着物・振袖・和装小物なら「きもの やまと」

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.

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.

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.

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.

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.

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.

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.

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.