Did It Begin with the Missions to Sui China? The Foundation Laid by the Samurai Essential, "Motoyui"

The origin of mizuhiki in Japan's gift-giving culture is said to date back to the Asuka period (592–710). When Ono no Imoko, a Japanese envoy to Sui China, returned home, the gifts he brought back from the Sui court were tied with red and white hemp cords. This is believed to be the beginning of the custom of using red and white cords for celebratory occasions. This story suggests that the act of tying has held significant meaning in diplomatic ceremonies since ancient times.

Later, during the Edo period (1603–1868), the direct catalyst for mizuhiki production in the Iyo region arrived. The Matsuyama domain in Iyo Province began to promote the manufacturing of *motoyui*—paper cords used by samurai to tie their topknots (*mage*)—as part of its policy to encourage local industry.

This work became an established side-hustle for the domain's lower-ranking samurai, building a foundation for paper-processing techniques in the Iyo area. At this stage, *motoyui* was not a ceremonial decoration but a practical necessity for a samurai to maintain his status. In the stable feudal society of the time, *motoyui* production took root as a local industry, laying the groundwork for all future development.

The Disruption of the Meiji Restoration: The Pivot from Motoyui to Decorative Mizuhiki

The *motoyui* industry, which had enjoyed stable demand throughout the Edo period, faced its greatest crisis in the late 19th century with the Meiji Restoration. With the dissolution of the samurai class and the subsequent Cropped Hair Edict, demand for *motoyui* all but vanished. For the producers, seeing the product that was the very backbone of their industry become obsolete due to social upheaval was an existential crisis.

However, the artisans of Iyo refused to give up. In search of a way forward, they traveled to Osaka, the commercial hub of the era, and learned how to produce the decorative *mizuhiki* used for celebratory gifts. They brought these new skills back home and, by applying the paper-processing techniques they had perfected making *motoyui*, successfully pivoted into a new product category. This was more than just a simple transfer of technology. They also incorporated machinery to make production more efficient, establishing a system for mass-producing decorative *mizuhiki*.

From a practical item for a specific class—the samurai—to a decorative piece that adorns the gift-giving culture of the wider public. This business pivot was the decisive catalyst that elevated Iyo into one of Japan's leading *mizuhiki* production centers. It was the foresight of these artisans—who viewed the changing times not as a crisis, but as an opportunity to create a new market—that secured the industry's lifeline to the future.

Pioneers Who Didn't Monopolize Technology: Forging a Future for the Entire Region with a "Spirit of Mutual Aid"

In Iyo, which had successfully transitioned to producing decorative Mizuhiki, a pivotal event occurred that further accelerated its industrialization. The father of a certain craftsman developed the region's first machine to mechanize the Mizuhiki production process. By automating tasks that had previously relied on manual labor, it became possible to more efficiently produce goods of consistent quality, unaffected by weather or the artisan's skill level.

What was remarkable about this machine's development was that the technology was not hoarded by the inventor. The developer allowed the machine shop he commissioned to accept orders from other producers in the industry. As a result, the new machine spread throughout the entire production area, contributing to a region-wide boost in productivity.

This story vividly illustrates the spirit of mutual aid unique to local industries—a desire for the entire region to prosper, rather than just pursuing one company's profit. A single individual's invention, through a culture of sharing, became a source of strength for the whole community, solidifying the Iyo Mizuhiki brand.

A Poet's View of Modernization: Akiko Yosano's Ode to Mizuhiki

In the early Showa era, as Mizuhiki was solidifying its foundation as an industry, the renowned poet Akiko Yosano visited the Iyo region on November 2, 1931. There, she witnessed the bustling Mizuhiki production of the time and captured the scene in a waka poem:

"あかつきの雲のごとくに水引の張りわたされぬ松柏の秋"

"Shōhaku," mentioned in the poem, is a place name in the area. The poem evokes a striking image: Mizuhiki cords stretched out across the landscape, like clouds spreading across the dawn sky. This verse is a precious record, testifying to the vibrant energy of the production region at the time. The sight of the Mizuhiki industry, advancing with modern mechanization, was perceived by one of Japan's leading cultural figures as a scene of traditional, breathtaking beauty. This waka poem can be seen as capturing a symbolic moment where industrial modernization intersected with Japan's enduring aesthetic sensibilities.

From the Centerpiece of Gifting Culture to an Art Form for Personal Expression

During Japan's postwar period of high economic growth, the culture of gift-giving became deeply rooted in ordinary households, and formal ceremonies for weddings and funerals became standardized. This propelled Mizuhiki demand to its peak. Items for engagement ceremonies and celebratory envelopes became essential for observing social etiquette, and the Mizuhiki industry thrived.

However, as society matured and values diversified, the situation changed once again. With the trend toward simpler lifestyles, traditional gift-giving ceremonies gradually downsized, and the demand for Mizuhiki began to decline. If past crises were caused by sudden societal shifts, this change was a more gradual yet fundamental one, rooted in evolving human values.

In response to this new challenge, Iyo Mizuhiki has once again embarked on a path of transformation. It has moved beyond its traditional roles for celebratory and solemn occasions to shine a light on the inherent beauty of Mizuhiki as a material and on the exquisite art of knot-tying itself.

As a result, Mizuhiki is now expanding its potential into entirely new fields. It has found new life as accessories that add a splash of personality to individual styles, as interior panels that adorn living spaces, and even as a medium for artistic expression. This may well be a necessary evolution, a natural extension of Iyo Mizuhiki's history of adapting its role in response to the needs of society.