A Decision to Uphold a Legacy and Inherit the Family Business

The history of Iga Kumihimo dates back to 1902. It began when Tokusaburo Hirosawa, who had studied kumihimo braiding in Edo (modern-day Tokyo), brought the techniques back and established them in the Iga region. Since then, Iga has become a major production center for kumihimo alongside Kyoto and Tokyo, adding color to Japanese culture through *obijime* sashes and other decorative items.

Itogo was founded in 1954. The company's story began when Matsuda's grandfather and his older brother pioneered the use of machine weaving for kumihimo, a departure from traditional hand-braiding. They launched the business with like-minded partners, refining their techniques to adapt to changing times. Today, Matsuda, representing the fourth generation, leads the workshop.

Matsuda originally pursued a career as an engineer at a major semiconductor company. He worked on product processes and reliability assessments in a state-of-the-art factory. However, upon getting married, he decided it was time to "take over the family business" and returned to Iga at the age of 29.

"I grew up listening to the sounds of the machinery, but the thought of actually taking over was daunting. In the end, my sense of responsibility to preserve this tradition won out," he recalls. His engineering perspective, honed in a completely different field, would later prove invaluable in developing new products.

The Reality of a Shrinking Market and Creative Efforts to Preserve Tradition

The path for traditional crafts is anything but easy. As kimonos faded from everyday wear, the demand for kumihimo dropped sharply. The Japanese clothing industry, which was a two-trillion-yen market in the mid-1970s, has now shrunk to less than 200 billion yen.

The number of Iga kumihimo workshops has dwindled from over 100 at its peak to just 18 today. What's more, only a handful of these have successors in their 30s or 40s, highlighting a severe shortage of future artisans.

Stepping inside the workshop, you can see looms from the Showa era (1926-1989) still in active use. These include looms for Nishijin-ori weaving and even special machines once manufactured by the former automaker "Prince"—all of which have long been out of production. With no spare parts available, Matsuda and his team must repair and maintain the machines themselves.

"The machines for braiding kumihimo are highly specialized and irreplaceable. When they break, we have to fix them ourselves. In a way, that process itself is part of preserving the tradition," says Matsuda. It is this behind-the-scenes, painstaking effort that sustains the traditional craft.

From Shoelaces to the World: An Unexpected Product Expansion

With the demand for traditional Japanese attire on the wane, Itogo made a bold move into a new market: shoelaces.

"I was thinking about how we could get people to use kumihimo in their daily lives," Matsuda says. "I believed that if we could incorporate them into something people interact with daily, they would truly feel the appeal of kumihimo."

The development process took more than a year and a half. Kumihimo braids are durable and don't come undone easily, characteristics that make them ideal for shoelaces. However, if used as is, they were too stiff and hurt the wearer's feet. So, they went through a painstaking process of trial and error, meticulously adjusting the width, stiffness, and elasticity. The result was a revolutionary shoelace that perfectly balanced strength and comfort.

Its functionality quickly caught the eye of professional athletes. Players from several professional baseball teams and J-League soccer clubs are actually using them. The laces even made an appearance at the Tokyo and Paris Olympics.

Furthermore, the craft has become a bridge between tradition and modern culture, with the braids being used for medal lanyards at world championships and as part of collaboration merchandise with popular anime series.

"No matter how expensive the cleats are, the laces that come with them are often cheap and haven't evolved in function. When athletes use our laces, they get a secure fit that can even boost their performance," Matsuda says with pride. This ingenious idea of a traditional craft supporting the world of sports carved out an entirely new market.

The Future of Craftsmanship, Born from Color and Technology

One of the standout features of Iga kumihimo is its brilliant use of color. While Kyo-kumihimo and Edo-kumihimo are known for their subdued color palettes, Iga kumihimo is known for its brilliant and vivid color combinations. "I want to integrate these signature Iga colors into modern products," Matsuda says.

The colorful shoelaces, elegantly packaged in paulownia wood boxes, have become popular souvenirs and gifts. The company is also expanding into original merchandise, including misanga friendship bracelets designed in team colors and items printed with players' jersey numbers.

"Kumihimo is all about 'tying' things together. When we created the misanga, we wanted to express the 'unbreakable bond' that connects players and their supporters," Matsuda explains. The sentiment woven into each and every cord resonates deeply with people today.

Currently, Itogo is in the process of patenting its proprietary shoelace technology, which boasts incredible durability and a design that resists coming undone. Looking ahead, the company envisions a diverse product lineup, including collaborations with high-end international brands, outdoor gear, pet leashes, and smartwatch bands. This traditional technique is set to venture into exciting new territories.

The Enduring Spirit of Connection

However, the kumihimo industry as a whole is facing serious challenges. The biggest problem is a shortage of successors. As mentioned earlier, of the 18 workshops remaining in Iga, only a handful have artisans in their 30s and 40s. Moreover, the certification system for "traditional craftspeople" is reportedly opaque, creating an "industry barrier" that discourages newcomers.

Skyrocketing raw material costs are another heavy burden. The price of silk has more than tripled in the last 12 years, yet the retail price of the final products in department stores and elsewhere has remained almost stagnant. This distribution system, involving wholesalers and retailers, is squeezing the artisans' profits.

Despite these hurdles, Matsuda holds a firm belief in the spirit of *musubi* (connection) that kumihimo embodies. It connects people to people and ties culture to the future. To pass on this spirit, they continue to showcase the craft's appeal to the next generation by opening their workshop for tours and hands-on events.

"Iga kumihimo is a vital part of Japanese culture. We can't let it die out on our watch. I want to preserve this technique in Iga for the next 50, even 100 years."

Countless vibrant threads are intricately woven together to form a single, resilient cord. This image perfectly mirrors Itogo's own journey of pursuing new possibilities while preserving tradition. Iga kumihimo, once used to secure the swords of samurai, now supports the cleats of athletes and the sneakers we wear every day. Within each knot lies a supple strength that connects the past to the future and people to one another. From a small workshop to the world—Matsuda's endeavor is lighting the way forward for the future of Japanese traditional crafts.