Connecting Nishijin-ori with Kinran for 4 Generations

The textile industry flourished from the Heian to the Muromachi period, which allowed the Nishijin area near the court where noble families lived to prosper in textiles.

Ema "The bakufu and samurai society loved gorgeous and heavy luxury textiles, which led to a demand for high-status designs that could express class through colors and patterns, featuring motifs of flowers, birds, wind, moon, and traditional auspicious patterns. Technically, luxurious expression techniques using gold and silver threads were widely adopted, making the textiles very expensive due to the time needed to gather materials and weave them."

Nishijin Okamoto was established around 1890 (the 23rd year of the Meiji era) when the current president, Keiji Okamoto's great-grandfather began weaving Kinran. The tradition has been passed down through 4 generations and is now managed by 8 family members.

Ema "Apart from myself working on textile design and other minor tasks, we have 4 handweaving artisans and 3 artisans responsible for fabric inspection and thread preparation. We also engage in weaving using power looms in Tango. Our company is exclusively a weaving house, which allows professionals from each field, including those in subcontracting, to contribute to finishing a single piece of cloth. 

"While textiles woven in other regions often emphasize simplicity and rustic charm for ease of use, Nishijin, especially our company, has focused on expressing magnificent beauty. Our Kinran is especially utilized for special ceremonies and festivals among religious Kinran.

"Additionally, we have decided to use only shuttle looms. Compared to high-speed looms such as rapier, air-jet, and water-jet looms, the tension on both the warp and weft is not excessive, allowing for a slow weaving process that results in a plush texture of the fabric."

The unique weaving technique utilizing rare materials like platinum, gold thread, silver thread, and gilding produces a sense of depth and dimension that is rarely seen in textiles from other regions. It is precisely because the company has inherited the tradition of Kinran that they can express this luxurious beauty.

Adapting to Changes While Preserving Tradition

Since the Meiji Restoration, Western culture has rapidly flowed into Japan, prompting changes in the design and technology of Nishijin-ori to meet domestic and international demand.

Emi　"In addition to traditional patterns, elements from the West have been incorporated. Moreover, Nishijin-ori have increasingly been used not just in the domestic market but also for export products, becoming a popular choice for interior design in places where foreigners gather for national prestige."

From the Showa era to the Heisei era, the demand for textiles diversified further alongside post-war economic recovery. New materials and technologies emerged, enabling mass production. Nishijin-ori began to be utilized for new purposes such as ties and shawls, in addition to traditional garment applications. It was said that it was a time when fabric could be sold even if it had some flaws.

Emi　"Now, the quality checks are much stricter than in the past, and even minor imperfections require repairs or reweaving, so the quality of textiles should have improved since the Showa era."

The company values its traditional weaving methods but has also evolved some aspects to adapt to changing times.

Keiji "When weaving Jacquard fabric (which expresses intricate patterns through weaving), we used to use 'punched cards,' which are paper with holes. It started with 'paper punched cards,' and until recently, we stored the electronic data on floppy disks, but since floppy disks are no longer sold, we faced difficulties. Now, apart from certain machines, all our devices can use USB memory or SD cards.

"We also have textile designs that resemble hand-painted Japanese paintings, but recently, there has been an increase in designs created on computers. In our company, we now create designs using computers. We are able to realize fabric production from customer design requests in a much shorter timeframe than before."

In modern times, there is a simultaneous demand for the preservation of traditional culture and the exploration of new markets. Sustainability and globalization are particularly important themes, and even within the primary market of Nishijin Okamoto—temples and shrines—there is a constant need for new designs.

By successfully integrating elements sought after in contemporary textiles, traditional weaves such as Obi and Kinran will continue to expand their value—this belief motivates craftsmen to keep evolving with the times.

To Preserve Living Cultural Assets that Demonstrate Japanese Uniqueness to the World

Nishijin-ori is created through approximately 14 different processes. Of course, weaving is part of it, but Emi emphasizes that "all processes involved in production, such as sericulture, silk reeling, manufacturing and repairing needles and looms, and transportation, are crucial, and the people involved are what matter."

Emi　"With rising material costs, the number of craftsmen and tools associated with Nishijin-ori has been declining. Even when we bring in new people for succession, there’s a possibility of not being sustainable, so it’s challenging to recruit newcomers. As we secure jobs, the day may come when we can no longer weave.

"We have also aged, but we are not ready to give up. We persistently raise awareness of the current situation."

Even if there are weaving artisans, if the weaving tools are broken, weaving cannot occur. If there are looms, but no thread, textiles cannot be produced. To maintain the tradition of Nishijin-ori textiles, both people and materials are indispensable.

Emi　"When I go to exhibitions, I make it a point to share information with those around me. This way, when we receive requests for work that we cannot undertake, we can introduce people or workshops that can handle it. I always keep in mind that 'Nishijin should survive together.'

"Exhibitions and pop-ups gather diverse businesses, and it becomes clear that everyone is working hard to create quality products. I often think, 'Is there a chance to collaborate with such people?'"

Keiji expressed his mission to carry history into the future.

Keiji　"Traditional crafts are a significant presence that makes us reconsider where we come from. I believe that for younger generations, engaging with traditional crafts provides an opportunity to heighten their awareness of 'our culture and roots.' Many children in the Nishijin area have never come into contact with Nishijin-ori, so I hope they can experience the fabric firsthand."

Traditional crafts, including Nishijin-ori, are "living cultural assets" that showcase Japan's uniqueness to the world. The craftsmen in the company are striving to move forward while continuing to connect this heritage to the next generation.