The Heartwarming Handiwork of Iwate's "Homespun"

First, what exactly is homespun?

Homespun originally comes from a British handicraft. The name literally means "wool fabric spun at home." It's made by hand-spinning and hand-weaving wool, and its story in Japan began during the Meiji era when missionaries introduced it to Ninohe City in Iwate.

Later, during World War I, it became difficult to import wool from abroad, so domestic wool production was encouraged as a national policy. With their cool climates, areas like Iwate, Nagano, and Hokkaido were well-suited for raising sheep, and that's how the practice was introduced there.

Today, our products are made to be sold commercially, but the craft is rooted in the post-war era when farming families would raise their own sheep to make clothes. It was perfectly normal for people to create the things they needed for daily life with their own hands. That kind of handiwork was just a part of life.

The craft eventually grew into an industry in various regions, but with the rise of mechanization and changing lifestyles, it gradually declined. Despite this, the techniques were passed down, and today, Iwate Prefecture is the only place in Japan that remains a production center for homespun.

Homespun didn't take root in Hokkaido or Nagano. Why do you think it has continued in Iwate?

In Iwate, the consistent support from prefectural organizations was a big reason.

People in the Tohoku region aren't perhaps the type to jump on the latest trends. I believe the character of Iwate's people—sincere and straightforward—combined with their stubborn perseverance and a tendency to "not change things in a hurry," also helped in preserving the craft.

Although homespun is originally an English technique, over many years it has absorbed the local character of Iwate and truly become part of this region's culture.

The History Spun by Michinoku Akanekai

Could you tell us about Michinoku Akanekai?

Michinoku Akanekai was established after the war as a workshop to help support women who had lost their husbands. Now, more than 60 years since our founding, we have faithfully preserved the craft of making homespun through hand-spinning and hand-weaving. Every part of the process, from management to production and sales, is handled by women.

At our peak, I'm told we had over 40 spinners alone, but we now operate with 16 members. We once used an old hospital as our workshop, but as the building became too old, we relocated to our current studio, which is about a 15-minute drive from Morioka Station.

You have so many beautiful woven items. Are these traditional designs, or are you constantly creating new ones?

They're definitely evolving. Right now, our main products are scarves, but up until the mid-1970s to mid-1980s, we primarily supplied bolts of fabric to tailors for items like neckties and coats for traditional Japanese wear.

We've always handled our designs in-house. We take our ideas, like 'I want to blend these colors' or 'I want to create a textured, uneven feel,' and translate them into detailed 'recipes.' These recipes document everything from the dyeing process to the weaving technique, allowing us to consistently reproduce the same quality.

We draw inspiration from things we see in our daily lives and also from the advice of a design mentor in Tokyo with whom we've had a long-standing relationship. While we cherish our traditions, we also adapt flexibly with the times, reinterpreting historical patterns with contemporary color palettes or adjusting sizes to fit modern styles.

The Secret to Its Lightness and Warmth: Like Wearing Air

Could you walk us through the process of making homespun?

First, we source the raw wool. It arrives with natural oils and dirt, so the first step is to wash it. After that, we start preparing to make the yarn, considering the desired color and texture.

Depending on the design, we dye the wool. Then, in a process called 'carding,' we blend multiple colors while aligning the fibers. This is also the stage where we decide whether to create a smooth blend or preserve a more textured, uneven look in the color.

Next comes spinning the yarn. We twist it by hand, carefully adjusting the tension to ensure it doesn't become too stiff. This is an incredibly intricate and delicate task. The artisan must instantly gauge the tightness of the twist and the thickness of the yarn to create the perfect texture for its final use.

Once the yarn is ready, it's time for warping (seikei). The process of threading each warp yarn onto the loom one by one is a painstaking one, but it's crucial for the final result. During weaving, we use a shuttle to interlace the warp and weft threads, creating patterns and textures. Even a solid-colored piece can have incredible depth, thanks to the interplay of colors and the character of the yarn. We craft these finished textiles into scarves and stoles, as well as smaller items like coasters.

The moment I picked it up, I was amazed. It's as light and fluffy as a feather!

The most distinctive feature of homespun is that it's incredibly warm despite being as light as a feather. The secret lies in our yarn-making process.

By hand-fluffing the wool and then running it through a special carding machine, the fibers align in the same direction. This process allows the yarn itself to trap a significant amount of air, which is what creates its surprisingly light and airy texture.

Carrying the Homespun Culture into the Future

What do you personally find so captivating about homespun?

The appearance and beauty evolve throughout the dyeing and color-blending processes. During weaving, our staff often brainstorm together, asking things like, 'How about we try this combination of warp and weft?' It's not uncommon for the final woven piece to turn out even more beautiful than we imagined.

Because so many different people are involved at each stage, we create colors and textures that a single person could never come up with alone. That's the real magic—discovering this unexpected beauty. I love how our different creative sensibilities merge, expanding the possibilities of what we can make.

Looking to the future, how do you hope to preserve the craft of homespun?

It's not a highly profitable business, but I still hope it continues to exist as a place where people can work. I came here myself because I was looking for a place where I could 'work with my hands,' so I want to keep this place alive for others who feel the same way.

Homespun possesses a warmth that only handcrafting can provide, a soft airiness, and the natural character of the fibers themselves. As long as we have customers who recognize and delight in these qualities, we want to keep going.

Do you have any memorable stories from your interactions with customers?

In a way, our customers are our mentors (senpai). Just the other day, I met someone who told me, 'I bought this scarf 20 years ago,' and I've seen others who still lovingly wear a necktie they purchased 35 years ago.

In Morioka, there was a tradition of giving homespun as a gift. I've heard stories from older customers who said things like, 'My parents had a jacket tailored for me to celebrate my first job.' Homespun was a garment that marked life's milestones. Hearing that really reinforces our commitment; we feel a deep responsibility not to create anything that would let our customers down.

How do you plan to approach the younger generation?

In the last few years, I get the sense that we're seeing a gradual increase in customers in their 30s and 40s who are interested in mingei (folk crafts) and crafts. Younger folks definitely have a feel for the quality of things made properly. That's why we feel it’s crucial to continue this work with great care, making sure it doesn’t die out.

On the other hand, the term "homespun" is almost unknown among the younger generation. Older people might say it’s "nostalgic," but the reality is that there's a large generation gap in awareness.

Recently, however, we're sensing a favorable trend where things that are "old and unknown" are, on the contrary, perceived by the younger generation as "new and interesting." The traditional craft value of homespun may be undergoing a re-evaluation. With this in mind, we're gradually taking steps to properly position "homespun" as a recognized craft for the future.

Homespun is born from careful handiwork. We hope this culture continues to be passed down without interruption.

There are several strict conditions to be officially designated as a "Traditional Craft," but certification also provides a boost for training young artisans and for our promotional activities. That's why we feel this is a very important time to lay that groundwork.

Iwate has an environment where people can study dyeing and weaving at universities and high schools, creating a foundation where the entire community supports the skills, with those who have studied becoming makers and teachers.

For the women of the post-war era, it wasn't just about making a living; I'm sure there were "moments that enriched their spirit." I think that's why it has continued for this long. We, too, want to carry on that spirit and securely pass on the charm and techniques of homespun to the future.