[Nishijin Maizuru Interview Part 1] Overcoming Difficulties

-----First of all, please tell us about the unique characteristics of Nishijin-ori.

Nishijin textiles are characterized by their ability to create very intricate expressions.

For example, Japanese paintings and calligraphy can be directly transformed into textiles, and even the brushstrokes can be expressed.

I don't think this level of delicacy is unique anywhere in the world.

-----Please tell us about the history of Nishijin Maizuru. 

The company was founded in 1907, and I am currently the fifth generation owner.

We continued weaving even during the war.

There used to be over 1,000 businesses in Nishijin, but policies at the time led to the consolidation and elimination of businesses, and many of them disappeared.

Fortunately, our company escaped this consolidation, but it hasn't always been smooth sailing.

There were hardships in every era.

At the time, they were unable to make obi fabric, so they made military coats to stay afloat.

We believe that our company is what it is today thanks to the efforts of our predecessors and craftsmen.

-----What is the Nishijin-ori production process like?

A major feature of Nishijin weaving is its division of labor.

The dyer dyes the thread, the yarn maker spins the thread, and the weaving takes place at the weaving loom.

Our company will be the airport, so we will be in charge of assembly.

By passing through the hands of many experts, a unique textile is created.

-----Are there any techniques that Nishijin Maizuru is particularly good at?

Our company is particularly skilled in the technique of weaving gold leaf, known as "hikibaku."

In fact, weaving gold leaf is an extremely delicate process.

Both gold leaf and thread are delicate materials.

Another product they are proud of is a woven fabric called "Shoha," which is flexible, light, and easy to tie.

-----It seems that the looms also have some unique features. 

We use hand looms and power looms to produce our products.

To give you a rough idea, imagine a hand loom as a digital camera and a power loom as a single-lens reflex camera.

Since the number of threads used is different, the resolution that can be expressed is different.

Explained like this, it may sound like power looms are better, but in fact, a simple comparison is not possible and each has its own strengths.

We use different types depending on the finished image and usage scenario.

This allows for a wide range of expressions.

-----Please tell us about your production base in Miyama. 

In fact, Kyoto is a basin, so humidity tends to accumulate, making it less than ideal for producing textiles.

For this reason, I used to create my works in an area called Miyama, located in the north of Kyoto.

Unfortunately, the airport was damaged in a typhoon a few years ago, so production is now carried out in Nishijin.

Although it is called Nishijin-ori, various areas of Kyoto cooperated to weave one item.

-----It seems that hand looms have evolved significantly in the last 100 years or so.

that's right.

At that time, a Kyoto engineer brought back from France a device called a jacquard, which manipulates threads on a loom, and this led to a dramatic increase in productivity.

Until then, a person had to stand on top of the loom and manipulate the threads to be woven.

During the Meiji period, Kyoto was in a state where the lights had gone out as the capital was moved to Tokyo.

Engineers who were concerned about this situation brought back a variety of technologies.

Jacquard is one of them.

When I think about how our ancestors used various wisdom to overcome difficulties, it makes me feel like we who live in the modern age also have to work hard.

The second part will be released tomorrow.