Founded in the Meiji Era: Preserving the Soul of Yuki-tsumugi

Okujun's story began in 1907 (the 40th year of the Meiji era), when Yoriyuki Okuzawa's great-grandfather founded the business. Though he came from a family of educators, a passion for commerce drove him to train at a relative's kimono wholesale business before branching out on his own.

"He was a man who truly lived for his business. I'm told that even when his health failed, he would stand out front of the shop as much as he could, loving every moment he spent talking with the producers and weavers, known as hataya. When asked what he'd do if he recovered, his answer was always the same: he'd want to get back to business."

This founder's passion is reflected in the company's emphasis on dialogue with its producers. This spirit became the bedrock of Okujun's role as a regional wholesaler for Yuki-tsumugi, a craft defined by its highly specialized division of labor and the essential collaboration among numerous artisans. By managing the entire process—from conceiving designs and commissioning artisans to selling the final kimonos—Okujun does more than just conduct business. It plays a vital role in sustaining the region's entire production ecosystem.

Navigating the Tides of History: Two Crucial Turning Points

In its more than 120-year history, the company and the entire region have weathered numerous storms. One of the most significant was during World War II, when a government ban on luxury goods brought Yuki-tsumugi production to a virtual standstill. However, a handful of weaving workshops successfully petitioned to continue their work in order to preserve the craft's techniques, ensuring its survival.

Another major shift came with modernization, as men began to abandon the traditional kimono.

"After the Meiji Restoration, Westernization swept the nation, and men began shedding their kimonos. It was an era where you couldn't even enter the stock exchange in Kabutocho wearing traditional Japanese attire. Since Yuki-tsumugi was originally focused on menswear—solid colors, stripes, and plaids—the industry made a historic pivot toward womenswear."

By adapting to the changing times, the region navigated this crisis. This flexibility and foresight epitomize Okujun's philosophy: to honor tradition without fearing change.

The Antithesis of 'Efficiency': A Philosophy of Craftsmanship

Yuki-tsumugi's most defining feature is its production process, which could be described as the pinnacle of inefficiency. Yoriyuki Okuzawa explains that the fabric's true appeal lies in a value system that is the polar opposite of modern obsessions with "time-performance" (taipa) and "cost-performance" (cospa).

"It's not about taipa or cospa. It's about relentlessly pursuing our vision of what makes something 'truly good.' The whole craft is built on this mindset, where you perfect the product first and think about efficiency later. I find that fascinating. Everyone values different things, but I believe there's nothing more precious than time. The modern focus on efficiency stems from that idea, but to me, the spirit of the artisans who can dedicate so much of that precious time to their craft is what's truly incredible."

This philosophy is evident from the very first step: spinning the yarn. The thread is drawn by hand from mawata (silk floss made from boiled and stretched silkworm cocoons) without adding any twist. From there, every stage demands immense time and skill: the kasuri-kukuri process, where bundles of yarn are painstakingly tied to create resist-dyed patterns; and the weaving itself, done on an ancient back-strap loom called a jibata, where the weaver aligns the pattern by hand with every single pass of the shuttle. This dedication to handwork is the source of the fabric's unparalleled warmth and softness—a texture that no machine could ever replicate.

The Untwisted Floss Silk that Creates a One-of-a-Kind Texture

The texture of Yuki-tsumugi is defined by its untwisted yarn, or "munenshi." Unlike the raw silk used in typical silk fabrics, which is strengthened by twisting together fine fibers drawn from cocoons, Yuki-tsumugi yarn is more akin to a bundle of fibers pulled directly from floss silk.

"With Yuki-tsumugi, if you weave three centimeters, you absolutely cannot go back three centimeters to adjust the pattern. When the fuzzy threads interlace, they stick together like a hook-and-loop fastener and won't budge. That's why you have to get it right every single time."

This characteristic of the untwisted yarn produces a unique texture not found in other textiles. The air-filled yarn is light, surprisingly warm, and as it is worn, the fuzz settles, increasing its smoothness and luster. The technique of hand-weaving this difficult-to-handle yarn is the very essence of Yuki-tsumugi craftsmanship.

Protecting the Production Area: The Quiet Mission of a Wholesaler

As a manufacturing wholesaler for the region, Okujun bears the heavy responsibility of protecting the artisans' livelihoods. Distributing work according to each artisan's skill level and managing orders to prevent idle time is an essential role in maintaining the area's production base. However, Okuzawa has mixed feelings about the current situation.

"I constantly feel a sense of regret about the reality that even the most skilled artisans cannot make a living on their craft alone. Even if our company turns a profit, it's incredibly sad to feel like it's built on someone else's sacrifice. I'm always thinking about how we can change that."

Okuzawa believes that creating an environment where skilled artisans can live comfortably on their work alone is paramount. Only when this is achieved will hope return to the production area, the perspectives of the workers change, and ultimately, the perception of Yuki-tsumugi itself will transform.

Tackling the Successor Problem: The Region's Biggest Challenge

Like many traditional craft regions, Yuki-tsumugi faces the serious issue of a lack of successors. The situation is especially critical regarding the decline in the number of makers of the yarn, which could be called the very lifeblood of Yuki-tsumugi.

"There's truly no one left to spin the yarn. When I joined the company, we could produce about 1,800 tan (bolts of fabric) a year, but now it's down to about 390. It used to be a side business for farmers, but they gradually faded out for reasons like not being able to earn a suitable wage."

To address this challenge, Okujun is holding workshops to train new artisans. They also believe that a review of the wage system is essential. When Okuzawa asked an artisan, "If the price for yarn were higher than it is now, would there be people willing to do it?" and received the reply, "I think there would be if the price were higher," he saw a glimmer of possibility. Properly evaluating the value of yarn making and reflecting that in the compensation is the key to securing the future of the production area.

Forging a Future for Tradition: A Vision for Overseas and New Fields

As the kimono market shrinks, Okujun is exploring new possibilities for Yuki-tsumugi. One avenue is expanding into overseas markets and developing products other than kimonos.

"There's a chance people overseas could also understand the appeal of this philosophy, and they might even find parts of it fresh and new. I've always wanted to find a way to adapt it, to develop something beyond kimonos."

In the past, they have undertaken various challenges, such as proposing the fabric to overseas brands for jackets and developing it as an interior textile. While some of these attempts didn't immediately lead to profits, Okuzawa insists, "We must always remain challengers." He believes that the key to forging a new future is to continue taking on new challenges without fear of failure, rather than resting on their laurels as the region's top producer.