The Evolving Use of Kumihimo Through History

First, tell us about kumihimo and Tokyo Kumihimo.

Kumihimo refers to cords made by braiding three or more strands together. This element can be seen in the rope patterns of Jomon-era pottery.

It is believed to have been introduced to Japan from the continent over 1400 years ago, but it developed alongside Japanese life, acquiring distinct characteristics.

Likely, when it was first introduced from the continent, it simply spread as a rope-making method. However, as Japanese culture evolved, so did kumihimo, undergoing a unique evolution of its own.

For example, in the Edo period, the culture of tea, nurtured by Sen no Rikyu, flourished. It is said that people who practiced tea ceremony carried bags called shifuku for their tea utensils, which were tied with kumihimo.
As a result, artistic and complex tying methods emerged, leading to an increase in the types of weaving styles for kumihimo.
Later, it was used for components like the tsukamaki (grip wrapping) and sageo (cord) on samurai swords.

A major turning point for kumihimo, often used functionally, came in the middle of the Edo period with the flourishing culture of wearing obi (sashes) with kimonos, still used today.
Wearing an obi called for not only the obi itself but also cords to secure it, greatly increasing the demand for kumihimo.

The fashion leaders of the era, kabuki actors and geisha, wore various types of obis, which led to the creation of diverse kumihimo patterns.
In the later Edo period, geisha from Fukagawa, inspired by the Fukagawa Bridge, invented the otaiko musubi, which was tied with kumihimo, later known as obijime.

In later periods, kumihimo was used for embellishments on the clothes of Emperor Meiji, strengthening its decorative aspects.

In Tokyo, during the Edo period, the Sankin-kotai system brought artisans from all over, creating a historical convergence. These artisans actively incorporated the culture of Edo, including its "iki" style and the sense of wabi-sabi, into their creations.
Thus, the spirit of "iki," favored in Edo, still breathes within Tokyo kumihimo.

Consequently, kumihimo came to be appreciated not only for its practicality but also for its ornamental value. I believe this broad scope of expression is the strength of kumihimo.

The Spirit of Craftsmanship at Ryukobo

Tell us about Ryukobo.

At Ryukobo, we aren't just focused on braiding cords for sashes but also engage in various projects that defy tradition. We collaborate with businesses and artists to develop new products, and create braided cords for office and shop interiors.

The craft of braiding cords has evolved significantly with demand over time. However, today, with fewer opportunities to wear kimono, the demand for braided cords is on the decline.
To preserve this cultural craft in such circumstances, we realized the need to explore new possibilities for braided cords rather than simply repeating past approaches.

Can you share some of the history of Ryukobo?

Ryukobo was founded in 1963 here in Nihonbashi by my grandfather. However, the family business has a much older history. As far as I know, my grandmother's family had been involved in the cord braiding business in Odawara for generations.

The two guiding principles passed down since our founding are "Craft as if picking wildflowers" and "Imbue a single cord with passion."

Braided cords used as obi ties typically measure a few centimeters wide and approximately 160 centimeters long. Although they are small, they are positioned prominently at the center of the kimono and cord, which gives them significant presence. Depending on the obi tie, the kimono's ambiance changes dramatically.
A "single cord" means focusing passion and craftsmanship into that small area, embodying Ryukobo's cherished values.

In pursuing the possibilities of braided cords beyond obi ties, the location in Nihonbashi played a crucial role.
With the nearby Kabukiza Theatre, we have long had actors as clients. By continually meeting their needs, we naturally honed the skill to interpret requests and craft cords accordingly.

The Love for Cords Fostered by Play

When did you start getting involved in the family business, Fukuda?

I began helping with the family business earnestly at 14, but I had been playing with braid remnants since childhood. I vividly recall being scolded for throwing braiding balls and making holes in the walls. Additionally, I used braid remnants as string for cat's cradle. As I also enjoyed origami, I experimented with combining cords into unique folds.

Constantly playing with cords naturally led me to assist with the family business by age 14. It was like realizing play had become work.

Looking back, at 14, my main task was preparing threads.
The cords used in basic braiding are formed from multiple gathered threads. These threads are quite delicate—they can snag and fray with merely dry fingers in winter.
I learned through touch how delicately threads must be handled, the technique of "hejaku" necessary to turn threads into cords, and the care needed when winding threads onto balls.
I believe these tactile experiences were foundational in understanding thread handling.

Imagine a fabric-wrapped smartphone charging cable. Observing closely, you first see the cable, covered by fabric for protection.
With this understanding, I imagine the preparation required if such a cable were made with braided cords.
How many balls would be needed? Reverse calculating from density determines how many threads are combined into a cord, establishing the weight, which influences the necessary tension.
This planning ability is a skill nurtured by facing thread fundamentals at 14.

Currently, I'm applying these techniques and insights to create unique works such as transforming glow-in-the-dark twisted threads into safety gadgets and embedding tubes for floating braided cord displays. I sometimes incorporate metals and leather as part of the materials.

A New Challenge for Kumihimo in Tune with the Times

Currently, what activities is Fukuda engaged in?

Ryukobo has undertaken various initiatives and is now focusing on three key areas.

The first is utilizing kumihimo as traditional obi ties. We distribute to department stores and retailers and occasionally accept orders to craft original obi ties.

The second pillar is a project utilizing the over 1400-year history of kumihimo for new developments.
We pursue new expressions through collaborations with designers, artists, and manufacturers.

For instance, the "Kumihimo Heel-less Shoes," created in collaboration with contemporary artist Noritaka Tatehana, known for works like Lady Gaga's heel-less shoes, are also exhibited at the Victoria & Albert Museum.

The shoes incorporate the "iki" spirit of Edo appreciation I mentioned earlier, specifically the spirit reflected in the culture of haura (feather down). The outer part boasts chic colors, while vivid colors adorn the inside, subtly showcasing fashionable elegance.

The third and most emphasized area is the interior business.
Specifically, we produce facade decorations and partitions using kumihimo as part of building interiors. By using kumihimo in interiors, we increase the opportunities for it to captivate people's eyes, allowing them to fully appreciate its inherent beauty.

Kumihimo's history pursues the beauty of patterns along with practicality, and interiors featuring kumihimo represent the next-generation form following this tradition.

Moreover, the interior kumihimo breathes life into ancient Japanese culture. Since long ago, Japan has had items like partitions and screens intended for "viewing from the inside but difficult to see from the outside." Creating partitions with kumihimo offers similar effects.

We have a work that integrates this concept and the "iki" spirit flowing through Edo aesthetics.

This is the "雲龍" piece crafted for Shinkoji Temple in Noda City, Chiba Prefecture.
The request was for a "beautiful partition suitable for the hall of Gomado." Interpreting beauty as something that captures attention, we planned a design wherein the hall of Gomado beyond the partition becomes visible from certain angles, allowing for the enjoyment of the partition's own beauty as well.
Additionally, we contemplated creating visibility from any angle by elevating the strings.

We also focused on the many dragons in Shinkoji Temple's main hall. Considering dragons as creatures that envelop clouds when flying, we decided to depict clouds across the entire partition.

The base itself incorporates the "iki" spirit of Edo preferences, and by embedding tubes within, we ensured that the kumihimo could be showcased in an elevated manner.
"雲龍" was crafted over four months.

A Tool for Self-Expression

What does Tokyo Kumihimo mean to Fukuda?

To me, kumihimo is a tool for self-expression.
The methods, materials, and uses. Kumihimo continues to evolve by adapting its technology to various applications, offering boundless potential.

As we've discussed, I've constantly lived by pondering, "Can this be done?" or "Isn't that possible with strings?" Whether I'm walking in the city or driving, my mind continuously entertains the idea of arranging objects I encounter with kumihimo.
It's a seemingly endless task assembled with a calm mind. The infinite possibilities visible on the horizon are unique to kumihimo.
This is the appeal of this work and the reason I consider it the perfect tool for self-expression.
I believe there are still many ways to express kumihimo, and I am committed to continuing to explore those possibilities moving forward.