. Yes, I'm always hungry for more. I always want to make something good, something new." "I can't compromise. I love this job. A man shouldn't be laughed at for doing a job he loves. That's why I work so hard," the "Satsuma craftsman" said in a powerful voice.

  "Look at it."

  As Mr. Hishinuma gazed into the distance, he began to reminisce about his mentor, the previous head of the family. "There's something my predecessor told me that I still can't forget. It's the word, 'Observe.' Whether it's art, people, or even steamed buns, 'Observe' everything. In other words, don't just look at the surface of things, but analyze them using all your knowledge and sensibilities. Now that I'm this age, I'm finally beginning to understand what that means. I think that's the bottom line of what top-class people involved in craftsmanship in any field say. That's why I intend to continue observing Oshima Tsumugi until the day I die." As Mr. Hishinuma spoke, the "tap-tap" sound of the loom echoed from behind him.

  Craftsman Profile

  ​Akira Hishinuma

  [Nanpu] - A traditional craftsman HONBA OSHIMA Tsumugi (Pongee). He succeeded the first Nanpu 25 years ago. As the second Nanpu, he has many fans of his work.

  Satsuma samurai. Akira Hishinuma

  Anecdotes

  Classification of dyeing techniques for HONBA OSHIMA Tsumugi (Pongee)

  1. Mud-dyed Oshima Tsumugi: This is a high-quality silk fabric woven using threads dyed with the traditional techi tree and mud dyeing method. The subdued, deep black color and supple texture exude a rich elegance. Because the white ikat pattern appears brownish on the mud-dyed background, it is also called brown mud Oshima. 2. Mud-indigo Oshima Tsumugi: This fabric is made by first dyeing threads with plant-based indigo, weaving them into an ikat mat, and then dyeing it with techi tree and mud. The black background has an even deeper and more lustrous color than the mud-dyed version, and the harmony of the indigo ikat pattern is chic and attractive. 3. Plant-dyed Oshima Tsumugi: This fabric is dyed with natural dyes extracted from plants other than techi tree and indigo. It is a refined version of the classical dyeing method, resulting in a subtly gentle color tone and a wide variety of colors. 4. Colored Oshima Tsumugi: This type of Oshima Tsumugi is dyed using synthetic dyes to create colorful ikat patterns. The wide range of colors and free gradations expands the infinite possibilities of Oshima Tsumugi. The freedom in color usage allows for a wide variety of modern and bold designs. 5. White Oshima Tsumugi: This type of Oshima Tsumugi is white or has a light base color. It can be used as a single-layer garment in late spring or early autumn. Its bright and stylish feel is very popular.

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  A fusion of tradition and modernity: Miyakonojo HONBA OSHIMA Tsumugi (Pongee)

  HONBA OSHIMA Tsumugi (Pongee) produced in Miyakonojo City, Miyazaki Prefecture, is not limited to traditional techniques passed down through generations, but also incorporates natural dyeing methods using plants and other natural materials. A pioneering spirit can be seen in its designs and sales methods as well.

   

  Tradition, lineage, and innovation

  In a quiet residential area of Miyakonojo City, at the foot of the Kirishima mountain range, there is a bright and distinctly modern exhibition gallery for Oshima Tsumugi silk. There, we spoke with Kunihiko Taniguchi, the chairman of the Miyakonojo Silk Weaving Business Cooperative, a dapper craftsman who handles everything from designing and weaving Oshima Tsumugi to quality control himself. "The history of Oshima Tsumugi production in Miyakonojo began when people who had mastered traditional techniques on Amami Oshima sought a better environment, materials, and market in Miyakonojo and found a new home. However, the origin of it all lies with Ieon Nagae, who developed the shimebata (tightening loom) method, revolutionizing the manufacturing process of HONBA OSHIMA Tsumugi (Pongee) and making a significant contribution to its development. He is our ancestor, so you could say we are part of the mainstream of HONBA OSHIMA Tsumugi (Pongee)," Taniguchi began in a gentle tone. "From that family line, my grandfather was the one who opened the first Oshima Tsumugi yarn factory on Amami Oshima. After that, they continued to incorporate new techniques, developing methods to give Oshima Tsumugi durability and depth of color, and it was here in Miyakonojo that they developed a subdued Oshima Tsumugi with a less intense sheen. In other words, in my personal opinion, 'tradition' and 'innovation and improvement' are two sides of the same coin." This philosophy leads to a modern gallery that encompasses everything about HONBA OSHIMA Tsumugi (Pongee) produced in Miyakonojo.

  Incorporate a youthful sensibility

  His wife, Keiko, is a woman who looks great in Oshima Tsumugi silk. Keiko says, "The idea that Japanese kimono culture is only for older people is causing this traditional industry to decline. I want people to think of 'kimono' more casually and approachably. Oshima Tsumugi, in particular, is fashionable wear. I want to spread the culture of wearing kimono as a Japanese person without feeling self-conscious." An Oshima Tsumugi weaving workshop is located right next door. They develop new designs and colors and regularly hold exhibitions and presentations in the gallery. Young people who come to visit are exposed to this new kimono culture and are immediately captivated by its charm. In fact, there are many young "Tsumugi artisans" in their twenties who are learning the weaving techniques of HONBA OSHIMA Tsumugi (Pongee) in this way. We spoke with one of these young Tsumugi artisans, Mr. Mori. "It all started when I happened to be visiting this place and was given a tour of a weaving workshop. Everyone was working diligently at their looms. I've always loved Western clothing, but seeing how a single thread goes through dozens of processes to transform into a beautiful kimono really moved me. I wanted to try it myself, so I started studying at the workshop. I've only just started, so there's still so much I don't know... Oshima Tsumugi is a particularly intricate weaving technique with a complex ikat pattern, requiring advanced skills. It's difficult. Because it's made from natural materials, it's affected by the temperature and humidity of the day. The amount of force I apply and the way I handle the threads change from day to day. That's why I find it so rewarding. I've always loved making things, but carefully creating a single item is incredibly enjoyable. Of course, I consider this my lifelong career." "Learning traditional techniques has made me feel like I've grown a little bit mentally. I always feel a sense of responsibility for the important job of passing on traditional techniques to the future. I have to do my best," Mori replied brightly. "I'm still technically immature, but my dream is to walk around town wearing an Oshima Tsumugi that I wove myself," Mori said shyly, her face changing from that of a craftswoman to that of a young woman. The future of Oshima Tsumugi in Miyakonojo is bright.

  Mr. Kunihiko Taniguchi and his wife, Keiko, kindly shared the history of Miyakonojo and Oshima Tsumugi silk.

  Natural dyeing

  Originally, Oshima Tsumugi silk was dyed with a variety of plants. Japanese wax tree, Rhaphiolepis indica, taro stalks, and indigo were among the many dyes used. Later, improvements such as colorfastness made it possible to create durable and vividly colored dyes. Southern Kyushu, in particular, is rich in dyeing materials. At the foot of the Kirishima mountain range, the clean air, water, and fertile land gently nurture plants such as plum, oak, bayberry, cornflower, mugwort, yellow jasmine, and gallnut. Oshima Tsumugi, dyed using the blessings of this great nature, continues to gently adorn women's hearts with its rich and gentle colors.

  Beautiful mugwort-dyed and plum-dyed Oshima Tsumugi silk fabrics with soft, gentle colors.

  Craftsman Profile

  ​Kunihiko Taniguchi

  Chairman of the Miyakonojo Silk Weaving Business Cooperative. Currently, he mainly focuses on the design and overall management of Oshima Tsumugi silk. In addition to weaving, he is also a hobbyist who plays jazz piano. He holds a 5th dan rank in both Go and Shogi.

  Anecdotes

  Wellness Miyakonojo

  Miyakonojo City boasts a rich history, including traditional industries, and has declared itself a "Wellness Miyakonojo." With the slogan "People are healthy, the city is healthy, and nature is healthy," this declaration, made in 1998, encompasses not only individual physical health but also mental health and humanity. This time, we will introduce some of the tourist attractions that Miyakonojo, a "Wellness Miyakonojo," can be proud of. Sekinoo Park, with its lush greenery, is like a natural art museum overflowing with the beauty of formations created by the power of nature. In particular, the group of potholes, which boasts one of the largest sizes in the world, is a must-see. Furthermore, there are three waterfalls that send up spray. The magnificent scenery, which shows different expressions in each of the four seasons, celebrates the strength of the earth and the gentleness of nature. The waterfall, which has been selected as one of Japan's 100 best waterfalls, is a magnificent waterfall measuring 40 meters wide and 18 meters high.

  • The scenery of Sekinoo Falls
  • Sekinoo Falls and Potholes