The Invisible Presence of Fabrics that Supported Everyday Life

Could you tell us about the business and how it all began?

Maruyama: In 1901, the first-generation Maruyama Man'emon established Maruman Shop, beginning the business with a weaving factory and a sewing plant consisting of 400 Jacquard looms. After the war, through a division of labor among weaving factories, dyeing mills, and processing plants, the products were delivered to spinning companies, trading firms, and wholesalers, flourishing as a shirt fabric manufacturer. However, production gradually shifted overseas due to lower costs, and production declined. Additionally, as the working men's attire transformed from suits and ties to casual wear, we realized that merely producing shirt fabric within the existing business framework was not feasible. Thus, under the direction of textile designer Kanako Kajiwara, we released our in-house brand "POLS" in 2015 to broaden our range of apparel products, and in 2024 we launched the material brand "MARUMAN JACQUARD."

What prompted you to take over the family business?

Maruyama: During my middle and high school years, the internet's rise intrigued me as a new transformative force in society, leading me to major in communications network engineering at university to study its workings. After graduation, I worked for about six years at a venture company planning and selling LED lighting, engaging in sales to the architecture industry. Influenced partly by my grandmother's fondness for Banshu-ori, I saw potential for innovation within the family business and joined Maruman in 2011. From 2012 to 2013, I encountered the textile business during my internship at the New York headquarters of the Mitsui & Co., Ltd. in the US, working on recreating the vintage feel typical of old Japanese denim. I also learned about import and export systems, subsequently contributing to the establishment and expansion of our company's export business. Before meeting Kajiwara, we mainly copied existing designs, but I learned about creating unique and fascinating textiles from her, inspiring me to launch the brand POLS and spread "the joy of textiles."

What is the appeal of Banshu-ori?

Ueda: Nishiwaki is surrounded by the abundant nature of Kita-Harima, and its water quality is suitable for dyeing cotton, leading to its development as a production area. The appeal lies in its yarn-dyed textiles, which are multi-colored and extremely expressive, alongside the delightful texture of natural fibers. Often, customers handle Banshu-ori without realizing it, but we aim to promote the unique charm of its woven expressions and qualities distinct from printed textiles.

Achieving Complex Expressions Through the Computerization of Monshi

Please tell us about your unique features or competitive advantages.

Maruyama: Our jacquard technique is extremely delicate and high-quality, and we have been recognized in domestic textile contests. We create monshi (pattern cards) on a computer that enables actual cutting work to achieve unique textures such as fringe fabrics.

Ueda: While many companies separate the tasks of designing and creating monshi, we integrate the processes from design to monshi data creation, which allows us to cut costs and quickly achieve complex expressions—an efficiency unmatched by other companies. We also collaborate with separate divisions, taking into account textile structures and materials. Thanks to our strong trust relationships, samples that normally take a month can be delivered in as little as a week. Word-of-mouth about this speedy service is a notable feature.

Please tell us about the inspiration for launching your own brand, your target audience, and your direction.

Maruyama: Our business expansion began when our fabrics were adopted by a famous domestic brand. Although a surge in production made it challenging to meet deadlines, the weaving factory increased the number of looms, speeding up production. Computerizing monshi allows us to consider fabrics in four layers, enabling detailed textile expressions previously impossible, similar to increasing photo resolution. This technology led to the creation of POLS.

Following that, aiming to pursue expressions different from POLS, we launched "MARUMAN JACQUARD" and are collaborating with artists to create textiles. We developed a record-inspired product in collaboration with a record company we met at a gift show. This product could be displayed in its packaging, worn as a small scarf, or used like a traditional wrapping cloth. We're focused on developing such versatile products to tap into the gift market.

A Major Transformation for a Town Where Young People Can Foster Hope

Please tell us about the challenges in the Banshu-ori industry and your efforts to address them.

Ueda: Banshu-ori was traditionally an industry based on low margins and high volume. Changing the old image of "Banshu-ori is cheap" is challenging. Most factories are family-run, and with the aging of artisans, new human resources are needed for skill transfer, but there's no room to hire. Even when policies attract aspiring young artisans, they usually leave in a few years for better opportunities, and skills are not passed on.

In Nishiwaki, the sawtooth-roofed buildings indicate they were once Banshu-ori workshops. The number of Banshu-ori companies has halved from over 1,000. To survive as a region, we feel the necessity for new developments, such as unique fabric development and branding.

Please share your thoughts on PR activities and branding in the textile industry.

Maruyama: While high-end brands allocate huge budgets for advertising and use influential figures as mascots to increase recognition, we aim to raise awareness for our brand through Instagram. It's vital to frequently post reel videos that appeal to new audiences and create relatable content. Since January, our dedicated social media staff in Osaka has been posting short comic-style videos considering various situations where our products can be used. Our subscriber count has doubled. Despite the uncertainty of what will go viral, the lack of a formula adds to the intrigue.

As one of Japan's leading textile-producing regions, is there collaboration between the government, local businesses, and craftsmen in Nishiwaki City?

Maruyama The mayor of Nishiwaki City, who was previously involved in the sale of Banshu-ori looms, is involved in the "Nishiwaki Fashion Urban Development Initiative," focusing on nurturing young creators, promoting relocation, and city branding. In the past, Banshu-ori was mainly sold as fabric, but inspired by the Viera district in Italy, there is also an aim to increase the production of finished products. Additionally, a coworking space equipped with professional-grade sewing facilities, "CONCENT," is open for public use, providing an environment that fosters creativity.

Could you share any future endeavors, goals, or visions you have planned?

Maruyama We plan to renovate my grandparents' house, built in 1907, and open it as a new POLS store in 2026. Our ultimate goal is to address existing issues with Banshu-ori and transform the entire region into a place full of hope and appealing to more young people. In 1901, Nishiwaki City experienced a major transitional period with Banshu-ori. Without such significant changes, I sense the region as a whole could face decline. I aim to propose a future where not just our company thrives, but where the entire community flourishes, allowing the next generation of craftsmen to work sustainably.