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.

About the School: Internationality 9 | Interviews with Graduates

-Following in the footsteps of a teacher who had shown a Kasuri piece that she made-    Aroonprapai Rojanachotikul

The Internationality segment of a series introducing Kawashima Textile School (KTS). At KTS, which has international recognition in the handweaving community, unique connections have developed, in which students of former students who have since become educators in the textile field, come to study. In Parts 9 and 10, we will bring you interviews with a teacher and student. First, we talk to the student, Aroonprapai Rojanachotikul, about how she came to know KTS from her teacher, what was memorable about her studies, and what weaving means to her.

Aroonprapai organizing samples for her class

Aroonprapai Rojanachotikul (Nickname: Prang) (Thai)
Textile Artist and Natural Dye and Pigment Specialist
Currently living in Thailand
Courses: Natural Dyeing Workshop (2013), Beginners, Foundation Kasuri, Applied Kasuri I, II, III* (October 2014 to February 2015)
*now part of Applied Kasuri II

-Could you tell us why you chose to study at KTS? How did your teacher introduce you to our school?

After I graduated in Textile Design from Massey University in Wellington, New Zealand in 2012, I returned to Thailand. I trained and worked as a Brocade weave artist at Hariphunchai Institute of Handwoven Textiles. After a year, I realized I wanted to explore more on other weave techniques. Suddenly I remembered while studying at Massey, my teacher, Flora Waycott showed us her Kasuri weave she did while I was in my second year at university. She mentioned that it was KTS based in Kyoto, Japan.

I searched through the Internet and found KTS. I checked out workshops and courses that were available at the time for international students. I chose to apply for the Natural Dyeing "Colors of the Heian Period" workshop in 2013 first to survey the facilities, courses, and environment. I had such an amazing time at the school and decided that I will be back to do the Kasuri courses.

In 2014, I returned to KTS once again for a much longer stay. I was thrilled and excited so I contacted Flora instantly to tell her that I followed her footprint to Kyoto and found KTS. She wished me good luck and to enjoy my time in KTS.

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

All the staff and students were very friendly. They reached out and tried to help as much as they could. I met a group of wonderful people from various fields, some were already involved in textile, some were curious about textile and wanted to learn about it. We had fun traveling through Kyoto and learned about the life and culture together. I still recall vividly how Hori-sensei managed to help me through many, many colour corrections when my dye session wasn't going as planned. Friendships that came from many Japanese students that helped me out when beaming my kasuri warp on a super cold, gloomy and snowy day. They made sure that I ate, when I refused to come out of my loom while trying to finish my weave just before Christmas break approached. When I was sick, everyone was making sure I was alright. There were so many memorable moments for me while I was at KTS. I really consider it another home away from home.

"My work, and also small samples for the workshop I teach. It is a traditional technique for making Palm leaves manuscript cover, made as offerings to the temple. It is made by using bamboo strips and thread woven together. It is a combination of weave and crochet. This technique can only be found in Mae Chaem district in Chiangmai. Nowadays, only a few people practice this technique."

-How has your experience at KTS influenced you?

Since I am now also teaching, I think KTS has influenced how I teach. What I learned at KTS was to be thorough, accurate, and mindful in every process, which I think was a very good way to learn and be taught. Therefore, when I teach, I want my students to be well guided like I did when I was at KTS. It also helps my own personal practice to be systematic and detailed.

-What does weaving mean to you?

As time goes by, for me the meaning of weaving has changed a lot. Weaving was a way for my creative output to express myself, to connect mind and craft together. Sometimes, even as a stress relief remedy. Now, the connection between weave and I have deepened. I consider myself as a tool where I become a loom, my hands are the shuttles and my mind is doing all the threading and shafts lifting. It has certainly become more meaningful over the years. The bond between weaving and me, no longer stays just behind a loom and textiles I created. It influences my life philosophy and broadens my perspective. When weaving, mistakes were made and learned. Almost anything is fixable. That has become my principle and how I teach my students now too, to not be afraid of making mistakes and just go for it.

Follow Aroonprapai on instagram at @prang_aroon.

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

Graduate Exhibition 2020

Smokey Sunset　Beatrice Thompson*

*Please read our interview with Beatrice at the end of the post.

This year's Graduate Exhibition will be held from March 10 (Wed) to 14 (Sun) at the Annex of Kyoto Municipal Museum of Art. Please note that depending on the situation, dates are subject to further change. If so, we will announce them as soon as possible on our website.

Kawashima Textile School Graduate Exhibition
2020.3.10 (Wed.) -14 (Sun.)　10:00 - 17:00 Admission Free
*Please note that the opening hours have changed this year.
Annex of Kyoto Municipal Museum of Art (Kyoto-shi Bijutsukan BEKKAN)
Google Maps

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Measures to Prevent the Infection or Spread of Coronavirus

We will be taking the following measures to prevent the infection or spread of Coronavirus. We kindly ask for your understanding and cooperation.

Requests to Visitors
*Please wear a mask.
*Visitors’ body temperatures will be checked upon entry through thermography and/or thermometers (by Kyoto City). Those who have a fever over 37.5 cannot enter.
*Please write down your full name, address, and phone number upon entry (required by Kyoto City). Those who cannot cooperate will not be able to enter. (updated Mar. 3, 2021)
*Please wash and sanitize your hands.
*Please refrain from visiting If you have any of the following symptoms:
cold symptoms, strong fatigue, difficulty of breathing
-You have travelled to a region or country where COVID-19 is spreading, in the past 14 days.
*Please keep a distance of 2m from other visitors/staff.
*Please do not touch the artwork.
*Please refrain from having loud conversations.

Our Measures
*Staff will wear masks and check their temperatures.
*Hand sanitizer is provided upon entry.
*Handrails, coin lockers, etc. will be sanitized.
*There is a possibility that we will limit the number of visitors to prevent overcrowding.

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Interview with Beatrice Thompson (Australia)

We asked Beatrice, whose tapestry is shown in the exhibition images, about what life has been like since studying at Kawashima Textile School. Beatrice studied in the Foundation Kasuri Course and Applied Kasuri Course I to III in autumn 2019.

-Has your work broadened from your experience of learning Kasuri in Japan? If so, could you tell us how?

I left Kawashima Textile School feeling like a whole new world had opened up to me. I have long been fascinated by ikat textiles and understood on a basic theoretical level how they were created but could never get my head around how it was possible to keep all the threads aligned according to the designed pattern through all the different stages. It was wonderful to have the process explained step by step on practical level and I now feel like I have an excellent foundation to develop from.

In the past I have experimented with screen-printing photographic images onto the warp threads prior to weaving – so the imagery found on my work had a strong photographic quality about it. While at KTS I really enjoyed focusing more on geometric and abstract patterning and feel inspired to take that much further. Also, prior to studying at the School I did not have much experience with dyeing threads, I left feeling much more confident in this skill and look forward to doing much more dyeing in the future.

My time at KTS was the first time I had been to Japan and I absolutely loved the experience. It was very inspiring, and I hope to make my way back to Japan soon and also back to KTS to have the opportunity to have some dedicated focused time weaving and learning more kasuri skills. Like everyone I hope that the coronavirus will be brought under control soon.

-What have you been working on since your time at KTS?

I work full time so I do not have as much time as I would like to spend weaving and creating but I have managed to find some time to work on a few projects since leaving Kawashima Textile School in December 2019. In my last week at the School I prepared a kasuri warp for a wall hanging which I wove once I returned to Australia. The workshop spaces at KTS, the weave rooms and the dye studio were so fantastic and well equipped. Since returning home, I have mostly been doing some sampling and trying to figure out ways I can continue to explore the kasuri technique at home in a more limited space and with the equipment I have at home. In 2020 I also completed a couple of non-kasuri commissions – a tapestry wall-hanging and an upholstery job for which I shiboried some cloth. This year I would like to work towards creating some more wall hangings.


You can visit follow Beatrice on instagram at @beatrice_t_thompson

About the School: Internationality 7 | Interviews with Graduates

-Making things by hand in a space that connects the bistro with weaving-　Patricia Schoeneck

The Internationality segment of a series introducing Kawashima Textile School (KTS). We are bringing you interviews with graduates from all over the world who have various relationships with weaving. In this 7th part of the series, we asked Patricia how she came to study at the school from our partner school in Sweden, her impressions of the school, and as a bistro owner, how weaving exists in her everyday life, and what her job at the bistro has in common with weaving from a perspective of making things by hand.

Patricia Schoeneck (Swedish)

Owner of a bistro

Currently living in Sweden

Courses: Foundation Kasuri, Applied Kasuri I (May to June 2012), Applied Kasuri II, III* (October to November 2013) as a foreign exchange student from Handarbetets Vänner Skola

*now part of Applied Kasuri II

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

The school HV (Handarbetets Vänner Skola) where I did my weaving studies is a partner school with Kawashima and that was my first way in to discover Kawashima. As I read about the school I felt that it was a wonderful place to study and explore traditional but also modern handcraft in the field of weaving and dyeing techniques.

The atmosphere at Kawashima both impressed and inspired me. The atmosphere of taking creation, craft, and textile extremely seriously. It made no sound, it needed not, it was just there led by teachers and accompanied by the students.

-You first studied at KTS in 2012 and came back to continue studying kasuri after 1.5 years.
You wove a large work by yourself at home by combining the techniques you learned at KTS. Did you find any new points of views? You might have found something that you want to learn more clearly, by leaving once in terms of place and time. Perhaps, such a sense of distance may lead to your current lifestyle between working at a bistro and weaving.

Both at Kawashima and in Sweden I had so many ideas and visions about things I wanted to create. Since both dyeing and weaving are pretty time consuming it is not possible to realize every big idea that was growing in my head. I think, when looking back, I had to complete a big work first in order to start making smaller works, samples. And working like that enabled me to create and realize more of my visions. Now in my current lifestyle I might be leaning towards both ways of practicing weaving and creating in general. Since running a bistro takes almost all my time I need to have small/short textile work that is realistic for me to complete but I also need a big over-years-lasting work that I can return to whenever I have some time left.

-How has your experience at KTS influenced you?

It gave me patience and confidence in my ability to succeed towards my visions within weaving, dyeing and overall projects in life.

-How do you use the skills learnt at KTS in your career, life, etc?

I try not to rush, I source to take away unnecessary work or objects that risk to stand in conflict with my final goals or visions.

Elfviks Gård Bistro

-Could you tell us the background of renting an atelier, starting to work at a bistro, and then becoming the owner? Perhaps this lifestyle works well for you, as a mother of a small child?

Both the atelier and the bistro are situated in the countryside at a sheep farm. I love nature and old buildings so when I one summer day found that place I knew I wanted to work there. As weaving is hard to make money off of, I had to find other ways to be able to earn my living, especially because my partner and I wanted to become parents soon. So when the former owner of the bistro wanted to leave, I said I could take over. Soon after that our son was born. It is a lovely way to live, although it is very hard and means a lot of work, but I wouldn’t want it any other way.

-From the view of creating things by hand, your bistro job and weaving seems to be related somehow. Do you feel that way?

My bistro job and weaving are related in several ways I think. They are both hard works, takes a lot of time, a lot of unreflected time when you just do what you have to do to accomplish what you started, but they also consist of and start with an idea, a thought, or just a feeling. I bake a lot of buns, cakes, and cookies, and I feel, just as repeatedly that it is, still, satisfaction. Because every once in a while or very often I get the same feeling that weaving gives me. For example, running the bistro is like working with my hands, having something in front of me, a lot of routine, making the same things over and over again, but also here and then, as twinkling stars, the feelings of creation appear and kicks in right to my heart, just like weaving.

-What does weaving mean to you?

At this moment weaving has a small part in my physical day to day life. I run my bistro everyday, with all the work that comes along. But my weaving studio is situated just above the bistro, and every once in a week I go up to the attic and enter the studio and breathe, deep breaths. I know that in a short future of time I will be working there again. Until then I inhale the wonderful scent of fibers and loom and dream about my next textile project.

Visit the Elfviks Gård website or follow Patricia on instagram at @patriciaschoeneck and @elfviksgardsbistro.

Patricia's "Student Voice" article from 2013, with photos of her work in the KTS Graduate Exhibition.

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

About the School: Internationality 6 | Interviews with Graduates

-Looking at the fusion of cultures, and exploring the possibilities of weaving spaces-　Rosa Tolnov Clausen

The Internationality segment of a series introducing Kawashima Textile School (KTS). Over four weeks starting from Part 4, we are bringing you interviews with graduates from all over the world who have various relationships with weaving. In this 6th part of the series, in addition to how she came to learn at KTS, what influenced her, how she uses the skills she learned, and what weaving means to her, we asked Rosa Tolnov Clausen about the idea of practicing a completely different approach to seeing weaving as a space, and her motive behind holding the workshop "Everything I Know About Kasuri," instead of weaving her own piece, which is what is usually done as the final project at KTS.

The Weaving Kiosk project. A series of nine temporary weaving spaces 2017-18 in Denmark, Sweden, Finland, and Iceland. Photo: Johannes Romppanen

Rosa Tolnov Clausen (Danish)
Textile designer and PhD student
Currently living in Sweden and Finland
Courses: Foundation Kasuri, Applied Kasuri I, II, III*
(October to December 2013)

*now part of Applied Kasuri II

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

I already knew about Kawashima Textile School. I cannot completely remember from where. But I was definitely aware that my friend Johanna was at KTS in the previous year and I knew that I also wanted to go. I saw a stay at KTS as a perfect opportunity to visit Japan and at the same time to get practical insight into the Kasuri technique. I had already been interested in Kasuri for a while and had made a research project about it during a school exchange to Aalto University in Finland in 2012. As a matter of a fact Finland has a Kasuri tradition as well, but in Finland it is called Flammé (Flame). Finnish weavers have used very simple Kasuri variations in different folkloristic costumes. But Flammé is to my knowledge not taught anywhere in Finland. Studying at KTS offered the possibility to go to Japan for a longer period of time and gain some insight in Japanese textile traditions and be introduced to practitioners in the field.

-How has your experience at KTS influenced you?

Being part of the environment at KTS and being in Kyoto was an incredibly stimulating experience for me, which I still draw on in my work.

I did a quite alternative project at KTS, which was about cultural exchange and aesthetic development, but departing from weaving. Basically I invited people in Kyoto for a pop-up Kasuri workshop called “Everything I know about Kasuri.” The idea was to use the Kasuri technique as a catalyst for cultural exchange. Arguing for the project, receiving the trust and support from the teachers at KTS and actually conducting the project in Kyoto, have definitely meant increased confidence in my ideas, which has affected most of my projects since.

Flammé textile sample from the collection of Dräktbyrån Brage, Helsinki.
Photo: Rosa Tolnov Clausen

-Was your decision to hold a workshop as a final project at KTS connected to your previous experience to create spaces and/or teach to share with people? Could you tell us your thoughts behind the idea of creating spaces?

When I came to KTS I had just graduated from the Master’s programme as textile designer from Kolding School of Design in Denmark. My graduation project in Denmark was a collaboration and co-design project with blind and visually impaired weavers. Through that project I became aware how the weaving space in addition to being a productive space, also holds other meanings for the people who weave, for example as a social space to be among others and as a physical, material and creative space in an increasingly digitalised world. It has been my interest since then to explore these additional meanings of the weaving space through my projects.

When I came to Japan and especially Kyoto, I was so fascinated by the presence of handcraft in urban space. When I walked around, I saw professional craftsmen sew, weave, hammer etc. as a completely natural part of a highly modern and digitalised urban landscape. It felt like the handmade and the digital could co-exist. Furthermore there were textile workshops open for participation around the different cities I visited. People were printing, knitting and weaving.

Lastly I had this almost physical feeling of aesthetic development taking place in and around me. I myself was inspired and influenced by the Japanese culture and fashion, and at the same time I could see many Japanese people and brands being inspired by the Nordic/Scandinavian culture. We interpret each other and the outcome are fusions, which are not completely Nordic or Japanese, but something new.

These were the impressions and the background that the “Everything I know about Kasuri” workshop grew out from. I wanted to create a textile workshop in urban space, which could serve as a moment of cultural meetings and exchange.

-Were there any points you were careful about,culturally,with aspects as a foreigner teaching another country’s tradition?

Yes, certainly I was very aware and very, very careful of not claiming to teach Japanese people about Japanese culture as a Dane, having only spent three months in Japan. That was why the workshop was called “Everything I know about Kasuri” and not “Everything there is to know about Kasuri.” I did not want to pretend to be an expert after only two months of education. Also, when I gave the introduction to the participants in the workshop I emphasized the Finnish history, which I knew better and which would maybe add something the participants did not know.

Everything I Know About Kasuri workshop in Kyoto in December 2013. 
Photo: Kohei Usuda

-Could you tell us more on how your confidence increased through your workshop experience,and how it has affected you afterwards?

Based on all these impressions that I describe above, I had a very strong intuition that a workshop would be the right project as a final project at KTS. But maybe because it was such a different approach from weaving my own work and/or maybe because of the risk of overstepping cultural borders in an inappropriate way, not all the teachers were completely convinced about my idea. I was asked to create a time plan of how this project could be realized. I did that and then I got an OK from the teachers and they helped me very much in the planning process and for example when I had to find supplies or make contact with somebody.

Teachers and students from KTS came by the workshop. All in all the experience of following a gut feeling, trusting it and working hard to realize a vision in a foreign context and then succeeding, I felt, gave me a lot of confidence both when it comes to trusting my ideas, but also when it comes to trusting that I am able to do what I set my mind to.

-Has your experience at KTS influenced you in your academic and professional career? If so,could you describe how?

I think mostly in the sense described above concerning self-confidence. Furthermore, though my first visit at KTS and in Japan, I developed many private and professional relationships that have helped me very much and made it much easier to come back to Japan both in 2015 and two times in 2017. In 2017 I was invited to host a series of workshops in 21st Century Museum of Contemporary Art, Kanazawa in 2017 in occasion of the celebration of 150 years of diplomatic relations between Japan and Denmark and former KTS student Kanako Watanabe and Tokyo based photographer Kohei Usuda really supported me very much.

-What does weaving mean to you?

My relationship with weaving is constantly changing. When I started weaving I felt something fall in place. It was fun and I felt that I was good at it. Over time it has become my way of living and is part of everything I do in my profession. Today I mostly create spaces where other people can weave, rather than my own textiles, but I imagine that this will even change over the coming years.

Export/import workshop at 21st Century Museum of Contemporary Art, Kanazawa, in 2017.
Photo: Kohei Usuda

You can visit Rosa's website at rosatolnovclausen.com

About the School: Internationality Series 1/2/3/4/5

About the School: Internationality 5 | Interviews with Graduates

-From an indigo workshop in Thailand to KTS, making in a way that suits the land and lifestyle-　Zazima Asavesna 

The Internationality segment of a series introducing Kawashima Textile School (KTS). Over four weeks starting from Part 4, we are bringing you interviews with graduates from all over the world who have various relationships with weaving, where we ask about how they came to learn at KTS, what influenced them, how they use the skills they have learned, and what weaving means to them. This is Part 5 of the series.

"At the previous family indigo workshop in Sakon-nakhon where I first learned about indigo vat dye. The Indian indigo (indigofera tinctoria) is local to the area, they were planted, harvested, and made into indigo paste here. These small earthen jars contain indigo vat dye, normally a small skein of yarn can be dyed once or twice a day per jar."

Zazima Asavesna (Thai/German)

Textile artist, Natural dyer, Designer & maker of a small apparel business

Currently living in Thailand

Courses: Beginners, Foundation Kasuri, Applied Kasuri I 

(May to June 2013)

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

I started my career life as a small animals veterinarian , got married and moved to my husband’s hometown in Sakon-nakhon, where the family had been practicing natural indigo vat dye for over 20 years. There, I got the chance to learn about natural dyeing and tried my hands at indigo and other natural dye dyeing which later led me to the interest of textile weaving. My first experience of weaving on a floor loom was led by a few local artisan women who were so kind and very pleased to share their knowledge with me. There were absolutely no theories, I just copied what I see.

After that experience, I had so many questions and I was eager to know about the possibilities of weaving, so I started to look for a place to learn how to weave. Without knowing if a weaving school really existed anywhere on earth, I accidentally found KTS on the internet. I knew right away this is the place I am looking for. The school was located in one of my favourite towns I’ve ever been to, plus a wonderful location near nature, not so far from the city, where Japanese culture/contemporary art and lifestyles also took place. I was so excited to get to know more about the principle of weaving, the Japanese weaving tradition and also excited about the small international students community where there is a chance to get to know people from different backgrounds and weaving traditions.

-How has your experience at KTS influenced you?

Being surrounded by a group of textile enthusiasts of different ages really inspired me. Our energy was exchanged, I felt connected and welcomed to the world of textile weaving regardless of my past and background. Not only engaging with international classmates, I also made friends and secretly observed the long term talented Japanese students who are working on their amazing projects next door and upstairs. I was mostly amazed by the Tapestry class taking place in the 2nd floor atelier. It was the very first time I ever saw a tapestry being woven from a cartoon (draft) in real life.

Being a self-taught artist, KTS gave me the confidence to weave, the confidence to start learning and seeking new knowledge in life. After that spring I decided I want to seriously weave and was determined to make time and plans for my future so that I can spend time on my weaving projects and make a living out of it.

Tiny tapestry portrait #014 (left) #016 (right) (2020)

“My first solo exhibition at Ranlao Bookshop Chiangmai, Thailand in 2018. The concept was about self exploration of feelings in the era of social media. The exhibition displayed 6 pieces of handwoven textile made with traditional floor loom and tapestry frame loom. All of them were dyed with my favourite natural dye, indigo. The technique seen in this photo is a stencil dyeing technique using rice paste."

-How do you use the skills learnt at KTS in your career, life, etc?

I often work with local natural materials such as cotton, hemp and locally harvested natural dyestuffs. In my early years, my work involved dyeing a piece of simple plain weave cloth with a resist-dyeing technique. For me, weaving plain weave is quite stressful because it is the most simple form of weaving which easily shows a lack of skill of the weaver.

I don’t own a western loom so I kind of adapted the knowledge to what I have. With my loom (Isaan traditional floor loom), I aimed for the same results such as even warp tension, nice and even edges, how to fix the broken warp neatly etc. keeping in mind “Anybody can weave, but not everyone can weave a beautiful textile” the concept my awesome teacher shared with me at KTS. It reminds me that I should try to improve my skill whenever I can.

My personal belief is that the efforts and skills you put into the textile you are weaving is as important as the imagination or the ideas behind it. Art and craft doesn’t have to separate itself from each other. I have been wanting to learn tapestry weaving so badly for the past few years but never got the chance, so 2 years ago I made myself a nail loom from a canvas frame and started learning by myself. A year later I discovered that I really enjoy weaving tiny human portraits (some may have embroidery details added) and since then I have been continuing doing so. Tapestry was not the skill I earned from KTS, but I know in my mind it all started from there.

-What does weaving mean to you?

Weaving is like a journey into myself, a self exploration. By sitting there and repeating the body movements, instead of traveling with your body, your mind travels. Physically I am trying to find the balance of my body rhythm.In many occasions It allows me to explore my thoughts, my emotions and feelings. Sometimes I feel like I am in a battle, a battle with things that will constantly go wrong. Whatever the result will be, you have to accept it.

""Isaan floor loom"
The loom is an old traditional loom made of hardwood by a local carpenter. It originally belonged to an old lady who passed away, then was passed on to another weaver who used it as a spare loom before it was left unused. The reed, heddles, shafts, and treadles are attached to the loom with ropes and bamboo sticks. The tension is made by tying the warp into a knot directly to the loom and manually released and pulled by hands.

Follow Zazima on instagram at @zazieandherloom and @wildinstagram.

Zazima's "Student Voice" article from 2014, with photos of her work in the KTS Graduate Exhibition.

About the School: Internationality Series 1/2/3/4

About the School: Internationality 4 | Interviews with Graduates

 -From being an industrial designer to a student at KTS, then at a postgraduate school in the UK-    Tiffany Loy

The Internationality segment of a series introducing Kawashima Textile School (KTS). KTS is widely known throughout the weaving community overseas as a school where people can learn handweaving. 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. Over four weeks starting from Part 4, we will bring you interviews with graduates from all over the world who have various relationships with weaving, where we ask about how they came to learn at KTS, what influenced them, how they use the skills they have learned, and what weaving means to them.

The Weaverly Way (2020)
The site-specific installation employs a weaver's approach to conceptualising and building sculpture. The piece was produced in collaboration with British heritage silk mill Gainsborough Weaving, and presented at London Craft Week 2020.

Photo: Ed Reeve

Tiffany Loy (Singaporean)

Independent designer, artist

Currently living in Singapore

Courses: Beginners, Foundation Kasuri, Applied Kasuri I, II, III* 

(May to July 2015)

*now part of Applied Kasuri II

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

I was working with textiles as an industrial designer, when my interest for textiles grew. I wanted to take a step further and learn how textiles are constructed so I searched online for short weaving courses. Eventually I found Kawashima Textile School’s website and was impressed by the work of its graduating students, so I applied. Also, I wanted to be immersed in another culture while learning this new skill.

-How has your experience at KTS influenced you?

At the start of the course I had thought of it as a study-holiday, a fruitful 3-month getaway. The knowledge of textile construction was to be helpful for my textile-based projects in the future. I had no intention to continue weaving when I returned to Singapore, considering the amount of equipment it required. However, at the end of Applied Kauri Course III, which was coursework-based, I was confident that I could manage my own weaving projects, and was excited to take these skills further. It felt like a real pity to stop weaving at the end of the trip. I then decided to set up a mini weave studio back in Singapore and show the local design community my woven work.

"Pastiche (2018)
"Pastiche was a piece of handwoven fabric employing nassen gasuri technique. It was used as the covering for a beanbag. The 1-off piece was created for furniture brand Zanotta, as part of their 50-year anniversary celebration of their Sacco beanbag design."

-How do you use the skills learnt at KTS in your career, life, etc?

Through the courses within a 10-week period, I had gained a solid foundation of weaving and dyeing techniques which enabled further self-directed learning later on. I still refer to the notes I had taken then, when I compare methods of working. I continued to practice and expand on the skills I learnt, and incorporated them into my design projects. Shortly after my return to Singapore, I exhibited some woven tapestries at a local exhibition, and met the first client who engaged me to create woven designs for his brand. I was optimistic about my pursuit in weaving as a profession. 3 years after the course at KTS, I felt I was prepared for another learning adventure. There are no textile mills or institutions in Singapore, so to gain more technical knowledge and skills, like design for jacquard weaving, I had to go overseas again. This time I managed to secure a scholarship from DesignSingapore Council to study at the Royal College of Art in London. Taking a masters course meant that I was meeting other students who had learnt weaving elsewhere, and it was interesting to observe the differences in our approaches in weaving. Having strong foundation skills acquired at KTS allowed me to be more experimental while at RCA, since I was familiar with each step, and how changes affect overall results.

-What does weaving mean to you?

As I had received earlier training in product design before learning how to weave, I was always very aware of the differences in approaches and applications. When weaving, I feel compelled to look very closely at the project, sometimes through a counting glass, but I must also zoom out and look at the fabric as a whole surface, and object. Toggling between the 2 points of view is something I find very unique about the weaving process; there are 2 different modes of seeing. Also, weaving as a skill is by no means restricted to fabrics. To me it is a way of building, of assembling lines to form surfaces and volumes. Looking at it in this abstract way, we can apply skills related to weaving to other forms of art and design, like sculpture, or architecture.

"Lines in Space (2019)
"Lines in Space was a project completed at RCA. It's about reducing the fabric surface to minimal lines, and exploring leno weave structures."

You can visit Tiffany's website Tiffany Loy or follow her on instagram at @tffnyly

Tiffany's "Student Voice" article from 2016, with photos of her work in the KTS Graduate Exhibition.

About the School: Internationality Series 1/2/3

Katarina Öberg

My trip to Japan started in Okinawa. The very first day in Naha, I went to a weaving center, and was able to see Japanese looms and even try them myself. I didn’t try Kasuri, but I saw it and was very fascinated.

After two weeks of traveling around in the south of Japan, I came to Kawashima Textile School and started the Kasuri course. By introduction of my teacher, Emma-san, I really learned how to do it the Japanese way. I became more skilled as the days went by. It was a:

New way of warping
New way of winding
New way of threading the heddles
New way of sleying the reed
New way of tying at the back
New way of arranging threads
And binding the kasuri

The hardest part was to do the bindings tight enough. “A little bit tighter,” my fingers were all numb.

When the binding was all done, we dyed with Hori-sensei. It was such a nice and well-organized dyeing room.

After four weeks, I understood the basics of Warp Kasuri, Weft Kasuri, Zurashi Gasuri and Nassen Gasuri.

For the last four weeks, I worked on my own project. I wanted to use different materials from what I use at home, and decided to use ramie and silk. Since I have always liked clothing, naturally I thought of a kimono, while in Japan. But there was not enough time. Maybe I can do a little bit less, a Haori (jacket).

My teacher, Yamamoto-sensei, helped me to get it all started. Even if we do not have a common language, we could communicate between the threads.

To weave on a Japanese loom, where everything is loose, is quite different from a Swedish Öxabäck loom. I was taught how to use three shuttles at the same time, to get a uniform fabric.

Together with Emma-san, I went to a tailor to leave my own fabric, which I have worked so many hours with. – Please make me a Haori. I was so lucky that I had a translator – Emma-san.

At the end of the year I went back home to Sweden. After a couple of weeks I got to know that the Haori was ready. I was very curious about what it looked like. From the exhibition I got a few photos of the Haori and all the other nice textiles by the students. But I did not actually see the Haori until one day in April. A flat package arrived from Japan. When I unfolded it I was quite nervous, but it looked even better in real life. Now it hangs on a wall in my house to look at every day, and I am really proud. I am looking for a good moment to wear it, but it has not appeared yet. Maybe I have to go back to Japan for a suitable situation.


from the KTS Graduate Exhibition, Kyoto Municipal Museum of Art, March 2017

Apart from weaving, my best memory from Kawashima Textile School is the afternoons: the question hour between four and five. Since I stayed in a room outside the school, I had to cook my own food for breakfast and dinner. It was very interesting, and there were so many new things to try. Vegetables, fruit, fish, and packages I have never seen before. Nearly every day I had new questions about food and recipes. How to cook tofu, all different kinds. And what is the best natto.

Thank you all teachers in the teachers’ office, for so many pieces of good advice. A special thanks to Kazumi-san, always doing a little bit extra and searching for interesting things to do and see.

Katarina Öberg (Sweden)

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Katarina was an exchange student from HV Skola (Sweden) and studied in the Foundation Kasuri Course and Applied Kasuri Course I to III in autumn 2016.

Amie Andrews

Natural dyeing in the Beginners course

It was likely inevitable that I would grow to love and appreciate textiles in the way I do now—given the eclectic mix and plentiful supply of fabrics which surrounded me from a very young age—as my mother pieced and appliquéd unique and beautiful patchwork quilts at home. This passion for textiles passed from mother to daughter and ultimately led me to pursue studies with a focus on the arts, in the field of fine arts and thereafter textile design and printing.

Whilst absorbed in the study of textiles I came across the remarkable work of Sheila Hicks and Annie Albers and it left me eager to learn more of the art and craft of weaving.

I began weaving on the most basic of pin looms and it’s simplicity had me hooked in an instant. I wove simply with myriad threads and found the process no matter it’s method magic. What followed? A brief introduction to table loom weaving and an enduring passion and obsession for tapestry weaving thereafter.

Having chanced upon a reference to the Kawashima Textile School in VÄV magazine—a terrific resource—my curiosity got the better of me and with the encouragement and support of family and friends I applied. One year later and I could hardly believe I was travelling to the wondrous Japan.

I had never travelled before and to do so on my own, well, the experience was overwhelming in the best way imaginable. I was the foreigner (Gaijin) who talked too loudly, laughed often, dropped anything and everything and blew my nose—regularly—in the company of others. I understood very little of the Japanese language but it did not prevent me, nor local students, staff and the wider public from conversing, albeit with a cheeky grin and much laughter.

We were a group of seven women undertaking the international beginners course in the Spring of 2016 and we were in excellent company with teachers (sensei), staff and fellow students alike all incredibly warm, welcoming and good humoured. To learn the art and craft of weaving in the company of such wonderful creatives made the experience all the more enjoyable.

Learning was well paced with great emphasis placed on comprehension of the fundamentals and encouragement from the outset to strive for one’s best. Weaving would require a great deal of patience and concentration and we were gently cautioned that a mistake at any stage, when preparing for and when weaving, will inevitably cause a fair amount of grief later on. Suffice to say the process of dyeing and weaving appeared straightforward in the hands of our competent teachers and yet took a fair amount of due diligence to get right. Mistakes were made but overcome with the help and assistance of patient and forgiving teachers (sensei) and aides.

I feel immensely grateful to have been able to have attended the Kawashima Textile School in Kyoto and truly fortunate to have been able to learn the fundamentals of dyeing and weaving under the expert tutorship of the dedicated craftswomen and craftsmen of the Kawashima Textile School. The work done here is beyond measure.

Experiences—both solitary and shared—friendships forged and recollections of my time in Japan will remain with me for a lifetime and will be remembered with great fondness.

Dormitory and cafeteria
A choir of frogs outside my dormitory window were keen for me to rise early each morning but I would have done so regardless given how eager I was to start each day. Little time was spent in my dormitory room as I was either too busy weaving, eating delicious food in the cafeteria, making a fool of myself with students and staff alike or exploring Ichihara and further afield.

To stay within the dormitory in the company of the students and staff was a wonderful experience and one I would have been sorry to have missed. Sampling treats and snacks of all varieties and playing card games with the good humored students—it was great fun!

Daiyokujou
I was keen to experience the traditional bath or "daiyokujou" on day one of my stay but only managed to submerge one foot, which turned a shade of crimson instantaneously, before thinking better of it, for the first night at least. My second attempt saw me knee deep—that’s both knees—but only for a matter of seconds. Third time worked a charm and I was in up to my neck and frightfully still, if not a little numb. I emerged from the steaming onsen red and white all over with a grin from ear to ear. I looked forward to the onsen thereafter and I am longing for it now I am back at home.

Amie Andrews (Australia)

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Amie studied in the Beginners Course in spring 2016.

Nanny Rådenman

My fascination with textiles started as a young girl growing up in a small mountain village in the north part of Sweden. My mother, who is a seamstress and weaver, always had different textile projects in the making and I loved watching her create. After primary school I studied clothing design and pattern design for three years. A few years later, I applied to HV Skola and entered a new world of textile. For three years I learned weaving and embroidery and fell in love with the craftsmanship. I graduated from HV Skola in the spring of 2015 and was granted a scholarship to go to Kawashima Textile School.

My arrival in Japan was something I had dreamed of. Just walking down an ordinary street was something totally different from anything I had experienced. The architecture, the colors, and the close feeling to nature gave me so much joy and creative energy.

At Kawashima I had the pleasure of meeting fantastic teachers as well as students that made my stay very joyful. It was very interesting to learn the Japanese way of weaving and work with kasuri. Kasuri was for me a new way of working and I am so happy to have that with me. The differences between the way I learned weaving at HV school to the way at Kawashima was mostly in the little things. Learning a new way of doing something that you are so used to was harder than I thought. After my stay at Kawashima, I find myself combining the HV style and Kawashima style of weaving, figuring out my own way.

When I look back at my stay, it is filled with love. All the amazing people I met, the Japanese culture that I am so happy I got to be a part of for a few months, and of course all the fantastic textiles I saw in the journey. So much inspiration to take back to Sweden and continue working at my loom.



Days Spent
In this piece I wanted to capture the time that I spent in Japan. My memories from traveling around the country are all strong and filled with colors. During my time at Kawashima Textile School, I really loved working with kasuri and especially fell for the simplicity that kasuri can convey. That simplicity suits me, making it look easier then it actually is.

Nanny Rådenman (Sweden)

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Nanny was an exchange student from HV Skola (Sweden) and studied in the Foundation Kasuri Course and Applied Kasuri Course I to III in autumn 2015.

Tiffany Loy

I studied industrial design in Singapore, and was always interested in machines, the process of making things, and how things work. My interest in textiles began 3 years ago, when I started exploring the design of soft goods. I wanted to learn how to weave because I believe it’s the best way to understand textile as a material - to experience making it myself. As I searched for courses online, I kept in mind what I wanted to learn - not just the techniques related to weaving, but also to understand the design sensibilities in the field of textile design, in another part of the world. I liked the graduation works presented on KTS’s website, and was curious to learn more about the Japanese sense of aesthetics. It’s also a good chance for me to learn and practise a new language!


Beginners Course

In the 3 months I spent at KTS, it felt like I was developing a sort of relationship with the process of dyeing, yarn preparation, and weaving. A familiarity was built over time, and I began to understand how intuition can be developed, project after project. Different types of yarn behaved so differently, and the same colour could appear more interesting if the selection of yarn is appropriate. Going through the courses progressively, I was exposed to techniques of varying complexity, in a very organised and structured manner. In the last 3 weeks, I attempted my first coursework and created a large piece of tapestry under the guidance of 2 senseis. I enjoyed our discussions on yarn choice, weave structures and overall visual effects. Indeed there was a great sense of satisfaction at the end of it!

Precious friendships were fostered over the 3 months, with students and staff alike. Meal times were interesting, as I observed the cultural differences and try conversing in Japanese. The local students would show me their projects and sometimes we will discuss the challenging aspects of different techniques. Hanging out with them on the weekends, I always had such a great time exploring Kyoto and meeting other creative people in their exhibitions.

I have grown from my experience living in Kyoto and studying at KTS, both professionally (now that I have new skills to apply in my design career), and personally. Interactions with all the people I have met in these months have given me precious memories to keep.

from the KTS Graduate Exhibition, Kyoto Municipal Museum of Art Annex, March 2016

Between Warp and Weft (left)
Though textiles are often viewed as a single surface, they are in fact many layers of material intertwined. This piece of tapestry exhibits the different layers of color and material within - the warp, the additional layer of color applied onto the warp and the weft. Appearing to be between the warp and weft yarn, the blue-green rhombus highlights the weave structure, and draws attention to the texture created by the weaving.

Behind the Screen (right)
This tapestry explores the idea of seeing the weft yarn as a layer of material over the warp yarn –perceiving the two as different layers, though they are intertwined. The blurred form painted on the warp yarn serves to suggest depth in the tapestry, further separating the viewer’s focus on the two different yarns.

Tiffany Loy (Singapore)

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Tiffany studied in the Beginners Course, Foundation Kasuri Course and Applied Kasuri Course I to III in spring 2015.

TiffanyLoy.com

Zazima Asavesna

Just only a few years ago I became interested in textile weaving. It started with the passion that I have for natural dyes.

I live in an area where the use of traditional textile and the practice of hand weaving is common, therefore people around me tend to be surprised when they heard about my decision of going to Japan to weave.

It actually turned out to be one of the best and worthwhile decisions I've ever made.

In the Beginners and Foundation Kasuri Course I've gained a lot of important fundamental knowledge that I think is going to be very useful for creating works in my entire future. We were taught to aim for perfection even when we know it will not turn out perfectly. I found that I've learned to appreciate the sophistication and refinement of fine textile crafts.

Applying what I learned from Japan with my local loom and weaving tools at home is a big challenge for me. The more I tried the more surprises I found.

Being surrounded by the energy of textile enthusiasts is a very special feeling. Seeing all the looms and weaving tools in the studio, observing students' works in progress, making new friends, exchanging thoughts and ideas, seeing indigo plants outside the window growing bigger every day, being so close to nature and wildlife, going to galleries and craft markets, visiting textile artists' studios are some of my impressive memories at the time of my study at Kawashima Textile School.


Borderless Borders

from the KTS Graduate Exhibition, Kyoto Municipal Museum of Art, March 2014

I am touched by the existence of harmony between different cultures. I have tried to integrate the knowledge of kasuri with the practice and tools of Thai Mud-Mee weavings. Inspired by a simple weft ikat line pattern that is commonly seen on the bottom of traditional women's skirts in the north-eastern region of Thailand, this line is known as "dan." It literally means "border."

on the loom

Zazima Asavesna (Thailand)

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Zazima studied in the Beginners Course, Foundation Kasuri Course and Applied Kasuri Course I in spring 2013.

Katja Beckman Ojala

I have studied textile art and have graduated from HV skola in Sweden, where I majored in weaving and embroidery. My work is very sculptural and I like to work with the body. Coming to study in Kyoto was a great experience for me. I met a lot of lovely people in the beautiful surroundings. It was the first time I tried Kasuri techniques, and you have to put a lot of love and time in it.

from the KTS Graduate Exhibition, Kyoto Municipal Museum of Art, March 2014

My work is based on my travel around Japan. How the nature is very close, even in the big cities. I loved being surrounded by the mountains all the time.

I found it very interesting how Japanese art history differs from the western one. How a picture is built up and that the empty spaces are just as important as the motif.

I studied at Kawashima Textile School for two months. I fell in love with Kyoto and I wanted to bring a piece of the city back home in my piece. I have used different Kasuri techniques that I learned at the school. The shapes of the woven pieces are inspired by obi belts. I think they are a piece of art on their own.

Katja Beckman (Sweden)

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Katja was an exchange student from HV Skola (Sweden) and studied in the Foundation Kasuri Course and Applied Kasuri Course I to III in autumn 2013. You can see and read more about her stay in Japan on her blog: Katja Beckman