120 Years in Hachioji, the "City of Mulberry": A Shift from Kimono to Fashion

Hachioji has long thrived on sericulture, developing a rich history as a hub for raw silk and woven goods. The roots of the Sawai family are deeply intertwined with the region's industrial past. The family line traces back to samurai who migrated from Niigata. They later practiced Kampo (traditional Chinese medicine) before turning to sericulture, and four generations ago, they embarked on their journey into weaving.

While the company had long been a pillar of the kimono industry, it faced a major turning point with the collapse of Japan's bubble economy. As demand for kimonos plummeted, they found a new avenue in fashion accessories. The catalyst was a single *obiage*, a decorative sash worn with a kimono.

“I was inspired by a friend's *obiage* and thought it would be great to make a stole. I started making them about 30 years ago, just after the bubble burst.”

This moment sparked a new challenge: adapting traditional Japanese weaving techniques to modern lifestyles. The company actively participated in exhibitions in New York, making inroads into the international market. However, the path was far from easy. Despite facing numerous hardships, including the bankruptcy of business partners, they persevered, continually refining their techniques by producing samples and gradually building trust with domestic apparel brands.

"hikariful": How Pre-War Sample Books Inspired a Modern Take on Tradition

The artistry of Sawai Orimono is sustained by the diverse techniques of Tama-ori and a vast archive passed down through generations. A prime example of this is the stole brand "hikariful," created as part of a Tokyo Metropolitan Government initiative to promote local handicrafts. A key to this product's development lies in a collection of pre-war fabric sample books.

Carefully preserved in the workshop, these sample books, containing fabrics woven by previous generations around 1936-1937, provide the inspiration that is re-imagined into contemporary designs.

The signature feature of "hikariful" is its unique texture. It is crafted using a technique called *omeshi-ori*, where high-twist yarn (*kyonenshi*) is woven into the fabric to create a distinctive crepe-like surface (*shibo*) and elasticity.

“For *omeshi-ori*, we use silk for the weft, but we incorporate a high-twist yarn that's twisted about 3,000 times per meter. We alternate between right-twist and left-twist yarns, with a slightly different weft thread in between, and weaving them together creates this kind of fabric. That alternating twist is what gives it the unique crepe-like texture.”

This technique results in a fabric that isn't just a flat piece of cloth, but one with an airy softness and a texture that feels wonderful against the skin. Rather than simply reproducing historical designs, Sawai Orimono reconstructs them with modern sensibilities and technology. Their products are a clear reflection of a philosophy that honors tradition while capturing the spirit of the current age.

Finding Beauty in the Discarded: A Cycle of Materials and Techniques

Lately, a major focus has been sustainable craftsmanship that utilizes discarded materials and unused resources. Sawai's attention is drawn to the "mottainai" (a sense of regret concerning waste) elements generated during production.

A prime example is the use of leftover thread from Oshima Tsumugi, a traditional craft of Amami Oshima island. To ensure patterns align perfectly, the kasuri (ikat) threads for Oshima Tsumugi are often dyed in excess, leaving behind a surplus. Sawai takes these threads, combines them with cashmere and silk, and breathes new life into them as completely new textiles.

The workshop is also exploring the use of deer and pig leather. In an innovative trial, leather from deer culled in Hokkaido and from "TOKYO X," a brand of pork from Tokyo, is cut into fine slits and woven in as weft threads.

Furthermore, their approach to dyeing is just as unique. They use tea leaves discarded during the production of mulberry leaf tea—a Hachioji specialty—and even the fine powder generated when packaging the tea. This dyeing method is gaining attention as a brilliant way to utilize local resources.

"A friend of mine runs a pretty large tea shop, so they produce a lot of tea waste," Sawai explains. "When they package their products, a lot of fine, matcha-like powder is generated. That can be used for dyeing. It wasn't that they came to me for a solution, but I just thought it would be fascinating to find a use for it."

These efforts aren't just about touting "eco-friendliness." By weaving the history and stories of the materials into the fabric, they add profound depth to the final product. In Sawai's hands, materials once destined for disposal are transformed into one-of-a-kind artisanal works of immense value.

Beyond Regional Borders: A "Trunk and Branches" Philosophy for the Next Generation

While Hachioji once thrived as a town of weavers, the number of factories has dwindled, and its role as a major production hub is shrinking. In response, Sawai is expanding his craft network by collaborating with production centers all over Japan.

"Hachioji used to be the go-to place for textiles, but that function as a production hub has slowly faded," he says. "That's why I'm now exploring ways to create things by working with people all over the country. I still work in Kyoto and Hachioji, but also with artisans in Shiga, Ichinomiya, Niigata, and Yamagata. For our indigo dyeing, we even have it done in Tokushima."

For instance, they might use Suffolk wool from Shibetsu, Hokkaido, have it spun in Iwate Prefecture, and then weave it in Hachioji. Or, they might send fabric to Aichi Prefecture, the home of Arimatsu shibori dyeing, to have it processed there. By combining the unique strengths of each region, they create products that would be impossible to make in one place alone.

"Of course, we have to protect tradition," Sawai muses, "but I believe that as long as the trunk is strong, the branches and leaves should be free to grow in any direction they want."

Sawai views tradition as the "trunk," and believes the "branches and leaves" that sprout from it should be allowed to spread freely. This flexible mindset is also evident in how he fosters the next generation of artisans. The workshop currently includes young staff in their 20s, who are infusing the space with fresh perspectives.

With an eye toward the future, the workshop also actively holds classes for children and workshops for the general public. Through experiences like leaf-pounding dyeing with indigo and hands-on weaving, they share the joy of creation and the value of handcrafted work.

"If we get too fixated on a rigid definition of 'This is what Tama-ori is,' I feel it becomes harder to forge new paths," he reflects. "I believe the most important thing is to keep creating different kinds of fabrics that resonate with the current era."

Sawai Orimono continues to honor techniques backed by a long history while boldly embracing modern perspectives, including technology, cross-disciplinary knowledge, and sustainability. The story being woven in Hachioji is sure to captivate many more people and continue expanding the very possibilities of what "fabric" can be.