(Continued from part 1)
-I always feel your inquisitiveness towards dyeing.
I'm only communicating my experiences. In particular, the basic how-tos of dyeing thread for hand weaving has remained the same. However, I do think about special dyeing methods, such as twist dyeing, blur dyeing, and douse dyeing.
-It is said that people tend to get stubborn as they get older, and I think it may be difficult to hear and take in ideas from us and the younger generation, but you have always been flexible and accepting, and have given us suggestions on how to proceed.
That's because I want people to have fun dyeing. Failure in dyeing is inevitable. If the color doesn't match, you can re-dye them or change the color scheme. Sometimes uneven dyeing can result in an interesting fabric. Dyeing isn't a job to be stubborn about. It's only dyeing, but it is still dyeing. However, I do want people to handle the yarn carefully. If the thread isn't damaged or tangled, things will work out.
-Do you have instances where you think dyeing is interesting, even now?
Rather than dyeing myself, I like seeing the people I teach get better at color matching.
-What has been important to you, for teaching at the school?
I try to teach the students so they will be able to dye by themselves, with the facilities they have at home. Rather than just dyeing, there are various steps before that, so I work with the intention to teach each and every trick. There are many little tips on how to handle threads, such as how to twist threads, how to put the skein down somewhere, and how to put the skein in the spin dryer.
-There are some things that students don't get right away, since they are busy keeping up with the dyeing process during class. As a student, I also wrote down what you taught us and reread it later. When I work by myself, I realize that each detail is important.
While students are here, I can help them with their dyeing, but after graduating, I want them to be able to dye by themselves. Beyond dyeing itself, giving students advice on the work process before and after dyeing is also an important job of mine. I think this is something that I can teach because of what I know. Another is to have data samples. I want people who are going to start dyeing seriously to first make data samples. I hope that this spreads not only among the students here, but also among other hand weavers.
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| Hori Sensei in the Kawashima Textile School Dyeing Room, early 90s |
-Preparing data.
When I first came to the school, there was only kanzome (intuitive dyeing), so first I prepared the data. Teaching the basics of dyeing is important, but to dye on one's own, having data samples is important. With synthetic dyeing, you have to mix dyestuff to create the color you want. With natural dyeing, color matching is unnecessary, and if you learn the basics, you would get a decent result, so people who are starting to dye use plants. However, natural dyeing has its limits of color, so there are many people who take the synthetic dyeing workshop to make data samples.
*kanzome: The technique of adding dyestuff (the three basic colors, yellow, red, and blue) intuitively without data.
-So the school's data samples were made after you came.
The data sample class is an asset to the school. I want non-students to start from owning self-made data samples. However, just having the data is still not enough. There is an infinite number of colors, so if you can't find the color you want, you need to adjust the data. When you don't know how to change the data, you need to have kanzome skills. So at the school, we recommend learning how to make data samples and kanzome as a set. Currently, we have about 120-130 colors for each type of yarn at the school.
-I heard that you were called a magician of dyeing among the students.
During class, a student who wanted to dye thread in a green color accidentally dyed it pink, and was trying to dye new thread. So instead of using new thread, I added a dye over the pink, and instantly changed it into the green color desired by them, and the students who saw it said, "Sensei, you're like a magician."
-In the workshops, you teach and use time to the fullest. Why is that?
Students of the workshop participate only for that purpose, so everyone is focused, and there are many people who have taken the time and effort to come from afar, so my hope is that they can go home with as much as possible. Thinking about work arrangements within a limited time frame is also a learning process, and I think that way, students will get a greater sense of fulfillment afterwards. This can only be done because the students themselves come here with a strong desire to learn. The classes in the Professional Course are spaced out during the school year, so I try not to squeeze too much into each class, and the international students have different customs, so proper breaks are necessary.
-So for you, teaching is your second career.
I didn't come here thinking of building a second career. I didn't expect to work until this age (81) (laughs). I'm grateful for that. The feeling of gladness that I have continued this work in dyeing comes to me every time. I didn't like dyeing when I first joined the company, but I am here now as a result of patience. I'm glad I didn't quit back then.
Continued to part 3 (Sep. 29, 2020)
