Coloring Japan's High Growth Era with Splendor

Could you tell us about the beginnings of the business?

In 1952, my father, Eikichi Nakaya, founded the "Nakaya Pile." Our location in Hashimoto City, Wakayama Prefecture has been known as a cotton weaving area since the Edo period, particularly after the invention of the "Saiori" (再織) technique in 1877, which gained recognition in overseas markets and flourished. In 1952, nylon threads emerged, and loop pile fabrics using the "Osakaeshi" (筬返し) technique were increasingly adopted as upholstery fabric. After 1970, we installed Jacquard looms and began producing Kinkazan textiles.

As the high growth period commenced, the Westernization of Japanese culture accelerated, leading to carpets being laid over tatami mats and people wearing slippers. Supported by the demand for interior items like seating chairs, wall coverings, and curtains, our company expanded steadily. Between 1988 and the early 1990s, Kinkazan textiles were adopted as fabric for automobile seats, reaching peak production levels. They also became popular for truck interiors. From 1994 onwards, through the development of distinctive new patterns, we garnered market support, particularly with landmark patterns like the pigeon of the tour bus, ginkgo of the municipal bus, and the Bay Bridge of Yokohama, which all became hits.

Could you share the appeal of Kinkazan textiles?

The appeal of Kinkazan textiles lies in the ability to create various types of fabrics by innovating the weaving method of Jacquard machines. Until around 2000, our main business involved supplying fabrics to wholesalers, but since then, we have shifted our focus to industry proposal-based business, developing our own products. Around 1985, on the cusp of the Showa to Heisei transition, delicate Japanese patterns were predominant, but around 2006, we transformed our designs to draw inspiration from ancient European old collections, thereby establishing the unique beauty of Kinkazan textiles and gaining significant support.

Authentic Design & Playfulness

Could you briefly explain the production process? Are there any technically demanding tasks or specific processes you are particularly particular about?

The manufacturing process of Kinkazan weaving is complex and multi-stage. The fabric we weave is dyed and dried at the "Kinoshita Dyeing Factory," where treatment for fabric hair splitting is also performed. The shearing process and back coating are done at "Hori Shirring." Before the digitalization around 1994, we created hand-drawn design patterns with water-based paints, which were then used to produce punched cards for jacquard looms.

For the stability of Kinkazan's textile quality, careful adjustments that do not put stress on the fabric and proper tension of the threads are required. We continue to monitor the movement and sound of the operating machines, making adjustments according to changes in weather and temperature.

If there are unique features or details you are particular about, please share them.

Our technical feature is the ability to respond flexibly to small lots and short lead times through post-dyeing. This allows us to accommodate small-scale repeat production and custom orders while establishing an attractive supply system for designers. Additionally, we have set up an efficient sales system for chair upholstery and truck goods, based on years of accumulated stock.

If you have sources of inspiration or references, please share them.

For patterns and colors, we refer to traditional textiles from Europe and America, as well as historical books and literature. Creating new designs with a sense of playfulness is, after all, one of the joys of craftsmanship.
Chasing trends in color and design often necessitates the mass production of low-cost items, which misaligns with our manufacturing capacity. To avoid creating transient products, we intentionally do not overly incorporate trends. Instead, we draw inspiration from historical texts and, for example, modernize powerful motifs from the Renaissance era in our textile designs or alter colors during dyeing.

What challenges does the industry face? What measures do you think are necessary to address these challenges?

To innovatively evolve Kinkazan textiles, we must tackle a wide range of issues, including creativity in patterns and color combinations, human resource development, and strengthening the organizational structure. Opportunities to discuss such challenges with local peers have arisen, and I believe that continuous efforts are necessary to ensure that these challenges do not lead to ephemeral solutions.

New Developments Aimed at the Outdoor Market

What are your thoughts and feelings regarding PR activities and branding in the textile industry?

Since 2004, we have been holding exhibitions aimed at the apparel industry, collaborating with Felissimo and Nakagawa Masashichi Shoten, and providing Kinkazan textiles for original lines by high-end brands and select shops. As demand for truck goods and home use has increased, we have also started our efforts in the BtoC market. Since 2021, with the support of the industry brand development project in Hashimoto City, we have developed new products such as outdoor goods and pet cushions, and have exhibited at events like the "Material Expo" and the "Field Style Jamboree," where products and services related to outdoor and lifestyle can be experienced, widely promoting the charm of Kinkazan textiles. We aim to enhance the recognition of "Koyaguchi" as the production area for Kinkazan textiles as a local industry.

Additionally, by sharing past fabric samples on Instagram, we occasionally receive inquiries from unexpected sources, including hobbyist crafters and truck drivers.

What innovations or new technological initiatives do you plan to pursue in the future?

We aim to develop Kinkazan textiles and products with an eye towards the outdoor market. Utilizing regional new product development subsidies, we developed a folding cushion in 2022, targeting niche products in the outdoor market. It takes time to get it into distribution, and establishing a production system is also a challenge. While overcoming these issues, we aim to broadly promote new fabrics and products in the future.