Japanese Dyed Textile Crafts: History & Techniques
1. Kaga textiles
Kaga textiles, also known as Kaga yuzen, come from Kanazawa in Ishikawa Prefecture. These hand-dyed kimonos are famous for their deep, natural colors and lifelike designs. Unlike Kyoto yuzen, which uses gold leaf and embroidery, Kaga textiles stick to a more grounded, organic style. They highlight nature with soft floral patterns and a rich mix of five key tones: deep red, dark reddish purple, green, khaki, and indigo. These colors give Kaga kimono their calm, earthy look.
How Kaga Yuzen Designs Are Made
One of the standout features in Kaga dyeing is the soft color movement from the edge to the center of each pattern. This subtle shading technique adds depth and realism, especially to leaves and petals. Some designs even show flaws like worm-eaten leaves or fading edges, giving the images a more natural, imperfect beauty.
Another detail that sets Kaga apart is the itome nori technique. Artists use a special glue to draw out the designs. The glue resists the dye during the coloring process. After dyeing, the glue gets washed away, leaving behind bright white lines that outline the shapes. This contrast sharpens the design and gives it a clean, crisp look.
Where It All Began: The Roots of Kaga Textiles
The dyeing methods used in Kaga go way back. They likely started in the mid-1400s with a technique called ume zome. Over time, other styles like kenbo zome, iro e, and iro-e-mon became part of the mix. Around the 1600s, these different methods were brought together under one system called Kaga no okunizome. That became the foundation for Kaga yuzen as we know it.
In the mid-Edo period, a Kyoto artist named Yuzensai Miyazaki brought his own spin to these local techniques. He had started with yuzen dyeing in Kyoto but later moved to Kanazawa. There, he refined his craft using the local methods, laying the groundwork for what would become Kaga textiles. Thanks to him and the strong support of the Kaga domain, the technique quickly matured and spread.
Ties to Samurai Wealth and Culture
The Kaga region was rich in both money and resources. Its land produced over a million koku of rice, which helped fund the local samurai class. This wealth gave artists the means and time to hone their skills. The influence of samurai culture shows in the reserved but refined feel of Kaga kimono. They carry a quiet sense of elegance, with no need for flashy gold or loud prints.
Kaga was also a good location for fabric dyeing. The area had plenty of rivers and clean water, which are key to the rinsing and washing steps in yuzen dyeing. Silk and hemp were commonly produced here too, giving artists easy access to high-quality materials.
Survival, Setbacks, and Revival
Kaga textiles had a strong run through the Edo period and beyond. But things took a turn during the early 1900s. Just before and after World War II, the government cracked down on luxury goods. That hit the textile world hard. Many workshops shut down or switched to faster, cheaper methods.
The tradition could have faded out completely, but the 300th anniversary of Yuzensai Miyazaki’s work brought fresh attention to the craft. Artists returned to the old ways and pushed to keep the tradition alive. New tools and methods were added, but the main focus stayed on hand-dyed, hand-drawn designs.
In 1975, Kaga yuzen was officially named a National Traditional Craft by Japan’s Ministry of Economy, Trade and Industry. This gave the craft a stronger identity and opened the door to more support.
Kaga Textiles Today
While machine-printed fabric dominates most of the market now, Kaga textiles hold a special place in Japanese textile art. Skilled artists still create each piece by hand, using the same tools and steps passed down for centuries. They’re not just making clothing. They’re preserving a deep tradition.
Even now, Kaga kimono keep their quiet power. They don’t need gold or flash. Their beauty comes from patience, care, and an eye for nature. Every design has a story. Every color means something. And every stitch shows the soul of a craft that refuses to disappear.
Kaga Yuzen Dyeing: Traditional Production from Start to Finish
Designing the Motif
Each Kaga kimono starts with a hand-drawn design. This step takes time. It’s not just about picking pretty patterns. The artisan has to think about who will wear the kimono, how old they are, and how the final piece will look on the body. Every color and shape is chosen to reflect the natural scenery of Kanazawa. The process is slow and thoughtful. It blends art, tradition, and personal style.
Preparing the Silk
Before any dye touches the fabric, the silk is cut into separate sections for the collar, sleeves, and body. These pieces are then basted, meaning they’re sewn with loose stitches that are meant to be removed later. The materials used are high-quality silks, including crepe silk from Kyoto, stiff-twist silk yarn from Nagahama in Shiga, and silk from Ishikawa itself.
Sketching the Pattern
Artisans place a rough draft of the design on a table with lights underneath. The fabric is laid on top, and the design is traced by hand with thin, precise brush strokes. Another method skips the paper draft and draws directly onto the fabric using a plant-based ink made from dayflower sap, called aobana. This ink disappears when washed, so it’s perfect for temporary guides. Despite new technology, Kaga artisans still choose to draw everything by hand. They stick with tradition, no shortcuts.
Outlining with Paste
Next, a resist paste made from rice, called itome nori, is used to outline the design. This paste stops the dyes from bleeding across the fabric. The tool looks like a slim piping nozzle and is used to trace every line. The paste dries into a thin barrier that locks in each color during the dyeing stage.
Sealing the Fabric
Once the outlines are done, the back of the fabric is coated with gojiru, a watery soybean liquid, or funori, a diluted seaweed glue. This helps fix the resist paste into the fabric and prepares the silk for the next stages. At this point, if the sketch was done with aobana ink, it gets washed away.
Painting with Color
Now it’s time to add the actual color. Using brushes, artisans apply traditional Kaga tones: deep red, green, khaki, indigo, and dark purple. Each section of the design is filled in slowly, with care. Once all the paint is laid down, the fabric is steamed. This locks the color in place and keeps it from mixing during the next layer.
Protecting the Artwork
To keep the designs safe during background dyeing, a sticky rice paste is placed over the newly painted parts. This keeps the ground color from staining the artwork underneath. It acts like a shield so the detailed parts stay sharp and clear.
Applying the Base Color
After the protective paste sets, the rest of the fabric gets its base color. This dye is brushed on by hand using a wide brush. Getting it even takes experience. A single misstep can leave streaks or blotches, so only trained hands handle this stage.
Steaming the Silk
Once the base dye dries, the fabric goes into a steam box. This helps the fibers expand and absorb the dye completely. It also locks the colors in, so they won’t fade or wash out. Steaming gives the fabric its final texture and rich, deep tone.
Washing the Fabric
In the past, finished kimonos were rinsed in rivers around Kanazawa, a step known as yuzen nagashi. It was a well-known part of local culture. These days, most washing happens in modern water channels built inside dyeing centers. The water removes leftover paste, any extra dye, and softens the fabric.
Final Adjustments
The last step is all about detail. The fabric is dried, lightly steamed again, and then touched up with pigments if needed. Artists fine-tune the colors, sharpen the lines, and fix any slight changes that came from the steaming or washing. Nothing is rushed. Each line, shade, and tone is checked by hand.
Even now, this entire process is done manually. There are no shortcuts. Every piece carries the care and focus of the artisan who made it. That’s what gives Kaga textiles their depth and beauty. Each kimono is more than just clothing. It’s a piece of living history.
2. Kyo textiles
Kyo textiles come from Kyoto Prefecture and are known for their vibrant colors and rich patterns. These hand-dyed fabrics often show detailed images of animals, plants, and everyday objects. The technique used is called yuzenmoyo, a style that blends painting and dyeing to create lifelike, colorful designs.
How Kyo Yuzen Dyeing Works
The main method behind Kyo textiles involves outlining each part of the design with a glue-based resist. This keeps the dyes from bleeding into other areas and helps keep the details crisp and clean. It’s slow and expensive work, so a simpler version of the method has become more common today. But the traditional process is still highly valued for its precision and beauty.
Unlike Kaga textiles, which use a calm five-color scheme known as Kaga gosai, Kyo textiles lean into extravagance. They often include gold leaf, metallic threads, and embroidery, giving the fabric a luxurious, high-class feel. That rich detail reflects the culture of Kyoto itself - refined, elegant, and deeply tied to the arts.
The Origins of Kyo Yuzen
The roots of Kyo yuzen can be traced to the Edo period, when an artist named Yuzensai Miyazaki created a new style of dyeing inspired by folding fan designs. He was already known as a skilled fan painter. His work brought a more artistic, picture-like quality to textile patterns. That change helped form what we now call Kyo yuzen.
But dyeing in Kyoto goes back even further. As early as the Nara period, people were experimenting with fabric coloring. Over time, different techniques developed, like batik-style resist dyeing. In the Muromachi period, Kyoto saw the rise of more decorative styles, such as sarasa (a type of colorful chintz) and gold foil embroidery. These methods helped shape the identity of Kyoto as a center for luxury fabric design.
The Growth of Yuzen During the Edo Era
By the mid-Edo period, pictorial kimono dyed with vivid colors were a major trend. The chonin, or urban middle class, drove much of this demand. Their growing influence gave rise to bold styles and helped turn yuzen dyeing into a cultural phenomenon. Around this time, many older dyeing methods were merged into a more unified process. That combined skill set became the modern Kyo yuzen.
Innovation in the Meiji Period
Things changed again in the Meiji period when chemical dyes were introduced. Artists began mixing dyes with paste, which allowed for more control and sharper results. These dye-paste mixtures were used to trace detailed designs, often copied from paper stencils. A craftsman named Jisuke Hirose helped push this process forward, creating new ways to apply color more efficiently without losing the hand-drawn look.
Kyo Textiles Today
Even with faster methods available, the original Kyo yuzen technique is still in use. Craftspeople continue to hand-draw designs and apply the glue outlines by hand. The art form has spread far beyond Kyoto, gaining attention not just in Japan, but worldwide. Its beauty lies in its mix of color, technique, and story. Every design reflects centuries of tradition, tied to Kyoto’s long-standing reputation for style and grace.
How Kyo Textiles Are Made: The Traditional Yuzen Dyeing Process
Making a Kyo textile takes time, patience, and the work of many skilled artisans. Every part of the process is done by hand. From the first sketch to the final decoration, each step calls for years of training and careful attention to detail.
Step One: Sketching the Design
Everything starts with the design. A designer begins by drawing a rough sketch. Once the overall idea is set, the pattern is adjusted to match the full size of a kimono. That sketch is then drawn directly onto the basted cloth using aobana, a washable blue ink made just for drafting. The cloth at this stage is stitched loosely to hold its shape while being worked on.
Step Two: Starching the Outline
After the design is sketched, artisans outline the patterns with a glue paste called itome-nori. This paste works as a resist. It keeps the dyes from spreading past the borders of the pattern in later steps. Once the glue is in place, the fabric is washed and stretched again. Then, a soybean-based liquid called gojiru is brushed onto the fabric as a base. Right after that, the cloth is dried quickly over a fire. This step helps the fabric absorb dye more evenly and sets the base for smooth color work.
Step Three: Coloring the Patterns
Next comes the color. Using brushes, artisans apply dyes to the spaces between the glue outlines. Each color is hand-painted, often with layers of shading and blending. It’s painting. This part of the work requires real skill. Getting the color right takes years of practice, especially when blending shades or keeping tones consistent across a large piece of cloth. Heat is used to dry the fabric between layers, usually with a charcoal brazier or electric heater.
Step Four: Waxing and Base Color Dyeing
Once the design is fully painted, it gets protected. A layer of starch or wax is applied over the colored parts. This keeps them from being affected when the background color is added. Brushes are the main tool, but techniques like gradation and double-dyeing are sometimes used here too.
When the base color is finished, the fabric is steamed to set the dyes. After steaming, all the glue, wax, and leftover materials are washed out. This part of the process includes multiple rinses, stretches, and even steam ironing to give the fabric a clean, smooth feel. In the past, this final washing was called yuzen nagashi, and it was often done in local rivers like the Kamogawa or Horikawa. It became a popular sight in Kyoto.
Step Five: Final Details and Decoration
At the very end, the fabric is decorated. Gold leaf, platinum foil, metallic dust, and embroidery are added to highlight parts of the design. For gold work, artisans spread glue onto certain areas, then press thin gold leaves or scatter gold powder onto the surface. Other methods like embossing, slicing, dusting, beating, and rubbing are used to give texture or shine.
Embroidery is also added in many pieces, especially for more formal kimono. The threadwork adds color, shine, and depth. It turns a beautiful fabric into something extraordinary.
Kyo Yuzen Today
Even though faster printing methods are common now, traditional yuzen dyeing is still used for high-end and formal kimono. Styles like furisode, worn by unmarried women, and tomesode, worn by married women, often feature hand-dyed Kyo textiles. These methods haven’t faded. They remain part of Japan’s living craft heritage, built on precision, history, and unmatched detail.
3. Tokyo fine-patterned dyeing
Tokyo fine-patterned dyeing, or Tokyo some komon, is a traditional Japanese textile technique. You’ll find it in places like Shinjuku and Setagaya. The designs are created using stencils, and the fabric gets dyed by hand. From a distance, the fabric looks simple. But when you step closer, you’ll see small, detailed patterns. These aren’t printed by machines. Each design is carefully applied with handmade paper stencils. This craft was officially recognized as a national traditional art in 1976.
Types of Komon Patterns
The word komon means fine patterns. There are two main types: Edo komon and Tokyo oshare komon. Edo komon is subtle and usually one color. It has tiny, repeating patterns that often look like dots or lines. Tokyo oshare komon, on the other hand, uses bigger, more colorful designs. But both rely on Japanese paper stencils. The artist cuts the design into the paper and uses that to apply dye to the fabric.
Some of the most well-known patterns include same komon, which looks like fish scales and is sometimes called the shark skin pattern. There’s kakudoshi komon, which uses a grid-like layout. Gyogi komon shows diagonal lines. Then there’s gokusame komon, which is an even tighter, more detailed version of the shark pattern. The smaller and more intricate the pattern, the higher the quality is considered.
How Tokyo Some Komon Is Made
This dyeing method is all about precision. It starts with layers of traditional Japanese paper that get pasted together to create a thick backing sheet. A skilled artisan carves the pattern into the paper by hand. This part takes years of practice. Then, a dye artist applies a paste made from starch onto the fabric through the stencil. After that, the dye gets applied, leaving behind the detailed design.
This specific method, known as komongata zome, has been around since the Muromachi period, which lasted from 1338 to 1573. But it really became popular during the early Edo period, from 1603 to 1868. Samurai started wearing these fine-patterned fabrics as part of their formal clothing. That’s when demand took off.
Why It Became Popular in Edo (Tokyo)
Back then, Edo (modern-day Tokyo) was home to many feudal lords, known as daimyo. Each clan had its own custom pattern. These personal designs were symbols of identity and status. Over time, the clan patterns became standard designs in the craft itself. At first, only the upper class wore these fabrics. But later in the Edo period, regular townspeople started wearing them too. That’s when new patterns popped up. You began to see animals, plants, lucky gods, and treasure-themed motifs. As the variety grew, so did the popularity.
Changes During the Meiji Period
During the Meiji era, which began in 1868, things changed fast. A new law forced samurai to cut off their topknots, and with that came a change in clothing. Western styles became the norm. Fewer men wore traditional kimono, so the demand for fine-patterned men’s kimono dropped. But women started wearing these fabrics more, especially in formal or seasonal dress.
Why Tokyo Some Komon Still Matters Today
Even though times have changed, Tokyo fine-patterned dyeing is still around. It's valued not just for its looks but also for the skill behind it. Every piece takes time, patience, and deep knowledge of the craft. From start to finish, it's all done by hand, using techniques passed down for centuries. The patterns may be small, but the history behind them is big.
How Tokyo Some Komon Is Made
Cutting the Pattern by Hand
Everything starts with the stencil. Artists layer two or three sheets of handmade Japanese paper and glue them together using persimmon tannin. This mix creates a stiff tracing paper that holds the design. Skilled carvers use their own hand-forged tools like knives, gimlets, or chisels to carve the pattern. These patterns can get extremely detailed. Some stencils called goku have around 900 to 1,000 tiny holes carved into a single square that’s just three centimeters across.
The carving isn’t done just one way. Some designs are made by pushing the blade straight through the paper. Others are done by turning a gimlet or pulling an oval blade toward the body. Each method changes how the design looks and feels.
Mixing the Dye with Starch
Once the stencil is ready, the dye and starch get prepared. Both the base color and the pattern color matter. The dye doesn’t go on by itself. First, starch is made by steaming a mix of glutinous rice flour, rice bran, and a little salt. This starch base gets blended with dye, and it takes several trial runs to get the shade just right. Even if chemical dyes are used, the job still depends on the dyer’s skill and experience to get the right color.
Applying Starch and Starting the Dyeing Process
Now the fabric gets prepped. A long white silk cloth is stretched tight across a board about seven meters long. The stencil is placed over the fabric. A spatula made from Japanese cypress is used to spread the starch paste across the stencil. The starch blocks the dye from seeping in. Wherever there’s no starch, the dye takes hold.
This part is tricky. Keeping the stencil still while covering a twelve-meter roll of cloth takes serious control. On top of that, the pattern edges need to match exactly when one stencil ends and another begins. Because the stencil paper can dry out and crack, it has to be soaked before reuse to stay flexible.
Drying the Fabric on the Board
After starching and dyeing, the fabric stays stretched out to dry on the board. If the design calls for more than one color, the fabric goes through this process multiple times. Each layer of dye adds brightness and depth to the finished piece.
Adding the Base Color
Once the first part is dry, the fabric is lifted off the board for the next step. A new starch-dye mix is spread across the fabric using a wide spatula. Then the cloth gets pulled through a shigoki machine. This helps the fabric fully soak in the base color, making sure it looks even from end to end.
Setting the Dye with Steam
Before the fabric dries out too much, it goes into a steam room. It gets steamed for about 15 to 30 minutes at a temperature between 90 and 100 degrees Celsius. This step locks the dye into the fabric. Controlling the steam temperature is a big deal. The artisan has to know by scent and touch if something’s off, especially since the starch can ferment and change the smell.
Washing the Fabric Clean
Next comes washing. The steamed cloth gets soaked in water to loosen up the starch. Then it’s carefully rinsed to remove extra dye and leftover starch. In the past, this part was done in rivers. That’s why so many old dyeing shops were set up along strong-flowing rivers like the Kanda River. Clean water mattered as much as clean dye.
Final Drying and Touch-Ups
The last part is drying the cloth in the sun. Then it gets steam-ironed to stretch it to the proper width. A final check is done for uneven lines or off-pattern spots. If anything looks off, it’s corrected by hand using a brush and dye. Once all that’s done, the fabric is finished and ready to use.
4. Nagoya textiles
Nagoya yuzen is a hand-dyed textile made in Nagoya, located in Aichi Prefecture. The cloth is known for its subtle beauty and is created using several traditional dyeing methods unique to this area. The patterns usually stay within a soft, limited color palette. Designs often show up in single shades, color fades, or classical motifs. Unlike the boldness of Kyo yuzen or the delicate grace of Kaga yuzen, Nagoya yuzen stands out for being calm, minimal, and refined.
Types of Nagoya Dyeing Techniques
This craft includes three main techniques, each with its own style and method. The first is Nagoya tegaki yuzen, where designs are painted directly onto the fabric by hand. The second is Nagoya kata yuzen, which uses Ise katagami stencils. These stencils came from Ise and are used to apply detailed patterns during dyeing. The third method is called kuromontsuki-zome. It’s used for formal wear and involves dyeing black fabric with family crests.
Each of these techniques takes serious skill. Artists must know how to balance tradition with precision. Today, some makers mix in modern elements, adding fresh designs while keeping the same traditional base. The result is a textile that feels both classic and current.
Where Nagoya Yuzen Comes From
Nagoya yuzen traces back to the 1730s, during a rich cultural period in the Owari domain, now known as Nagoya. At that time, the area drew in craftsmen from across Japan, including dyers from Kyoto and Edo. These artisans are believed to have introduced yuzen dyeing to the region. But things changed after Lord Muneharu Tokugawa was removed from power. The once lavish culture became more restrained. This change shaped the modest and quiet beauty that defines Nagoya yuzen today.
Naming and Recognition of Nagoya Yuzen
Even though this dyeing style had been practiced for centuries, it wasn’t officially called Nagoya yuzen until 1983. Before that, it was usually grouped under the broader name Kyo yuzen. That same year, three major dyeing groups came together to form the Nagoya Yuzen Kuromontsuki Federation of Cooperatives. These included artisans working in black crest dyeing, stencil dyeing, and hand-painted designs.
In April 1983, Nagoya yuzen was named a National Traditional Craft. That recognition helped preserve the techniques and made the name official. Today, the craft continues to thrive, holding on to its clean style while adapting to new tastes.
How Nagoya Yuzen Is Made
The process behind Nagoya yuzen is long, detailed, and completely done by hand. It takes experience, steady hands, and full control over the dyes and tools. Every step matters, and each one has to be done just right for the fabric to come out clean and balanced. Here's how the craft is built from start to finish.
Step One: Rough Draft
It starts with a design. The artist figures out the colors and layout, then sketches the plan on paper. Once the draft is set, it gets transferred onto fabric. To do that, they use a special solution made from the juice of the dayflower. This juice fades when it gets wet or steamed, so the lines don’t stay on the finished cloth. Today, some people use a synthetic version that works the same way. The point is to create visible lines that disappear later in the process.
Step Two: Starching the Back
Nagoya yuzen uses a starching method that sets it apart. On the back side of the cloth, the artist spreads itome-nori, a sticky paste made from rice bran, glutinous rice flour, and zinc dust. This starch stops the dye from soaking through the fabric during coloring. Some people use a different mix made with ultramarine blue pigment and rice powder. Unlike the water-based starch glue, this version can only be removed using benzine, not water. Each mix gives a different effect, but both prevent the dye from bleeding through the layers.
Step Three: Applying Color
With the draft in place, the artist starts dyeing. Colors go on in order, from light to dark. Small brushes are used for detail, and wider brushes cover bigger areas. After each layer of dye, the fabric gets dried on a hot plate from the back. This keeps the starch from getting soaked and stops the colors from blending together. After all the coloring is done, the fabric is steamed to set the dyes. But not every detail is finished yet. Smaller touches are added later.
Step Four: Sizing
Next, a thick paste made from steamed glutinous rice powder and salt gets spread over the patterned areas. This stops the base color from bleeding into the design during the next step. Unlike the narrow tubes used for starch glue, the paste is applied using wider tubes that cover more space. Then the fabric is dusted with rice bran or sawdust. This keeps the mixture in place and helps it dry faster. It also protects the fabric from color movement later.
Step Five: Ground Dyeing
Now it's time to add the base color. The artist checks fabric samples and color charts to mix the right shade. If too much dye is used, the color will lose its shine, so they work with just enough. When the mix is ready, it gets brushed quickly and evenly across the fabric. Timing is everything. If one side dries faster than the other, the color will come out blotchy. This part needs a careful, confident hand and years of practice to get right.
Step Six: Final Details
The final step is where any missing details get filled in. Before that, leftover dye and glue are rinsed out. Then the fabric is steamed by hand or machine to smooth out wrinkles and adjust the shape. Once that’s done, fine lines and extra touches are added. Sometimes gold powder or gold leaf is used for extra detail. Some designs don’t need this last step, but many do. It’s the finishing point that brings the whole piece together.
Nagoya yuzen isn’t mass-produced. It’s made through a long, slow craft that puts quality first at every turn. Every fabric tells a story, not just through the design, but through the work and skill it takes to make it.
5. Kyo-komon textiles
Kyo Komon is a traditional textile made in Kyoto. It stands out for its fine, detailed patterns and rich colors. These fabrics are dyed using stencils, a method that goes back around 1200 years. Kyoto has long been known for its high-quality fabric dyeing, and Kyo Komon is a key part of that legacy.
This craft began with the creation of paper stencils used for dyeing cloth. Back then, it was mainly used for samurai clothing. During the Edo period, between 1603 and 1868, samurai wore kamishimo, a formal outfit that included wide-legged hakama trousers dyed with komon patterns. These early designs were usually single-colored and very subtle. The word "komon" originally meant these small, uniform patterns.
Over time, things changed. Townspeople and merchants started wearing komon too. They gave it their own twist, adding color and variety. The patterns became more decorative, and multi-colored designs started to appear. Fashion became more playful and expressive among the general public, even while the samurai still wore it formally.
Kyoto also produced another famous dyeing style called Kyo Yuzen. Kyo Komon and Kyo Yuzen influenced each other over time. That blend of ideas helped Kyo Komon stand out with its own look. Kyo Komon designs are known for their soft, graceful color combinations and refined style. You can tell the difference when you compare them to Edo Komon, which is more restrained and less colorful.
Even now, the same traditional dyeing methods are still used. Craftsmen rely on hand-cut stencils made from traditional Japanese paper. They apply rice paste to block out parts of the cloth before adding color, a method called resist dyeing. This process takes skill, patience, and experience.
The History of Kyo Komon and Its Samurai Roots
The history of Kyo Komon ties back to stencil-making in Kyoto more than a thousand years ago. By the time of the Muromachi period, between 1336 and 1573, a wide range of silk fabrics was being made. After the Onin War, a group of dyers set up shop near Horikawa, a district in Kyoto. That area became a key center for fabric dyeing. It’s from this community of artisans that Kyo Komon started to evolve into what we see today.
During the Sengoku period, around the same time as the Onin War, powerful warlords like Ieyasu Tokugawa and Kenshin Uesugi were known to wear Kyo Komon. That kind of recognition helped raise its status and gave it cultural importance. Later in the Edo period, samurai continued to wear komon-patterned hakama as formalwear, and regular townspeople followed the trend, turning it into everyday fashion.
The influence of Kyo Yuzen also became more obvious as time passed. While Edo Komon kept to simple, uniform dots and lines, Kyo Komon moved toward more expressive shapes and vivid colors. Its patterns often resemble small pictures and use brighter tones, giving each piece a livelier and more artistic look.
Today, Kyo Komon is not just for kimono. The same techniques are used in modern items like bags, scarves, and clothing. Though styles have changed, the methods remain rooted in tradition. Stencil dyeing with rice paste is still done by hand, just as it was centuries ago.
Kyo Komon continues to be one of Kyoto’s most refined textile arts. It blends beauty, technique, and history in a way few crafts can match. It reflects the elegance of old Kyoto while still being part of modern design.
How Kyo Komon Textiles Are Made: Traditional Japanese Dyeing Step by Step
Stencil Pattern Cutting: The Start of the Process
The first step in making Kyo Komon fabric is cutting the stencil. This begins by gluing together three or four sheets of Mino washi, which is handmade Japanese paper from the Mino region. Each sheet is placed so that the grain goes in a different direction. Once stacked, the paper is coated with persimmon tannin to strengthen it. Then it’s left to dry and age.
After that, the design is drawn onto the stencil paper. Using small knives and chisels, the artisan carefully cuts out the pattern. There are four main ways to do this, depending on the design. "Kiri bori" makes tiny holes with a sharp awl. "Tsuki bori" is done by placing the paper over a hole in a board and slicing over it. "Dougu bori" uses special blades that match a design and are cut using those tools. "Shima bori" uses a knife and steel ruler to slice even stripes.
Kyo Komon patterns are often very fine and detailed. Cutting them takes patience and a steady hand. After cutting, the stencil is reinforced using silk gauze painted with lacquer. This helps keep the delicate pattern from falling apart.
Mixing the Dye: Creating Color from Scratch
Next, the dye is made. Liquid dye is added to a yuzen thickening paste. This paste is mixed thoroughly with a rod until the color is smooth and even. Artisans don’t use pre-mixed colors. They make each one by hand. Getting the right shade takes experience and close attention. It’s all done by eye and feel, not machines.
Stenciling the Cloth: Laying Down the Pattern
Now the design is applied to the fabric. The stencil is placed on plain cloth, and paste is pushed through the stencil using a square spatula. This paste can either block the dye or carry the color, depending on the step. Some stencils are passed down through generations of dyers. Others are made custom for new designs. The pattern is repeated across a 12-meter strip of cloth.
Base Dyeing: Coloring the Background
Once the pattern is applied, the base color goes on. There are two methods. One uses a spatula to spread thick paste onto the cloth. The other uses a brush to apply liquid dye. Both require care to keep the color even and clean.
Steaming and Washing: Setting the Color
After the base color is added, the fabric is steamed inside a box. This can take anywhere from 20 to 60 minutes. Steaming locks in the color. Once done, the fabric is taken out and washed in clean, running water. This removes any leftover paste or excess dye. If this part is rushed, the final color can fade or stain. So it's washed thoroughly to make sure the fabric stays bright and clean.
Final Touches: Steaming and Stretching the Fabric
In the last step, the fabric is steamed again to smooth out wrinkles. Then it’s stretched to the proper width and shape. The design is now set. The masked stencil areas show up as patterns in reverse, depending on how the paste was used.
Each piece is made by hand. Even if two fabrics use the same stencil and colors, no two are ever identical. Every bolt of Kyo Komon reflects the skill and care of the people who made it. It’s slow work, but that’s what makes each one unique.
6. Arimatsu tie-dyeing
Arimatsu Narumi Shibori is a traditional Japanese tie-dye craft made near Nagoya in Aichi Prefecture. Most of Japan’s tie-dye fabric comes from this area. It's a nationally recognized folk craft, known for bold contrast and rich textures created through hand-tied patterns. Some people call it just Arimatsu Shibori or Narumi Shibori, but both names refer to the same textile tradition.
The beauty of this craft lies in how the fabric is shaped, tied, and dyed. Each fold and stitch adds to the design. There are over a hundred methods used today. Some involve stitching and binding before dyeing. Others shape the cloth into spiderweb, flower, or ripple patterns. A few famous styles include nuishibori, kumo shibori, sekka shibori, Miura shibori, and kanoko shibori. Miura shibori came from a woman in Oita, who passed the technique down through generations.
In 1992, the first International Shibori Symposium was held. That helped the art spread worldwide. Now, "Shibori" is known across the globe, and Arimatsu and Narumi are considered its center.
Where Arimatsu Shibori Began
Shibori as a dyeing method started way back in the Nara period, between 710 and 794 CE. But Arimatsu Narumi Shibori began much later, during the Edo period. It started when workers from Bungo, now known as Oita Prefecture, came to help build Nagoya Castle between 1610 and 1614. They wore shibori-patterned kimono, which caught the attention of Shokuro Takeda. He had settled in Arimatsu and was inspired to try the same technique using cotton made in Aichi, called Mikawa cotton. That was the start of Arimatsu Narumi Shibori.
In 1655, a woman from Bungo shared her knowledge of Bungo Shibori, which evolved into Miura shibori. After that, Arimatsu became the center of shibori production.
From Souvenir to Symbol
The names Arimatsu Shibori and Narumi Shibori became popular as travelers on the old Tokaido route passed through Narumi-Juku. It was one of 53 waystations between Edo and Kyoto, and visitors would buy tie-dye items as keepsakes. As time passed, both towns were absorbed into Nagoya. That’s when the name Arimatsu Narumi Shibori stuck.
Today, the tradition lives on. Artisans still create each piece by hand, using skills passed down for centuries. The fabric, the dyes, the folds, and the threads all come together to form one-of-a-kind patterns that can’t be replicated by machines. Each finished cloth carries a history that began over 400 years ago.
How Arimatsu Narumi Shibori Is Made: Step-by-Step Tie-Dye Process
Creating Arimatsu Narumi Shibori is a long, hands-on process that blends old techniques with careful detail. From start to finish, each step matters. Every pattern starts with a plan, and every product is made by trained hands. Here's how the fabric goes from plain cotton to a finished shibori textile.
Designing and Cutting the Pattern
It all starts with a paper pattern. After the design is finalized, the layout gets transferred onto paper. The craftsman then cuts out the design using a sharp knife and a small hollow punch. This forms the guide that will be used in the next steps. This part is all about accuracy. The cleaner the cut, the sharper the final design.
Printing the Pattern on Fabric
Before tying, the design gets printed onto the fabric. First, the cloth is starched and steamed. That makes it smooth and flat, so it’s easier to work with. The fabric is then laid over the paper stencil, and a skilled printer called a surishi applies the design. The ink comes from the Asiatic dayflower, known as aobanaeki. Sometimes substitutes are used. This ink is temporary and washes out later. It’s just there to guide the tying process.
Tying the Fabric
Next comes the core of the shibori process: the tying. Craftsmen use cotton or silk thread to bind the fabric according to the printed guide. There are over a hundred different techniques. Each one creates a different type of pattern. Tools like ukodai, karasuguchidai, kanokodai, and makiagedai help hold and shape the fabric while it’s being tied. Since this step is slow and labor-heavy, it used to be extra work for farmers in nearby towns. These days, to cut costs, some tying is outsourced overseas.
Dyeing the Fabric
Once tied, the fabric moves to dyeing. A dye master, known as a someya, handles this part. The parts of the fabric that are tied stay undyed, which forms the final pattern. The cloth is first bleached to remove any leftover ink or dirt. Then it gets dipped and dyed, often many times. The more colors used, the more complex the process. Extra care is taken to block color from reaching certain parts of the fabric. That prevents unwanted blending. Some patterns need over twenty rounds of dyeing and resist-dyeing. The type of dye and method change depending on the fabric, the amount of color needed, and the final use of the textile.
Taking Out the Threads
After dyeing, the fabric is left to dry. Then, the threads used for tying are removed. This step takes patience. Since the threads were tied tight, removing them without ripping the fabric is tricky. The method used depends on the kind of shibori. On average, it takes three to four days to take all the threads out of one bolt of cloth.
After the threads are removed, the fabric shrinks a little. So it's steamed again to smooth out the wrinkles and fix the texture. Extra treatments may be added depending on how the cloth will be used. At the end, the fabric is either rolled up or basted to reveal the design. This final step, called ebashiage, completes the transformation from plain fabric to a finished piece of Arimatsu Narumi Shibori.
7. Ryukyu traditional textiles
Ryukyu Bingata is a type of dyed fabric made in Shuri, Okinawa. It first appeared sometime between the 14th and 15th centuries. Back then, it was mostly worn by women from royal or warrior families. This textile stands out for its bold colors and strong tropical style.
There are two main styles of Ryukyu Bingata. The first, called bingata, uses bright colors. The second, known as aigata, is dyed with indigo. The fabric is made using two main methods. One is called katatsuke, which involves stencils made from paper. The other is tsutsuhiki, which is freehand drawing with dye. Katatsuke is often used to make kimono-length fabric and obi belts. Tsutsuhiki is used for items like cloth wraps and decorative curtains.
What makes Bingata special is the rich color and bold design. You’ll see patterns that reflect both nature and imagination. Some show classic Okinawan themes. Others feature ideas not native to Okinawa at all. A lot of the older designs clearly show influence from Japan, China, and Southeast Asia. That mix of styles helped shape what we now call Ryukyu Bingata.
The History Behind Bingata
No one knows exactly how Bingata started, but records from the 14th century suggest it already existed back then. During that time, the Ryukyu Kingdom was a busy trade hub. It sat right in the middle of the East China Sea. The kingdom traded with Japan, China, and other nearby countries. Its trade routes even reached Southeast Asia.
Through that network, Okinawan artisans picked up dyeing methods from other cultures. They adapted techniques from India, Indonesia, and China. Over time, they blended these into their own style. That fusion created what we now know as Ryukyu Bingata.
It became more than just local fashion. The Ryukyu royal court protected the craft. It turned into a key product in international trade. Bingata was even offered as tribute to the Chinese empire and the Edo shogunate. The fabric’s look - its patterns, colors, and materials - would often change depending on the wearer’s rank, age, or gender.
War and Revival
World War II brought major destruction to Okinawa. Most of the old Bingata stencils and tools were lost in the war. The fabric’s future looked bleak. But after the war ended, local artists worked hard to bring it back. Thanks to those efforts, Ryukyu Bingata is still made today. It’s now protected as a traditional Okinawan craft.
Modern Bingata continues to draw from the same roots: vivid tropical color, strong design, and a deep blend of cultural history. It’s a textile that connects centuries of Okinawan life to the world.
How Ryukyu Bingata Is Made: Step-by-Step Process
Carving the Pattern
It starts with the design. A sheet of tracing paper with the design gets stuck onto shibugami, which is a tough paper made by layering traditional Japanese paper and coating it with persimmon tannin. Sometimes, the design is drawn straight onto the shibugami. A block of dried tofu goes under the stencil as a base. Carving begins with the smallest and most detailed areas.
The carving is done with a method called tsukihori. That means the knife blade faces up and gets pushed forward. It’s slower and harder than the hikihori method, which pulls the blade toward the body, but tsukihori gives cleaner lines. There are two carving styles. Shirojigata leaves the design intact and cuts away the background. Somejigata does the opposite, cutting out the design itself. Sometimes both are used together, depending on the look of the pattern.
Stencil Printing
After carving, the stencil gets placed on a thin piece of silk that’s already cut to match the pattern. A resist paste is then pressed onto the fabric through the stencil using a flat spatula. This paste keeps those areas from absorbing dye.
The trick here is even pressure. Too much or too little can ruin the design. The weather matters, too. Humid air can make the dye bleed through the cloth. If it’s too dry, the paste cracks and also causes smearing. Getting the paste mixture right is key to how the final fabric turns out.
Freehand Drawing (Tsutsuhiki)
There’s also a method called tsutsuhiki, where the paste is applied by hand. The artist uses a cloth tube like a piping bag to squeeze out the paste along the drawn design. This creates a more lively, fluid look than the stencil method.
Coloring the Fabric
Once the paste is in place, a mix called gojiru is brushed on. It’s made from soy milk and starch. This helps the fabric absorb the dye better and stops the color from running. But if gojiru is spread unevenly, the dye might blotch or not stick at all. The dyeing starts with the lightest colors first, then goes darker. The artist keeps checking the back of the cloth to make sure the paste hasn’t cracked, which could let dye leak through.
Setting the Color with Double Stenciling
After coloring, the pigments still need help settling into the cloth. A special brush is used to press the colors deeper into the fabric. That brush is made from real human hair, traditionally from women. This step locks in the shades and makes the color last longer.
Shading Colors for Depth and Texture
Once the base colors are set, the next step is called kumadori. This is where shading gives the pattern a three-dimensional look. It’s a signature part of Ryukyu Bingata. A darker version of the original color is used to shade the center of each part of the pattern. With a brush, the dye is gently rubbed in to blend the tones. This gives the design depth and movement without harsh lines.
Reapplying Resist Paste
After shading, resist paste goes on again. It gets applied to specific parts of the pattern to block dye during the next round of coloring. If the paste isn't placed exactly where it needs to be, the whole design can lose its sharpness. This step demands focus and steady hands. Like before, the paste must be mixed just right. Too thick or too thin and the results won’t be clean.
Texture Dyeing
Before texture dyeing starts, a thin starch solution is brushed on. This layer helps control how the dye spreads and stops it from bleeding. Then, a larger brush is used to apply the dye over broader areas. The amount of pressure used and the amount of dye both have to stay even. If either one changes too much, the color can come out uneven. For indigo designs, this part is done by dipping the fabric in indigo dye baths.
Steaming to Set the Dye
After the final colors are applied, the textile goes into a steamer. It stays in there for about 40 minutes to an hour. This high heat helps lock the dye into the fibers. Once steamed, the cloth is left to dry. Sometimes, instead of steaming, a chemical setting agent is used to fix the color in place.
Final Wash and Dry
The last step is washing. The fabric is rinsed well in either hot or cold water to get rid of leftover paste, starch, and any chemicals. The cloth needs to be checked closely during this part to make sure there are no blotches, streaks, or faded areas. Once everything looks right, the textile is dried, and the process is done.
What’s left is a finished piece of Ryukyu Bingata, complete with layered colors, bold design, and detailed handwork that took real time and effort to create.
8. Tokyo Tegaki Yuzen
Tokyo Tegaki Yuzen is a traditional style of kimono dyeing that comes out of Tokyo’s Shinjuku, Nerima, and Nakano areas. It's part of what grew from the Edo period’s townspeople culture, which shaped a clean, understated look. These kimonos stand out for their soft tones and quiet style. Unlike other types of Yuzen fabric, like Kyo Yuzen or Kaga Yuzen, this one doesn’t use stencils or templates. "Tegaki" means "hand-painted" in Japanese, and that’s exactly what this is. The entire design is painted freehand from start to finish. Every step is done by one artisan alone. No parts are outsourced or handed off. That gives each piece its own personality, shaped fully by the person who made it.
What Makes It Different From Other Kimono Fabrics
Most Yuzen fabrics use stencils to keep the design uniform. Tokyo Tegaki Yuzen doesn’t. Everything is hand-drawn directly onto the cloth. The style shows off the artist’s skill and attention to detail. You won’t see the same design twice. Patterns you often find in this type include Edotoki, Goshodoki, and Yusoku. These have their roots in old Tokyo fashion, but many makers today are mixing in modern Tokyo colors and newer design ideas too. That blend of old and new gives the style a fresh but rooted look.
Where It All Began
The technique dates back to the early 1800s during the Edo period, when Tokyo (then called Edo) became the center of politics and business in Japan. A fan painter named Yuzensai Miyazaki was one of the first to try painting kimono fabric. A kimono shop couldn’t sell the usual fancy styles at the time because of strict laws that banned flashy clothing. So they asked him to try painting something simpler but elegant. It worked. People liked what he came up with. His hand-painted kimonos caught on fast. Artists and dyers moved into the area to meet demand, and the craft took off from there.
Why It Took Hold in Edo
Tokyo Tegaki Yuzen grew in places near clean rivers, especially the Sumida River. Fresh water was key for dyeing the fabric. Artisans needed it to wash and process the cloth. The demand for tasteful, non-luxurious fashion also helped the style spread. Since full embroidery and rich fabrics weren’t allowed under the rules at the time, this more toned-down hand-painted look fit the law but still looked elegant. Shops found a way to sell kimonos without breaking the rules, and customers got something stylish that still felt refined.
Still Alive Today
Even now, Tokyo Tegaki Yuzen is made the same way it’s always been. The artists still do every step by hand, from start to finish. The focus is on skill, subtle beauty, and clear detail. You’ll still find the traditional Edo-era patterns, but there’s also a growing number of modern designs that reflect the feel of today’s Tokyo. The craft keeps evolving without losing its roots. That’s what makes it stand out. It’s not just a fabric. It’s a living part of Tokyo’s design history.
Step-by-Step: How Tokyo Tegaki Yuzen Kimonos Are Made
Design Planning
Every kimono starts with a clear purpose. The artist thinks about who will wear it and why. This could be for a wedding, a formal event, or just everyday use. They begin by sketching rough designs. Sometimes they add color to these drafts to test how the patterns will look. This is where the vision starts to take shape.
Sketching the Outline
Once the design is set, the artist draws it onto plain white fabric using a fine brush. They use a blue ink called aobana-eki, which comes from a plant called spiderwort. The dye is soaked into Japanese paper, then squeezed out with a bit of water. This blue ink fades later, so it won’t stay on the finished fabric. It's just a guide.
Applying the Paste for Dye Blocking
To keep the colors from blending, a special paste is added along the lines of the design. This step is known as itomenori-oki. The paste is applied using a tool that looks like a small funnel with a metal tip. The paste works like a barrier, blocking the dyes from spreading beyond their place. It lays down a thread-thin line over the sketch.
Adding the Colors
Color is added with care. The artist uses a Yuzen table that has a heater placed in the middle. As they apply the dye, the heater gently warms the fabric from below. This keeps the colors from bleeding. The dye is not painted like regular paint. Instead, it's pressed into the fabric to bond with the cloth. Before putting any dye on the kimono, the artist tests the colors on the same fabric type to make sure they’re just right.
Masking the Colored Areas
After coloring, paste is added again. This time, it's spread over the areas that have already been dyed, using a spatula. The goal here is to keep the ground color, which will be added later, from mixing with the designs. The paste must be smooth and free of air bubbles. Any trapped air can lead to color bleeding. Once the paste is in place, the cloth is dusted with bran powder to stop the paste from sticking to anything else and to keep it in place for the next stage.
Dyeing the Base Color
Now the artist dyes the background color of the cloth. They use a wide brush to spread the dye evenly. This has to be done quickly and away from direct sunlight or bright reflections. If the fabric dries too fast in some spots, it can leave marks. The whole point is to get a smooth, even tone across the entire surface.
Steaming and Washing the Fabric
To lock the dyes into the fabric, the cloth is steamed. This helps the colors bond and keeps them from fading. After steaming, the fabric gets rinsed. This step removes the blue ink, any leftover paste, and extra dye. Long ago, this wash was done in a river. That’s why the process is still called Yuzen nagashi. These days, it’s done in a water tank.
Smoothing Out the Cloth
Next, the fabric is steamed again, but this time it’s to remove wrinkles and straighten it out. This keeps the width even across the roll of cloth. Smoothing can be done by hand using a steamer or with a machine, depending on the material and the maker’s preference.
Final Touches
Once the fabric is dry and smooth, it's time for finishing touches. The artist might adjust the colors, fix any flaws, or add decorative elements like gold leaf, metallic powder, or embroidery. If the kimono doesn’t need a family crest, this is the last step.
Drawing the Family Crest
If the kimono is formal or for a special occasion, a family crest might be added. This is done by hand, painted directly onto the fabric by a skilled crest artist. This tradition became its own specialty during the late Edo period. The process is known as uwae. These crests often show up on wedding kimonos or formal wear for married women.
This full process takes time, skill, and patience. Every part is done with care to make sure the final kimono is not just clothing, but a piece of wearable art.
9. Kyo dyed textiles
Kyo Kanoko Shibori is a traditional dyed fabric that comes from Kyoto. It’s a type of Shibori, which is Japan’s version of tie-dye. The process creates patterns by tying off small sections of fabric before the dye is added. Wherever it’s tied, the dye can’t soak in, so those spots stay white. This gives you a dotted, textured design. The name "Kanoko" means fawn, because the white spots look like fawn markings.
This style of tie-dye includes more than 50 different methods. The two most common are hitta shibori and hitome shibori. Each Shibori artist learns one method and sticks with it. Every knot is tied by hand, one at a time. The knots are tiny, tight, and detailed. That’s what makes Kyo Kanoko Shibori stand out. It has a clear three-dimensional look that you don’t find in other dyed fabrics. It’s slow work. Making one bolt of fabric can take a year and a half. If it’s a full-length bolt for a furisode kimono, it might take over two years. This method takes patience, skill, and years of practice.
Why Kyo Kanoko Shibori Matters
For centuries, this cloth has been used to make kimono and obi belts. It’s known for its detailed texture and its refined, elegant patterns. Because the knots are so small and packed so tight, the patterns look raised off the fabric. That texture is part of its charm. It’s what gives it that deep, rich finish.
These days, it’s not just for kimono. Modern designers are using it for clothing, accessories, and even home décor. You’ll find it in scarves, bags, curtains, and wall hangings. The makers behind this craft are adjusting to today’s market without giving up what makes the style special.
Where Shibori Dyeing Came From
Shibori started in India and came to Japan along with Buddhism. It spread across Japan during the 6th and 7th centuries. The oldest known mention of it in Japan is in the Manyoshu, a poetry collection from the early Heian period. By the 900s, you could find Shibori patterns on court robes. The technique took off during the Muromachi and early Edo periods. One of the most famous styles then was Tsujigahana zome, which combined Shibori with painting and embroidery.
In Kyoto, the Kanoko style of Shibori was developed and perfected. That’s when Kyo Kanoko Shibori really became its own thing. The late 1600s were the peak of its popularity. But things changed when new laws tried to ban luxury goods. Shibori was seen as too fancy, so its use dropped. Still, it didn’t disappear. The style came back, and its skills kept getting passed down.
Keeping the Craft Alive
Like many old traditions, Kyo Kanoko Shibori is facing a challenge. Fewer young people are learning the trade. It takes years to master, and the work is slow. So now, workshops, festivals, and exhibits are being held to spark interest. The goal is to pull in new makers who can carry the craft forward.
Kyo Kanoko Shibori isn’t just about dyeing fabric. It’s about preserving a piece of Japanese culture. Even as it finds a place in modern fashion, the heart of the method hasn’t changed. Every pattern is tied by hand, just like it’s always been.
How Kyo Kanoko Shibori Is Made
Every piece of Kyo Kanoko Shibori takes time, skill, and a long list of careful steps. The whole process relies on steady hands and deep experience. It’s slow, but that’s what gives the final fabric its sharp detail and clean look. Here's how it's done from start to finish.
Designing the Pattern
It starts with a basic sketch. The artist and the wholesaler work together to decide what the finished piece will look like. Once they agree on the layout and motif, the painter draws up a rough outline. This sketch maps out where each color and shape will go.
Cutting the Pattern Paper
Next comes the stencil. The pattern is carved into special paper by cutting small circles and thin lines. These marks match the original sketch. It’s a quiet but key step, since the cuts guide how the design will be printed onto the cloth.
Transferring the Design to Fabric
With the stencil ready, the pattern is brushed onto the fabric using spiderwort ink. This type of ink washes out later, so it’s perfect for temporary marking. In some cases, the artist skips the stencil and paints straight onto the cloth by hand. The printed guide helps with placing the tie-dye knots and matching up the colors during later steps.
Tying the Shibori Knots
This is where the real work begins. Hikita Shibori and Kanoko Shibori are the two main knotting methods. The fabric is tied by hand with silk thread, one knot at a time. Each knot has to be tight and placed exactly right. The more complex the design, the more knots there are. This part takes serious skill and directly affects how clean the finished pattern looks.
Bleaching the Fabric
Once the knots are all in place, the printed ink gets washed away. Any stains or marks on the cloth are also removed at this stage. This leaves a clean base for the dye to soak in evenly.
Color Protection Before Dyeing
Before the fabric is dyed, the parts that need to stay white or keep their color are sealed off. There are two ways to do this. In Oke Shibori, sections are blocked using a wooden tub. In Boshi Shibori, they’re covered with bamboo bark or plastic, tightly wrapped with thread. These protective steps are done by specialists called okeya. Their job is to make sure the protected areas don’t get any dye at all.
Dyeing the Fabric
Now the color goes on. Each color is dyed separately. That means the fabric goes through the dyeing process again and again, once for each color. Most of the time, the whole cloth is dipped in dye, but smaller sections that need more control are painted by hand with a brush.
Finishing Touches
When the dyeing is done, the silk threads tied for the Shibori pattern are removed. Those tied spots stay white. Finally, the fabric is steamed to flatten out wrinkles and adjust the shape. This last step helps lock in the dye and gives the cloth its final smooth texture.
From start to end, this is a handmade process that doesn’t cut corners. That’s what gives Kyo Kanoko Shibori its depth, clarity, and signature texture. Every knot and brushstroke adds to the whole, creating a textile that’s both traditional and timeless.
10. Nagoya kimono-dyeing
Nagoya Kuromontsuki Zome is a traditional textile made in and around Nagoya City in Aichi Prefecture. It’s known for its deep black fabric and fine craftsmanship. This fabric is used to make formal kimonos, mainly worn at weddings and funerals. The style has been a staple in Nagoya since the Edo period, from 1603 to 1868. Back then, both samurai and common townspeople wore these black kimonos.
What sets Nagoya Kuromontsuki Zome apart is the deep, jet-black color. Craftsmen use two main methods to apply the family crest to the fabric. One is called hitashi zome. It uses a stencil to apply the crest before dyeing. The other is hiki zome, where the crest is drawn by hand after the fabric is dyed.
The hitashi zome process is unique to Nagoya. It uses a method called mon ate amituke. In this technique, a paper stencil with the family crest is placed on the woven cloth. Then, a wire mesh holds the stencil in place. After that, the fabric is soaked in hot dye. This fixes the crest pattern into the cloth.
In the hiki zome method, the fabric is dyed first. A resist paste is used to block out the area where the crest will go. After dyeing, the crest is hand-painted onto the blank space. This method takes skill and attention to detail.
The origins of Nagoya Kuromontsuki Zome go back to 1611. Shinzaemon Kosakai, a top dyeing expert in the Owari domain, helped refine and shape the method. Early on, a process known as mon-nori fuse was used. This involved applying resist paste in the crest area and adding the design after dyeing.
Between 1830 and 1843, the wire mesh technique was developed. This made the process more precise. During the Meiji period, from 1868 to 1912, that method was improved further. The technique used today is almost the same as the version from that era.
In 1848, a record called Owari/Noshu Konya Socho listed about 1,260 artisans working on Nagoya Kuromontsuki Zome between 1818 and 1829. This shows how big and important the craft was in the area at the time.
Nagoya Kuromontsuki Zome isn’t just fabric. It’s a long-standing cultural tradition, tied to formal occasions and centuries of skilled dyeing. Even now, it stands as one of Japan’s most respected kimono dyeing techniques.
How Nagoya Kuromontsuki Zome Is Made: Step-by-Step Process
Preparing the Fabric for Dyeing
Before any color is added, the white fabric must be cleaned. This step removes all dirt and oils so the black dye will go on smooth and even. Once clean, the main parts of the kimono are mapped out. That includes the sleeves, collar, and where the family crest will go. These spots are clearly marked on the fabric before dyeing begins.
Placing the Family Crest Pattern
Next, cardboard stencils of the family crest are placed onto the fabric. They’re stuck down firmly on both sides, lined up exactly with the markings made earlier.
Securing the Crest with a Metal Mesh
After the stencils are in place, a round brass mesh, about 5 centimeters wide, is placed over each crest. This mesh holds the stencil tight so it doesn’t move when the fabric is dyed. The mesh is tied down with string to keep everything in place.
Before applying black dye, the fabric goes through a preliminary dye. It’s first soaked in water. This step helps keep the dye from leaking under the cardboard stencils. After that, the first dye is added. There are two options for this stage: benishita and aishita.
Benishita is mainly used for women’s kimono or for people in the Kansai region who prefer its look. Aishita is more common for men’s kimono or for those in the Kanto region. The feel of the fabric changes slightly depending on which dye is used. Once the dye is chosen, it’s dissolved in hot water between 80 and 90 degrees Celsius. The fabric is soaked for about 10 to 15 minutes. During this time, the dye bath is stirred gently to keep the color even.
Applying the Black Dye
There are two ways to apply the final black color. One is kuro hitashi zome, which means dipping the whole fabric in dye. The other is kuro hikizome, where dye is brushed on by hand. For the dipping method, black dye is mixed in a tub of hot water, heated to around 90 to 95 degrees Celsius. The fabric, already colored with the first dye, is soaked in this bath for 30 to 40 minutes. The tub is stirred gently throughout to avoid blotches.
After soaking, the fabric is left in the dye overnight. The next day, the mesh and stencils are removed. Then the fabric is rinsed well to get rid of leftover dye. Once clean, it is hung to dry naturally.
Drawing the Family Crest by Hand
With the fabric dry, the final step is adding the family crest. The spot where the crest goes is still white, thanks to the stencil and mesh blocking it during dyeing. A skilled artisan paints the crest by hand using fine ink that contains less glue but includes animal-based protein. Tools like a thin brush, a ruler, and a protractor help keep the design precise.
The crest won’t fade, even after dry-cleaning. If it ever gets dirty, a gentle wash can restore it without any damage. This final detail makes each kimono personal and lasting.
11. Kyo kimono-dyeing
Kyo Kuromontsuki Zome is a dyed silk fabric made in Kyoto and nearby Kameoka. It’s best known for its deep black color and smooth, high-end finish. This fabric is used to make Kurotomesode, the formal black kimonos worn at weddings and funerals. These garments mark serious and important life events, and Kyo Kuromontsuki Zome is a top choice for these occasions.
The base fabric is always silk. The black dye often comes from chemical blends to get a polished, even tone. But traditional dyes like safflower and indigo are still used in certain methods. One is called Kurohikizome, where two different dyeing techniques are mixed. Another is Kuroshinsen, a method focused on black dyeing with modern tools.
Every kimono carries a family crest, and in this craft, crests are made with fine detail and steady hands. These crests show the wearer’s family or heritage. There are over 20,000 known family crests, but about 4,000 from the Heian Monkan (a book that catalogs Japan’s most common crests) are still widely used. These crests are either drawn by hand or applied with a stencil.
The roots of Kyo Kuromontsuki Zome go back to the 10th century. The Kurozome technique took shape around the 1600s. At first, it was used for Buddhist priest robes and formal wear for samurai households. In the Meiji period, from 1868 to 1912, people began wearing this fabric in haori and hakama for formal events like weddings and funerals. That’s when demand for Kyo Kuromontsuki Zome really grew.
Even after World War II, when American and European styles started to spread, Kyoto’s black dyeing industry stayed strong. It remained a leading part of Japan’s traditional craftwork. During the peak years around 1902 to 1903, four types of dye liquids were common. These were made from sumac gallnuts, Myrica bark, betel nut, and iron. The iron dye was so strong that it was also used for dyeing teeth. To finish just one roll of fabric, the process had to be repeated at least 18 times.
In the Taisho period, from 1912 to 1926, chemical dyes became the standard. The Kurohikizome method stayed in use, but the Kuroshinsen approach using newer dyeing tools became more common. Even the indigo dye masters, who once worked only with Aizome, had to change their focus to black dyeing under the Kuroshinsen method.
Kyo Kuromontsuki Zome is still known for its sharp black color, clean crests, and long-standing technique. It represents Kyoto’s steady hand in preserving one of Japan’s oldest dyeing crafts.
Step-by-Step Process of Making Kyo Kuromontsuki Zome
Every piece of Kyo Kuromontsuki Zome starts with care and precision. Each step matters, and every detail is handled by skilled hands to make sure the final fabric has the deep black color and sharp family crest that define this craft.
Fabric Inspection
The process starts before any dye touches the fabric. The plain white silk is inspected by hand to catch any flaws. Stains, snags, or scratches are carefully checked. If the fabric passes, it moves on to the next stage. If not, it's rejected.
Marking Crest Positions
Next, markers decide where the family crests will go. These marks are placed on the sleeves, chest, and back of the kimono. The size and shape of the crests depend on who will wear the kimono. Men’s and women’s crests are not the same.
Starching the Crest Area
A paste made from glutinous rice is used as starch to block the dye. This paste is applied to the marked crest spots. It keeps those areas white during the dyeing process. The paste is placed on both the front and back of the fabric. Different types of starch are used depending on the fabric type and crest design.
Drying and Hanging the Fabric
Once the starch dries, the fabric is hung on a frame. The wires are spaced to keep the cloth from touching itself, which could cause uneven color. The cloth is stretched gently so it doesn’t crease.
First Stage of Dyeing
Now the fabric goes through sando kurohikizome, which means it’s dyed three times. The dyes include safflower and indigo. This stage builds up the base of the black color. It deepens the tone and preps the fabric for the final dye bath.
Main Black Dyeing
The fabric is soaked in a hot dye bath at around 95°C. The formula for this bath changes depending on the fabric’s thickness and condition. The cloth is dipped and checked several times to make sure the color is even. No spots can be missed.
Washing and Removing Starch
After dyeing, the cloth is rinsed in clean water. The starch over the crest areas is washed off, along with any dye that bled into it. This makes the crest spots clear again. The fabric is then hung to dry.
Sorting the Fabric
Once dried, the cloth goes through sorting. This step improves the texture and makes the fabric softer. A water-resistant finish is added at this point.
Smoothing and Stretching
Any creases or shrinkage from dyeing are fixed here. The fabric is pulled tight across both ends using needles and steamed while stretched over a roller. This smooths it out and gets it back to its original shape.
Drawing the Family Crest
Finally, the crest is added. Artists use black ink, a brush, and bamboo compasses to place it exactly where it needs to be. The crest must be clean, centered, and sharp.
If the kurohikizome method is used, the fabric is dyed with a brush in three rounds. The first is logwood dye. The second uses a mix of logwood and a binding agent called naphthol noir. The third is a potassium dichromate solution. This last step reacts with the dye to create a shiny, reddish-black finish.
From start to finish, the process is done by hand, step by step. It takes skill and patience to produce a single roll of Kyo Kuromontsuki Zome. The end result is a formal kimono fabric that reflects centuries of tradition and technique.
12. Naniwa Honzome Hand Dyeing
Naniwa Honzome is a traditional Japanese dyeing technique that started in Osaka. Most of the items made using this method come from Sakai and Kashiwara in Osaka Prefecture. Back in the Edo period, from 1603 to 1868, Osaka became a major center for making tenugui, which are simple Japanese hand towels. But it wasn’t until the Meiji period, between 1868 and 1912, that Naniwa Honzome took shape. Craftsmen developed it to make patterned tenugui faster and in larger numbers.
The technique they use is called chusen. First, a thick paste called resist paste gets pressed onto the cloth to block the dye in certain spots. This paste follows the design. Then the cloth is folded and treated again and again until the layers are ready for dyeing. When the dye is poured over, it soaks into both sides. That means the pattern comes out in the same color on the front and back.
One craftsman handles the paste. They line up a wooden frame and place the design precisely. They apply the paste, fold the cloth, and repeat. This step is critical because it controls how the colors stay in place. After that, a different craftsman known as a tsubondo handles the dye. They create raised sections of paste to keep certain areas separate for different colors. They also blend shades to create gradients. This careful dyeing creates the traditional look that Naniwa Honzome is known for. All of it is done by hand. These techniques are passed down from one generation to the next.
The fabric used for this dyeing style is called wazarashi, which is a bleached cotton cloth. Its production began in the 1600s near the Ishizu River, around Tsukuno and Kena in Sakai. This area had clean water and wide fields, which were perfect for bleaching and drying cotton under the sun. It was also on the route where cotton from southern Osaka traveled to the city’s main wholesale markets. That made it a natural spot for this kind of cloth-making.
By around 1887, the dyeing methods behind today’s Naniwa Honzome were starting to evolve. Craftsmen figured out how to add multiple colors, how to blend them smoothly, and how to layer two patterns for a more detailed, 3D effect. These updates made the designs more vibrant and complex, but still kept the traditional look that can only come from hand dyeing.
At first, this method was mostly used for informal cotton kimonos called yukata. Those became popular across Japan. But over time, people started using the same technique to make all kinds of everyday goods. Now you can find not just tenugui and yukata, but also aloha shirts, coasters, parasols, and more. Each one is made by hand using the same time-tested steps that started in Osaka more than a century ago.
How Naniwa Honzome Is Made: Step-by-Step Dyeing Process
The way Naniwa Honzome is done hasn't changed much over the years. Every part of the process is handled by skilled hands. Here’s how the traditional dyeing method works, from start to finish.
Applying the Resist Paste
The first step is all about control. A special resist paste gets applied directly onto the fabric, only on the spots that should stay free from dye. This paste acts like a shield, blocking color from reaching those areas. Craftsmen follow a set design as they apply it, working with care and precision. The pattern is laid out using wooden frames so everything stays lined up. This part of the process sets the foundation for the final look.
Pouring the Dye
Once the resist paste is in place, the fabric is folded and shaped so the next step can begin. The craftsman builds raised borders of paste around the pattern. Then, dye is poured inside those bordered areas. The dye soaks through both the front and back, so the same color and pattern appear on both sides. This is what gives Naniwa Honzome its clean, balanced finish.
Washing the Fabric
After the dyeing is done, the fabric goes through a careful rinse. It’s washed with water to remove any leftover paste or excess dye. This makes sure the color holds well and that no residue is left on the cloth. The washing step also helps lock in the brightness of the dye.
Drying in the Sun
Finally, the clean, dyed fabric is hung out to dry. It’s stretched and left under the open sky. Natural sunlight helps brighten the fabric even more. The sun-drying method keeps the cotton soft while setting the colors in place.
Each step in this process has to be done right for the pattern to come out crisp and for the colors to stay rich. That’s why every piece made with Naniwa Honzome carries the mark of true craftsmanship.
13. Tokyo Honzome Chusen
Tokyo Honzome Chusen is a traditional Japanese dyeing method that uses hand-poured dye to color fabric. This process is done by pouring dye over stacked layers of cloth, letting it soak from both the top and bottom. The result is a fully dyed fabric, with no difference between the front and back. When this method is used in the Kanto region, it’s known as Tokyo Honzome Chusen.
This dyeing style is often used to make yukata, which are casual cotton kimonos, and tenugui, or Japanese hand towels. But the number of skilled workers and working studios that still use this method is shrinking. Chusen is a dyeing method found only in Japan. It uses just one stencil and a resist paste to create multi-colored designs, all done by hand. There's also a technique called bokashi zome, where an artisan blends two or more colors to create a soft gradient. This step takes serious skill and a good eye.
Because every part of the process is done by hand, each finished piece is one of a kind. The blurred edges, soft color transitions, and textured look all come from the artisan’s touch. These handmade details are what make Chusen so unique.
Chusen has been around for more than 150 years. It became popular during the Meiji era as a faster and more efficient alternative to nagaita chugata, which was the standard method before that. What made Chusen so useful was the ability to dye both sides of the fabric at the same time and produce many pieces in one batch. That was possible thanks to a clever use of resist paste.
Chusen dyeing is practiced across Japan, but Tokyo remains the center. One reason is because, during the Edo period, people in Edo (now Tokyo) had a custom of giving tenugui as gifts. These cloths were used every day, so the locals were already used to dyed fabric and cared about how it looked and felt.
Today, fewer factories produce Chusen-dyed goods, and demand has gone down. That’s partly due to changes in daily habits and the rise of synthetic fibers. Still, Chusen isn’t gone. People are now using this traditional technique to create modern items like bags and clothing. Even though times have changed, the hand-dyeing skills of Chusen are still being taught and passed along. The craft continues to adapt while keeping its roots intact.
Tokyo Honzome Chusen: Step-by-Step Dyeing Process
The Chusen dyeing method follows a detailed, hands-on process. Every step relies on skill and timing. Here’s how the fabric goes from plain cotton to a fully dyed piece of art.
Preparing and Drying the Fabric
It starts with plain white cotton. The fabric gets soaked in hot water to soften the fibers and remove any twists or warps. This makes it easier to absorb dye evenly. Once soaked, the fabric is laid out under the sun and left to dry naturally.
Rolling the Fabric
After drying, the cloth is stretched flat to remove any slack. Then it’s rolled into long, smooth layers to prep for the next stage. This keeps it neat and ready for the stencil work.
Making and Applying the Resist Paste
Next, artisans prepare a thick resist paste using glutinous rice, water, and powdered limestone. This glue stops the dye from reaching certain areas. A stencil is fixed tightly to a wooden frame, which is then laid over the fabric. The paste is spread across the stencil using a spatula. After one layer is done, the cloth is folded, and the paste is applied again on the next section. This step is repeated across all layers.
Pouring the Dye
Once the glue is in place, it’s time to add color. Dye is poured directly onto the top of the fabric using a metal kettle. At the same time, air pressure is applied from the bottom using a compressor. This pulls the dye down through the layers. After one side is dyed, the fabric is flipped to color the opposite side in the same way. This gives full, even coverage on both sides.
Washing and Drying Again
After dyeing, the fabric is washed to remove any leftover glue and extra dye. This step cleans the cloth and reveals the final pattern. It’s then dried in the sun again, which helps lock in the color and keep the texture smooth.
Final Finishing Touches
Once fully dry, the cloth is rolled one last time. A heavy roller presses out any wrinkles and creases. At this point, the fabric is finished and ready to be cut, sewn, or sold.
Each step is done with care, by hand. That’s what gives Chusen-dyed fabric its rich color, clean patterns, and soft feel. It’s a traditional process that blends craft with precision, and no two pieces turn out exactly the same.
14. Tokyo Plain Dyeing
Tokyo plain dyeing, known in Japanese as Tokyo Mujizome, goes back to the mid-Edo period. It started when local dye artisans began working with simple colors like Edo purple, indigo, safflower red, and Edo brown. These weren’t flashy patterns. Just clean, solid colors done with care.
Today, most of the production happens in Shinjuku, Nakano, and Suginami in Tokyo, along with parts of Kanagawa. The process looks basic on the surface, but it takes serious skill. Each piece of cloth is about 13 meters long, and the goal is to make the color come out smooth and even all the way through. No blotches. No fades. That’s tough to pull off, especially on silk.
Silk is still the go-to fabric for Tokyo Mujizome. The finish is clean, subtle, and elegant. That’s part of what gives it its high-end reputation. Even though plain dyeing is a simple method, the final result feels refined and polished.
The techniques have changed over time to match better dyes and improved fabrics, but the core colors used today are still based on swatches from the Edo period. These are traditional shades, made with care, not trend-driven ones. And one reason this fabric stays relevant is that it can be redyed. If you get tired of one color, or if it fades over time, it can be stripped and dyed again. So it lasts. It’s flexible. And it doesn’t go out of style.
The roots of this dyeing craft run deep. Indigo and safflower came to Japan with Buddhism. Back in the Nara and Heian periods, around 710 to 1185 CE, Japan started developing its own ways of working with those dyes. Techniques like ombre dyeing, base dyeing, and early forms of tie-dye were already being done back then.
During the Kamakura period, from 1185 to 1333, Japan’s silk industry grew. That era also saw better dye tools like lye, vinegar, and iron mordants, which helped natural dyes stick to fabric better. This made the dip-dyeing process a lot more advanced.
By the Edo period, from 1603 to 1867, the city of Edo (now Tokyo) had its own fashion taste. Edo Murasaki, a bluish-purple shade, became the color of choice. People loved it. There’s even an old phrase that captures that moment: “Edo Murasaki and Kyo Kanoko.”
It means Tokyo was known for its purple dye, while Kyoto was known for its tie-dye shibori style. Each city had its own dyeing specialty, and both were seen as top-class.
Back then, plain colors like Edo purple and Edo brown were popular and part of everyday life. Worn by the townspeople, they became part of Edo’s cultural identity.
Today, Tokyo Mujizome still gets used in day-to-day wear and in semi-formal outfits. It’s not flashy. But it’s lasting, elegant, and rooted in centuries of skill. That’s why it still matters.
How Tokyo Plain Dyeing Is Made
Step One: Fabric Inspection
Before anything gets dyed, the silk is inspected. Workers check for scratches, wrinkles, or any flaws that might have happened during the earlier refining stage. That stage removes dirt and oils to help bring out silk’s natural shine and texture. If the fabric has any visible damage or problems, it won’t move forward.
Step Two: Cloth Preparation
Next, the silk gets soaked in hot water to clean off any leftover impurities. This step also helps smooth the surface, which is key to avoiding uneven color later. Once it's boiled, the fabric gets rinsed again in clean water. If this step isn’t done right, the dye won’t set properly.
Step Three: The Dyeing Process
Now the dye is mixed into either hot or boiling water. A retarding agent gets added to help the color spread evenly across the whole piece. The temperature and time need to be adjusted carefully, based on the exact shade they’re aiming for. This is what keeps the tone consistent across the full length of the cloth.
Step Four: Color Matching
Once the basic dye is ready, it gets fine-tuned to match a specific color sample. The team adjusts the hue, saturation, and brightness until the dye matches the target color exactly. Then they use that final mix to dye the fabric, keeping it true to the original tone.
Step Five: Washing the Dyed Fabric
After the fabric is dyed, it’s washed again in clean water to get rid of any leftover dye or chemicals. This step brings out the soft feel of the silk and its natural shine. The fabric is also treated to make sure the color stays put and doesn’t fade too easily.
Step Six: Drying the Fabric
Once washed, the fabric is gently dehydrated, then hung on poles or stretched with rods and left to dry naturally. No machines. This slow air-drying method helps keep the fabric in good shape and prevents distortion.
Step Seven: Starching the Surface
After drying, a natural starch paste is brushed over the fabric. This gives the surface a soft gloss and enhances the texture. It’s part of what makes the finished silk feel and look polished.
Step Eight: Final Adjustments and Inspection
In the last step, the fabric might be softened or starched again, depending on what it will be used for. Then it’s steamed, pressed, and the width is adjusted so the piece comes out uniform. After that, the entire roll is checked one last time to make sure the color is even and the texture is flawless. Only then is it ready to go.
