At "Some-no-Sato Futaba-en,"the actual dyeing scene by craftsmen can be observed. Modern experts send a number of works to the world by making full use of the techniques of Edo dyeing produced and elaborated by craftsmen in the Edo era.
"Design" and "engraving" that describe nature, buildings and people
Determining the finish of dyeing
"Design" is the most important in the dye process and largely determines the finish.
Asashige Ikezaki, in charge of the design and engraving at the atelier of Futaba-en, studied Japanese-style painting and also studied traditional costume design under the master who created designs of Noh costumes. He says, "In addition to traditional ones, I actually go out to sketch for designs." Based on such daily material gathering, he incorporates the fashion to create designs.
Once the design is determined, colored works are similar to Japanese-style painting. On the warm lines filled with fine strokes, colors that match the finish are overlaid. This becomes the ground plan of dyeing.
Preparing a pattern from design
Once the ground plan is ready, a pattern is engraved next. Ikezaki switches his brush to a small knife, and engraves a pattern for dyeing. The number of patterns is at least 20 to 30 in the case of Sarasa, and 200 for complicated ones. The work requires a lot of perseverance. One ground plan requires several patterns. If these patterns are not successful, a good finish won't result; therefore caution as well as the ability to concentrate is required for this work.
Adhering to "craftsmanship" in an advancing technology
Machines as today's mainstream
Fabric dye technology has been advancing significantly. Mechanization progressed to enable mass production, as well as expression of brilliant, fine and various colors and designs. For kimono, the technology to dye with ink jet printers has also been developed.
To dye with machines in an error-free way without hands might be cost-saving and reasonable for corporations.
Techniques by hands
Craftsmen in Edo elaborated patterns and designs with their own thinking and dyed by their own hands. To succeed the Edo culture is to receive all of these.
"Some-no-Sato Futaba-en" stubbornly continues to stick to the techniques from the Edo era. The dye techniques handed down only by craftsmen without any manuals are succeeded to the next generation. The techniques are further advanced with innovative thinking and elaboration by each craftsman.
The ultimate techniques of Edo dyeing come alive with Itaba that requires accuracy.
Solid plate with cherry blossom and fir
Edo Komon uses patterns for expression, and the work is done with a "long solid plate" called Itaba.
The plate is an approximately 14-meter solid plate without seam. Pattern dyeing begins by pasting a white cloth (white silk cloth before dyeing) on this plate. The white cloth is pasted with a paste, to avoid air going between the plate and white cloth or foreign objects piling up. Then, the paste is spread in accordance with the pattern. Depending on the pattern of color arrangement, the number of pattern papers increases.
Practice for more than 10 years is necessary.
Mr. Masao Tomidokoro says, "A paste is layered on a pattern. It is important to evenly paste it with a proper thickness to avoid burning of the paste on the cloth or staining of different colors." He is an expert craftsman with 50-year experience. This work can be called as the peak technique of Edo Komon and Edo Sarasa. It is supposed to take several years to acquire this technique of Itaba and "more than 10 years to be able to become a fully-grown craftsman.
Color techniques making full use of 3,000 colors; Hikiba where colors are dyed with Tezashi (hand-coloring)
"Milky Way" of a roll of cloth
A roll of cloth is hung from one edge to the other edge of a room. Fine lines on this roll of cloth (such as outlines of design) that express a pattern are dyed.
Hikiba is an atelier where colors are printed on patterns. The design of the kimono is finished into a gorgeous pattern by adding colors in fine lines or by applying techniques unique to kimono such as gradation.
In Hikiba, fabrics floating in the air are colored. Craftsmen sit on chairs and work as they shift. Coloring with brushes or fine pens is a delicate work that requires perseverance.
"We can ruin a roll of cloth by going outside of fine lines or doing a sloppy job," says Mr. Masaru Ono who is in charge of Hikiba.
Manipulating 3,000 colors
Dyes are not only provided by dye manufacturers, but also selected from approximately 200 original dyes for craftsmen to mix them to create unique colors if it is desired. Mr. Ono says, "Our recipe includes 2,000-3,000 colors." Yet, it is surprising that "new colors are constantly created." For this very reason, it is possible to accept custom orders (complete orders of color, patterns, etc.) and show us a new world.
"Patterns" and "tools" where the souls of craftsmen live; young craftsmen who succeed techniques
Patterns and brushes beyond the time of several decades
Craftsmen are supported by "patterns," "brushes" and "dyes" that are passed down from the time of foundation.
More than 2,000 patterns are left with Futaba-en. "Ise Katagami" made in Ise, Mie Prefecture is well-known in the country.
Futaba-en also challenges new patterns. In this case, patterns are engraved internally. There is almost no atelier that can create original patterns. For this reason, we devote ourselves to develop original patterns and designs.
At the same time, sweats of successive craftsmen are soaking in brushes. Tens of kinds of brushes hung on a wall and more than 100 pens stored in a pen holder are creatively used depending on colors and patterns.
Young people who succeed the next generation
The major problem for the dye industry is the decrease of young people who want to be craftsmen. Without craftsmen, the techniques and traditions succeeded until now will cease.
Young people are being nourished at Futaba-en. Appearance of young people who are enthusiastically working to become fully-grown craftsmen is very beautiful. We place our hope in the people who assume the future.
