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Arimatsu Narumi Shibori is a traditional dyeing technique that has been practiced since the Edo period(17th-19th century) in the Arimatsu and Narumi districts of Nagoya City, Aichi Prefecture. Historically known as post towns and teahouse districts along the Tōkaidō, one of the main travel routes of the time, this region is renowned for its intricate patterns created through the shibori (tie-dye) method, which involves binding sections of fabric before dyeing. These distinctive patterns showcase the delicate artistry and beauty unique to handcrafted work. With approximately 100 tie-dyeing techniques originally developed, around 70 remain in use today.

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1. Intricate and beautiful pattern variations.

The shibori technique allows for a diverse range of patterns, each crafted with meticulous care and precision, resulting in unique, visually stunning designs.

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2. The joy of wearing handcrafted artistry.

Every piece of Arimatsu Narumi Shibori embodies the dedication and skill of the artisans, offering a connection to traditional craftsmanship.

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3. Unique textures feel with a sense of relief.

The intricate binding methods create characteristic fabric textures that add depth and tactile appeal.

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4. Naturally resistant to wrinkling.

The uneven texture of shibori-dyed fabrics makes them less prone to creasing, ensuring a refined appearance even with regular use.

A Town Preserving the Edo Period Atmosphere

Located about 20 minutes from Nagoya Station via the Meitetsu Nagoya Main Line, Arimatsu is both a modern suburb and a historical treasure. Amidst contemporary developments, visitors can encounter streetscapes reminiscent of the Edo period, with rows of merchant houses preserved in their original form. In 2016, this area was designated as an Important Preservation District for Groups of Traditional Buildings. Furthermore, in 2019, the cultural and historical legacy of the Arimatsu district was recognized as a Japan Heritage site.

Arimatsu was established in 1608 (Keichō 13th) as an “ainoshuku” (an intermediate post town) between Narumi-juku and Chiryu-juku along the Tōkaidō road. Due to the scarcity of arable land in the region, agriculture alone could not sustain the local population. As a result, residents turned to producing shibori-dyed tenugui (traditional Japanese hand towels) as a supplementary livelihood, marking the beginning of Arimatsu Narumi Shibori’s rich history.

The Edo-period streetscape in Arimatsu has survived thanks to two key factors. First, the area escaped wartime destruction during World War II because a U.S. prisoner-of-war camp was located nearby. Second, shortly after the war, a preservation movement was initiated to protect this historic townscape. The enduring beauty of Arimatsu is a testament to the dedication and efforts of countless individuals. It remains a miraculous place that allows us to savor the charm of Japan’s bygone eras.

The Origins of Arimatsu Narumi Shibori

In 1608 (Keichō 13th), Shōkurō Takeda and seven others relocated to this area from Agui Town in Chita. Arimatsu was a barren land with issues related to the security of the Tōkaidō, and due to these conditions, residents were recruited to establish a settlement in this area. With limited arable land and no viable means to sustain themselves through agriculture alone, they sought to create a local specialty. During this time, Shōkurō noticed that laborers from Bungo Province (present-day Ōita Prefecture) involved in the construction of Nagoya Castle carried tenugui (traditional Japanese hand towels) with distinctive patterns. Inspired by these designs, Shōkurō developed a new tie-dyeing technique, marking the beginning of Arimatsu Narumi Shibori.

Chita, where Shōkurō originated, was one of Japan’s leading regions of cotton industry at the time. Using Chita cotton fabric, they dyed tenugui (traditional Japanese hand towels) with intricate shibori patterns and displayed them outside their homes to sell to travelers along the Tōkaidō. These innovative and stylish designs quickly gained popularity as fashionable souvenirs, becoming a celebrated specialty of the Tōkaidō region. The Owari Domain, the western region of what is Aich Prefecture, supported the industry by designating Arimatsu Narumi Shibori as an official specialty product, prohibiting its manufacture and wholesale outside the area, and granting Arimatsu exclusive production rights. This support allowed the craft to thrive as an industry.

Shokuro Takeda portrait

Registered Tangible Cultural Property Takeda Residence

Monument to Shokuro Takeda, founder of Arimatsu Shibori

Featured in Ukiyo-e and Literary Works

Hiroshige Ando “53 Stations of the Tokaido Narumi” ／Famous Arimatsu Shibori
[National Diet Library Digital Collection]

In its early years of the Edo period, most Arimatsu Narumi Shibori products were indigo-dyed. However, as yukata (summer kimonos) became widely adopted among the common people in the late 17th century, the craft advanced significantly. Artisans began to incorporate variety colors such as red and purple, as well as new and elaborate designs.

Situated along the bustling Tōkaidō road, Arimatsu flourished with the comings and goings of feudal lords on *sankin-kōtai journeys and pilgrims traveling to Ise Shrine. This vibrancy was immortalized in ukiyo-e prints by artists such as Hokusai and Hiroshige.

*sankin-kōtai : Japanese term referring to the “alternate attendance” system used during the Edo period. This system required feudal lords (daimyō) to alternate their residence between their home domain and Edo (modern-day Tokyo), the political center of Japan.

Arimatsu Narumi Shibori also features in Jippensha Ikku’s comic novel Tōkaidōchū Hizakurige (Shank’s Mare), which humorously chronicles the adventures of Yaji and Kita as they journey along the Tōkaidō to Ise. In the story, Yaji is captivated by the beauty of Arimatsu Narumi Shibori and purchases a tenugui (traditional Japanese hand towel), composing the following poem:

“What I desire most is Arimatsu-dyed fabric,
Even if it means exchanging it for the money squeezed from the toil of a human life.”

Over 100 Variations of Tie-Dye Techniques

Shibori dyeing allows for the expression of intricate patterns through variations in how fabric is tied, sewn, or folded. It is said that there have been over 100 distinct methods of tying (kukuri), with approximately 70 techniques still preserved and practiced today. This diversity of patterns is one of the key charms of Arimatsu Narumi Shibori.

Typical shibori pattern

Miura Shibori

Tegumo Shibori

Making Shibori

Kanoko Shibori

Tesuji Shibori

Oke Shibori

Nui Shibori

Sekka Shibori

Tatsumaki Shibori

Topics: The History of Shibori

Shibori dyeing has been practiced across the world since ancient times. In Japan, advanced dyeing techniques were introduced from China during the Nara period　（710-794）, and textiles from that time are preserved in the Shōsōin Repository. These include kōkechi (tie-dye), kyōkechi (board-clamp dyeing), and rōkechi (wax-resist dyeing), collectively known as the “Three Resist-Dyeing Techniques of the Tenpyō Era（729-749）.”
In 1992, the first International Shibori Symposium was held in Nagoya, bringing together participants from 20 countries. This event emphasized the global significance of shibori as a cultural heritage worth preserving and led to ongoing international efforts to sustain and promote shibori traditions.

Main Steps in Crafting Arimatsu Narumi Shibori Yukata

Arimatsu Narumi Shibori production is based on a division of labor. Each bolt of fabric passes through the hands of skilled artisans, each specializing in a specific task such as stencil carving (kata-bori), transferring patterns onto fabric (e-suri), tying the fabric with thread (kukuri), dyeing (some), and thread removal (ito-nuki). The delicate and intricate beauty of Arimatsu Narumi Shibori yukata is brought to life through these meticulous processes. Here is an overview of the steps involved.

1. Preliminary Design (Pattern Creation)

Designs are drawn based on motifs refined through the long history of this craft. The shibori technique best suited to the chosen design is then selected, ensuring that the design and method complement each other.

＜Artisan Skill＞
The artisan carefully considers whether the chosen shibori technique can effectively bring the design to life, taking into account its visual and technical feasibility.

2. Stencil Carving (Kata-bori)

Using the drawn design as a guide, artisans place a stencil over it and punch small holes—about 2–3 mm in diameter—using a specialized iron tool called a hatome-nuki (hole punch). This process requires precision and accuracy in carving.

＜Artisan Skill＞
Stencil carving forms the foundation of the shibori pattern. For reference, the process involves approximately 250,000 individual ties for a furisode (long-sleeved kimono) and around 20,000 for a shibori yukata.

3. Stenciling (E-suri)

The stenciled pattern is placed on the fabric, and a temporary blue pigment called aoba (which disappears when washed) is brushed onto the fabric. This marks the areas where threads will be tied and patterns will be created.

4. Tying (Kukuri)

Based on the markings made during the stenciling process, the fabric undergoes the intricate tying process to create the desired patterns. Known for producing diverse designs, kukuri requires specialized skills from artisans, each mastering their unique techniques. Broadly speaking, the tying process involves “tying,” “sewing,” and “folding,” with patterns created through their combinations.

＜Artisan Skill＞
The tying techniques vary, including methods using only threads, sewing with needles, or utilizing winding stands. These require precision, a delicate balance of tension, and immense patience—a true testament to the dedication of handcraftsmanship.

The Three Main Processes of Tying

Tying

Sewing

Folding

In some cases, the tying process is outsourced overseas, such as to Cambodia. Due to the declining number of successors in Japan, efforts are being made to transfer these skills internationally to preserve the skill of Arimatsu Narumi Shibori. Approximately 70% of annual fabric production undergoes the tying process abroad. Once the tied fabrics are returned to Japan, artisans carefully inspect them against the original designs to ensure there are no errors or omissions before moving on to the dyeing stage.

5. Dyeing

After the tying process is complete, the fabric moves on to dyeing. The temporary aoba markings are washed away, and the fabric is dyed with meticulous care to avoid uneven coloring or loosening of the tied threads. For multi-colored designs, instead of immersion dyeing, a technique called “flow dyeing” is employed, where dyes are poured directly onto the fabric.

＜Artisan Skill＞
One of the most challenging tasks is creating dyes that perfectly match the sample colors. Craftsmen mix around 20 types of dyes, adjusting the proportions repeatedly until achieving the desired shade. Additionally, handling wet fabric, which becomes significantly heavy, demands not only skill but also considerable physical strength.

6. Washing, Drying, and Sun-Drying

The dyed fabric is washed multiple times with water to remove excess dye. Afterward, it is dehydrated using a spinner and dried under natural sunlight.

7. Thread Removal

The threads used in the tying process are carefully removed. Since the threads are secured tightly to prevent dye penetration, extreme caution is required to avoid damaging the fabric during this step. The method of thread removal varies depending on the type of shibori technique. As each thread is removed, the previously tied areas reveal untouched white patterns, and the design finally emerges.

＜Artisan Skill＞
Some bindings can be removed by hand, while others require large tweezers similar to those used to remove fish bones. Each method is tailored to the specific shibori technique.

8. Finishing

After the threads are removed, the fabric undergoes a thorough inspection for any defects or uneven dyeing. Finally, the fabric is treated with “yunoshi,” a process in which steam is applied to relax the fabric and restore its original width and smoothness.