Beautiful Both on Display and When Worn

To begin, could you tell us about your company?

Our workshop was established in 1932. Kanazawa has about 130 Yuzen workshops, most of which operate through division of labor. However, our workshop practices integrated production.

Our creation begins with research. For instance, when using Kenrokuen as a theme, we visit the garden to take photos and make sketches. When using alpine plants as a motif, we visit places like Mount Hakusan or the Northern Alps, and for water-themed patterns, we go to see the sea or waterfalls. Even the same place offers different experiences in different seasons, with varying scents in the air and flowers blooming. We focus on what moves us most and incorporate that into the kimono. This process is a core part of our work.

We gather various information from the internet or reference books but recognize that such information represents "someone else's insight." Thus, we emphasize experiencing things ourselves and valuing our own perception in our creations.

Why do you choose integrated production over division of labor?

Our choice for integrated production is based on three main reasons. First is to ensure the quality of our works. Second is to develop new techniques and expressions. Third is to make it easier to transition beyond just kimonos.

Working together in the workshop makes it easier to communicate nuanced details and to comprehend each artisan's strengths and areas for improvement. This approach allows us to produce works that closely align with our vision at a superior quality.

When exploring new techniques or expressions, having integrated production facilitates clearer communication.

Additionally, workshops have different tools and know-how. When clients request us to create something new, with division of labor, we would need to consult several workshops to see if they can handle it. In contrast, with integrated production, I can make all decisions, offer positive suggestions, and more readily engage in the creation of new works.

The advantages of internal production include accumulating a wealth of know-how, including lessons from failures. Our workshop has accumulated 90 years of knowledge, allowing me to create freely. I increasingly appreciate the value of past experience these days.

Can you once again explain the characteristics of Kaga Yuzen?

The defining features of Kaga Yuzen are its vibrant hues, known as the "Kaga Gosai," which are based on indigo, vermilion, ochre, grass, and ancient purple. These serve as the foundation for its colorful design, and the patterns are depicted in a painting-like style with realistic motifs of flora.

For example, in snowy regions, structures known as "Yukitsuri" are crafted around trees to prevent them from breaking under the weight of snow. This is a symbolic representation of the Hokuriku area, and such patterns are a hallmark of Kaga Yuzen.

Moreover, the hem of a kimono is composed of six pieces of fabric sewn together to create a single cohesive illustration, known as "Eba-moyo.” When displayed, the kimono presents a singular artwork, yet it appears three-dimensional when worn. Our artisanship is showcased in achieving beauty both when the kimono is displayed and worn.

Traditionally, kimonos are viewed as garments, so the concept of "becoming a picture when displayed" is unique globally. However, in Japan, this perspective has been present since the Heian Period.

Artistic sensibility is subjective and varies with each artisan, doesn’t it?

Indeed. My grandfather pursued his own creative universe by limiting the number of colors. Meanwhile, my father often designs works where singular motifs of flora are stylized. My focus is on creating pieces that capture the geometry of Japanese nature.

In recent years, we have been producing Yuzen panels for decorating hot spring inns and commercial architecture. Additionally, we have explored various applications for Yuzen beyond kimonos, such as designing uniforms for the Shinkansen's Grand Class and packaging for sweets.

Pursuing Personal Expression Beyond Classical Tradition

Can you explain the production process of Kaga Yuzen?

In detail, there are about 12 to 15 steps, but generally, it can be summarized into six stages: "design creation, underlying sketch, starch application, coloring, ground dyeing, and washing."

Initially, the design process involves determining the pattern that will stand out most when worn. We usually start by sketching a rough draft about the size of an A4 sheet, which is then scaled up to full size.

Once the complete design is drawn, fabric is placed over it and the pattern is traced, forming the "underlying sketch" stage.

For tracing, a blue dye, "Aobana," created by applying the juice of dayflowers to Japanese paper, is used. The dayflower wilts by midday, so its petals are collected early in the morning when they're in bloom. The petals are squished, releasing a blue juice that is used to draw lines on the fabric. This plant is sourced from Kusatsu in Shiga Prefecture.

Why use Aobana?

The juice of the Aobana dissolves in water, making it ideal for under sketches. While water-soluble inks are available today, the resources used for Kaga Yuzen originate from times when industrial inks did not exist, thus relying on available natural materials.

What happens after the under sketch is completed? Do you start adding color?

Next comes the "starch application" stage. If color is applied directly with a brush, it might bleed, preventing intricate patterns from forming. Thus, starch is applied first to create a barrier that stops bleeding. The starched areas form a textured relief upon touch.

Once starched, a soy sauce mixture is applied to the underside of the fabric for three reasons: to erase the Aobana sketch, to help the starch seep into the fabric, and to prevent dye from bleeding when colors are added later.

After completing the groundwork for coloring, the "coloring" stage follows. Each pattern is meticulously painted using a brush, adding effects like the gradient "Bokashi" or the "Mushikui" effect, which mimics insect bites on leaves.

The "Mushikui" is a notable feature of Kaga Yuzen, authentically incorporating nature's intriguing and beautiful aspects into its design.

Wide areas are dyed using large brushes. However, if dyed as is, the colors would seep into the patterned areas, so these parts are covered with starch before the ground dye is applied.

Once all the patterns are painted, the next step is "Jizome," where the fabric's background color is dyed. After dyeing, the piece is steamed for about an hour to fix the colors. Some colors will become more vivid after steaming, so it's important to adjust accordingly when applying the colors.

After the color is set, the piece is rinsed with water. When washed, the glue that was painted so far comes off, leaving the outlines of the patterns white. This is a characteristic of Yuzen dyeing and also a unique design feature. 

Afterward, the fabric is adjusted through a process called "Yunoshi," which involves steaming, and once tailored, it is completed.

Is it ever the case that techniques are adapted or customized?

Yes, indeed. The design itself has a slightly different atmosphere than during the previous generation. While there are many fans of the orthodox Kaga Yuzen kimono, our workshop creates more artistic pieces, pursuing not only traditional forms but personal expression as well.

Although the primary goal is to allow modern people to enjoy these creations, I also want to preserve them for future generations. Each year, I create new works to present in the "Nihon Dento Kogeiten," an exhibition sponsored by the Cultural Affairs Agency. This takes about a year of preparation.

I strive to create a new beauty in dyeing that reflects my vision and continue to exhibit it at this event so everyone can appreciate it.

Looking for Paths Beyond Kimono with Yuzen

Isn't your company one of the few workshops producing items other than kimonos?

Indeed. Although there are craftsmen using their unique techniques, many people are still making kimonos primarily for wearing.

Our workshop has a philosophy of "while inheriting traditional techniques and spirit, let's create new innovations," which has helped us to gain a new fan base. Reflecting on our past, we've always incorporated fascinating and new ideas in response to changing times, allowing us to continue until now.

Recently, our glass decorations have been well-received by overseas customers. Even in Japan, people who weren't interested in kimonos before are now starting to adopt them. Since we began glass decorations, our customer base has been gradually expanding.

Moving forward, I aim to reinterpret and create with my understanding of the traditional Japanese aesthetic found in kimonos.

What do you see as challenges facing the Yuzen industry?

The decline in kimono sales is a major issue, leading us to consider how to sustain Yuzen within that context. Personally, I'm exploring avenues in interior decorations.

However, it's also important to provide items that can be repeatedly sold. We aim to offer not only high-priced works or artistic items but also more accessible options. While other crafts have many successful examples, the Yuzen industry has not yet achieved this.

Lately, the popularity of accessories like pottery and Mizuhiki is rising. In Kutani ware, there's a genre called "Akae," experiencing such demand that reservations for sales end on the first day of the exhibition.

I hope to achieve something similar with Yuzen, beyond just Kaga Yuzen.

Also, while it's common to hear about challenges regarding successors in any workshop, there are surprisingly many people eager to engage with Yuzen. Last year, we had about four applicants at our workshop. However, due to limited capacity, we could only hire one. The industry's inability to accept all interested applicants might be another challenge.

Even though our workshop is involved in consistent production, there are aspects that can be shared industry-wide. If there are any workshops willing to try, I'd like to support the industry together by sharing what has worked well for us.

Personally, I'm considering holding future exhibitions in the gallery attached to our workshop. Last year, we offered an opportunity to enjoy Yuzen through our unveiling of Glass Yuzen alongside lacquerware and pottery vessels for sake. This year, I plan to organize new exhibitions to explore innovative ways to enjoy Yuzen.