Shifu Weaving Workshop (Jul. 13-17)

We will begin accepting applications for this year's Shifu Weaving workshop (Jul.13-17) at 10AM (JST) on Thursday Feb. 12. Prerequisite skills for the course are weaving, warping, and experience setting up a floor loom.

Seats will be available on a first-come, first-served basis, so we recommend preparing the following in advance:
-Information of an emergency contact person (address, phone number, email).
-A photo of yourself. A 3.5cm x 4.5cm, color, JPEG file under 400 KB. The background should be white or light-colored. You must be facing forward, without a hat/cap, or sunglasses.
-Please read our “Information about Meals” and “Terms and Conditions” prior to applying.

If you have any questions, please use the contact form.

Workshops in February 2022

We will be holding two workshops in English next February:

Shifu Weaving
Natural Dyeing

These workshops are open to people living in Japan.

More information about the course and application procedure can be found on our Workshops page. Please use our contact form if you have any questions.

Workshops in English this November!

We will be holding two workshops in English this November, a basic weaving course and a Kasuri (Ikat) course.

Introduction to Weaving
Introduction to Kasuri

The Kasuri course is popular with students from overseas as a rare opportunity to learn Japanese Kasuri in English. We are opening this course to Japanese residents this year.

Japanese people who would like to study weaving terms in English are welcome to join. The class will be held in English only, and conversational-level English proficiency is required.

More information about the course and application procedure can be found on our Workshops page. Please use our contact form if you have any questions.

About the School: Tsuzure-Ori Series 6 | Voices From Members of an Overseas Group -Jenny Gillis

Creating a Little Bit of KTS in Her Studio

At Kawashima Textile School (KTS) where there is a foundation of traditional tsuzure-ori, we arrange tsuzure-ori workshops for groups from overseas. KTS's tsuzure-ori workshop, which is part of a weaving retreat tour organized by textile artist Natalie Miller, has been held continuously since 2016, and is always filled with the enthusiasm of the weavers.

In Part 6, We will bring you another interview with one of the participants. Jenny Gillis, who lives in Australia and works for the state government, while creating a life with handweaving.

"At work on my weave in 2019"

-Could you tell us about your weaving background, and what made you interested in joining a workshop at KTS and to come back?

I have been following Natalie Miller’s Instagram for a number of years. I really loved her work but had never met her and in 2016 I saw a number of photos of a trip to Japan and I was very interested and registered my interest in a future trip to Japan. At the time I was not a tapestry weaver – I am an Australian Aboriginal and my grandmothers and ancestors were known for their weaving using natural grasses, bark and leaves to help them with their everyday life. I had learnt this type of weaving but wanted to learn more about tapestry style weaving. I have also travelled to Japan a number of times for work and leisure and thought this would be a way to combine my interest in weaving and Japan.

In late 2017 Natalie contacted me to see if I was interested in joining her on the first tsuzure-ori weaving course at KTS and I signed up straight away. That first year was a year of many firsts for me – learning about tsuzure-ori, learning to weave on a loom, getting to know the team at KTS, Natalie, Tasneem and the other ladies who were part of the group. I felt a very strong connection to KTS and the people there and loved every minute. Some nights the caretaker even had to tell us it was time to leave – we loved working on our weaves so much. I’ve now returned to KTS three times and was to return last December – I’ve really missed it last year as I love immersing myself in the KTS and Japanese way of life there, catching up with Natalie, Tasneem and finding out what everyone has been up to and planning to weave. The team at KTS under the guidance of Mari-san are always there to help us and I am truly thankful for every visit and the assistance they have given all of us.

"A little bit of KTS and Clouds (2019) in my studio"

-What do you remember most about Kondo-sensei’s way of teaching?

Kondo-sensei is a master and I have learnt so much from him and feel very lucky to have been taught by him and develop my work. He is always in the atelier with us and available for questions and ideas for our weaving projects. He is encouraging, even with my first few wobbly goes at weaving. Sometimes when we forget to follow the technique, he is there to remind us how to do it the right way.

Over time I have been trying to learn Japanese and I know Kondo-sensei understands us more too. It has also been great to meet and work with an interpreter, Harumi-san who has been a wonderful addition to the team.

-How has your experience at KTS influenced you?

KTS has been a major influence on my work. I didn’t know how to do tsuzure-ori or any kind of tapestry weaving and now it is a passion of mine. I weave as often as I can and during the past year during COVID I have continued to weave and even completed an online rug weaving course and use many of the techniques I learnt from Kondo-sensei. I still refer back to the original samples I wove and have used all of the techniques in my weaves. I’ve also created a little bit of KTS in my home studio with tools and wool I purchased there – it makes me feel close to KTS. I look forward to being able to weave again at KTS – I have lots of ideas and can’t wait to return.

"Inspired by KTS"

You can follow Jenny on instagram at @making.it

About the School: Tsuzure-Ori Series 1/2/3/4/5

About the School: Tsuzure-Ori Series 5 | Voices From Members of an Overseas Group -Tasneem Tyebkhan

An Enchanting Place, KTS’s Atelier is Like a Tapestry

Tsuzure-ori is a weaving technique that is popular around the world, known as "tapestry weaving." Kawashima Textile School (KTS) can hold Tsuzure-ori workshops with an interpreter for groups from overseas, set according to the participants’ level or experience. The workshops have been well received as a special experience, as students are able to design and prepare a cartoon, and weave their own unique tapestry on a Nishijin-style loom.

In Parts 5 and 6 of the Tsuzure-Ori series, we share interviews with two students who have been participating in the Tsuzure-ori workshop every year through the weaving retreat organized by textile artist Natalie Miller, and ask about how they came to take part, and what left an impression on them at KTS. Part 5 is an interview with Tasneem Tyebkhan, who lives in Hong Kong and works as an interior designer.

Ever since I majored in Interior Architecture at Rhode Island School of Design, I have always had an interest in textiles due to the richness and depth that it presents. I am fascinated how textiles can be made part of an object and how it can be formalized into a third dimension. My journey into textiles was rekindled with my attending two workshops by Natalie Miller. This brought back my desire to pursue my interest in this discipline after many years. With Natalie, I learned how to weave on a hand loom using various types of yarns such as wool, cotton, and mohair, in different thicknesses and weights. I was able to explore free weaving of organic lines in a balanced composition of colours and textures.

My mother’s love of Sogetsu Ikebana, followed by my education in design, greatly influenced my deep appreciation and love of Japanese works in architecture and furniture. I have always been in awe of the mastery of balance, composition, timelessness and quietness in Japanese works. When Natalie organized the first workshop to Kawashima Textile School (KTS), I leapt at the opportunity to attend. I was able to visit Japan as a student to learn the Japanese way and to experience Japanese culture first hand. I am truly honoured, humbled and most appreciative to have had the opportunity to learn the Japanese technique of Tsuzure weaving, and with it, patience, attention to detail and creation of balance and harmony.

Rocks 2: Deep Water Bay, HK. (2019)

I visited KTS for three consecutive years in 2017, 2018 and 2019. Each trip, the short but intense training I received from Kondo-sensei of learning how to focus on a single weaving technique before moving on to something new was an invaluable lesson to me. He taught how to create depth and texture, while also imparting knowledge of composition. Kondo-sensei has taught me patience, to stop, to be careful, to look at something, to take time and to notice details, all of which are important disciplines.

KTS is truly an enchanting place. In addition to the unique training from Kondo-sensei, the ambience of the studio filled with large wooden looms evokes a sense of structure and stability, which is comparable to how a tapestry is formed. The architecture of the school’s buildings, the surrounding quaint village, and the dense blanket of pine trees all add to the charm that drew me back to the school year after year. I greatly missed spending time at KTS in 2020 due to the COVID-19 pandemic. I yearn to return in 2021 to continue my journey at this most mesmerizing place, and to further my learning under the masters of Japanese weaving.

Rocks 1: Kyoto, Japan. (2018)

You can follow Tasneem on instagram at @tasneem_tyebkhan

About the School: Tsuzure-Ori Series 1/2/3/4

About the School: Tsuzure-Ori Series 4 | Voices From Members of an Overseas Group -Textile Artist Natalie Miller

Visiting KTS Every Year With Passionate Weaving Friends, Falling in Love With the Location

There is a group of artists who continue to visit from overseas, who say they are inspired by, and find value in the space to immerse themselves in weaving in the environment of the Rakuhoku area, filled with nature, and the experience of weaving on traditional Nishijin-style tsuzure looms. They are Natalie Miller, an Australia-based textile artist who works on a global scale, and the members of her group.

Over three weeks starting from Part 4 of the Tsuzure-Ori series, we will be sharing interviews with Natalie and two members of the group who have been participating since the very beginning, on how they came to participate in the workshop, and what left an impression on them at KTS. We start with an interview with Natalie.

-Could you tell us about your weaving background, and what made you interested in organizing a workshop at KTS and to come back?

I am an Architect and textile artist. I have been tapestry weaving for many years in Australia. I teach tapestry weaving and also host weaving retreats around the world where weaving is a large part of the culture. I had organized a weaving retreat in Koh Samui in Thailand where one of the students, Aroonprapai (Prang) Rojanachotikul, had studied weaving at Kawashima Textile school. Prang spoke very highly of the school, and I was very intrigued and knew I had to visit.

So I organized a visit to KTS 6 years ago and was blown away by how incredible it is. All the large tapestry weavings that hung on the walls, the weavings that are in process, the looms, the wool, the colours, the dyeing studio, and not to mention the tapestry factory, it was amazing. I knew I had to share this place with fellow weavers as they would fall in love with it as I did. The first year I organized a trip to KTS and it involved a dyeing experience with the master dyer at KTS. The years to follow, the trips involved dyeing and a week of tapestry weaving. The group I bring are all very passionate about weaving and we are fully emerged in the process. We would spend 6 days weaving sometimes 14 hour days at the beautiful handmade looms creating a highly detailed and intricate weave.

-What do you remember most about Kondo-sensei’s way of teaching?

Kondo-sensei is a talented weaver and has great knowledge of tsuzure weaving and also many types of weaving. His passion of weaving (tsuzure-ori) obi is demonstrated in his intricate woven detail in his works. He has an incredible knowledge of design and detail and taught us many techniques. He is kind and very patient with the students. We were provided with an incredible translator. The translation process is smooth and Kondo-sensei demonstrates all his techniques and visually explains his process which helps immensely to understand the process.

-How has your experience at KTS influenced you?

Every December for the last 4 years I have spent time weaving at KTS, something I very much look forward to each year. Unfortunately, Covid cancelled 2020 and may even stop us from weaving at KTS in 2021. However I’m very much looking forward to spending time again at KTS in the future, as it is just such a wonderful experience. The weaving school is surrounded by the hills of Kyoto and beautiful temples. Snow in the winter, and a local Onsen amongst the Japanese trees. Kondo- sensei has taught me some wonderful techniques that I now use in my everyday practice. I am extremely grateful for the opportunity and time spent at KTS in Kyoto, Japan, and the warmth and passion of the staff at KTS make it a truly wonderful experience.

the flowers of the sun (2019)

You can visit Natalie's website Natalie Miller or follow her on instagram at @natalie_miller_design

About the School: Tsuzure-Ori Series 1/2/3

About the School: Internationality 2

-The diverse relationships with weaving-

This is the Internationality segment of the series introducing Kawashima Textile School (KTS). From the very beginning, the school has welcomed people from all over the world who wish to study handweaving. In the 14 years up to 2019 alone, Kawashima Textile School has welcomed over 140 students from 28 countries. Part 2 is about the course of internationalization in recent years.

Binding thread for weft kasuri

In the past, the school had responded to requests from overseas individually, according to when and what students wanted to learn, but with the increase in inquiries, created the "International Students Course" taught in English, in 2009. The contents were the "Beginners" course in which students learn the basics of weaving, and the foundation and applied "Kasuri (ikat)" courses. The ikat technique itself can be found all around the world, as there is a wide variety of ikat, each unique to its region, but these courses were in response to the requests from overseas students who wanted to learn Japanese ikat. Until then, the school had called it by its universally known name, "ikat," but after the courses were set up, the Japanese term "kasuri" was established.

As the courses began to be held regularly every spring and autumn, reputation by former students gradually spread, and since around 2013, the number of applicants have been increasing year by year, and has continued to exceed the capacity each time. Students range from beginners, those who weave as a hobby, university or graduate students, to those who work in textiles such as artists or designers. Through these students who gather from all over the world with the common purpose of handweaving, we can see that they all have a relationship with weaving that suits each of their lives. Looking at textiles from a global perspective shows us different possibilities of how to be involved with weaving, and broadens our options, since there is a variety of individual lifestyles, and social and cultural backgrounds.The internationality of KTS is not only about the difference in countries and cultures, but also the diverse relationships with weaving. That is a world that can be seen precisely because it is a school that specializes in handweaving.

About the School: Internationality Series 1

About the School: Internationality 1

-A quiet sustainability much like planting and growing seeds-

We bring you the Internationality segment of our series introducing Kawashima Textile School (KTS). We will introduce the school's international involvement through weaving such as the spread of internationalization that has continued from the founding, an interview with the teacher, and voices from students. Part 1 is about the background of the internationalization of the school.

Harumi Isobe became a teacher at KTS in 1978, after working at the Research and Development Department at Kawashima Textile Manufacturers Ltd.* and at the HV Atelier. She became a bridge between HV and KTS and the exchange program began. The photo is of an article about Sweden by Harumi Isobe, which was published in the company newsletter in 1975.

The internationalization of the school was in sight from the conceptual stage of its foundation. Members involved in the foundation visited over 30 schools in Europe and the United States, such as The Cranbrook Academy of Art (USA), and laid a unique foundation by looking at weaving from a global perspective. After its opening, the school has attracted attention as an educational institution of textiles that is rare even overseas, with extensive facilities, and courses that allow students to learn a wide range of topics from basic to advanced specialized techniques. Since then, KTS has created opportunities and space for textile artists and lovers around the world to devote themselves to creating, and has connected international relationships by inviting artists and educators from overseas to give lectures. The foreign exchange program with Handarbetets Vänner Skola (Sweden) still continues to this day. In recent years, KTS has regularly held the "International Students Course" and "Workshops in English" for students from overseas. There are courses such as dyeing and tapestry weaving for overseas travel groups.

KTS is a school in the mountains in the northern area of Kyoto. While practicing quiet sustainability much like planting and growing seeds, international recognition became high, and cross-generational connections have been forming, such as former international students who have become educators in textile introducing KTS to their students, who then come to study. The seeds being passed on from hand to hand, and from person to person, steadily spreading around the world is a characteristic of the international aspect of the school, which has been continuing for 47 years.


*now Kawashima Selkon Textiles Co.,Ltd.

Workshop: Introduction to Weaving (Dec. 15-19, 2020)

We have planned a new workshop, open to people living in Japan (for the time being, due to travel restrictions). We look forward to meeting you!

Introduction to Weaving

Date: Dec. 15 (Tue.) - 19 (Sat.), 2020 (5 days) 9:00-16:00

Tuition Fee: 55,000 yen (without tax, materials fee included)

Capacity: 4-8 students

Language: English

Application Deadline: 9:00 (JST) Nov. 16 (Mon.), 2020

Please click here for further information and how to apply. 

Cancellation of Courses Due to Coronavirus

Due to the coronavirus pandemic, we have decided to cancel the following courses and workshop:

Spring International Courses
Natural Dyeing Workshop

Regarding the Autumn International Students Courses, we have decided to move the application deadline to May 29.

Please note that depending on the situation in Japan and other countries, there may be further changes. We sincerely apologize for the inconvenience, and thank you for your understanding.

Updates

Hello! We hope your new year is going well.

Both of the Foundation Kasuri Courses in 2013 are full now, but please contact us if you would like to be on the waiting list. We will let you know if there is an opening. We are truly thankful for the number of people who have shown interest in studying at KTS and hope to be able to increase the maximum number of students in the future. Thank you so much.

Dates and details for workshops (1-4 days) are coming soon. Like last year, we plan to have Shifu 1, 2, 3, Day Trip to Miyama and Natural Dyeing.

We have been updating the FAQ page with information on courses and weather etc. Please take a look if you haven't been there for a while!

September

1. Dyeing

2. 2nd year students' shifu class (Japanese blog post with photos here).

3. The cloth woven in the backstrap weaving class is now a book cover! -Rei Shibata (Japanese blog post here)

4. 1st year students warping to weave a cloth 7 meters long, which will become a furoshiki (wrapping cloth).

5. Natural dyeing workshop. Our indigo plants beside the dyeing room have been thriving, and we were able to pick over 1kg of fresh leaves. Our last batch this year!

Ivonne Sigler part 2

(part 1 here)

Kawashima Textile School, an amazing one-kind school.

In June, I visited the Kawashima Industry Museum. I was marveled with the quality and the persistence to achieve perfection on textiles.

Three months ago I had come to Japan and I already had had an approach to Japanese traditional crafts, but seeing a place in the industrial process which had maintained high quality standards was impressive!

Indeed, Japanese people have genes for liking textile's excellence.
In this visit, I discovered that Kawashima Company has a Textile School. My wish to attend to this school came true with the support of Kyoto Institute of Technology.

Between August to September, I had the opportunity to attend the Chuya Ori Workshop with Keiko Yoshida Sensei; the Natural Dye Workshop with Masaru Hori Sensei; and finally, the Nassen Gasuri Workshop with Kozue Yamamoto Sensei.

In the Chuya Ori Workshop I learnt the importance of small details. For example, tying a proper knot is an action that usually goes unnoticed, but is very important. Keiko Yoshida helped me a lot to introduce me to the school and teachers with her fluent English.

With Hori-Sensei, I discovered the beautiful natural dyeing colors that the Japanese people have produced for centuries. Hori-Sensei's dyeing technique with two rods or metal 'hashi" was new for me.

As a Spanish speaker this was the most difficult class, because of its many vocabularies in Japanese. But Hori-Sensei and my team encouraged me in doing the exercises and supported me with the translation of concepts in English.

Yamamoto Sensei's Workshop was interesting. It was my first time I dyed on the loom with the stencil technique. This course taught me the importance of concentration and to know your own rhythm for working.

In these three workshops, the teachers and students showed me a part of Japanese culture: the significance of small details, the importance teamwork, to be patience and perseverant to achieve your own goals.

Kawashima Textile School is different from others. It doesn’t matter how old are you or what your profession is, only if you are really interested in learning about textiles.

Not only the workshops are high quality programs, all the teachers and people that I met in KTS were high qualified. I’m so grateful with their advise, otherwise I couldn’t have approached other textile artists, artisans and designers to complete my JICA's research.

Thank you so much to KTS for everything! I hope the School continues supporting textile lovers!

Ivonne Sigler part 1

Hi, my name is Ivonne Sigler. I’m a young textile designer in Mexico.
At the beginning of this year, I traveled to Japan because I made a training course in “Modern Design and Traditional Culture & Craftsmanship” held by the Japan International Cooperation Agency (JICA).

This eight-month’s training course consisted in two parts. The first period was formed of master course’s classes in Kyoto Institute of Technology; related on Japanese traditional culture and aesthetics.

For example, I attended lectures given by Mr. Kitayama the gardener of Kodaiji's Temple; by Mr. Keimei a famous Buddha Sculptor; and by Mr. Morito an Architectural decorator. I also visited Watabun Company (brocades from Nishijin), Zuikogama Company (Ceramics), Shoeidou Company (Incense), and others. This was my first deep approach to Japanese traditional culture trough their artists and artisans.

The second part of the program began on September. It consisted in making my personal project. Because I am a textile designer I decided to research about traditional weaving and dyeing techniques, as well as interviewing textile and fashion designers: to learn how they apply the traditional techniques in the contemporary clothes or interior design.

My research consisted of eight interviews, eight weaving and dyeing workshops, stays in other cities, like: Tokyo, Okinawa and Nagoya; and visits to remarkable temples or buildings, museum’s exhibitions and design stores.

The design process that I learnt in Japan was unexpected. The Japanese Design is so close to philosophy and also to humans. I could notice a strong relationship with human’s fundamental problems, such as those connected with existence, knowledge, values, reason and language.
As designers we are focus on the aesthetic or the functional of the product for follow the market constants demands. But when we rediscover the past techniques and we stay in contact with the artisan's work, we remind the importance of pursuing bring a better service to humankind using wisely the natural resources and knowledge.

The designer’s main goal should be to build a bridge between these artisans and the common people. Always reminding that before products are the human beings.

Above all, we have to preserve things that remind us of our humanity.