VOL. 148 SEPTEMBER 2020

Fabulous Fabrics 6 12 Japanese Fabrics and the Flowers Conveying the Evolution of the Kimono Elegance of the Court An interview with Nagasaki Iwao, Professor The courtly custom of making and in the Department of and Clothing displaying silk flowers is being kept alive at Kyoritsu Women’s University. thanks to the skills of Oki Suju. 8 The New Traditions of Nishijin A centuries-old weaving company is producing unprecedented Nishijin textiles through new techniques and collaborations. 14 : The Face of a Shop

Features Many shops in hang noren at their entrances which have traditionally been made by skilled local artisans.

10 Doncho: The Weaver’s Giant Canvas The mighty theater curtains of Japan are intricate handwoven works of art in themselves.

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PRIME MINISTER’S POLICY-RELATED NEWS SCIENCE & TECHNOLOGY DIARY The Public Opening of the A New Rust-Free Material That

Also State Guest Houses Is Stronger and Lighter than Steel

COPYRIGHT © 2020 CABINET OFFICE OF JAPAN WHERE TO FIND US The views expressed in this magazine by the interviewees Narita Airport terminals 1 ● JR East Travel Service Center (Tokyo Narita Airport) ● JR Tokyo Station Tourist and contributors do not necessarily represent the views of Information Center ● Tokyo Tourist Information Center (Haneda Airport, Tokyo Metropolitan Government the Cabinet Office or the Government of Japan. No article Building, Keisei Ueno Station) ● Niigata Airport ● Chubu Centrair International Airport Tourist Information & or any part thereof may be reproduced without the express Service ● Kansai Tourist Information Center (Kansai Int’l Airport) ● Fukuoka Airport Tourist Information permission of the Cabinet Office. Copyright inquiries should be made through a form available at: www.gov-online.go.jp/eng/mailform/inquiry.html

2 | highlighting japan ISSUE 148, SEPTEMBER 2020

Theme for SEPTEMBER: FABULOUS FABRICS

abric weaving and dyeing techniques have a long 16 history in Japan and Imabari: The Home of Towels have been integral to the Imabari City in Ehime Prefecture is F development of a sophisticated synonymous with the production of high- fashion culture epitomized by quality towels. the kimono as well as numerous other unique fabric forms. In this month’s Feature, we take 20 a close look at some of the A Reusable Shopping Bag That Folds in an Instant representative fabrics of Japan A new type of bag which is compact and can and their wide range of uses. be folded quickly has been a big hit with shoppers in Japan. 18 The Furoshiki Prince and the Revival of the Wrapping Cloth Yokoyama Isao is promoting the revival of furoshiki wrapping cloths by demonstrat- ing their many uses.

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MY WAY ENJOY DRINKING ARCHITECTURAL TREASURES Using Knitting to Support The Delicate Flavor of Koshu Japan’s Oldest Extant Shrine in Recovery and Reconstruction Wines the Shinmei-zukuri Style

PRODUCTION The Japan Journal ON THE COVER MANAGING EDITOR Sawaji Osamu Fabulous Fabrics EDITORS Alex Hendy, Chiba Hitoshi, Fujita Mao Photo: Aizawa Tadashi EDITORIAL SUPPORT Kiura Eriko CONTRIBUTORS Kato Kyoko, Sasaki Takashi, Sato Kumiko, Sugiyama Mamoru, Umezawa Akira, Uno Masaki, Yanagisawa Miho EDITORS’ NOTE DESIGN Imai Mei, Okadome Hirofumi Japanese names in this publication are written in Japanese order: PHOTOS Aizawa Tadashi, Sasaki Takashi, Sato Kumiko, Yanagisawa Miho family name first, personal name last.

SEPTEMBER 2020 | 3 Prime Minister’s Diary

JAPAN-AUSTRALIA SUMMIT TELEPHONE TALK AND JAPAN-U.S. SUMMIT TELEPHONE TALK

The leaders confirmed that, as Suga’s appointment to office. He fully “Special Strategic Partners,” they reaffirmed Prime Minister Suga’s would further develop their com- remarks, and expressed his wish to plementary economic relationship. further consolidate the Japan-U.S. Looking ahead to suppression of relationship with Prime Minister COVID-19, the leaders also confirmed Suga. the importance of realizing the “Free After discussing their respective and Open Indo-Pacific,” deepening efforts to combat COVID-19, the two their cooperation for the stability and leaders agreed to continue Japan-U.S. prosperity of the international com- cooperation in the development and munity as a whole, and collaborat- distribution of therapeutics and vac- ing with like-minded countries in the cines for the disease. region. In addition, Prime Minister In addition, the two leaders shared Suga requested Australia’s continued the view that Japan and the United cooperation in early resolution of the States would work closely together North Korean abductions issue. to address regional issues, including Photograph of the Prime Minister’s press conference following his designation Prime Minister Morrison North Korea, and to achieve a free expressed his gratitude for the and open Indo-Pacific. With particu- n September 20, 2020, Mr. devoted and brave search and res- lar regard to the abductions issue, Suga Yoshihide, Prime Min- cue operation to date by Japan Coast Prime Minister Suga expressed his Oister of Japan, held a summit Guard in the case of missing livestock intention to work resolutely towards telephone talk with the Hon. Scott cargo ship “Gulf Livestock 1” which the early resolution of the abduc- Morrison, MP, Prime Minister of the had two Australians aboard. Prime tions issue, and asked for President Commonwealth of Australia and the Minister Suga replied that Japan Trump’s continued full support Honorable Donald J. Trump, Presi- would cooperate as much as possible. towards its resolution. dent of the United States of Amer- President Trump also stated that ica. The overview of the talks is as Japan-U.S. Summit Telephone Talk Prime Minister Suga could contact follows. At the outset, Prime Minister Suga him 24 hours a day if needed. emphasized to President Trump that Japan-Australia Summit Telephone Talk the Japan-U.S. alliance is the corner- Prime Minister Morrison conveyed stone of peace and stability in the his congratulations and his desire to region and the international com- establish a good relation with Prime munity, and that alongside Presi- Minister Suga. In return, Prime Min- dent Trump, he would like to further ister Suga thanked Prime Minister strengthen the Japan-U.S. alliance, Morrison and stated his willingness which has been made stronger than to build a good relationship with ever before based on the deep per- Prime Minister Morrison like his pre- sonal trust between former Prime decessor did with a deep trust, and Minister Abe and President Trump. Photograph of the Prime Minister holding the to strengthen the Japan-Australia In response, President Trump offered press conference after the Telephone Talk on relationship. his congratulations on Prime Minister September 20

Photographs and text courtesy of the Ministry of Foreign Affairs of Japan and the Cabinet Public Relations Office of the Government of Japan

4 | highlighting japan Feature FABULOUS FABRICS A furoshiki specialty store

FABULOUS FABRICS

Japan’s age-old weaving and dyeing techniques have informed the development of a wide range of unique and evolving applications. The sophisticated techniques and richly decorative fabrics first used to make the robes worn in the imperial court are now used not only for kimono but also for interior furnishings and even as audio speakers. Meanwhile, elegant but durable noren still hang at the entrances to many of Japan’s shops, and theaters continue to commission enormous handwoven doncho stage curtains in ever more ambitious patterns. As the furoshiki wrapping cloths of yore make a comeback in these environment-conscious times and the luxurious towels of Imabari become familiar products around the world, we take a look at these and more of the fabulous fabrics of Japan.

Photo: Courtesy of Yokoyama Isao

SEPTEMBER 2020 | 5 Feature FABULOUS FABRICS Japanese Fabrics and the Evolution of the Kimono

Nagasaki Iwao, Professor in the Department of Textile and Clothing at Kyoritsu Women’s University court attire in China. Junihitoe, the formal court dress of women at this time comprising multiple abric weaving and dyeing techniques have layers of colorful -orimono, is representa- a long history in Japan and have been inte- tive of this style. On the other hand, common folk Fgral to the development of a unique fashion mainly wore clothing made from hemp, until cot- culture epitomized by the kimono. We spoke with ton became common in the seventeenth century. Nagasaki Iwao, a Professor in the Department of During the Muromachi period (1336–1573), the Textile and Clothing at Kyoritsu Women’s Univer- wearing of silk kosode, garments with cylindri- sity, about the historical characteristics of Japa- cal sleeves with small openings, precursor to the nese fabrics and clothing. modern kimono, became common among women in the samurai class. And in the period (1603– When does the history of Japanese fabrics begin? 1867), kimono fashion blossomed, based on the We don’t know exactly when fabrics were first kosode. made in Japan, but we assume that fabrics were initially created for use as clothing to protect Why did the wearing of colorful kimono become the body and later came to be used for a variety so widespread in the ? of purposes. It is thought that during the Jomon One important reason is that Edo-period society period (from 10,000 BCE until the start of the was peaceful for around 300 years and people’s Yayoi period), the main raw material for making lifestyles improved. Not just the aristocracy fabric was hemp. In the Yayoi period (10th century and the samurai class, but also ordinary people BCE–300 CE), silk came to be used, drawing on became able to dress fashionably depending on silk making techniques introduced from mainland their financial strength. In particular, the splendor China and the Korean peninsula. of women’s kimono increased through improve- As fabric weaving skills developed, the materi- ments in dyeing techniques such as plant dyeing als and techniques used for making clothes came with indigo. From the latter half of the seven- to reflect the wearer’s social class. In the sev- teenth century, yuzenzome dyeing was devised enth and eighth centuries, for example, ornate as a way to hand-draw patterns onto fabrics. mon-orimono figured silken garments came to be Using this method, it became possible to express worn by the aristocracy. These robes, with their scenery and other complex designs, and the vari- extremely long hemlines and wide sleeves, were ety of figured patterns increased. Kimono and adopted to represent authority, influenced by the their designs played a very large role even in the

Photo: Sawaji Osamu

6 | highlighting japan Japonism that came into fashion in Europe from Furoshiki wrapping cloths have gained attention the end of the nineteenth century through the in recent years for their use as alternatives to dis- start of the twentieth century. In the period posable shopping bags. Tell us about the origins (1868–1912), visitors to Japan bought Edo-period of furoshiki. kimono, noh i costumes, and other dyed and Fabrics have been used to wrap objects in Japan woven textiles in large quantities and took them since the distant past. Wrapping an object in cloth back to their home countries. These then became makes it easier to carry, but it is thought that it the collections at the Museum of Fine Arts, Bos- also had the religious significance of keeping a ton and the Museo d’Arte Orientale in Venice valuable item clean and pure. Even today, it can be where I am involved in research and classification, said that wrapping gifts in furoshiki is a holdover and their high value as works of art is recognized. from this. The word “furoshiki” (“” means Beginning in the Meiji period, western-style “bath” and “shiki” means “to spread”) dates from clothing became common as modernization the Edo period (1603–1867), when people started progressed in Japan, and opportunities to wear using wrapping cloths to carry a change of clothes kimono decreased for Japanese people. How- and prevent their belongings from getting mixed ever, in the last ten years or so, new ways of wear- up with those of other bathers in communal bath- ing kimono, such as wearing them directly over houses. All wrapping cloths later came to be called western-style clothing, have been proposed, and furoshiki. more and more young people think that kimono are interesting. In what fields might Japanese fabric manufactur- ers make a contribution to life in the future? What kinds of differences are there between tra- Using Japan's advanced fabric-manufacturing ditional western-style clothing and kimono? techniques, we can surely contribute to the Western-style clothing is cut and sewn three- medical and welfare fields by creating cloth- dimensionally to match the body’s curves, but ing for people with sensitive skin or eczema, kimono are cut and sewn flat without regard to for example, or by creating comfortable cloth- the body’s curves. For western-style clothing, it ing that can be put on and taken off easily, using has been important to accentuate the body’s sil- kimono-making techniques, for elderly people houette through clothing; for example, women or the infirm. Japan has long made fabrics using shaped their bodies by squeezing them with cor- natural dyes and fibers. In recent years, natural sets when wearing dresses. But in Japan, impor- materials have been gaining attention for many tance has been placed on the beauty of the worn reasons, including their natural colors, gentle kimono itself rather than the silhouette of the textures, and minimal environmental burden. body, and so fabrics were refined to be more beau- Understanding the needs of modern-day society tiful, which led to the development of sophisti- to protect the environment, I think we can apply cated techniques in weaving and dyeing. the traditional dyeing and weaving techniques of As Japan is blessed with abundant nature, Japan not just to kimono but also to a variety of kimono are quite often defined by the plant motifs uses, including western-style clothing and inte- in their figured patterns. They also feature designs rior design. based on scenes from literature such as The Tale of Genji or The Tales of Ise. Such complex designs are Interview by SAWAJI OSAMU not commonly found in western-style clothing.

i Noh is a form of musical and dance drama that has been performed in Japan for over 650 years. SEPTEMBER 2020 | 7 Feature FABULOUS FABRICS The New Traditions of Nishijin Textiles Nishijin, a part of famous for the namesake textiles that are representative of Japan, has passed on the textile tradition for more than 1,200 years. In Nishi- jin, a weaver with more than 300 years of history is producing unprecedented Nishijin textiles through new techniques and col- laborations with various art- ists, attracting a lot of attention both from within Japan and from overseas.

SATO KUMIKO

ishijin is a district of Kyoto where nar- row alleyways are The obi sash displayed at lined with traditional the Kansei-Japan Design Exhibition in Paris, 2008 Nlong and narrow buildings built in the -zukuri architec- tural style. The silk textiles that creating the gold and silver leaf sash made by HOSOO Co., and was have traditionally been produced characteristic of Nishijin textiles moved by the sophistication of the in this district are called Nishijin are mostly gathered within an weaving technique and the fab- textiles. The textiles are character- area measuring just 5 km square. ric’s gorgeous decorative quality. ized by their colorful and elaborate The division of labor at each of the He saw potential for the textiles patterns. more than twenty highly technical to be used as a material for inte- “Nishijin textile makers have steps needed to complete Nishijin rior design, and requested HOSOO pursued beauty while meeting the textiles has continued in this dis- Co. to create a fabric for interior demands of the imperial court, trict for more than 1,200 years. design purposes. However, the aristocracy, temples, shrines and While HOSOO Co. continues to width of Nishijin textiles is tradi- other customers mostly in Kyoto, make traditional Nishijin textiles, tionally 32 cm, which is too nar- which was the capital of Japan it also has announced various tex- row for use as an interior design for over 1,000 years,” says Hosoo tiles in the last ten years that have material. To meet his request, the Masataka, the 12th-generation surprised the world, and contin- company developed a new loom family head and president & CEO ues to expand the possibilities of and began to weave fabric with a at HOSOO Co., Ltd. The company Nishijin textiles. width of 150 cm, which is an inter- has manufactured Nishijin textiles What started this trend was national standard for textiles. Pro- and conducted wholesale trading an exhibition at the Kansei-Japan duced by Marino, the new Nishijin since its founding in 1688. Design Exhibition held in Paris in textile fabric has come to be used In Nishijin, weavers, dyers, 2008. At this exhibition, American for wallpaper, curtains and sofa thread makers and craftsmen architect Peter Marino saw an obi upholstery in stores and hotels in All Photos: Courtesy of HOSOO Co. Ltd.

8 | highlighting japan over 100 cities around the world, Ori-no-hibiki produces sound including the flagship Christian when the fabric is touched Dior store in Paris. Approximately 9,000 warp threads can be woven with the new loom, which is compatible with a width of 150 cm, and a three- dimensional textile can be woven with many layers. The loom can weave a variety of materials and can be adjusted to determine the fabric’s radiance, translucence and three-dimensional effects. Making use of this technology, HOSOO Co. collaborates with various artists and corporations. For example, in which is the concept behind the or approached by the hand. This collaboration with American con- artwork. speaker, which is activated by con- temporary artist Teresita Fernán- In collaboration with Panasonic ductive metal threads woven into dez, the company took about one Corporation, a manufacturer of the fabric, was awarded the Best year to weave her artwork Nishijin electrical appliances including Storytelling Award at Milan Salone Sky. The textile appears translu- audio equipment, HOSOO Co. cre- 2017. cent from one side by making use ated Ori-no-hibiki, a speaker that Hosoo says, “Traditions evolve of a weaving technique used for combines Nishijin textiles with by cooperating with various fields summer clothing called sha (silk cutting-edge technology. In addi- and actively incorporating state- gauze) and by angling the weave in tion to functioning as a speaker, of-the-art technology. If we look a certain way. The beautiful fabric it is designed to produce sounds back at the long history of Nishi- produced has “two distinct faces,” when the fabric is touched with jin, perhaps our predecessors also continued to take on these kinds of challenge.” Up until now, talk of Nishijin textiles centered around kimono, but HOSOO Co. launched an origi- nal brand, HOSOO, in 2019, and it is developing products as part of this “new tradition.” It has expanded the use of Nishijin textiles to all parts of modern life, from sofas and curtains used in homes and offices to pouches and small items, all made using original textiles. As HOSOO Co. intended, the elegant aesthetic sense of Kyoto, built up

Nishijin textiles made by HOSOO Co. are used in the interior design of many luxury hotels, over 1,200 years, is present in each including The Ritz-Carlton Tokyo of these products.

SEPTEMBER 2020 | 9 Feature FABULOUS FABRICS

The doncho drop curtain at Tokyo’s Kabukiza Theatre Photo: Kabukiza Theatre

Doncho The Weaver’s Giant Canvas

The mighty theater curtains of Japan known as which opened in 1879 in Tokyo. Former US President doncho are made of one, intricately woven piece of Ulysses Grant, who visited Japan the same year and fabric. The curtains, made using sophisticated tradi- attended a performance at the theater, presented the tional weaving techniques, are considered works of curtain to the theater, and this was remade into the art in themselves. doncho the following year. In the period of reconstruction following the Sec- YANAGISAWA MIHO ond World War, when many theaters and public halls were built, the demand for doncho increased, and a urtains are a standard part of any stage unique doncho came to be made for each new venue. set. Among the many types of stage cur- Kawashima Textile Manufacturing (now tains is the doncho, a drop curtain which Kawashima Selkon Textiles Co., Ltd.), one of many is unique to Japan. Made from a single textile manufacturers in Kyoto, began making don- pieceC of fabric measured to match the size of the cho in 1893. In 1951, the company created the don- stage, doncho are raised and dropped vertically at cho using the famed local tsuzure-ori weaving the beginning and end of a performance. methodi, recreating an abstract painting by Yoshi- Doncho trace their history back to the Edo period hara Jiro. After first pulling the longitudinal warp (1603–1867). Draw curtains that opened and closed threads tightly together, colorful threads made to the sides of the stage were used in kabuki the- by twisting together five to six threads of various aters certified by the , but for fibers are wrapped around thread cones ready for all other performances, the use of such draw cur- the transverse weft. Following the pattern of the tains was not permitted. And so, simple curtains design, skilled weavers pull each weft thread with that could be raised and lowered were used at play- their fingertips through the loom shuttle then draw houses instead. The first modern-day doncho was i Tsuzure-ori weaving is done mostly by hand with weavers using their fingertips to that installed at the Shintomi-za kabuki theater, “spell out” the intricate designs.

10 | highlighting japan A large loom used for weaving doncho Photo: Yanagisawa Miho

them together gently with a tool resembling a comb. This advanced weaving technique continues to be passed down even today. Examples of doncho made using the method can be found in the Kabukiza and National Theatre in Tokyo, among other prestigious venues within Japan. The doncho continue to delight the eyes of the theaters’ many visitors. Shimazaki Mitsugu, Group Manager of the Tra- ditional Artistic Textiles Manufacturing Group at Kawashima Selkon Textiles Co., Ltd., has been in rough woven textiles. Both are features of woven involved in the making of doncho for many years. textiles and both have merit.” He says, “The tsuzure-ori weaving method is able to When using a picture as a template, the most time precisely express most pictures and designs. It also is spent arranging the design. First, a 1/20 size copy allows for an expression of limitless color and fine of the design is created. Once the design has been color gradations with ease. However, the quality of decided, a portion of the doncho is delineated as a woven textile is not determined by how detailed the sample and a one square meter prototype is made design is. While there is a skill in creating a subtle to test thread types and the weave. Then, a full-size expression where the viewer may feel unsure if it is sketch of the entire design is made, the color scheme a woven textile or a painting, there is also a power is determined, and the weaving design plan is com- pleted. As a doncho made to fit the size of a stage has a width of dozens of meters, the design plan is placed under a large loom, and the doncho is woven jointly by several weavers lined up side by side. The threads used are thick. Doncho made using the tsuzure-ori weaving method weigh about four kilograms for every one square meter on average, and a 200 square meter doncho has a weight close to approximately one ton, even though it is a single piece of cloth. For this reason alone, the physical fatigue experienced by a weaver when working on a doncho is differ- ent from that felt when working on an obi sash for a kimono, for example. Some weavers even report that their fingers grew fatter when making doncho. Even though it is a difficult job, many weavers say that they feel happy to be involved in the creation of art- like doncho. The nature of requests for doncho has begun to change in recent years, with some customers asking for doncho that can be used as screens for projec- tion mapping, for example. Though made primarily to demarcate the boundary between real and virtual worlds, doncho continue to play a role in delighting

A doncho weaver at work the eyes of an audience. Doncho may yet evolve fur- Photo: Yanagisawa Miho ther together with the changing of the times.

SEPTEMBER 2020 | 11 Feature FABULOUS FABRICS

Silk Flowers Conveying the Elegance of the Court

The custom of making and displaying silk flow- ers, which began in the imperial court in around the eighth century, continues to this day, with one expert practitioner very much to the fore.

A hirakusu wreath of SUGIYAMA MAMORU Japanese silver grass and egret made from silk

he word “yusoku” refers to the rules of cer- of the eighth century. Later, in the fourteenth cen- emonies and events in the imperial court tury, the Karin school of artificial flower making was and related rules implemented by the founded, and the art of making silk flowers further nobles who served the emperor and samu- developed as a part of court culture. rai.T “Yusoku silk flowers” as they are known today Among the court events in Japan, the Gosekku were used as decorations on such occasions. The (January 7, March 3, May 5, July 7, and September 9) flowers, which were made in a specific, formal style, are important ceremonies held to dispel evil spirits at appear in waka poetry from as early as the middle the changing of the seasons. Introduced from China, the ceremonial events took hold among the common people and continue to be practiced to this day. Cherry blossoms Use of the flowers has expanded from decorations made of silk at court events to wedding ceremonies for samu- rai and, in more recent years, to events or festivals involving the general public. The most popular of the festivals today rooted in the old court events is Momo no Sekku (“Peach Fes- tival,” more commonly known as Girls’ Day), held annually on March 3. On this date households dis- play hina-ningyo ornamental dolls wearing imperial clothing to wish for the healthy growth of girls and happiness in their homes. Yusoku silk flowers of the cherry and tachibana orange trees are also displayed on this occasion. A variety of other specific styles have been All photos: Aizawa Tadashi

12 | highlighting japan developed, such as kusudama incense balls made a metal tool also used to flatten out silk. The parts, of silk flowers and hirakusu silk flower wreaths, carefully made one by one using a variety of cut- and these decorative forms survive to this day. The ting dies and kote, are then brought together into beautiful designs of yusoku silk flower arrangements the desired shape—for example, a flowering tree or a remain courtly and elegant. wreath—using silk thread and a frame. A cherry tree Oki Suju is one of the few masters of the yusoku design might have 3,000 individual artificial flowers. Creating such displays is a time-consuming task. Oki says, “You can make similar flower shapes using paper alone, but the texture is completely dif- ferent from silk. The soft luster of silk breathes life into the flowers and reproduces the character of the court culture.” The silk thread used in yusoku silk flower design is the same thread used to weave obi sashes in Nishi- jin, a famous textile producing district of Kyoto. It is essential to have a variety of types of thread and a number of colors. For example, to express pine nee- dles, a slightly firm and frizzy silk thread is needed, Nishijin silk thread whereas for the heads of maiden silver grass, a flex- ible, shiny silk thread is required. silk flower art form still working today. Oki studied Oki laments, “Demand for the making of yusoku the techniques on his own after becoming fascinated silk flowers has dwindled, and I handle all the work with the flowers’ elegance. that in the past was divided up. The number of spe- “Rather than being an imitation of a flower, there cialists who create dies and kote has also declined, is a dedication to realism,” he says. “The most fasci- and it will certainly be difficult to pass on the tech- nating part is recognizing the intrinsic beauty of the niques to the next generation.” flowers and then elevating it to the stylistic beauty Oki is working to reproduce the yusoku silk flowers of the yusoku silk flowers.” The colors, richer and described in early literature and documents to throw brighter than real flowers, are part of the yusoku more light on the history of the flowers and hand it style that allowed the flow- down. He is also experiment- ers to appear brilliant even in ing with ways to express sea- dimly lit rooms at a time long sonal scenes encountered ago when there were no elec- when out on a walk. Oki tric lights. says that he sees yusoku silk The flowers, petals, leaves, “flowers” in practically every- and other features of yusoku thing, and he expresses what silk flowers are created by he sees every day—not just taking silk cloth lined with flowers, but also the moon, dyed paper and cutting animals, and bugs—within the it with metal dies or scissors. framework of the traditional The cut-outs are then shaped style. In this way, Oki hopes, into three-dimensional forms the tradition of yusoku silk with elegant curves by press- flower making will take root ing them against a heated kote, again and blossom.

A hirakusu wreath made with chrysanthemums, irises and other flowers SEPTEMBER 2020 | 13 associated with the Gosekku ceremony Feature FABULOUS FABRICS

Noren

Noren created by Katayama Akira at a soba noodle shop in Nippori, Tokyo The Face of a Shop

Noren, made of cloth and hung at the entrances of In Japan, there is an expression: “To damage the restaurants, bars and other establishments in Japan, noren.” In this expression, the noren hanging from are each uniquely designed and proudly displayed. the shop represents trust in that shop and its reputa- Traditional noren are carefully made by hand by tion and status, and damaging the noren represents artisans who have inherited the craft. damaging trust in that shop. The Katayama Noren Dyeing Factory, located SUGIYAMA MAMORU along the Sumida River in Arakawa City, Tokyo, has been making noren for around 100 years, mainly for n addition to fixed signage, curtain-like cloths bars and restaurants, including many soba noodle called noren are displayed by many restaurants, shops, with soba being a representative food culture bars and other establishments in Japan. Noren of Tokyo. Third-generation factory owner Katayama are hung at the entrance when the store opens Akira continues this traditional work by hand, taking andI taken inside when the store closes. Customers pride in creating a face for shops. pass through the noren when entering the shop and The creation of a conventional noren on which, pass through them again to leave. Many noren are for example, a white text or designs stand out from a dyed with patterns that symbolize the shop’s name dark blue background, first begins with the creation and show the type of shop it is. While noren have of paper stencils by cutting out the text or designs. been used since ancient times as sunshades, wind The stencil is then placed on top of the or and dust shields, and screens for shop entrances, hemp fabric and covered with a paste resist made they have also functioned as advertising and signage from glutinous rice flour. The fabric is then soaked in for shops. In a sense, noren are the “face” of a shop. dye or painted with dye using a brush, and the fabric All photos: Courtesy of Katayama Noren Dyeing Factory

14 | highlighting japan 1, 2 Katayama Akira at work on two noren 3 Katayama cuts out a paper stencil 4 Noren hung out to dry is imbued with a vivid blue. The beautiful white designs are then revealed when washing off the paste. Katayama’s techniques have been recog- nized as being distinctive in the area, and have been designated as intangible cultural properties by Arakawa City. Katayama says, “A fabric’s strength is increased through dyeing. Noren need to hold their vivid 1 2 colors for many years at a shop. This is why the joy is so great when noren are used continually for a long time. In the past, there were many shops that changed their noren according to the season, using hemp noren in summer and cotton in winter. It’s sad to see such a tradition die out.” Up until the time of Katayama’s predecessor, many dyeing factories gathered along the nearby Sumida River, and you could see people washing out paste in the river water, but today Katayama’s factory is the only one left in the area. However, Katayama says that orders from all 3 over Japan have come flooding in, as traditional, handmade products are in demand. He also says that lately, clients thoroughly communicate their preferences and features of their shops while directly speaking with factory staff, and they often create noren that are not strictly bound by tradition. Takumi, Katayama’s son who has taken over as the fourth-generation factory owner, is involved in designing new, unprecedented, and modern patterns in collaboration with other designers, as well as in activities to communicate the tra- dition and beauty of dyed textiles to the general public through hosting indigo dyeing workshops. Takumi has also recently taken on the challenge of planting seeds and growing indigo and mad- der, the plants used as materials to dye noren fab- ric, on his own in the Tokyo metropolis. He also plans to produce towels, placemats and cushions featuring family crests and other such emblems using noren-making techniques. As the traditional techniques of noren mak- ing are passed on, so new forms of expression 4 through dyeing continue to be created.

SEPTEMBER 2020 | 15 Feature FABULOUS FABRICS Imabari: The Home of Towels

Facing the Seto Inland Sea, Imabari City in Ehime Prefecture is the representative towel producing area of Japan. The towels, produced to original high standards of quality, are very popular both in Japan and abroad for their superior absorbency and softness.

SATO KUMIKO

(Left) The imabari brand logo with a design that combines the sun and ocean

shows the quality well.” The “Five Second Rule” is a test to check the towel’s absorbency, and is a standard that verifies whether or not a 1 cm square piece cut from a towel begins to sink within five seconds of being floated on water. From this we can see that imabari towels have extremely superior absorbency, as the general Japan Industrial Standards (JIS) standard is 60 seconds. The textile industry of Imabari City flourished from the early days of Japan’s modernization, for two main reasons. One is that the city faces the Seto

The flagship imabari towel store in Imabari City Inland Sea, and its warm climate is suitable for grow- Photo: Courtesy of IMABARI TOWEL INDUSTRIAL ASSOCIATION ing cotton. The other is that marine transport to Osaka, a commercial center, was developed, mak- mabari City in Ehime Prefecture is the leading ing the distribution of goods easy. Towel production towel production area in Japan, with close to started here in 1894. 200 related factories gathered here in addition Production of towels from Imabari differs from to factories where towels are weaved, including ordinary towel production, traditionally using a twistedI yarn factories, dye works, and more. Produc- technique known as “saki-zarashi saki-zome,” where ing 11,000 tons annually, the city accounts for more yarn is refined and bleached and then dyed before than 50% of the share of domestically produced tow- weaving. Large amounts of water are required for els distributed in Japan. Among the towels produced this technique, which makes use of the original soft- here, awareness of the “imabari” towel regional ness of the cotton, and this is made possible by the brand is spreading not just in Japan but overseas, abundant underground water of the Soja River that as well. These towels have a characteristic softness, flows through the city. The soft water with its low smooth texture, and above all, superior absorbency. amounts of calcium, magnesium and other metal Inoue Hiroki, president of the Imabari Towel ions is gentle on the cotton yarn, allowing for a towel Industrial Association, says, “Twelve original integ- with a fine, soft texture. rity standards of quality have been established for At its height in the 1970s, about 500 towel manu- the imabari towel brand, including superior absor- facturers participated in the Imabari Towel Industrial bency, durability and fade-free colors, but these tow- Association, but from the 1990s, there were succes- els became famous for the ‘Five Second Rule’ that sive bankruptcies and withdrawals from the market

16 | highlighting japan (Left) The imabari brand logo with a design that combines the sun and ocean A worker prepares yarn for towel weaving A view from Imabari City over the Seto Inland Sea Photo: Courtesy of IMABARI TOWEL INDUSTRIAL ASSOCIATION

following an increase in imports of cheap foreign- Europe and Asia. Inoue says, “I think the fact that made towels, and today participating manufacturers the imabari towel brand is not a single company, but have decreased to about 100. In 2006, “The Imabari rather a regional brand made up of about 100 manu- Towel Recovery Project” was launched and success- facturers, is a strength.” Consumers can choose their fully revitalized the “imabari towel” brand name, preferences in towel thickness, softness, length of protecting this regional industry that was threatened terrycloth loops, and so on, as each manufacturer with obsolescence. The project established that the produces towels with their own characteristics. value of the towels of Imabari lies in the quality of Imabari City is the terminus and departure point the towels itself. It also established the twelve origi- for the Shimanami Kaido, an expressway that con- nal integrity standards of quality, including the Five nects the main islands of Honshu and Shikoku Second Rule for absorbency, resistance and strength via islands of the Seto Inland Sea, and the city has through use, and more. Products which met these become famous as a place where many cyclists from standards came to be marked with a logo featuring a within Japan and around the world gather to tour design that combines the sun and ocean, expressing the magnificent cycling road above the sea. You will a passion for towel manufacturing and the quality of surely get the sense that imabari towels were devel- the product. oped from the beautiful nature here as you wipe A white towel bearing this logo was popular at away sweat while cycling along the expressway. MACEF, the International Home Show in Milan, Italy in January 2011, and at the Gift Show in Shanghai, August 2011, leading to the formation of the brand and an expansion of the domestic and international markets. Today, many imabari towel products are aimed at the domestic market, but several manufacturers are developing exports to countries in North America,

Imabari towels have excellent absorbency and a soft texture Photo: Courtesy of IMABARI TOWEL INDUSTRIAL ASSOCIATION

SEPTEMBER 2020 | 17 Feature FABULOUS FABRICS

A furoshiki specialty store The Furoshiki Prince and the Revival of the Wrapping Cloth The traditional wrapping cloths known as furoshiki are making a come- back in Japan as an alternative to disposable shopping bags. Yokoyama Isao, the self-styled “Furoshiki Prince,” is promoting the revival of furoshiki by demonstrating how to use the traditional wrapping cloths in everyday modern life.

Yokoyama Isao, the Furoshiki Prince UNO MASAKI

1 2 3 4 5

All photos: Courtesy of Yokoyama Isao

18 | highlighting japan he furoshiki is a nearly square-shaped piece or tie it, the furoshiki can also be used as a bag. Best of fabric which has long been used to wrap of all, after it has been used, the furoshiki can be and carry things in Japan. The custom of folded back into a small, single piece of fabric, ready wrapping valuable objects in cloth is said to to be used for another purpose.” haveT started in the (710–794), but it was Yokoyama became fascinated by the high func- in the Edo period (1603–1867) that wrapping cloths tionality and efficient beauty of furoshiki as a stu- became widely used by the general public. In this dent at art university. He has used a furoshiki in period, communal public bathhouses (now sento) place of a bag ever since, some twenty years now, no grew in popularity in cities in Japan, especially in matter where he goes. Edo (present-day Tokyo). Before taking a bath, peo- “The world is filled with disposable things," ple took to bundling their clothes and belongings Yokoyama says. “When plastic and paper bags at in wrapping cloths in the dressing room to prevent the grocery store and product packaging are thrown them from getting mixed up with those of other bath- away, it places a burden on the environment. With a ers, giving the cloths their name, “furoshiki.” (“Furo” single furoshiki, you can wrap and carry objects of means “bath” and “shiki” means “to spread.”) Furo- any shape using different wrapping methods, and shiki were widely used in the Edo period for carrying there is no waste as you can use the furoshiki time things on trips, too. There are many ukiyo-e wood- after time. Many people from overseas go to furo- block prints of the time depicting travelers with shiki specialty stores to find souvenirs. There are bulging furoshiki slung over their backs. so many designs at these stores that a customer can As modernization gathered pace in the latter half enjoy just looking at them all. Furoshiki can also be of the nineteenth century, furoshiki dropped out of enjoyed as a fashion item as they come in a range of use as Japanese lifestyles became increasingly west- sizes, from 50 cm squares to 200 cm squares.” ernized, and after the Second World War, furoshiki Plastic shopping bags began to incur a mandatory disappeared from everyday life, being replaced by fee starting in July 2020 as one measure against plas- handbags or backpacks and disposable shopping tic garbage in Japan, and this is pushing residents to bags. reexamine their lifestyles. Recently, more and more However, there is one person busy holding work- people carry reusable shopping bags that can be shops and events across Japan to try and bring folded up when shopping. Yokoyama explains that the furoshiki back to everyday life. That person is packing a furoshiki on shopping outings has plenty Yokoyama Isao—the Furoshiki Prince. Yokoyama of benefits. demonstrates ways to utilize furoshiki in a variety of “A furoshiki can be used as a backpack or a tote everyday situations—from travel and outdoor activi- bag. Breakable bottles can then be wrapped and car- ties to carrying children’s toys and first aid—begin- ried safely. Or the furoshiki might be used as a shawl ning with the basics of wrapping and tying. or hood to protect against the wind, cold or rain. I Summarizing the furoshiki’s advantages, Yoko­ hope to spread word of the many qualities of furo- yama says, “Items carried inside a furoshiki don’t shiki, which modern Japanese people have largely rattle around as they can be tightly wrapped, envel- forgotten about, and contribute to the preservation oping their shape. Depending on the way you wrap of the environment at the same time.” The return of furoshiki to modern life draws on

1 Furoshiki wrapping cloths laid flat a Japanese trait that has not been lost, that of using 2 A single furoshiki can be tied to create a backpack things carefully and wasting nothing. Clearly, a great 3 A furoshiki tied into the shape of a tote bag many possibilities are wrapped up in the revival of 4 A furoshiki wrapped around two glass bottles 5 A furoshiki made into a reusable shopping bag the furoshiki.

SEPTEMBER 2020 | 19 Feature FABULOUS FABRICS

A Reusable Shopping Bag That Folds in an Instant

Foldable bags in the popular new range

Charging a fee for plastic shopping bags became easily be made smaller simply by pulling both ends, mandatory for shops in Japan on July 1, 2020. As a while also being easy to open up. For its functionality result, many people now carry their own bags with and design, the Shupatto bag was awarded the pres- them at all times. One new type of bag which is com- tigious German Red Dot Award 2016ii and iF DESIGN pact and can be folded quickly is proving particu- AWARD 2017iii. larly popular with shoppers. Kikuta Minami, product designer at MARNA INC., explains the background to the creation of the bag. KATO KYOKO “With conventional reusable shopping bags, even if they can be folded small, albeit with some bother, he number of people walking around car- storing them in the included storage bag was a bit of rying small, foldable shopping bags has a pain. My superior said, ‘It’d be great if there was a recently increased due to the mandatory bag that could easily and properly be folded. Why fee for plastic shopping bags. These reus- don’t you try and make one?’ So I began developing ableT shopping bags come in a variety of sizes and one in my first year at the company.” designs, and there are more than a few people who As Kikuta observed people using reusable shop- use several bags depending on the purpose and situ- ping bags, she noticed that they folded the bags ation. Among these bags is a hit product that has while looking for the fold marks on the bag. But after shipped more than seven million units since sales the bag is used a number of times, those fold marks began in 2015. disappear. Days continued as she thought about how This product is the Shupattoi series of compact to make a bag easy to fold. She got a hint from a dis- bags developed by MARNA INC., a manufacturer of posable hat made of nonwoven fabric that she had household goods that was established in 1872. The worn when doing inspections at a distribution center standout feature of this foldable bag is that it can

ii Sponsor: Design Zentrum Nordrhein Westfalen i Shupatto has acquired intellectual property rights both in Japan and overseas. iii Sponsor: iF International Forum Design GmbH (iF)

All photos: Courtesy of MARNA INC.

20 | highlighting japan Over-the-shoulder foldable bags The design keeps the contents of the bag out of sight

Forming a belt-like shape quickly by pulling both ends, the bag can be Two bags pulled and rolled rolled up into a compact shape during her new employee training. Before use, it carry items of a variety of shapes, including things came folded in a long, thin, belt-like shape, but it that are flat, round or square,” says Kikuta. “The turned into a hat when opened up. From this shape, material is lightweight and fully machine she thought of a design that would fold when pulled. washable, so it can easily be cleaned, too.” Kikuta says that she aimed “for the bag to intui- The standard M size, sold from the start, can carry tively be folded quickly and properly, even without items weighing up to 5 kg and, when in use, mea- reading the instructions.” sures about 30 cm by 32 cm. When folded, it becomes The highly reproducible fabric was processed with smaller, with an approximate diameter of 6 cm by 8 pleats that can’t be easily removed, creating strong cm. In addition to different sizes of compact bags, the fold marks. And by making the color of the bag dif- product comes in the form of backpacks, shoulder ferent from the color of the tape on both ends that bags and Boston bags, as well. In March 2020, the com- are pulled when storing, it makes it easy to under- pany also sold a reusable shopping bag that was jointly stand where to pull. It also isn’t necessary to store developed with Seven & i Holdings Co., Ltd. and made the bag in a separate storage bag as the bag can be with recycled polyester from discarded plastic. rolled and fastened with the rubber elastic or snaps The variety of uses are expanding for reusable that are attached to the bag. shopping bags that are lightweight, easy to open, Shupatto’s features include the fact that the bag easy to fold, and multifunctional, so they can be can be opened up wide like a furoshiki wrapping used not only as shopping bags, but also to carry cloth and fit to the shape of the contents when in lunch boxes, unexpected purchases made on an out- use, as the design has no bottom gusset. “You can ing, and more.

SEPTEMBER 2020 | 21 Series POLICY-RELATED NEWS

The Main Building of the State Guest House, Akasaka Palace

The two State Guest Houses, located in Tokyo and Kyoto, are national facilities to welcome mon- archs, presidents, prime ministers and other dignitaries with the best hospitality. Both Guest Houses are open to the general public, as long as their primary activities of welcoming dignitaries are not interrupted, and visitors can enter into the interior of the buildings and see the interior decorations and furniture integrating the best essence of , art, craftsmanship and more.

SAWAJI OSAMU coronavirus disease (COVID-19) medallions depicting flowers of measures in place, such as temper- the four seasons and birds. ature checks at the entrance, sta- In Hagoromo no Ma, where State Guest House, Akasaka Palace tioning of hand sanitizer dispens- dignitaries are ceremonially wel- ers, and ensuring of social distance comed, three huge chandeliers—at The State Guest House, Akasaka between visitors. 3 meters tall the largest of all those Palace, located not far from Yot- The Main Building, with its two in the State Guest House—hang suya Station in Tokyo, was origi- above ground floors and one base- from the ceiling, which is painted nally built as the Togu Gosho ment floor, is 125 meters wide, with pictures based on the noh (Crown Prince’s Residence) in 89 meters deep, and 23.2 meters play Hagoromo (Robe of Heaven). 1909. After the Second World War, tall. It is the only palace in Japan Used as a waiting room for various governmental organiza- that was built in the Neo-Baroque guests, Sairan no Ma is decorated tions used the building, and it was style. There are four rooms set up with golden reliefs of mythical opened as the State Guest House to welcome guests. ran birds, which symbolize peace. in 1974 after undergoing large- Asahi no Ma, the most elegant There are other highlights as well, scale repairs. At that time, Yush- room in the State Guest House and including a large hall and the main intei, a Japanese-style annex, was used as a salon for dignitaries, fea- garden with its fountain. newly built for tea ceremonies and tures a ceiling painting of Aurora, A tourist lounge (9 a.m. to 5 other forms of Japanese-style hos- the Roman goddess of dawn, driv- p.m., closed Wednesdays, free pitality. Since then, the State Guest ing a chariot in front of the rising entry) was opened in June 2020 House has been a place for state sun. A hand-woven dantsu carpet in the park in front of the State guests and other dignitaries to stay with cherry blossom designs is laid Guest House. In addition to rest and a stage for diplomacy for sum- out on the floor. areas set up both inside and out- mit meetings, the hosting of inter- The ash panel walls of Kacho no side, the tourist lounge features national conferences, and more. In Ma, where banquets are held, are a multi-purpose toilet, café, gift 2009, the Main Building, front gate decorated with thirty cloisonné shop, and a multi-screen display and other parts were designated as National Treasures. State Guest House, Akasaka Palace In April 2016, the buildings Access: 7-minute walk from Yotsuya Station on the JR and Tokyo Metro lines began to be opened to the public Hours: 10 a.m. to 5 p.m. (usually closed on Wednesdays) year-round, with many tourists Admission Fees: Adult ¥1,500 (Main Building and gardens can be visited. Advanced reservations are from within Japan and abroad required to visit the Japanese-style annex. The fee for the Main Building, Japanese-style annex, and gardens is ¥2,000) coming to visit. Currently, the URL: www.geihinkan.go.jp/en/akasaka buildings are open with novel

22 | highlighting japan 1 2 3

1 The tourist lounge in the park that plays films related to the year-round from 2016. Currently, in front of the State Guest House, Akasaka Palace State Guest House. the Kyoto State Guest House is 2 Fuji no Ma in the Kyoto State implementing thorough measures Guest House Kyoto State Guest to prevent COVID-19 infection, and 3 Kiri no Ma in the Kyoto State House the buildings are opened to the pub- Guest House lic with advanced reservation only The Kyoto State Guest House was while guided tours are conducted sine is served, and guests of honor opened in 2005 to welcome dis- with a limited number of guests. can gaze at the Japanese-style gar- tinguished guests from abroad to At the Kyoto State Guest House, den from where they are seated. Kyoto, the ancient capital boasting visitors can see many beautiful And from the open-air covered a long history and rich traditional pieces of furniture made using bridge that crosses the pond, visi- culture. The building, located traditional Japanese techniques. tors can see the shapes of many inside the Kyoto Gyoen National For example, when banquets and varicolored carp slowly swimming Garden, features an irimoya-style ministerial meetings are held, among the reflection of the build- roof and a sukiya-style external Juraku no Ma is used as a waiting ing on the water’s surface. appearance typical of Japanese room for dignitaries or accompa- Opening hours at the Kyoto traditional residences, in order to nying staff. In the room, there are State Guest House are extended harmonize with its historic land- comfortable chairs, constructed until 7 p.m. for two days, from scape and surrounding natural without iron nails using the kyo- November 21 (Sat) through 22 environment. The interior incor- sashimono traditional joinery (Sun), with guided tours for a small porates wood and washi paper in technique, covered in a vivid group of people starting at 4:30, abundance creating a distinctively crimson upholstery, woven in 5:10, and 5:50 p.m. On these days, Japanese atmosphere. The con- Kyoto's Nishijin district. the building and gardens are illu- cept for the interior is made up of In Fuji no Ma, used as a venue minated and their daytime appear- “modern Japanese,” combining for banquets and ceremonial ance is transformed. The soft, the essence and beauty of tradi- welcomes, a tapestry depicting golden light filtering through the tional Japanese architecture with thirty-nine varieties of flowers paper sliding doors of the Kyoto modern architectural techniques, and woven in the tsuzure-ori tech- State Guest House is reflected and the teioku-ichinyo philosophy, nique brings splendor to the room. in the pond making the building in which an exquisite harmony is A 12-meter-long deep black lac- appear to float, and the colorful achieved between a Japanese gar- quer table is located at the center autumn leaves in the garden look den and its buildings. of Kiri no Ma, a Japanese-style more radiant than ever. The Kyoto State Guest House room with mats for ban- began to be opened to the public quets where authentic Kyoto cui-

The Kyoto State Guest House Access: 7-minute walk from the Kyoto City Bus Furitsu Idai Byoin-mae (Univ. Hospital, Kyoto Prefectural Univ. of Medicine) bus stop. 15-minute walk from Imadegawa Station on the Kyoto City Subway Karasuma Line. 20-minute walk from Demachi Yanagi Station on the Keihan Railway Hours: 10 a.m. to 5 p.m. Admission Fees: Adult ¥2,000 (For the time being, guided tours are conducted ten times a day. Each tour is for up to thirty people. Advanced reservations required) The Kyoto State Guest House URL: www.geihinkan.go.jp/en/kyoto/ illuminated in 2019 during a period of extended opening hours

All Photos: Courtesy of the Cabinet Office State Guest Houses SEPTEMBER 2020 | 23 Series SCIENCE & TECHNOLOGY Former headquarters building of Komatsu Matere, which underwent seismic reinforcement using CABKOMA Strand Rod Photo: Courtesy of Komatsu Matere Co., Ltd

A textile company in Ishikawa Prefecture has developed a carbon fiber Prefecture, uses the kumihimo composite material, a new material stronger than steel, by applying technique in the manufacturing of a traditional Japanese braiding technique known as kumihimo. This wires for buildings. new material is gaining attention as a new one for seismic reinforce- Okuya Teruhiro, Director of the ment, being one-fifth as light as steel and extremely strong. Research and Development Divi-

UMEZAWA AKIRA

umihimo is a traditional objects. In Japan, it is said that this 9mm braiding technique in technique was brought over from Japan with more than mainland China in ancient times 1,000 years of his- and the technique was developed CABKOMA cross section tory.K Ordinary textiles are made in the Heian period (from 794 until Photo: Courtesy of Komatsu by crossing the warp and the weft around the end of the twelfth cen- Matere Co., Ltd

(weaving). Kumihimo, in con- tury), mainly being used for small Core: carbon fibers trast, is a technique where several decorative parts of kimono and threads or several dozen threads later being used as decorations for of silk or other fibers are clustered weapons and more, which contin- together as one, and, gathering ues to the present day. Even today, three or more of these clusters, a it is common to attach a kumihimo braid is created by crossing them braid on top of the obi sash as deco- diagonally, front to back, or top to ration (the obijime) when wearing Sheath: glass fibers bottom. The shape of the braids is kimono in Japan. often likened to girls’ pigtail hair CABKOMA Strand Rod (CAB- CABKOMA’s sheath-core fiber structure, which covers the with three or four braids. It is dif- KOMA, for short), a carbon fiber carbon fiber core with a glass ficult to make a large, flat, textile- composite material in wire form fiber sheath like object with this technique, but developed by Komatsu Matere Co., Photo: Courtesy of Komatsu it is suitable for making cord-like Ltd, a textile company in Ishikawa Matere Co., Ltd

24 | highlighting japan in Nagano Prefecture and the for- mer Tomioka Silk Mill in Gunma Prefecture, CABKOMA was certi- fied as a Japanese Industrial Stan- dards (JIS) standard for a material

Lightweight and Tomioka Warehouse No.3, with for seismic resistance in 2019 – the portable, a roll of CABKOMA installed as a seismic first such certification for a carbon CABKOMA reinforcement material fiber composite material. Photo: Courtesy of Photo: Courtesy of Komatsu Matere Co., Ltd Komatsu Matere Co., Ltd Okuya comments, “It is said that there are several million wooden sion at Komatsu Matere, says, “In lel force. CABKOMA, however, is homes that do not meet earthquake 2008, Ishikawa Prefecture devel- strong and flexible due to the glass resistance standards in Japan, and oped a policy to promote the fibers covering the carbon fiber more and more of these homes advancement of the textile indus- core being braided like kumihimo. urgently need seismic reinforce- try into fields other than clothing- It has a diameter of 9 mm, but even ment. I want to contribute to this related fields to promote the devel- an approximately 160-meter-long field first. In the future, we hope opment of textiles, which is the strand weighs only 12 kg, and can CABKOMA can be used in the same most important industry in the pre- be carried by hand. It is just one- way as steel is used in steel-rein- fecture. In response, our company fifth the weight of conventional forced concrete. The deterioration moved forward with the develop- metal wire but with the same level of steel-reinforced concrete begins ment of new wires that could be of strength. with the steel inside the concrete used in the field of architecture, This CABKOMA is currently rusting. If CABKOMA is used in utilizing textile techniques. Con- gaining attention especially as a place of steel, it will be possible to ventional wires used as construc- material for seismic resistance in expand the current 50-year lifespan tion materials were heavy, and earthquake-prone Japan. of steel-reinforced concrete to over the handling and transportation In 2015, Komatsu Matere used 100 years. I would be happy if we costs had become an issue, so we CABKOMA as a material for seismic could contribute to the longevity thought there was great need for a resistance for renovations of their of buildings around the world with lightweight, flexible product that headquarters at the time. CABKOMA this technology.” withstood time-related deteriora- was not only attached like bracing tion. We decided to make use of the on the interior of the building, but it traditional kumihimo technique in also connected the roof of the build- developing a product.” ing with the ground on the exterior. To make CABKOMA, seven Dr. Kuma Kengo, a world-famous strands of carbon fiber are each architect, worked on the cutting- wrapped in a sheath of multiple edge design that stretches and wraps glass fibers in the braided manner approximately 1,000 CABKOMA of kumihimo then twisted together cables around the entire building. and soaked in resin to form a wire. Dr. Kuma, who after the Great East Its biggest features are that it is Japan Earthquake thought that the lightweight, strong and rust-free. time had come where buildings With a weight one-fifth the weight would be built with flexible materi- of steel and approximately ten als, praised CABKOMA, as it com- times the strength, it also has supe- bines flexibility with strength. rior heat and chemical resistance. Later, after gaining experi- Ordinary carbon fiber has strong ence in seismic retrofits at the elasticity, but is weak to paral- Zenkoji Temple Scripture House Kumihimo

SEPTEMBER 2020 | 25 Series MY WAY Using Knitting to Support Recovery and Reconstruction

Martina Umemura knitting a vest

German-born Martina Umemura supports the recovery and reconstruction of disaster-stricken areas in the Tohoku region and brings people together through sharing the joy of knitting.

SATO KUMIKO

hen getting off German. southern Germany. The yarn from the train at Kesen- Umemura, who was a medi- that factory was very interesting. numa Station on cal student in Berlin, first came to It was not a single color but dyed the JR Ofunato Japan as a researcher in 1987. She with a variety of colors, producing Line,W which connects the inland transferred from Gunma Univer- a variety of patterns through knit- part of southern Iwate Prefecture sity to the graduate school at Kyoto ting. It was truly magical yarn.” with the coastal region of northern University, continued her research, She then quickly sent off for Miyagi Prefecture, there’s a small, and got married in Kyoto. Later, some yarn made by TUTTO, the charming shop right in front of the when she became a mother and it company producing that magic station. Step inside and your eyes was hard to find time for research, yarn, knitted some socks, and then will be drawn to the many color- she took it into her head to start gave them to coworkers from the ful bundles of yarn. This shop is knitting. She says, “In Germany, university where she taught Ger- KFS (Kesennuma Friedenssocken), children learn how to knit socks man at the time. “Everyone was which carries yarn for knitting and at school. I really liked that. Then very pleased, but Japanese people more, established by German-born my mother in Germany told me will always give a present back in Martina Umemura. The compa- that there was a factory producing return. If that was the case, then I ny’s name means “peace socks” in attractive yarn near their house in thought that if I accepted money

26 | highlighting japan Umemura’s Kesennuma Color series yarn, inspired Samples of knitted yarn on display in the store by the nature and lifestyles of Kesennuma. From left, “Cherry Blossom,” “Sea” and “Forest. and spent it on something useful from Kyoto to the affected areas in essential for these people to have a for society, then everyone would the Tohoku region. She also sent place to work. And so, in 2012, she be happy.” This is what started knitting sets with yarn and needles established the Umemura Martina her work towards “Peace Socks” to people who were living in shel- Kesennuma FS Atelier Co., Ltd. in (Friedenssocken). This name ters, saying, “You can be free from Kesennuma. Currently, ten local comes from her work selling knit- troubling thoughts when knitting.” female employees import and sell ted socks at a craft market in Kyoto Soon thereafter, one of the shel- TUTTO-made yarn, and knit and in 2003 and donating the profits to ters in disaster-affected Kesen- sell cylindrical Haramaki-Boshi someone she knew who was sup- numa City asked her to send more (bellyband hats) and Peace Socks, porting recovery from war damage yarn, and a connection between which have become synonymous in Afghanistan. Umemura gradu- Umemura and the people of Kesen- with Umemura. ally expanded her activities. numa was forged. Learning of Umemura’s activi- And then, the Great East Japan After a year had passed since ties, TUTTO proposed a project for Earthquake happened in 2011, and the earthquake and people from a private brand, and they now pro- being unable to contain herself see- the disaster-stricken areas were duce unique yarn for KFS. There are ing the state of the disaster-stricken trying to return to normal life after more than 100 varieties of yarn that areas in the media day after day, leaving the shelters, Umemura have been developed by KFS, includ- she sent donations of relief money began to consider how it was ing the Kesennuma Color series, inspired by the nature and life- styles of Kesennuma, the Family’s Smile series, which imagines each member of the family, and more. Among the yarn varieties is a zebra color yarn designed by TUTTO for activities to protect the tropical rainforests. As this color is a favorite of Umemura’s, there is a zebra mascot placed outside the KFS store. Zebra mascots slowly began to increase in number, and before long, they spread out from the shop all across Kesennuma city. Just as Umemura believes that knitting connects people, the zebras seem to be running around Umemura with the storefront zebra mascot the city as messengers of peace.

All photos: Sato Kumiko SEPTEMBER 2020 | 27 Series ENJOY DRINKING

“Yamanashi” was declared the first geographical indication in Japan for wine by the Japanese government

Image photo The Delicate Flavor of Koshu Wines

It is said that the cultivation of grapes in Japan began more than a thousand years ago, but the production of wine from grapes only began after the start of the Meiji period (1868–1912). Nowadays, this wine is exported globally and has received critical acclaim.

SASAKI TAKASHI

amanashi Prefecture located to the east of the Kofu boasts the highest yield Basin that expands out north- of grapes and produc- ward from Mt. Fuji. Far from the tion volume of wine in sea, the Kofu Basin sees little rain Japan,Y and in 2013, “Yamanashi”1 and receives many hours of day- was declared the first geographical light, and so grape cultivation indication in Japan for wine by the has prospered in the area since Japanese government. There are ancient times. The grapes culti- Takano Masanari (left) and currently around eighty wineries vated here are the Japanese native Tsuchiya Ryuken in the prefecture, and a little less Koshu variety and, having been than half of those are located in here since long ago, they are well difference between day and night. the Katsunuma region of the city suited to the climate of Yamanashi. About 140 years ago in 1877, of Koshu. Now cultivated for the production right after Japan began to modern- Katsunuma is over 100 km of white wine, the grapes further ize, there was an opportunity to west of the central part of Tokyo, benefit from the large temperature begin authentic wine production

28 | highlighting japan Yamanashi wines aging in barrels at a winery

A vineyard in Katsunuma, a leading area of grape cultivation in Yamanashi

in Japan. A private wine company emerge in Katsunuma. Muscat Bailey A grapes were also called the Dainippon Yamanashi A variety of wines are made in registered. There have also been Wine Company was established in Katsunuma, including white wine many instances of Yamanashi Katsunuma, and two young men, made with Koshu grapes that offers wines receiving awards in the Takano Masanari and Tsuchiya a mild flavor and a red wine made International Wine Challenge Ryuken, were sent to France to from Muscat Bailey A grapes with (IWC) and other international study wine making there. an aroma reminiscent of strawber- competitions, and export volume Anzo Mitsuhiro, chairman of the ries and a mild astringency from the is steadily increasing. Wine from Yamanashi Prefecture Wine Manu- tannins. One variety that is espe- Yamanashi, with its old history of facturers’ Association and General cially popular is a dry white wine grape cultivation, has now come Manager / Chief Winemaker at Châ- made from Koshu grapes called to be enjoyed around the world, teau Mercian, which has its roots Koshu Sur Lie2. The wine, with its and in particular, wines made in the Dainippon Yamanashi Wine light, fruity aroma and clear acidity from the native Koshu and Muscat Company, says that “Wine produc- pairs extremely well with Japanese Bailey A grape varieties continue tion in Japan was actually also a cuisine. Anzo says, “The pairing to increase in popularity. governmental national policy at of Koshu Sur Lie with Yamanashi’s the time.” He says that at the time, famous simmered shellfish, such as there was a shortage of rice due to nigai (abalone boiled in soy sauce) civil unrest and a poor harvest, so or hamaguri-no-ushiojiru (a clear the government sought to control hard clam soup made with rich the consumption of rice, an ingre- dashi stock), is exquisite.” dient in sake, through expanding In recent years, Yamanashi wine production. wine has increasingly received When Takano and Tsuchiya recognition globally. In 2010, returned to Japan from France, Koshu grapes were registered as A red wine made in the wine production began quickly, but the first Japanese grapes for use Katsunuma region of Koshu it didn’t sell well in Japan, as Japa- in wine making on the list of grape nese people weren’t accustomed to varieties created by the Interna- the taste of wine, and the company tional Organisation of Vine and was finally driven to bankruptcy. Wine (OIV) in Paris. This meant But the two men left behind their it was now possible to sell wine knowledge of grape cultivation and within the EU using “Koshu” on wine making to the local people, the wine label as the variety of and through that, they opened a grape used rather than merely path for many wineries to later stating “Japanese wine.” In 2013, Koshu grapes

All photos: Courtesy of Mercian Corporation SEPTEMBER 2020 | 29 Series ARCHITECTURAL TREASURES

Nishina Shinmei Shrine

Japan’s Oldest Extant Shrine in the Shinmei-zukuri Style Nishina Shinmei Shrine, a national treasure, is located at the foot of a mountain that leads to high peaks in Japan. The shrine buildings have passed on an ancient style to the present day and boast a dignified presence among the beautiful forest.

SASAKI TAKASHI

machi City, with a Just like Ise Jingu, Nishina Shin- nects the two, have been designated population of 27,000, mei Shrine enshrines Amaterasu as national treasures, as they are the is located in the north- Omikami, the mythical Japanese sun oldest examples of Shinmei-zukuri western part of Nagano goddess, and the shrine buildings architecture in Japan. OPrefecture and is surrounded by were built in the Shinmei-zukuri style. Miyazaki Eisuke, a representa- nearby mountains. It is the gateway The prototype for this style is said to tive of shrine parishioners helping to mountain climbing and tour- be ancient Japanese granaries built to manage Nishina Shinmei Shrine, ism in the Hida Mountains with its with a raised floor (takayuka-shiki). says, “At Nishina Shinmei Shrine, many 3,000 meter high peaks, also This characteristic style, which the Shikinen Sengu is carried out once known as the Japanese Northern raises the floors high off the ground every twenty years, just like at Ise Alps. Nishina Shinmei Shrine, a to allow for good ventilation and to Jingu. There are thirty-five munafuda– national treasure, is built in a hilly prevent humidity, was established wooden ridge plaques which record area of the city. during the Yayoi period (from around the details of the ritual–in existence, It is unclear when Nishina Shin- the 10th century BCE to 300 CE). starting with one from 1376.” mei Shrine was founded, but it is Japanese cypress, one of the finest Shikinen Sengu is a ritual where thought that the shrine has more materials used in Japanese wooden the shaden, or main building of than 900 years of history. In the past, construction, was used as a build- the shrine, is rebuilt at an adjacent this area was known as Mikuriya (the ing material, and the style features site in a specific architectural style honorific term for a “demesne”) and simple, straight lines, making use of at regular intervals and the object was a place to procure hemp and Jap- the beauty of the cypress tree bark of worship is transferred to the anese paper offerings for the gods to itself. The (main hall) and newly-rebuilt building. This ritual be offered at Ise Jingu, the most pres- chumon (inner gate), as well as the has been carried out for over 1,300 tigious shrine in Japan. tsuriya (suspended roof) which con- years at Ise Jingu.

30 | highlighting japan Towering cedar and cypress trees on the shrine grounds

The roof of the main hall, thatched with cypress bark

The raised-floor granary

Full of pride, Miyazaki says, Sengu was carried out as scheduled old. Due to its mysterious atmo- “There aren’t any other examples in for the first time in twenty years at sphere, this forest has gained pop- Japan of carrying out Shikinen Sengu Nishina Shinmei Shrine. The main ularity among young women and continuously for so long without any parts of the main hall were left as others as a location flowing with breaks, even amidst war or disaster.” is, but the roof was re-thatched mystical energy that can increase Among Nishina Shinmei Shrine’s by layering thinly sliced Japanese one’s fortunes. Solemnly standing wooden munafuda, the twenty- cypress bark layers in a process within this dense forest, Nishina seven plaques from before mod- called hiwadabuki, and damaged Shinmei Shrine has become a place ern times have been designated as parts were also repaired. The beau- of prayer and, though not well con- Important Cultural Properties, and tiful appearance of the main hall nected by public transport, is vis- from the records remaining on these was thus restored, and the object of ited by around 30,000 worshippers plaques, we know that the main worship, which had been moved to each year. building was not fully rebuilt in the a temporary shrine, was once again Shikinen Sengu carried out in the transferred to its proper place in the early part of the Edo period in 1636. main hall. Only the re-thatching of the roofs Around Nishina Shinmei Shrine, and repairs for damaged parts were which boasts expansive grounds of undertaken for the main hall, inner nearly 20,000 square meters, is a gate, and suspended roof, and so dense forest, with large Japanese these buildings from that time, built cedar and Japanese cypress trees close to 400 years ago, have been standing as if reaching for the heav- maintained as they are. ens, including two Japanese cedars Wooden munafuda In November 2019, Shikinen estimated to be about 1,000 years

All photos Sasaki Takashi SEPTEMBER 2020 | 31 JAPAN HERITAGE

Mt. Mitokusan and Misasa Onsen Courtesy Mitokusan Sanbutsuji of Nageiredo Thrills and Spills: An Exciting Climb and Healing Hot Springs

t. Mitokusan and the nearby hot spring town of Misasa Onsen in Tottori Prefecture will take your breath away–in more ways than one. Mt. Mitokusan is a sacred site, particularly Mfor followers of the shugendo form of folk religion that focuses on mountain worship. This has been a place of mountain training for monks since the ninth century, and a handful of beautifully preserved temple buildings still dot the area. Among them, perhaps the best-known is Sanbutsuji Temple’s Nageiredo Hall, which was built into a sheer precipice almost one thousand years ago and seemingly defies gravity as it clings to the cliff. The steep, narrow path to the mountain’s summit resembles a natural obstacle course that has earned a reputation for being the most dangerous path to any of Japan’s national treasures. The climb through beautiful forests is said to purify the six roots of perception in Buddhism—the five senses and consciousness—but another reward for overcom- ing this physically challenging ascent is a breathtaking view of the remarkable hall and surrounding mountains. This is one of the few places in modern-day Japan that gives a true insight into the reli- gious and spiritual teachings of shugendo. Bodies weary from these exertions—or perhaps preparing to endure them—can find relief in nearby Misasa Onsen. Visitors here experience a “real” hot spring town, from the traditional inns that date back more than 150 years, to the streetscapes and the radon-rich hot springs. The name Misasa means “three mornings” in Japanese, and derives from an old legend that says on the third morning of a stay here, one’s ailments will be almost completely healed. A stroll through the streets that have retained their charm from years gone by feels like taking a step back in time—relax and enjoy the journey.

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