My first encounter with Japanese crafts was in 2019 when I studied as an exchange student at Hiroshima City University. The dedication and precision I got to know during my classes, fascinated me deeply and made me eager to learn more about the field. Since then, I have developed a deep appreciation for the craftspeople involved in these activities, which require a great deal of skill and knowledge. As a textile designer, I am particularly interested in textile crafts and thus returned to Japan in the autumn of 2023 with the objective of furthering my knowledge of Japanese textile practices that are usually rooted in the production of kimonos.

In spring 2024 I had the opportunity to stay at the Kurume Kasuri weaving company Shimogawa Orimono (Yame, Kyushu) for about a month to study the process of making the Japanese textile Kurume Kasuri. The production of Kurume Kasuri is a complex and time- consuming process, encompassing numerous intricate steps. In total the production of a machine woven Kurume Kasuri textile involves about 30 steps and takes at least 2-3 months. The local textile has a history that dates back over 200 years and has been passed on through many generations.

Traditionally the Kasuri pattern is achieved through reserving cotton warp and weft threads through tying. Subsequently the yarn is dyed with indigo multiple times and then handwoven. This way of production has been honored as “important intangible cultural property” since 1957 and is still practiced by multiple workshops in the area around Kurume. What is special about the textile community around Kurume Kasuri is the coexistence of machine woven and handwoven Kurume Kasuri textiles, due to the introduction of power looms in the past. Even till today both ways of production go hand in hand and support each other.

Shimogawa Orimono has been established in 1948 and is one of the weaving companies producing Kurume Kasuri using power looms as well as machines to tie warp and weft yarn in the production. The application of these technologies in the production process allows craftspeople to produce contemporary goods at a reduced cost, thereby enabling them to remain competitive in the modern market. While technology is employed by the artisans in the production process, their work is primarily assisted by technology, and the overall work process remains quite time- and labor-intensive. For example, even though power looms are used they must be supervised by a craftsperson meticulously. Here the tension of the warp as well as the weft are important, and a skilled craftsperson will know exactly where to insert a bamboo stick to even out said tension. As Kurume Kasuri is famous for its double Ikat pattern this step is quite complicated. Watching the craftspeople at the workshop and seeing how highly skilled they are in their work, really left a deep impression on me.

Japanese crafts are rooted in the connection to nature. Even though machine woven Kurume Kasuri also uses chemical dyes next to indigo in the production this applies to the experiences I made at the workshop as well. In the morning the freshly starched Kasuri threads are hung outside the workshop to dry and the Kukuri Ito (thread used for tying) is usually loosened on an open field close to the workshop. As I stayed at Shimogawa Orimono in between February and March this meant quite a few cold mornings outside, but it also made me realize how close the work is connected to the seasons and the weather as well. I think this connection to nature and changes in the weather is quite often lost when we look at industrial mass production processes.

Shimogawa Orimono is owned by the 3rd generation craftsman Shimogawa Kyozo. Shimogawa san is a person with an open-minded and forward-thinking approach to craftsmanship, driven by a desire to spread knowledge about the art of Kurume Kasuri. He frequently welcomes people from Japan as well as overseas who are interested in Kurume Kasuri and kindly shares his knowledge with them. I do believe that the openness of Shimogawa san and the other craftspeople to share their crafts as well as their history and heritage can inspire a new generation to reassess their relationship with local textiles and the connected communities. In the modern era, a significant proportion of the population has lost awareness of the processes involved in the production of textiles. I believe that making knowledge about these processes accessible can lead to a deeper appreciation of textiles and their craftspeople and a more sustainable approach to consumption as well.

Next to sharing the knowledge about Kurume Kasuri, Shimogawa Orimono is collaborating with various companies, designers, and artists. Over the years multiple people have worked

with Shimogawa Orimono and I believe those collaborations did contribute to the understanding of Kurume Kasuri processes and a widespread appreciation as well. During my time at the workshop and in the community, I truly felt that it is a place of creativity, exchange and excitement that honors its pasts, but also searches for ways to sustain the traditional craft in the future. It showed me how fulfilling it can be to engage about textiles with like-minded people, but also how important it is to get to know the local history and culture to truly understand their essence.

Kurume Kasuri and the work of Shimogawa Orimono is deeply linked with human networks and partnerships. During my time in Yame, I had the opportunity to engage with numerous individuals from a range of backgrounds (craftspeople, family members, locals, fashion designers, textile designers, etc.), all of whom are playing a pivotal role in the advancement and perpetuation of the Kurume Kasuri tradition. I do believe this sense of community should be something we strive for in our efforts to convey the importance of local textiles in the future.

Current Challenges

When talking about the problems the industry is facing nowadays it seems like many crafts in Japan, including textile crafts, are currently at a tipping point. A significant number of textile traditions nowadays are being practiced by ageing craftspeople, with no apparent prospect of successors. There is also a notable tendency among younger generations to gravitate towards urban environments, while industrial competitive goods appear to be encroaching upon traditional techniques. A multitude of diverse factors are currently contributing to the decline of textile crafts, and it seems hard to find solutions on a national level as each of the networks and problems surrounding the local textiles seem to differ according to their location and type.

In the case of Kurume Kasuri, working with traditional power looms has its challenges: The local weavers are working with power looms that are over 100 years old and made by Toyota. It appears that there are no new models available, and the existing looms must be repaired repeatedly by craftspeople. To obtain spare parts, it is necessary to purchase old loom parts, as this is the only viable option. The question thus arises as to the extent to which craftspeople will be able to repair their looms in the absence of such spare parts. Providing support to craftspeople is thereby closely linked to ensuring they have access to the necessary tools to produce their crafts in the future. (I want to add here that there are currently projects working on issues like this in Kurume.) Similar problems can be seen in other crafts as necessary tools aren’t produced anymore due to low demand and aging craftspeople.

Japanese crafts are rooted in the believe, that they should be part of everyday life. In many cases textile crafts are related to the kimono which seems to be less and less part of contemporary life. I do believe while cherishing kimono culture, it is also important to find other ways to in cooperate traditional textiles into contemporary contexts and make them more accessible for younger generations again. This does not merely include the design and use of textiles, but also a rethinking of the current structures (for example traditional apprenticeship systems) and an adaption to contemporary lifestyles to draw in younger craftspeople again.

For those engaged in craftsmanship, it appears that in addition to the technical aspects of their work, in the current times they often have to also assume the role of business professionals and advocates for their craft. It seems reasonable to suggest that a support structure in this area is also important for providing the skills needed to sustain craft businesses economically, while supporting them in sharing knowledge about their crafts. I also do believe that sustaining craft for the future is a project that involves all kinds of people. The responsibility for this task should not fall on the shoulders of craftspeople alone. In order to emphasize the importance of craftsmanship to the general public and to initiate a re-evaluation of the values associated with textile production in the future, it is vital that we collaborate.

Social Network

I owe the experiences I was able to gain in the field of traditional crafts of Japan to the openness and friendliness of many people I have met over the past few years. I do believe that the continuation of textile crafts till the present day is due to the perseverance and dedication of its craftspeople, and their wish to convey the importance of the local craft. My encounter with Kurume Kasuri has been quite special, as it has shown me the potential of traditional crafts as a source of inspiration, motivation, and interpersonal connection for all those involved. I do believe that sharing knowledge with those who are eager to learn and get involved can be a key to sustaining traditional crafts and motivating new generations to work in the field. It surely motivated me in my approach to traditional crafts. It also showed me how important it can be to anchor textile practices in the context of contemporary life, while also conveying their historical development and local importance as well.

While there are undoubtedly complex issues surrounding traditional textile crafts, they hold significant value in the context of social sustainability and as a means of promoting sustainable consumption patterns more broadly. Supporting local textile crafts and thereby the livelihood of involved craftspeople should be something we all strive for.