February 24, 2021

About the School: Tsuzure-Ori Series 2 | Interview with Tsuzure-Ori Teacher Hirokazu Kondo

Succession -Searching For a Landing Point That Is Just Right

The second part of the Kawashima Textile School (KTS) Tsuzure-Ori series is an interview with Hirokazu Kondo, who specializes in tsuzure-ori. We talked about his encounter with KTS, with succession in mind, his days as a student devoting himself to weaving tsuzure-ori obi, his internship at Kawashima Selkon Textiles, his attitude toward teaching tsuzure-ori, and thoughts on weaving now.

With a student who just finished weaving the group tapestry project. 
“The moment you take a piece off the loom, you can feel the texture, such as the weight and softness in your hands. I feel the reality of what has been accumulated while facing the threads take shape, and am filled with joy and relief, thinking, “you did it,” “you finished it.” Even though I am thinking about all the steps towards finishing the piece, for the time being, I feel like congratulating the students.”


◆ “Feeling a spark” upon seeing a tsuzure-ori obi at a critique

His family runs a kimono store. Kondo-sensei says that the path of succeeding the family business came into view shortly before graduating from high school, when he thought about his future. His grandfather opened the store in Aichi prefecture. He says that the feeling of "wanting to continue the store if possible," grew naturally as he watched his family members continue to run the store, in a town where wearing kimono is not a part of daily life. He came to KTS upon seeing an advertisement in a kimono magazine. The Professional Course for 2006 was already full, so he entered after waiting a year, while taking a drawing class.

He became drawn to tsuzure-ori in a critique in his first year. He "felt a spark" when he saw a tsuzure-ori obi made by a senior. He had made a tsuzure-ori tapestry in class, but felt a special attraction to the delicacy and beauty of the tsuzure-ori obi. He remembered that Kawashima Selkon Textiles, which founded KTS, also specialized in tsuzure-ori. He found the significance of studying tsuzure-ori at the school, proceeded to the second year, and set his mind to weaving tsuzure-ori obi.

◆ The rhythm of moving the hands and feet are different

In the second year, he practiced tsuzure-ori techniques such as muji-ori (plain weave, in which there is no pattern and the weft travels across the entire width) which is said to be “difficult,” worked on his own pieces, familiarizing himself with the sense of his hands when weaving fine tsuzure-ori, and in the third year, experienced an internship in the Production Department’s Tsuzure Office at Kawashima Selkon Textiles. “At the production site, people act with productivity as well as quality in mind. I learned from seeing the efficient ’actions,’ such as how precise the ratio was when weaving a circle, how the craftspeople’s hands and legs moved differently whether they were weaving the ground or pattern, tips for weaving in the weft neatly, and getting advice from the craftspeople there.” The tempo of weaving with an accurate and constant rhythm, is unique to the production site. “The sound of weaving is also characteristic, so for tsuzure-obi, the rhythm for beating is ‘throw, beat, throw, beat,‘ and you beat only once, so the sound is stronger and louder.“ He then incorporated the skills he learned through physical experience into his work at the school.

He studied for another year, and went on an internship again. This time, he learned how to create designs, from an in-house designer at the Traditional Fashion and Accessories Development Group, and trained to draw smooth lines suited for each motif. At the same time, at school he wove a marble pattern that he designed himself, in a tsuzure-obi, and deepened his own expression skills.

marbling circle (2010)
“A tsuzure Nagoya-obi is in a rank where it can be styled with a Houmongi (visiting kimono) or Iromuji (single-colored kimono), but on the other hand, can be hard to style with a more casual kimono, so I designed this while paying attention to the balance of such things as the colors.”



◆ A landing point that is just right, to preserve weaving

Four years of devoting himself to tsuzure-ori. When he graduated in 2011, KTS was approaching the time of succession to a younger generation. He became a full-time teacher, hired in recognition of his skills and attitude pursuing tsuzure-ori. He has been in charge of tsuzure-ori classes in general, including the Professional Course, workshops, and workshops for overseas groups. In 2012, he was involved in the restoration of the "Chōjū Monyō Jinbaori [bird and beast pattern battle surcoat]" (Important Cultural Property), which is said to have been used by Toyotomi Hideyoshi (1537-1598), and was responsible for weaving the base using a technique called "shokusei," which is a type of tsuzure-ori.

What he keeps in mind when teaching is “That there is an accumulation of history, as Tsuzure-ori is a traditional skill of Kawashima Textiles, and has been taught from the opening of the school. To be aware of passing on the skills that have been inherited, and to teach the basics correctly.” He also has these thoughts. “I have only been a teacher for 10 years. Even as a weaver, learning never ends. In the traditional world, it is said that it takes many years to become full-fledged. But for those who want to take their first step, emphasizing the time it takes raises the bar, and could limit the scope, and I feel that would be a shame. When I look at the students, I see that they have ideas that come to them precisely because they don’t know weaving very deeply, and that they have fresh eyes that can take away fixed ideas, which some can easily get caught up with. If there is something they want to do, I want to help them with my knowledge, and support them to take on the challenge. In addition to that, the students from the overseas workshop group often use freestyle methods, even though it is the same tsuzure, and I feel their tsuzure-ori is for enjoying weaving. Their taste in colors and designs are very free, which inspires me, too.

"My feelings about preserving weaving grew stronger through my time teaching at KTS. I feel that way looking at my family, the school, and the textile industry. I want to convey the goodness of things that are made with time and care, and I want many people to take on weaving. What can I do for that to happen? As a teacher I want to respect the tradition, and at the same time broaden the scope and become an opportunity to ask, or start, without reserve. Every day I am searching for a landing point that is just right." says Kondo sensei.


"I chose a marble pattern because the naturally occurring lines are beautiful. I actually made a number of marble patterns, floating pigments on water and transferring them onto paper, and repeated trial dyeing and weaving."



-What does weaving mean to you?
"To straighten up*"

"When I sit at the loom, I feel the need to straighten up. If my heart is not at peace, I cannot face weaving, so I need to prepare myself. When I concentrate, I can immerse myself in a state of nothingness, which is also similar to how I feel when I am weeding (laughs). In both cases, I enjoy the time being immersed in it and just moving my hands. The reality is that it is difficult to make time for such things in our modern, busy, daily lives. That is why that time means so much to me."

*Eri wo tadasu = straighten one’s collar. An idiom derived from an account in Shiji, or Records of the Grand Historian



About the School: Tsuzure-Ori Series 1

February 16, 2021

About the School: Tsuzure-Ori Series 1 | What Makes the Tsuzure-Ori (Tapestry Weaving) at KTS Special?

This is the Tsuzure-Ori (tapestry weaving) segment of a series introducing Kawashima Textile School (KTS). In this segment we will introduce what the school's tsuzure-ori is today, through looking at the foundation of the school's tsuzure-ori, an interview with the teacher, voices from workshop participants from overseas, and an interview with a graduate who now works as a tsuzure-ori craftsperson. Part 1 is about the tsuzure-ori at KTS.

Tsuzure-ori is a weaving technique that is popular around the world, known as "tapestry weaving." In Japan, it is called "tsuzure-ori," and has evolved in a unique way in the Nishijin district of Kyoto, through production of obi, kimono accessories, and in later years, stage curtains. Tsuzure-ori is a traditional weaving technique which the founder of the school, Kawashima Textile Manufacturers Ltd. (now Kawashima Selkon Textiles Co.,Ltd.), specializes in, and is also one of the pillars of the school.

Underlying that is the depth of the history of tsuzure-ori that started at Kawashima Textiles Manufacturers. Back in the 19th century, second generation president Jimbei Kawashima II traveled to Europe and stayed at Manufacture des Gobelins (The Gobelins Manufactory) for several days. He noticed that the techniques used in weaving Gobelin tapestries were the same as those used in Japanese tsuzure-ori, and was inspired, with the idea that great results could be achieved by making the most of delicate Japanese handwork. By realizing the true value of tsuzure-ori, he improved the manufacturing method and designs, and in addition to obi, expanded the tsuzure-ori product line with interior decoration fabric and stage curtains, devised a unique gradation technique, developing tsuzure-ori into delicate and artistic textiles.

Those traditional skills of tsuzure-ori have been passed on to the school. Ikuo Takamuki, who had taught over 20 years since the opening of KTS (1973), had been a tsuzure-ori craftsperson at Kawashima Textile Manufacturers. The textbook he created to "accumulate techniques" and "share the information that had been handed down" are still incorporated in the classes today. In addition to such traditional skills, at the school, each student's artistic expression is valued, and the fact that they can create their work from both perspectives is a characteristic of the tsuzure-ori at KTS.

The weaving sample and explanatory drawing of the cartoon (the design placed underneath the warp for the weaver to use as a guide) that Takamuki-sensei designed and made for his classes. The fact that it covers the basics, and that students can learn the techniques step by step in this one piece, is why it has been handed down with care as teaching material, and is still made use of in classes today, after more than 40 years.
In the tsuzure-ori classes in the Professional Course, students can learn systematically, starting from basic techniques, to preparing cartoons and acquiring picturesque weaving skills through their individual project, to a group project creating a tapestry for daycare centers and elderly care facilities. Workshops are held regularly. There is a beginners’ course in which students make a frame loom and weave small tapestry pieces on it, and a basic course using a Nishijin tapestry loom. There are also workshops with an interpreter, for groups from overseas, organized according to skill levels and experience. The contents of hand weaving taught at the school has changed in various ways according to the times, but even so, the basics of tsuzure-ori has continued to be taught without interruption. Even the looms, which are special tsuzure-ori looms used by the Nishijin craftspeople, have continued to be used.

Additionally, what is the feature of making artwork at the school, which differs from making products at the company? It is to have the opportunity to expand one’s potential, by using the space, and time, to take on challenges. The degree of freedom and profoundness of tsuzure-ori becomes visible precisely because one develops their expression ability on a foundation of solid skills, and is still popular among students today. There is a group of artists who continue to visit from overseas, who say they are inspired by, and find value in the time and space to immerse themselves in weaving at KTS in Kyoto, and the experience of weaving on traditional Nishijin-style tsuzure looms.

The depth of tradition and the space to take on challenges. Wide, and profound. The fact that the school has a solid foundation, on which students can realize that about tsuzure-ori, is what makes the tsuzure-ori at KTS special.



"A large tsuzure loom in the Meiji era (1868-1912), which made large pieces possible. This was improved and devised by Jimbei Kawashima II, who was inspired by Gobelin weave. (Sugimoto 116)"
Jimbei Kawashima II toured silk weaving factories in Lyon, France, and stayed at Manufacture des Gobelins (The Gobelins Manufactory) in Paris, for several days. There, he noticed that the techniques used in Gobelin weave, such as how the weft was woven in so as to hide the warp, how the weft yarn would be turned back in the opposite direction without passing the whole width of the warp following the cartoon to create a pattern, was the same as Japanese tsuzure-ori.





Works Cited
Takamuki, Ikuo. 「綴織あれこれ」『SHUTTLE かよい杼染織技法の公開』 [Notes on Tsuzure-Ori] [SHUTTLE Kayoi-Hi Sharing Dyeing and Weaving Techniques]. Kawashima Shuttle Club, 1987. pp60-73
Sugimoto, Masatoshi. 「錬技抄」川島織物一四五年史 [Rengishō Kawashima Textile Manufacturers 145 Year History]. Kawashima Textile Manufacturers Ltd., 1989. pp103-14, 116
Topic Column, LETTER FROM KAWASHIMA TEXTILE SCHOOL No. 34 July-August 1993. Kawashima Textile School, 1993.

February 2, 2021

About the School: Internationality 10 | Interviews with Graduates

-Nurturing the lessons of weaving through making, and life -    Flora Waycott

KTS had opened its doors internationally since the very beginning, and the reputation as being a school in Kyoto where one can acquire reliable handweaving skills spread gradually by word of mouth from the participants. The final part of our Internationality series is an interview with Flora Waycott, who taught Prang, who we introduced in our previous article. Flora studied at KTS as an exchange student, worked as a textile designer in London, taught textiles in a university in New Zealand, and is now active as an artist and illustrator based in Australia.

"In my home studio in Australia."


Flora Waycott (English / Japanese)
Artist / Illustrator
Currently living in Australia
Courses: Tailored Course* (May to August 2003)

*The Tailored Course was a course offered to international students until 2009, arranged according to indivudual requirements. Since then we have shifted to ready-made courses.

-Could you tell us why you chose to study at KTS?

I was on an exchange program from my university in the UK Winchester School of Art for the third term of my second year. The teachers at KTS helped me to tailor my own weaving schedule for the few months I studied at the school. I took a 3 day dye course with Hori-sensei and learned how to dye skeins of silk yarn using synthetic and natural dyes. I then wove about 6 metres of a 'tanmono' length, using silk yarn I had dyed during the dye class. After this I wanted to learn the kasuri technique, so my tutor Sakurai-sensei helped me to create a length of cloth around 3 metres long with motifs of swallows scattered horizontally throughout. For this cloth, I naturally dyed my silk using 'akane' - the madder root. I also joined the first year students in their spinning class with Nakajima-sensei and spun my own wool.

-Could you tell us why you recommended KTS to your student, when you taught textile at Massey University in New Zealand?

I knew that my students who showed a keen interest in weaving would gain new perspectives at KTS and enjoy the creative processes which are so unique to Japan. My student Prang was always attentive and committed - a bright spark in my classes and very keen to develop her knowledge of weaving after graduating from university. I knew that going to Kyoto and studying at KTS would be a wonderful experience for her; not only would she learn to further her studies in weaving, but she would be living in a beautiful part of the world with endless inspiration. I was very happy to hear that she had taken the course and I hoped that she would make as many wonderful memories as I did.

Flora at KTS in 2003. "After dyeing skeins of silk with the madder root, I made a length of cloth scattered with swallows using the kasuri technique, taught to me by my tutor, Sakurai-sensei." 


-What do you remember most about your time studying at KTS?

My time at Kawashima Textile School left a deep impression on me and is an experience which I treasure and look back on fondly. I grew up in Japan as a child but I had never been to Kyoto, so to live there and to immerse myself in such a creative environment was a dream come true. Weaving is a slow and purposeful practice, and to see the care and attention the students gave to their work was very inspiring. We dyed our own yarn, even spinning it ourselves on occasion, before we even touched the loom...to have this control over the entire process of my weaving made the end result so much more rewarding. The school has an intimate environment; we all got to know each others' projects and I enjoyed watching everyone else's weaving grow and grow on their looms as the weeks went by, cheering each other on. I was very fortunate to be able to try many techniques during my time at KTS: dyeing, weaving, spinning wool and the kasuri technique which I had been curious about for a long time.

As well as enjoying my studies, I remember how warm and welcoming everyone was at the school. One day, along with a group of students, I visited the renowned Indigo dye artist Shindo Hiroyuki at his home studio and we dyed pieces of fabric together, using his indigo dye vats. The other students at the school became like a family. When I left, they gave me origami animals, letters, and small handmade gifts they had made for me, as well as a photo album full of pictures of us all at the school. I still have all of my momentos from that time.

-How has your experience at KTS influenced you?

I am grateful for the opportunity to study at KTS when I was a student; broadening my knowledge of textiles and building foundations for my creative career. My experience gave me direction, not only in my final year at university upon my return to England, but also towards my goal of working in the creative industry. The teachers and students at KTS instilled in me the benefits and rewards of paying attention to every detail of my work with care and I carry this through in my artwork and life as much as possible. I look forward to returning as soon as I can to participate in more courses, to keep learning and growing.

-What does weaving mean to you?

Weaving means taking care, and taking time. There is no need to rush weaving, in fact, you can't. It takes patience, dedication and commitment; it can be all consuming in the best way, if you let it. All of these things appeal to me...it's that feeling of time standing still when you are plunged deep into something you love, giving it all of your attention and getting lost in the process, allowing the outcome to evolve as you weave. It is a wonderful place to be. I am an artist and illustrator now, but I have a small loom so I can reconnect with weaving when I want to. Within the practice of weaving, there is much that can be carried through to everyday life. I always have this in mind when I am creating my artwork, remembering to take care and not rush.

"To me, painting and weaving are intrinsically linked - small details and thoughtful compositions are always present."



You can visit Flora's website Flora Waycott or follow her on instagram at @florawaycott



About the School: Internationality Series 1/2/3/4/5/6/7/8/9


Thank you for reading our Internationality series! Our next series, "Tsuzure-ori (tapestry weaving)" starts on Feb. 16, which we hope you enjoy as well.