What Defines the Refined & Stylish Tokyo Tegaki Yuzen?

Please tell us about the history of Tokyo Tegaki Yuzen.

Yuzen dyeing is a technique that originated in Kyoto. It became popular when Miyazaki Yuzen, an artist of folding fans during the Edo period, applied the patterns he drew on fans to kosode (a type of traditional Japanese garment). The dyeing technique known as Yuzen dyeing developed from these originally fan-based patterns.
Prior to this, decorations on kimono used techniques like tie-dyeing and embroidery. The advent of Yuzen dyeing gave rise to outlined decorations, enabling the use of multiple colors.

Yuzen dyeing, born and popularized in Kyoto, spread to Edo (modern Tokyo) when daimyos (feudal lords) brought their personal dye masters to Edo during the Sankin-Kotai (alternate attendance) ceremonial processions. By the 1800s, the technique had taken root in Edo.
It is also said that when Miyazaki Yuzen himself moved to Kanazawa, he passed on his techniques, which gave rise to Kaga-Yuzen.

Each of the three types of Yuzen has distinct characteristics.
First, Kyo-Yuzen is characterized by traditional patterns like the "Goshodoki" depicting seasonal flowers around the Imperial Palace and motifs like pine, bamboo, and plum. Using many colors is also a feature of Kyo-Yuzen.

Kaga-Yuzen is known for realistic depictions of plants and birds, embracing nature's beauty. It often incorporates shading to create impressive effects.

Earning its distinct appeal, Edo or Tokyo Tegaki Yuzen lacks specific motifs in its patterns but is characterized by its limited use of colors, resulting in clean and simple designs.

This is due to the repeated issuance of sumptuary laws, or bans on extravagance, in the late Edo period, which restricted the number of colors that could be used in kimono and luxury garments.

Amid such conditions, the townspeople of Edo found joy in incorporating patterns into a single color or adding designs to the lining of their garments. From such enjoyment, expressing refined elegance came to be known as "iki" (粋, "chic").

However, today, many artisans who have trained in Kyoto or Kaga are active in Tokyo. Thus, it is hard to generalize characteristics conclusively. The individual traits of each dyer are what make Tokyo Tegaki Yuzen fascinating.

With Over 90 Years of History, Atelier Ogura Sengei Stands Out for Its Elegant Finishes

In this long history of Tokyo Tegaki Yuzen, how has Atelier Ogura Sengei developed its business?

The business was started by my grandfather, Gyokuho Ogura. Over 90 years ago, the business was initially located right in front of the Kanda River, but it burned down during the war, and the atelier moved to its current location.

My grandfather passed away before I was born, so I never met him, but I heard that he created Yuzen for geishas.
My guess is that my grandfather was a rather outgoing drinker who believed in the saying, "Don't save money overnight." Perhaps that's why he had an interest in the entertainment world.

When my father, Teiyu Ogura, the second generation, took over, he started making works for tea ceremony enthusiasts. Before taking over the family business, my father went to train at a famous Kyoto Yuzen atelier known for its precise and detailed patterns, which had a considerable influence on him.

After becoming the second generation, my father faced tough times due to the recession after Japan’s bubble economy collapse, but we managed to bounce back by starting transactions with department stores. Now, I continue the legacy as the third generation.

At Ogura Sengei, we use a unique yellowish-brown starch we developed to bring out the excellent quality of the dyes and the beauty of the thread lines. This technique highlights the best qualities of the materials used.

By drawing only the necessary patterns while bringing out the best in the materials, we create elegant finishes that embody both subtlety and glamour. To achieve absolute beauty, we ensure that both the clothing and the person wearing it complement each other, minimizing any unnecessary elements in our kimono and obi designs with a focus on simplicity.

"Selling What You Design Yourself Is a Joy": The Words of My Mentor as the Foundation

When did you start working at Atelier Ogura Sengei?

I joined the family business when I was 27 years old, about 20 years ago.
I’ve always enjoyed design and wanted a job in the field. My previous job was at a sports goods store because I wanted to be involved in designing sports-related items.

Initially, it wasn’t about design itself, but I wanted to work based on my own sense and be needed by others. In high school, I became interested in clothing, which led me to learn about the fun of design and aim for a design-related job.

At the same time, I loved sports since my school days, focusing heavily on snowboarding during college. So, when thinking of combining design and sports like snowboarding, my previous employer, who planned to venture into sports goods, seemed like a perfect fit.

However, as with any organization, you don't always get to work on what you want. I had my doubts because I might not be involved in design.
But then, my college professor told me, "Selling what someone else designed is fun, but selling what you designed yourself is even more enjoyable," which strongly motivated me. That might be considered the words that set my foundation even now.

I worked at the sports goods store for several years, eventually becoming the assistant manager through various transfers along the way. However, the company decided to outsource its design, meaning my dream couldn’t be realized, making me question my career path.

When I consulted my father, he told me about his work, this Atelier Ogura Sengei.
He explained that Tokyo Tegaki Yuzen is considered a traditional Japanese design and offers an environment where you can concentrate on design. After hearing various things from my father and thinking long and hard, I decided to join the family business.

My father had mixed feelings about it.
As an artisan, he wanted his son to take over and preserve the cultural heritage, but as a parent, he also wanted me to have a stable job.
Especially with the shrinking market and past upheavals like the bubble economy collapse, he was concerned about what could happen in such tumultuous times.

Due to these concerns, when I told him I was joining the family business, he said, "Save money for a year in case something happens."
Thus, after that year, at 27, I joined the family business.

Visit to the Masterpiece Kimono — Triggered by the Desire to Express "Tokyo"

Currently, you are actively working as a Tokyo Tegaki Yuzen artisan on your own, aren't you?

Yes, that's right. For about five years after joining the trade, I was in the so-called apprentice period, continuously sketching plants and animals. Yuzen cannot start without the ability to draw things realistically.

However, those five years were tough.
Other artisans of my generation started their training immediately after high school, and I was desperately trying to catch up. But since I didn't have the foundational skills, I had to start with sketching.
It was really challenging.

I assume you have created many works up to this point. Could you tell us about the piece that left the most significant impression on you?

In 2021, I made a draft of the image and design, and last year, I created and completed a visiting kimono.
2021 was the year of the Tokyo Olympics, and during that time, I pondered, as someone working in Tokyo, about the essence of "What is Tokyo?"
In Yuzen, Tokyo is one of the production areas. So, what are the characteristics of this production area?

During the period when Yuzen flourished in Edo, it was much more challenging to interact with other production areas like Kyoto and Kanazawa than it is today. Despite this, the culture of Edo had a significant influence on other regions.
It made me wonder what exactly characterizes the essence that has been cultivated in Edo.

However, in modern times, Tokyo, formerly Edo, is often said to lack personality, for better or worse. People gather from various regions, and surprisingly few are born and raised in Tokyo. It would not be an exaggeration to say that the culture cultivated during the Edo period has significantly faded.

But I believe that this situation represents the essence of modern Tokyo. The culture that once existed serves as a foundation, and diverse cultures from beyond regions and countries mix and form one shape.
When I thought about it, I wanted to create my masterpiece that expressed this concept.

The production period of this visiting kimono was about five months.
I used five shades of gray, two shades of vermilion, and two shades of brown to create a complex color scheme that is calm but not lonely.
For the patterns, I used snow ring motifs unique to Japan often seen in kimono designs and patterns inspired by tiles I sketched during a trip to Europe.
I think I was able to create a visiting kimono that expresses a simple yet modern "iki."

Freedom in Expressing the Individuality of Dyers—Aiming for "Iki" that Exceeds Expectations

From your perspective, what is the charm of Tokyo Tegaki Yuzen?

It's probably the broad acceptance of any expression.
Since Tokyo Tegaki Yuzen is literally hand-painted, it is not standardized; everything depends on oneself.

Therefore, you can make adjustments such as "Let's make this pattern smaller" or "Let's indent this pattern a bit." The impression can change with just a 1mm inward line, and the color can drastically change with just one drop of dye.
In the past, I drew exotic plants and added gradients to make them look like pine trees, creating a Yuzen style.
I believe the charm of Tokyo Tegaki Yuzen lies in the individuality of the dyer that shines through.

The goal is to use that individuality to create something stylish and "iki" that exceeds customers' and my own expectations. The spirit of "iki" might be something that lies at my core.
When drawing the design, I visualize wearing it, imagining how it would look when actually worn, and I make detailed adjustments.
I believe that the one-of-a-kind kimono created in this way will undoubtedly enhance the life of the person who wears it.

When you go out in a fashionable outfit, you feel happy. You can give it your all because you are wearing your favorite accessory.
There is a saying abroad, "Good shoes take you to good places," and I believe that what you wear has the power to improve your life. Moreover, since kimono is a national costume representing Japan, that feature should be even more pronounced.

With these thoughts in mind, I have summarized my philosophy into the words "a special daily life that cannot be experienced with Western clothes."
I want people to feel good wearing kimono painted with Tokyo Tegaki Yuzen. I want them to feel excited. For that, I want to express "iki" that exceeds the expectations of those who wear kimono.
This is the thought that I cherish deeply.

Each Day's Efforts Shape the Future

Lastly, please tell us about your future plans

Actually, I make a conscious effort not to think too much about the future. On the contrary, I place a great deal of importance on living each day to the fullest.

Unlike my time as a salaried employee, in this job, I am the one who decides how much I work each day.
Therefore, the person I will be in five or ten years is determined by how hard I work today.
Every day, I give my all—100%, no, 120%. And I keep building on that.
This is what I believe about the future.