It all began in the early Edo period when a samurai of the Owari Domain, which ruled the area centered around present-day Nagoya City, was recognized by Tokugawa Ieyasu as the head of the Owari dyers' workshop and began producing dyed goods such as the Owari Domain's flags and banners.
Later, towards the end of the Edo period, black crest dyeing became common among samurai and commoners. In the mid-19th century, a guild was formed to handle this practice.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. "Pattern paste application" shall be carried out using one of the following techniques or methods:
  (1) When immersion dyeing, use a "pattern net" to attach the pattern stencil to both sides.
  (2) When dyeing by hand, a pattern stencil and a "paper tube" shall be used.

   

  2. Dyeing shall be carried out using one of the following techniques or methods:
  (1) In the case of immersion dyeing, the fabric shall be pre-dyed with red or indigo before the main dyeing.
  (2) In the case of dyeing, one of the following shall be carried out:
  In the case of "Mitsuhiki Kuro," after underdyeing with indigo, a plant-based dye is used as the main dye, and the dye is applied at least twice using this dye and a mordant dye, etc.
  When using the "Torohiki Kuro" method, apply a red or indigo under-dye before performing the "Torohiki dyeing" process.

   

  3. When applying a crest design, it shall be done by hand-painting or by printing using a stencil with the crest engraved on it.

   

  raw materials

  The fabric must be silk.

• Work scene

  Work scene

  The process of NAGOYA Kuro Montsuki Zome (Black Dyeing) involves dyeing a family crest onto a white silk fabric and then tailoring it into a black kimono fabric (enough bolts of fabric for one kimono; 16 meters for winter kimonos, 12 meters for summer kimonos). There are two main dyeing methods: "immersion dyeing," where the fabric is soaked in the dye, and "brush dyeing," where the dye is applied with a brush. While there are several techniques within brush dyeing, here we will introduce the process of immersion dyeing, which is the most commonly used method for NAGOYA Kuro Montsuki Zome (Black Dyeing).

  Step 1: Intention

  After removing impurities from the silk fabric to ensure a beautiful dye job, markings are made on the sleeves, collar, and body according to the ordered dimensions. This determines the placement of the family crest.

  

  Step 2: Applying the pattern

   

  

   

  

  Step 3: Applying the netting

  A brass wire mesh called "monate kanaami," about 5 centimeters in diameter, is placed over the attached pattern paper and tightened with thread. By using two monate kanaami to hold down the patterns attached to both the front and back of the fabric, it prevents the patterns from shifting or peeling off.

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  Step 4: Pre-dyeing

  First, the fabric is soaked in water. This is to allow the stencil to absorb enough water to prevent it from absorbing the dye. Then, the fabric is pre-dyed. Pre-dyeing is a process done to bring out a deep black color, and there are two types of pre-dyeing: "benishita" (red underdye) and "aishita" (indigo underdye). These two methods result in subtle differences in the shade of black when the final black dye is applied. You can choose either according to your preference, but in the Edo period, benishita was used for women's clothing and aishita for men's clothing. Pre-dyeing involves dissolving the dye in a dyeing bath at 80-90 degrees Celsius, then placing the fabric in it and dyeing it for 10-15 minutes, moving it occasionally to prevent uneven dyeing.

  

  Process 5: Black dyeing

  There are two methods for dyeing black fabric: "immersion dyeing" and "brush dyeing." In immersion dyeing, a quantity of black dye corresponding to the amount of fabric is placed in a dyeing bath at 90-95 degrees Celsius. The pre-dyed fabric is then placed in the bath and dyed for 30-40 minutes, stirring occasionally. This slow, time-consuming dyeing process is characteristic of NAGOYA Kuro Montsuki Zome (Black Dyeing), resulting in a black color that does not fade easily over time. After soaking in water overnight, the crest mesh and stencil paper are removed. The fabric is then thoroughly washed and air-dried.

  画像をクリックすると動画が再生されます

  Step 6: Applying the crest design

  The details of the family crest are drawn into the white areas (called "monba") that have been dyed in the shape of the family crest. Using high-quality ink with minimal glue, the family crest is completed stroke by stroke by stroke using an extremely fine brush, ruler, and protractor. This completes NAGOYA Kuro Montsuki Zome (Black Dyeing). The drawn family crest will not wash off. If the monba becomes dirty and the family crest fades over time, it can be restored to its original condition by washing the crest.

• Close-up

  Close-up

  The luxury of possessing "unchanging black."

  The distinguishing features of NAGOYA Kuro Montsuki Zome (Black Dyeing) are that the family crest is dyed using a stencil from the very beginning of the black dyeing process, and that the dyeing is done slowly over a long period of time. This results in a highly durable black color that does not fade even after many years. Although it is time-consuming and requires a lot of effort to produce, as it can only be made to order, this production method is precisely why it is considered a high-quality product.

   

  NAGOYA Kuro Montsuki Zome (Black Dyeing) with exceptional durability

  The outline of the Imperial family's paulownia crest is a complex shape, with three flower clusters on top of a paulownia leaf. In other production areas, even for crests of this shape, the black fabric is dyed with a circular outline around the family crest, and then the outline is filled in during the final crest painting stage. This method is suitable for mass production because the black background color can be dyed regardless of the shape of the family crest, but it can deteriorate over time, causing discoloration around the family crest. However, NAGOYA Kuro Montsuki Zome (Black Dyeing) uses a stencil made to match the outline of the paulownia leaf and flower from the beginning, so the color around the crest does not fade. It has an exceptional durability that craftsmen describe as "unfading."

  

  Mr. Ohno is immersing a men's garment in dye. The dye solution is hotter than 90 degrees Celsius.

  Visiting clients in school uniforms

  Mr. Ohno is the fifth generation of a family dyeing business that has been in operation since the Edo period. His father died when he was nine years old, and he took over the family business at the age of twelve. During his time at the old-style middle school, he would visit regular customers in Ichinomiya and Narumi wearing his school uniform. There were several large kimono shops that had been his family's customers for generations, and he employed six or seven young men. Mr. Ohno, who was still a middle school student, said he was working desperately. "But even now, I think I was blessed with good customers. I was also blessed with good young men." That's how he was able to come this far. Around 1940, when Mr. Ohno was 18, the luxury goods ban (an order prohibiting luxuries for ordinary people) was issued, and he could no longer dye goods. He was drafted into the army at the age of 20, and when he returned to Nagoya in May 1946, his shop in Minami-Kuwana-cho (around what is now Sakae 2-chome) had been destroyed by air raids.

  

  Fabric soaked for 30-40 minutes

  He returned from the battlefield and reopened his dye shop.

  At that time, Mr. Ohno was 25 years old. After that, he started his dyeing business again. Someone who had previously worked for Mr. Ohno had kept the only remaining spin dryer in the ruins and brought it with him when he returned to Nagoya. A long-time customer lent him tatami mats and a bicycle, allowing him to restart his business. Black crested dyed kimonos are formal wear. They are not products that can be sold unless there is surplus in society. In particular, black crested dyed kimonos from Nagoya are made to order. He must have gone through a great deal of hardship until his business got back on track. When asked what he remembers most about his work, the first thing that came to mind was the war.

  

  Pattern-holding wire mesh. This wire mesh is used to hold the pattern stencil in place and prevent it from shifting.

  Among the rows of black fabrics, this black one stands out.

  Mr. Ohno has a special technique for dyeing. He says he can't reveal the details because it's a trade secret, but apparently he gives the black a sheen by varying the temperature of the dyes he uses to immerse the fabric. At exhibitions where many craftsmen display their black crested kimonos, Mr. Ohno's black stands out. "Everyone comes to me wanting my color and asking me to teach them," Mr. Ohno says with a laugh. Apparently, Mr. Ohno's secret technique has become quite well known in Nagoya.

  

  Various types of patterned paper. Made by carving with a chisel after pasting together 7-8 sheets of MINO Washi (Papers).

  Difficulty finding successors due to declining demand

  However, the situation surrounding black crested kimono dyeing is tough. With people moving away from kimono, demand for black crested kimono dyeing's main products, such as mourning kimonos with family crests and black haori jackets, has decreased. Another weakness is that the techniques are not easily applicable to other products. "I really want to train successors. How do I get the young people in the association now to become full-fledged craftsmen...?" Mr. Ohno's son was also a black crested kimono dyeing craftsman, but now he works with Western-style clothing. Mourning kimonos with family crests used to be one of the items in a bride's dowry, but now few young people buy mourning kimonos when they get married. Even so, when I see someone wearing a Japanese-style mourning kimono, I am sometimes captivated by their dignified presence. Black formal wear becomes outdated and unwearable after 10 years, but Japanese clothing can be worn for a long time, I thought.

  

  Mr. Shigenobu Ohno. While chatting, he precisely measures the dyeing time with a timer.

  Craftsman Profile

  ​Shigenobu Ohno

  Born in 1922 (Showa 11).
  Born into a family of dyers that has been in business since the Edo period, he took over the family business at the age of 12 (by traditional Japanese reckoning). Since then, he has dedicated himself to black crested kimono dyeing for nearly 70 years.

  Anecdotes

  Various Family Crests - Animal Family Crests

  Family crests, symbolizing a household, began to be used during the Heian period and were attached to clothing, furniture, and ox-drawn carriages. Later, they became a mark of identification for samurai, and in the Edo period, they became widely popular among commoners. It is said that there are currently over 6,000 family crests throughout Japan, and their diversity and interesting designs are truly astonishing.
  Many traditional Japanese animals and plants appear in family crests, but animal crests are particularly interesting. Rabbits were once considered sacred animals, but some, like the one in Figure 4, are quite humorous. Many other animals are also used in family crests, making them endlessly fascinating to look at.

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    (Figure 3) "Up and Down Sparrow". This one also has a scary face.

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    (Figure 5) "Knotted Wild Geese"