What is Oshima Tsumugi?

Oshima Tsumugi is a unique silk textile originating from Amami Oshima, an island located approximately 380 kilometers southwest of Kyushu, one of Japan’s four main islands, located to the southwest of the country, halfway between Kyushu and Okinawa. With a history spanning roughly 1,300 years, this extraordinary textile has been nurtured by the rich natural environment of Amami Oshima, which has also been recognized as a UNESCO World Natural Heritage site.
The primary production areas for Oshima Tsumugi include Amami Oshima in Kagoshima Prefecture, Kagoshima City, and parts of Miyakonojo in Miyazaki Prefecture. Its variations include the iconic Dorozome Oshima Tsumugi with its distinctive “black” achieved through mud dyeing, Doroai Oshima where indigo dyeing is combined with mud dyeing, Shiro Oshima using white clay also utilized in white Satsuma pottery, and Iro Oshima featuring natural plant dyes.
Oshima Tsumugi is characterized by its extremely intricate kasuri patterns, the unique hues and luster from mud dyeing, its lightweight and wrinkle-resistant texture, and its supple, comfortable fit. It has captivated many kimono enthusiasts, often inspiring the phrase, “Someday, I’ll own an Oshima Tsumugi.”
The production process involves around 30 to 40 distinct stages, each requiring highly advanced and delicate craftsmanship. Once completed, the woven fabric undergoes stringent inspections by local cooperative associations. Products from Amami Oshima are marked with the “Earth Seal,” while those from Kagoshima City bear the “Flag Seal,” ensuring their high standerd of quality.
Alongside Yuki Tsumugi(woven in Yuki City, Ibaraki Prefecture), Oshima Tsumugi is regarded as one of Japan’s finest silk textiles.

A Southern Island Full of Rich Nature and Unique Culture

Located approximately 380 km southwest of Kyushu and nearly midway between Okinawa, Amami Oshima is the largest island in the Amami Islands. With its rich subtropical nature, including blue skies, coral reefs, and dense mangrove forests, combined with a unique culture shaped by periods under the rule of the Ryukyu Kingdom (an independent kingdom in Okinawa before joining Japan) and the Satsuma Clan (a powerful feudal domain from Kyushu), the island’s atmosphere invites visitors on a timeless journey.
The natural flora and fauna of the island, such as the Sago palm, Adan fruit, and Habu snake, have long been beloved motifs in the ikat patterns of Oshima Tsumugi. Additionally, Amami Oshima was recognized as a UNESCO World Natural Heritage site in July 2021, alongside Tokunoshima, the northern part of Okinawa Island, and Iriomote Island. This recognition was based on its diverse ecosystems, which are home to a wide range of species, including the rare Amami rabbit (Pentalagus furnessi).

cycad

cycad

Pandanus fruit

Pandanus fruit

mangrove

mangrove

Amami Rabbit

Amami Rabbit

A Southern Island Full of Rich Nature and Unique Culture

Tatsugo Pattern

One of the most iconic motifs of Oshima Tsumugi is the Tatsugo pattern. This design draws inspiration from the back markings of the habu snake, the leaves of the native sago palm, and hibiscus flowers found on Amami Oshima.
It is said that this pattern originated during the late Edo period when the Satsuma Domain ordered the creation of a design that would represent the essence of Amami Oshima. A designer, gazing into a moonlit garden, was inspired by the mystical beauty of a golden habu snake shimmering under the moonlight as it moved gracefully onto a sago palm leaf. Captivated by this fleeting moment, the designer turned it into a pattern.
Named after Tatsugo Town in Amami Oshima, where the design originated, the Tatsugo pattern has since become beloved by many Oshima Tsumugi enthusiasts. Today, creating this intricate pattern is a highly specialized craft that only skilled weavers can achieve, making it a rare and valuable treasure.

Akina Bara Pattern

Alongside the Tatsugo pattern, the Akina Bara pattern is another traditional design that represents Oshima Tsumugi. This motif is inspired by woven bamboo baskets, with the word bara meaning “bamboo basket” in the Amami Oshima dialect.
The pattern originates from the Sanbara baskets, which were household items made from bamboo in the Akina district of Tatsugo Town, facing the East China Sea.
The Akina Bara pattern is characterized by its overall subdued and elegant atmosphere, with black as the primary color. The cross accents within the checkered pattern add a distinctive touch.

Tatsugo Pattern

Akina Bara Pattern

Traditional Kasuri Patterns of Oshima Tsumugi

“Kasuri (ikat)” refers to a weaving technique in which patterns are created by tying off sections of threads during the dyeing process, to prevent certain areas from absorbing dye. Oshima Tsumugi patterns are made with this technique.

The traditional kasuri patterns of Oshima Tsumugi draw inspiration from the natural beauty of Amami and the tools used in daily life. Over time, these patterns have evolved into a wide variety of designs.
Expressed through dots and lines, some kasuri patterns incorporate stylized characters, names, or other motifs. Each tiny kasuri design reflects the lives and aesthetic sensibilities of the people who came before us.
Even today, these traditional patterns are cherished, serving as the foundation for a wealth of creative expression that continues to flourish.

Flowers
Flowers

Patterns inspired by the image of flowers blooming in the tropical paradise of the South.

Stars
Stars

Patterns inspired by the shimmering light of stars twinkling in the night sky.

Kazamosha
Kazamosha

A motif inspired by windmills,
traditional toys for children.

Gashichi (Sea Urchin)
Gashichi
(Sea Urchin)

A pattern inspired by the spines of sea urchins.

Sotetsuba (Sago Palm Leaf)
Sotetsuba
(Sago Palm Leaf)

A design expressing the linear imagery of sago palm leaves, which grow naturally on the island.

Coral
Coral

A pattern inspired by the branches of coral.

“From the southern islands, reddish-brown tsumugi was presented as tribute…”
— A history spanning approximately 1,300 years.

The origins of Oshima Tsumugi are surrounded by various theories. In Kagoshima, it is said that sericulture was practiced as early as the Nara period or earlier, with tsumugi being woven from hand-spun threads. During this time, plant dyeing using techigi (wheel plum), which grows naturally on Amami Oshima, was already being practiced.
According to records from the offering lists of Todai-ji Temple and the Shosoin Repository, “reddish-brown tsumugi from the southern islands was presented as tribute” in 734. This is believed to be the oldest confirmed documentation of Oshima Tsumugi.

Oshima Tsumugi in the Edo Period

In the early Edo period, Oshima Tsumugi was woven using hand-spun silk threads made from silk floss on primitive looms known as jibata. At the time, the fabric featured plain or striped patterns, with no kasuri designs as seen today, and it was worn by the islanders themselves.
In 1609, the Satsuma Domain conquered the Ryukyu Kingdom and Amami Oshima, bringing the island under its rule. Before this, the Ryukyu Kingdom governed Amami Oshima by dispatching officials. Following the conquest, Amami Oshima became a directly controlled domain of the Satsuma Domain, subject to harsh taxes that caused great suffering for the islanders. The tsumugi produced on Amami Oshima was renowned for its unparalleled quality as a silk fabric and even caught the attention of the Edo shogunate. In Ihara Saikaku’s Koshoku Seisuiki (The Great Mirror of Male Love), a work by a renowned 17th-century Japanese writer known for his depictions of Edo-period society, there is a reference to “a long haori made from Oshima tsumugi adorned with three family crests over black habutae silk,” indicating its high regard even in Edo during that time.
In 1720, the Satsuma Domain issued a Tsumugi Wearing Ban, prohibiting islanders from wearing Oshima Tsumugi, as it was a silk fabric. Instead, the fabric was produced exclusively as tribute to the domain. According to one legend, around this time, islanders would hide their kimonos in rice paddies to avoid detection by Satsuma officials. When they retrieved them later, they found the fabric had turned black, marking the origins of dorozome (mud dyeing), a key feature of Oshima Tsumugi.

Technological Advancements in the Meiji Era: The Birth of Takabata and Shimebata

With the advent of the Meiji era, Amami Oshima was freed from the rule of the Satsuma Domain, leading to the full-scale production of Oshima Tsumugi. The fabric gained popularity and was traded in markets across Kagoshima Prefecture and major cities like Osaka. This period also saw the development of the takabata (tall loom) by Nagae Ieo, a native of Amami Oshima. Unlike the traditional jibata looms, which required strenuous physical labor to operate, the takabata significantly improved production efficiency.
Although the transition from jibata to takabata represented a significant advancement, the process of creating kasuri patterns remained labor-intensive, relying on the hand-tying technique that made intricate patterns challenging to achieve. Around 1907, Nagae Ieo developed a new method called orijime-gasuri using the shimebata (tightening loom), which allowed for the production of highly precise kasuri patterns. This invention was a groundbreaking innovation in the history of Oshima Tsumugi.
Thanks to these advancements, it became possible to produce Tsumugi fabrics with intricate and delicate kasuri patterns, further enhancing the reputation of Oshima Tsumugi, which continued to rise in prestige and demand.
Around this time, as demand for Oshima Tsumugi grew, inferior products began to circulate in the market. To ensure the quality of the fabric, the Kagoshima Prefecture Oshima Tsumugi Guild (now the Authentic Amami Oshima Tsumugi Cooperative) was established in 1901 in Naze, Amami Oshima.

Diverse Designs Flourish in the Showa Era – Declining Production in the Heisei and Reiwa Eras

During the Taisho period, nearly all Oshima Tsumugi began to be made with genuine silk threads. Entering the Showa period, new dyeing techniques were introduced, further advancing the craft of Oshima Tsumugi. Around 1955, Shiro Oshima and Iro Oshima were developed, followed by the creation of multi-colored techniques such as the surikomi (rubbing) dyeing method and discharge printing method, which added vibrant hues to kasuri patterns.
In 1975, Oshima Tsumugi was recognized as a national traditional craft. Around this time, production peaked, with approximately 300,000 rolls produced annually. According to data from the Authentic Amami Oshima Tsumugi Cooperative (focused on production in Amami Oshima, excluding Kagoshima City), the peak production year was 1972, with 297,628 rolls. However, production numbers have steadily declined since then: approximately 270,000 rolls in 1980, about 130,000 rolls in 1990, around 40,000 rolls in 2000, and roughly 10,000 rolls in 2010. By 2020, production had dropped significantly to just 3,385 rolls. As a result, opportunities to encounter Oshima Tsumugi have become increasingly rare.

Sanchi Craftsmanship Videos

Stories from those who dedicate their passion and devotion to craftsmanship. The unique allure of “mud dyeing,” which creates Oshima Tsumugi’s characteristic “black”… The thoughts and efforts of weavers who craft some of the most intricate and detailed kasuri patterns in the world… These videos feature insights from craftmans about the production process of Oshima Tsumugi, the origin of the iconic Tatsugo pattern, and the history of this cherished textile.

Key Steps in the Production of Oshima Tsumugi

Oshima Tsumugi is created through approximately 30–40 distinct steps, beginning with design creation and progressing through processes such as thread winding, warping, sizining, tightening, dyeing, mud dyeing, and weaving. Each step is performed by skilled artisans specializing in their respective tasks. As the textile passes from one artisan to the next, the final form gradually emerges. Even the quickest production processes take over ten months to complete a single roll of fabric. Below, we provide an overview of the primary steps involved in crafting Oshima Tsumugi.

1. Design Creation

The production process of Oshima Tsumugi begins with design creation. This initial step involves simulating the finished product while determining the size of the patterns, color tones, and overall color scheme to create the “original design.”
Using the original design as a reference, the next step is to calculate the weaving density based on the thickness of the threads to be used and draft a “blueprint” on specialized graph paper. Each point on the graph represents a kasuri pattern created by the intersection of warp and weft threads. This highly detailed and meticulous process demands immense patience.
Traditionally, designs were hand-drawn onto graph paper. However, recent advances in digital technology allow artisans to create intricate blueprints using computers. Based on these blueprints, considerations such as the texture of the final woven fabric are assessed, and the thickness and quantity of threads are determined.
This stage requires a deep understanding of the properties of the threads, as well as knowledge of the subsequent dyeing and weaving processes. The ability to craft optimal designs demands extensive expertise, experience, and an artistic sensibility attuned to contemporary tastes.

2. Warping and Sizing

Based on the blueprint, the silk threads are prepared in the required lengths and quantities on a specialized frame in a process known as warping. Afterward, the warped threads are bundled and coated with adhesive(nori) in the sizing (noribari) process, then sun-dried.
The sizing process is particularly delicate and highly dependent on weather conditions. Any inconsistencies, clumps, or hardened sections in the adhesive can adversely affect the subsequent tightening process on the loom. To prevent this, the adhesive is evenly spread by hand, ensuring the thread bundles remain separate and smooth.
The tension and alignment achieved during this stage significantly influence the final texture of the fabric and the precision of the kasuri pattern alignment during weaving. As such, this process demands a high level of skill and attention to detail.
The adhesive used for sizing is made from a seaweed native to Amami Oshima called igisu. Seaweed adhesive offers several advantages, such as making the fabric more resistant to pests, enhancing its luster and texture, and providing excellent flexibility. These benefits contribute to the superior quality of the finished product.

3. Shimebata (Tightening Loom): A Unique Technique for Creating Intricate Kasuri Patterns

Oshima Tsumugi is often described as being “woven twice” due to the inclusion of two distinct weaving stages in its production. The first weaving process is carried out using the shimebata (tightening loom) to create the kasuri patterns. “Kasuri” refers to the patterns formed by combining warp and weft threads that have been partially dyed.
Typically, kasuri patterns are created by tying sections of silk threads with other threads (such as cotton) to resist dye penetration. However, in Oshima Tsumugi, warp and weft silk threads are separately woven with cotton threads using a loom to produce a special fabric called kasuri mushiro (kasuri mat). This innovative technique allows for the creation of exceptionally intricate and precise patterns, unlike anything seen in other weaving methods.
The areas where cotton threads are woven in remain undyed during the subsequent mud dyeing process, leaving the silk threads beneath them white. Conversely, areas without cotton threads are exposed and absorb the dye deeply. Since Oshima Tsumugi involves vigorously kneading the threads with mud during the dyeing process, the threads must be tightly secured on the shimebata to prevent unintended dye seepage. This precision ensures the desired kasuri patterns emerge accurately, making the shimebata stage highly critical.
Traditionally, the shimebata process was performed by men, as it required considerable strength to tightly secure the threads. Once the dyeing is complete, the cotton threads from the kasuri mushiro are carefully removed, and the silk threads are returned to their original form, ready to be aligned according to the design blueprint.

4. Dyeing (Techigi Dyeing and Mud Dyeing): A Gift from Amami’s Nature

After undergoing the shimebata process, the silk threads are dyed using techigi (wheel plum) and mud, two resources unique to the natural environment of Amami. Techigi, which grow wild on the islands, are boiled in large cauldrons for two days. This boiling process releases a sharp, distinctive aroma that fills the entire workshop. The silk threads are then immersed in this dye bath and vigorously kneaded by hand. This procedure, involving multiple changes of the dye bath, is repeated 20 to 30 times to achieve the desired depth of color.
Approximately 600 kilograms of techigi are required for mud dyeing. The trees are harvested from the mountains, with their trunks broken down into chips and then boiled in cauldrons. During the summer, the harvested wood must be brewed within about two weeks to ensure it yields high-quality dye. The quality of the techigi is key to determining the final result of the mud dyeing process.

Afterward, the kasuri mushiro (woven patterned mats) are taken to a mud field for the mud dyeing process. Workers wade into the knee-deep mud, stirring the settled mud with their feet while adopting a half-crouched posture. They repeatedly knead and pound the mats with great force, ensuring the mud penetrates thoroughly. This labor-intensive process is far from easy, but it is essential to achieve the signature black color. The tannins from the techigi dye and the iron content in the mud undergo a chemical reaction during this step, creating the characteristic deep black of Oshima Tsumugi.
After finishing the mud-dyeing stage, the mats are rinsed in the river to remove the mud and are then returned to the techigi dye bath. This cycle of dyeing alternates between techigi and mud, repeated three to four times. In total, the dyeing process is conducted 70 to 100 times.

Unlike chemical dyes, which penetrate the fibers uniformly, mud dyeing forms dye layers in a ring-like formation around the threads. Repeated applications of mud dye produce a richness and depth of color that cannot be replicated by synthetic dyes. This laborious process results in Oshima Tsumugi’s unique, lustrous “black.”
As the dye is derived from natural materials, it evolves over time. After 30 to 40 years, the surface oxidizes, gradually transforming into a warm reddish-brown hue. This aging process is yet another alluring feature of mud-dyed textiles.

The mud fields of Amami Oshima are rich in iron and characterized by fine, smooth particles. These unique qualities are believed to be the reason mud dyeing originated exclusively in Amami Oshima. It is truly a miraculous dyeing technique born of the island’s exceptional soil.
In Tatsugo Town, a clay layer estimated to be about 1.5 million years old remains, providing ideal conditions for mud dyeing. As a result, this area became a hub for the craft. At its peak, there were 60 to 70 mud-dyeing workshops on Amami Oshima, but today, only a handful remain. Most of these workshops were historically concentrated in Tatsugo Town, further underscoring the suitability of the area’s soil for mud dyeing.

Oshima Tidbits

The Sustainable Life Cycle of the “Techigi”

In early spring, the Techi tree blooms with flowers resembling plum blossoms. The tree is cut down during winter, when it is rich in nutrients accumulated before blooming. The trunk is finely shredded and boiled to extract dye used for threads. Trees exposed to sea breezes along the coast contain higher levels of pigments (tannins). After the boiling process, the dried remains of the Techi tree are used as fuel for the next dye extraction. Furthermore, the leftover ash is placed into the vat for indigo dyeing. Finally, the ash is mixed with indigo to create fertilizer, returning to the natural environment of Amami.

Oshima Tidbits

The Sustainable Life Cycle of the “Techigi”

In early spring, the Techi tree blooms with flowers resembling plum blossoms. The tree is cut down during winter, when it is rich in nutrients accumulated before blooming. The trunk is finely shredded and boiled to extract dye used for threads. Trees exposed to sea breezes along the coast contain higher levels of pigments (tannins). After the boiling process, the dried remains of the Techi tree are used as fuel for the next dye extraction. Furthermore, the leftover ash is placed into the vat for indigo dyeing. Finally, the ash is mixed with indigo to create fertilizer, returning to the natural environment of Amami.

5. “Meyaburi,” “Kasuri Bubun Hodoki” and “Surikomi”: Precision Techniques for Beautiful Multicolor Patterns

When the kasuri patterns are to be dyed with multiple colors, the kasuri mushiro (woven patterned mats), dyed with mud, is unraveled in accordance with the design plan, and pigments are applied through a technique called “surikomi” (rubbing dyeing method). The process of untying the cotton threads that were bound with a tightening device to protect the kasuri sections from dyeing is known as “meyaburi” (precision unbinding). Because only specific parts of the threads are untied to expose undyed areas for color application, this step is also called “kasuri bubun hodoki” (partial kasuri disassembly).
Following the design pattern, dye is carefully applied to the exposed kasuri sections using the surikomi method. In multicolor Oshima Tsumugi fabrics, each color must be individually applied to the kasuri patterns. This is an intricate and labor-intensive process that demands great patience. Tools such as bamboo or metal spatulas, needles, and pipettes are employed during the dyeing process.
Once all the dyeing is complete, the kasuri mushiro, initially woven tightly with the tightening loom, is entirely unraveled. The warp and weft threads are then realigned, preparing them for the weaving process.

6. Preparation for Weaving: Spool Winding and Reed Threading

Once the kasuri mushiro is woven using the tightening loom, the threads are dyed with Techigi dye and mud dye. Additional colors are applied to the kasuri sections through the surikomi method. After removing all cotton threads from the kasuri mushiro, leaving only the silk threads, the “pre-dyed threads” are finally ready.
The dyed threads undergo color-setting treatment and washing, followed by starching to protect the threads. After drying, the threads are meticulously arranged. The weft threads are wound onto spools in a process known as “kudamaki” (spool winding). Meanwhile, the warp threads are separated into portions for each loom, with the kasuri patterns aligned and wound onto boards.
This meticulous preparation ensures that the weaving process can proceed smoothly. Only after these detailed pre-weaving steps is the fabric finally ready to be woven on the loom.

7. Weaving and Kasuri Alignment: The Art of Beautiful and Intricate Patterns

The second weaving process, often referred to as “Oshima Tsumugi is woven twice”, occurs during this phase, known as “hataori” (weaving on a loom). The intricate and detailed kasuri patterns, unparalleled anywhere else in the world, are one of the hallmarks of Oshima Tsumugi. After the mud-dyed kasuri mat is unraveled, the sections protected by cotton threads during dyeing remain white, forming the kasuri patterns.
Oshima Tsumugi is woven using a loom known as a “takabata”. The technique employed is a basic plain weave, where the warp and weft threads are interlaced alternately. The resulting fabric displays identical patterns on both the front and back. The greater the number of warp threads used, the higher the density of the kasuri, creating more intricate and refined designs.
The essential task of aligning the warp and weft kasuri patterns falls to the weavers. Progressing slowly, they meticulously adjust each warp thread using needles and their fingertips, ensuring perfect alignment between the warp and weft kasuri patterns. For some designs, this painstaking process may yield only a few centimeters of fabric in a single day.
Weavers dedicate themselves to their craft with patience and precision, always keeping the eventual wearer in mind. They carefully oversee even the smallest details, operating the loom with unwavering attention and dedication.

8. Product Inspection

Authentic Amami Oshima Tsumugi woven on Amami Oshima is sent to the Honba Amami Oshima Tsumugi Cooperative Association in Naze, Amami City, for inspection. Similarly, Oshima Tsumugi woven in Kagoshima City is brought to the inspection facility of the Honba Oshima Tsumugi Textile Cooperative Association in Kagoshima City.
At these facilities, veteran inspectors with decades of experience conduct thorough examinations, assessing over 20 criteria, including length, weaving width, irregularities in kasuri patterns, color inconsistencies, weaving flaws, and weight deficiencies. The final verdict of pass or fail is determined through this rigorous process, ensuring the consistent quality of Oshima Tsumugi.
Only products that pass all inspections receive a certification label. Afterward, a certification stamp is applied, and a distinctive punched hole is added to signify approval.

Oshima Tsumugi Certification Labels

“Globe Mark” and “Flag Mark”

Weaving Oshima Tsumugi requires the mastery of advanced techniques. On Amami Oshima, there are schools dedicated to teaching the art of Oshima Tsumugi weaving. One such institution is the Honba Amami Oshima Tsumugi Technical Academy, which opened in July 2018. This school is supported by Yamato as part of its ongoing efforts in the Successor Development Project.
Students enrolled at the academy diligently work toward mastering their craft, striving to become skilled weavers.
We had the privilege of speaking with these individuals, who are devoted to “spinning” the legacy of Oshima Tsumugi into the future.

Oshima Tsumugi Certification Labels

“Globe Mark” and “Flag Mark”

Weaving Oshima Tsumugi requires the mastery of advanced techniques. On Amami Oshima, there are schools dedicated to teaching the art of Oshima Tsumugi weaving. One such institution is the Honba Amami Oshima Tsumugi Technical Academy, which opened in July 2018. This school is supported by Yamato as part of its ongoing efforts in the Successor Development Project.
Students enrolled at the academy diligently work toward mastering their craft, striving to become skilled weavers.
We had the privilege of speaking with these individuals, who are devoted to “spinning” the legacy of Oshima Tsumugi into the future.