90 years of keeping up Edo dyeing

Enterprising spirit surviving the ages
"In fashion, it is desirable to choose color patterns that are directly connected with places of consumption. Traditional techniques may be succeeded in mountain towns lacking traffic facilities; however people themselves won't be able to be involved in the development of industry. During my two years of training, I thought I had to go to Tokyo for training by all means."
This is the statement by Shigeo Kobayashi, one of the founders and the second-generation president of "Some-no-Sato Futaba-en" in his book "One Generation of Dyeing." What was succeeded to Bunjiro Kobayashi, the third generation, and Motofumi Kobayashi, the fourth generation, is this enterprising spirit surviving the trend of the new era.

Time of establishment when a number of hardships were overcome
In 1914, Shigeo Kobayashi became an apprentice of Kosuke Komiya, the leading teacher of Edo Komon in Tokyo. There, he learned the techniques of Edo Komon, and his eyes to see through genuine things were trained.
Shigeo, during the apprenticeship under Komiya, was well appreciated for his skills and was invited to be a craftsman at "Isegin," the only dyeing wholesaler in Tokyo and a large-scale store with a plant in Takadanobaba. Soon after, he began to take the command as a plant manager. His interests in corporate management also grew.
On February 11, 1920, Shigeo constructed a plant in Shimo-ochiai in Shinjuku, Tokyo, supported by Mr. Hijikata, his wife's uncle. He gave the name "Futaba-ya" and entrusted Mr. Hijikata with the position of first president. Shigeo himself strived to study buying as well as process techniques, and focused all his energy on product production such as Edo Komon and Edo Sarasa.
Although the business started smoothly, silk prices soon collapsed and the Great Kanto Earthquake struck in 1923. Customers, the dyeing wholesalers in Nihonbashi and Kanda, suffered from devastating damage and the business became difficult; however the business recovered as wholesalers began to resume their businesses and a new plant was constructed in Kami-ochiai at the edge of the Myoshoji River in 1925.
The business expanded under the support of a good economy, while a dark shadow crept in. The Pacific War began, thus dyers were not able to dye goods and turned into a military industry to produce parts for gas masks. In April 1945, the plant was burnt to the ground due to the Great Tokyo Air Raids. It was in 1951 when it made a fresh start.

Restoration period when the status of Tokyo Some was established
Bunjiro Kobayashi, the third generation, succeeded the will of Shigeo and enhanced the techniques of Futaba into a fine art. Shigeo hoped that Bunjiro would grow into a person who would carry the broad dye culture in Japan. While Bunjiro expended the business as a manager, he established the status as the most famous dye creator in Japan and also stood out brilliantly as an art director, which contributed to the modernization of the dyeing business rooted in Tokyo.

Bunjiro blended his unique technique into the traditional dyeing technique. As he aggressively incorporated Asian dyeing technique into Japanese techniques, he described the nature in Japan as well as scenes in the world with his unique sense. Bunjiro's innovative sense to manipulate colors and express peculiar coloration inspired many people.

He earned a reputation by receiving a number of awards including International Trade and Industry Minister's Award in the 1977 National Dye Competition. In the "Japan Dye Exhibition" held in Tokyo in January 1987, he exhibited an 8-meter wall painting-like work called "Borobudur at Dawn." It was praised by critics and mass communication, gathering attention from various fields. Bunjiro's sense exceeded the category of kimono. His works began to expand into those rooted in people's living and culture, including tapestries, scarves, kimono, belts, partitions, fashion goods, etc.

Bringing Edo dyeing to the world; together with craftsmen in the world
In 2003, Futaba-en held the "Edo Komon and Sarasa Exhibition" at the Japanese Embassy in London. Coincidentally in the year marking the 400th anniversary of the start of the Edo era, Motofumi Kobayashi, the fourth generation, exhibited "Asakusa Temple: Sanja Matsuri," the powerful work of his father Bunjiro. It was a masterpiece 10-meters high in length, and British people were impressed by the work where the techniques of Edo dyeing were condensed with the Japanese culture as the motif.

Motofumi has one dream.

"We are craftsmen. I believe that craftsmen are the central players to succeed culture. There are craftsmen in various places of Japan, Asia and in the world where each of their traditions is succeeded. I would like to be united with them to create a network for craftsmen's exchange."

With such hope, Motofumi worked on the "Reformation Project of Edo Dyeing Ateliers." It is a message that "cultures and techniques nourished by traditions will never deteriorate."

2008 is the 88th anniversary for "Some-no-Sato Futaba-en." Through the accumulation of 100 years, how will "Some-no-Sato Futaba-en" develop the possibility of Edo dyeing? We cannot help but place our hopes on them.