The Splendor of Continuing Traditional Crafts

Could you tell us about the establishment of Ishizuka Senko?

Ishizuka Senko was founded by the first-generation head, Umejiro Ishizuka, as a dyeing business in Odawara around 1890. Until the second-generation head Kinjiro, the company didn't focus on Edo Komon, but rather produced vibrant, luxurious kimono with large patterns.

Later, we moved our base to its current location in Hachioji, where during the tenure of my grandfather, Kenkichi, who was the third head, the demand for simpler kimonos increased, leading to the procurement and production of Edo Komon's pattern paper. However, as Edo Komon's patterns' size and intricacy vary, my grandfather's generation didn't manufacture those with the extremely fine patterns referred to as 'goku' (極, meaning 'extreme').

Subsequently, my father, the fourth-generation head Yukio, started making 'goku' sharks and stripes, and I have since taken over as the fifth head.

So, you started making Edo Komon halfway through?

Indeed. Even though the foundation of Edo Komon is dyeing a single pattern in a single color, during my father's time, we created numerous visiting kimonos wearable at parties or celebratory occasions and Eba, designed through the combination of patterns.

When my father was young, he did everything, from drawing his own designs, arranging colors, to even hand-drawing parts of the kimono design. He seemed to have been trying various things at the time. However, with the changing times, he decided to specialize in Edo Komon's more challenging designs like 'goku' sharks and stripes.

What was the reason or background that led you to relocate to Hachioji in the Meiji era? There's a previous river called Asakawa nearby, right?

Dyeing process of Edo Komon includes a step that involves washing the dyed fabric in water. This process necessitates being near a river, so I believe the location was selected with the proximity of the river in mind.

By the same token, Ishizuka Senko likely chose its current Hachioji location close to the Asakawa for the purpose of water rinsing within the studio grounds.

Can you tell me about what led you to take over the family business?

Being around traditional crafts from a young age nurtured my fondness for handicrafts and production. This fondness further deepened as I studied Japanese painting in college.

However, even when I conveyed my desire to participate in the family business to my father, he expressed his concern regarding the changing times and challenging circumstances in the kimono industry, and suggested I should gain experience in society before engaging in the kimono business in earnest.

Subsequently, I landed a job in an apparel-related company. However, I couldn't let go of my aspiration to engage in the kimono business through craftsmanship, and I quit my job after two years and once again told my father that I wanted to continue the family business.

After two years of working elsewhere when I expressed my will to take over the business again, he told me that I could work in the studio if I considered it as a hobby.

That year brought with it the uncertainties of an earthquake, and there was concern over the disappearance of work. For a while, about a year, I juggled a part-time job with the family business amidst unstable conditions. It was more difficult than I had anticipated.

At that time, doing two jobs made me fall sick. Working while considering the shrinkage due to the nature of the stencil, especially under the summer heat in a room without an air conditioner was exceptionally tough.

Initially, I did not fully understand the greatness of my father's and grandfather's work, but now that I am involved, I can feel that greatness firsthand and appreciate the beauty of continuing traditional crafts.

How have you inherited the technique of Edo Komon dyeing?

The stencil used to dye patterns onto kimono fabric is called Ise Katagami. The process of making Edo Komon starts from linking these stencils.

There are many types of patterns and the stencils are finely detailed, so I was not immediately given this task.

So, I started with larger patterns on cotton towels, practicing how to connect the patterns and blend the colors. From there, I gradually moved to making yukata, and began working with silk fabric and more detailed patterns.

Expressiveness & Design Skills Abound

What do you think is the charm of Edo Komon dyeing?

The charm of Edo Komon, without a doubt, lies in its intricate patterns. The patterns are so fine in single-color dyeing that they can only be recognized up close, not from a distance.

For example, the finely detailed French stripe pattern using a technique called 'kiri-bori' is very popular.

There is a vast variety of patterns, such as geometric and floral designs, and you can enjoy diverse color combinations.

Moreover, various meanings and origins are associated with the patterns of Edo Komon.

For instance, the rabbit pattern signifies 'leaping forward', symbolizing good luck and hence is popular. The fox pattern means 'warding off evil', believed to keep evil spirits at bay.

It is said that people in the old days used these varied patterns to create unique kimono.

During the Edo period (1603-1868), there was a law prohibiting extravagant practices, which included wearing flashy colors and patterns. At that time, it seems many kimono craftsmen made kimonos with subdued colors and patterns.

The fine patterns seem plain from a distance, but myriad designs emerge when observed closely. These intricate patterns are a collection of the craftsmen's skills and are characteristic of Edo Komon.

Craftsmen are said to have competed over the technique of these fine patterns. Their depictions and design abilities are so impressive that even we, in modern times, are amazed when considering yukata designs, and are overwhelmed by the excellence of the old patterns.

I have heard that during the Meiji period (1868-1912), Japanese painters used to design kimono obis and Ise Katagami stencils. In particular, Japanese painters have strong depiction skills and were likely a good fit for kimono design.

While preserving traditional dyeing techniques, the fifth generation, Kumiko, is incorporating new approaches and ideas, isn't she?

During the Covid-19 crisis, we made use of a subsidy program from the Tokyo Metropolitan Government and collaborated with two female designers to create a bag with Edo Komon dyeing called 'Edo komon KATAK"ATA'.

Eventually, the grey design sold out, and now we only sell the two colors, yellow and blue.

This product was announced around June 2021, and we designed it with simplicity in mind to match yukatas and kimonos. We tried out various patterns by combining different colors, fabrics, and patterns.

When we sell our products in kimono stores or stores specializing in Japanese patterns, our target audience tends to be limited.

With a desire to spread the beauty of handmade and traditional crafts, we expanded our target audience to include younger people and even those who don't wear kimonos, with a focus on increasing the awareness of the Edo komon pattern.

Specifically, we chose pop colors and made the chain out of acrylic instead of bamboo to give it a casual feel. In addition, because the strap can be removed, the design can easily accompany not only yukatas but also everyday clothes. We're aiming to create a bag that can be used with both kimonos and Western clothing.

As someone who has always liked unique items, I have a desire to create something that no one else has.

How do you approach balancing the continuance of traditional techniques with incorporating new elements?

As the number of people wearing kimonos decreases, the question of how to protect traditional crafts becomes a significant issue. The entire kimono industry is shrinking, with the number of dealers handling kimono materials and Ise Katagami artisans also decreasing.

While young people these days do wear antique kimonos, affording expensive ones is often a challenge.

Ishizuka Dyes aim to create hand-crafted pieces full of devotion using Ise Katagami for each and every roll of fabric. At the same time, we are looking for ways to protect traditional crafts in line with changing times.

We want to share Japanese traditional culture through kimonos. To do that, we need to make as many people as possible aware of the charm of kimonos meticulously crafted by hand.

In the modern era, mechanization has progressed, leading us into an era where human hands are less required.

However, we value the unique sense of specialness and value that comes from kimonos made by human hands. We hope that more people who sympathize with our thoughts will increase.