A Three-Generation Artisan Bloodline: An Encounter with Tsumami Kanzashi

Ishida Shoten is a workshop based in Takadanobaba, Tokyo. Its history traces back to Ishida's grandfather. Born into a farming family in Fukushima Prefecture, his grandfather found work at the home of a tsumami kanzashi artisan. This marked the beginning of the Ishida family's path in the craft.

"My grandfather was from a farming family in Fukushima. Since he wasn't the eldest son, he was sent out to work, and he happened to end up at the home of a tsumami kanzashi artisan. That's how he started making kanzashi in Tokyo. My father took over after him, and eventually, I inherited the business."

For Ishida, who grew up in an artisan's home, helping with the family business was a part of daily life. He says it was normal for him to help with work during long school breaks like summer vacation, outside of his playtime. Although he was naturally exposed to the techniques from a young age, he made the conscious decision to pursue the craft after graduating from university.

And so, Ishida officially stepped into the world of tsumami kanzashi. It was the dawn of a career as an artisan that would span over 40 years.

A 40-Year Journey: Navigating the Highs and Lows of a Traditional Craft

When Ishida became an artisan in the early 1980s, the demand for kanzashi was in decline as fewer people were wearing traditional Japanese clothing (waso). Interest in traditional crafts was not as high as it is today, and the industry faced challenging times.

However, the situation began to change as more people gradually started wearing kimonos again. The rise of the DIY and handmade boom over the past decade marked a significant turning point. The number of people making tsumami kanzashi as a hobby grew, boosting the craft's recognition. This led to the emergence of independent "artists" (sakka) who had acquired their own unique techniques, in addition to traditional artisans like Ishida.

Today, the most common use for tsumami kanzashi is for seven-year-old children during the Shichi-Go-San festival. As a nationwide event where kimonos are often worn, it creates a stable demand. This is followed by use with furisode (long-sleeved kimonos) for Coming of Age Day ceremonies. Kanzashi for maiko (apprentice geisha) are less common in number, as their world is very specific.

Japanese Beauty Across the Seas: The Conviction Gained from Overseas Demonstrations

Ishida Shoten's activities are not limited to Japan. In the 1980s, the workshop held demonstrations in the United States. It all started with an invitation to an Obon festival hosted by the Japanese-American community in Chicago, which led to several years of exchange with the local community.

Ishida himself has participated in Japan festivals in Europe and exhibitions in China. The demonstrations in China were particularly noteworthy, as they were independently organized with the help of local collaborators shortly after the country's Reform and Opening-Up policy began.

"The culture of adorning hair exists all over the world, but the 'tsumami' technique of folding small pieces of cloth to create flowers and other motifs is unique to Japan," Ishida explains. During his overseas demonstrations, many people were reportedly astonished by the delicate handiwork. These experiences served as a reaffirmation of the universal appeal of Japanese craftsmanship.

The Soul of a Single Process: The Craft from Design to Finish

Creating a tsumami kanzashi is a process with many steps. At Ishida Shoten, it is fundamental that the entire process, from start to finish, is handled by a single artisan.

It begins with conceptualizing the design and deciding on the color scheme. Then, the base material, white silk fabric, is dyed. After dyeing, the fabric undergoes a process called "shinshibari," where a thin layer of starch is applied to give it the perfect amount of tension. The fabric is then cut into squares and meticulously folded, piece by piece, using tweezers. This step, known as "tsumami" (pinching), is the core of creating the kanzashi's unique character.

"Tsumami kanzashi are made by pinching and folding the material with tweezers, and there are really only two main types of folds. There's the 'kaku-tsumami' (square pinch), also called 'ken-tsumami' (sword pinch), which creates a sharp point, and the 'maru-tsumami' (round pinch), which results in a rounded shape. Only these two. Every tsumami kanzashi you see is created using a combination of these two fundamental folds."

The pinched petals are arranged on a base to create the desired shape. After drying, the parts are assembled into a kanzashi, and finally, a metal pin is attached to complete the piece. A single work can take several days to complete, including the necessary drying time. This dedicated, end-to-end handcrafting process is what gives each piece its depth and unified feel.

Woven Finesse: The Uncompromising Philosophy of Habutae Silk

Since his grandfather's time, Ishida Shoten has remained committed to using "habutae silk" as its core material. While hobbyists in recent years often use more accessible chirimen (crepe) fabric, Ishida believes the unique properties of habutae are indispensable to his work's quality.

"The habutae we use is quite special. Today, only a few places in Japan—in Fukushima and Fukui prefectures—still weave it. So, the material itself has become quite precious."

Compared to chirimen, habutae is thinner, which means it has less resistance when folded multiple times, allowing for exceptionally delicate and intricate designs. This thinness is crucial for creating fine, detailed work. A different fabric would completely alter how the colors take, the sheen, and the final appearance. This unwavering dedication to a specific material is what underpins the delicate beauty of Ishida Shoten's tsumami kanzashi.

A Duet of Tradition and Innovation: Designing for the Future

Like many traditional crafts, the tsumami kanzashi industry faces the serious challenges of an aging workforce and a shortage of successors. The number of artisans nationwide is now said to have dwindled to around ten.

To address this, Ishida Shoten is actively holding classes to share the techniques and joy of tsumami kanzashi with the public. They believe that fostering a community of enthusiasts and providing hands-on experience will inspire new creators, a vital step in carrying the craft into the future.

As for Ishida himself, he wants to continue challenging himself by creating new pieces. This isn't about inventing entirely new techniques, but rather about creatively combining existing ones to forge new forms of expression. In addition to traditional motifs like chrysanthemums and plum blossoms, he has also created unique designs featuring goldfish and even corn.

"My main goal is to keep creating new, unique things that I personally want to make—things that don't exist anywhere else. Because there are only two fundamental techniques to build upon, the real challenge—and where a craftsman's skill truly shows—is in creatively combining them to achieve a wide range of expressions. I believe that's what true artisanal skill is."

A third-generation artisan, he inherited his skills from his father and grandfather. While preserving this legacy, he explores new forms of expression through his own artistic sensibilities. The tsumami kanzashi born from Ishida’s hands radiate a timeless beauty, a delicate dance between tradition and innovation.