Encounter with Japanese Shibori

The moment you step off the train at Arimatsu Station, it begins. Glass railings embossed with shibori patterns, concrete car stoppers shaped like tied fabric, and large shibori-dyed fish adorning the facades of buildings – you truly feel that this town lives and breathes with "shibori."

I am a textile designer from India, where "Bandhani," a traditional Indian tie-dye technique, is an integral part of our lives. I traveled to Japan during the 11th ISS (International Shibori Symposium) to learn about shibori, Arimatsu shibori, and other resist-dyeing techniques.

I wanted to see how tradition continues to thrive in Japan, a country which has embraced modernity and technology like few others. What I found there was a deep reverence for the craft and process similar to how it is back home in India. This reverence for the process became one of the important pillars of the foundation of , "STUDIO MEDIUM." It encompassed a commitment to precision, to act with intention and a humility towards materials.

What I Learned from Japanese Craft Philosophy

The wonder of Japanese craftsmanship lies not merely in the works themselves, but in the sincere approach to the entire process of creation and everything surrounding it. Tools are cherished, processes are carefully preserved, and knowledge is passed down through generations. This is underpinned by a collective consciousness of preservation. While India has similar aspects, the situation has changed significantly over the past 30 years.

The artisans I met during my stay had been working with shibori for decades. Every stitch, every fold, was ingrained in their bodies. The indigo dye vats were cared for daily, almost like living beings. The time and effort they dedicated to finishing a piece clearly showed that the process itself was as valued as the final product.

Dyeing Practices at STUDIO MEDIUM

At STUDIO MEDIUM, we reinterpret and practice techniques like Bandhani, Japanese shibori, and Arimatsu shibori within contemporary fashion and textile design. Our goal is never to simply imitate these traditions. It is to keep their spirit alive and relevant to modern life and dress.

While Japanese shibori often emphasizes precision and repetition to create multi-layered patterns, traditionally Indian Bandhani focuses on representing the surroundings and contexts of the artisan. By incorporating these different approaches cross-culturally, we explore how dyeing can coexist with both "precision" and "intuition." We prioritize the textile, aiming to maximize the potential of the fabric first, which then guides the final form. The process of a flat textile transforming into a three-dimensional texture through the use of Japanese shibori and Bandhani techniques is truly astonishing.

Textiles embody the "memory of hands" and the time it took for them to transform. It’s a beautiful process of breathing life into the world of objects.

Challenges Facing Traditional Japanese Crafts

Despite their deep cultural significance, traditional Japanese crafts today face several major challenges.

Firstly, there is the issue of "generational succession." Many shibori artisans are aging, and younger generations often choose different paths due to economic reasons or migration to urban areas. Apprenticeships, which require many years, are becoming difficult to sustain in a modern society that demands quick results.

Secondly, there is pressure from "mass-produced imitations." These dilute the value of authentic craft products, making it difficult to set fair prices that allow artisans to make a living. The demand for inexpensive goods in the global market often overlooks the true value embedded in handcrafted textiles.

Furthermore, "environmental issues" have become important. While indigo itself is a natural dye, water usage and wastewater management require a balance between traditional methods and environmental responsibility.

These problems are also commonly seen in our own communities in India. Questions regarding sustainability, fair valuation, and the preservation of intangible traditions are common challenges that transcend countries and cultures. I feel that now is the time to find new ideas and solutions through dialogue.

Crafting the Future

What is clear is that traditional crafts are not relics of the past, but "living systems."I believe they can guide us towards a better future.

At STUDIO MEDIUM, our engagement with Japanese shibori and Bandhani is not just about creating beautiful things; it is also about re-examining the very nature of "production" and "consumption" in fashion. To create something with intention is for that act to leave a different trace on the world.

The shibori practice I was fortunate to witness in Japan allowed me to view textiles and crafts not just as " surface techniques," but as "carriers of time, memory, and culture." In a fashion industry that often prioritizes speed and novelty, traditional crafts offer a counterpoint, providing an opportunity to reconnect deeply with materials, processes, and the meaning embedded within them.

In essence, craft is not about looking back at the past, but about moving forward into the future with a deeper awareness.