Kiryu's silk production was not only sustained by technology. The teachings left by Master Kimura, who was called a "god," still breathe life into the Kiryu workshop.
A single piece of fabric is woven slowly on a Showa-era loom, after being processed by 10 companies and nearly 10,000 threads passed through by hand. We delve into the knowledge, technology, and human connections that have supported Kiryu's silk production.
Mr. Tetsuya Abe
Managing Director of Kiryu Seisen Shoji Co., Ltd. in Kiryu City, Gunma Prefecture. He inherited his family's weaving technology and knowledge of silk, and is a pioneer in managing transactions with domestic manufacturers and developing in-house apparel brands.
Ms. Yuki Kawakami
Project leader for SILKKI, Kiryu Seisen Shoji's in-house brand. She is passionate about creating sustainable products that can be cherished for a long time instead of being disposable, and that eventually return to nature.
(*The content of the article is based on information at the time of the interview.)
#3 The Master called "God" and his dedication to silk
Using every last bit of thread. The technique of facing life, as taught by Mr. Kimura.
──Please tell us about your encounter with Mr. Kimura, your master.
Mr. Abe:
Mr. Kimura joined the company about three years after I did.
At that time, Mr. Kimura was the managing director of Daito Kenpu, the largest silk company in Kiryu. Our company mainly dealt with chemical fibers, but when a silk specialist joined, we decided to "learn about silk as well."
Since I was the youngest and Mr. Kimura was also my kendo master, I ended up being taught by him one-on-one.
──What kind of person was Mr. Kimura?
Mr. Abe:
Even though he had a scary image as a kendo teacher, Mr. Kimura was a very gentle person. He was the type who would only convey the key points, and never spoke unnecessarily.
So he always gave very clear instructions. Since he was a bit different from a craftsman, he was also good at explaining things.
Mr. Kimura always kept a diary, every day. He kept a written record of everything he thought and did on that day.
──Are there any teachings that particularly stand out to you?
Mr. Abe:
It's about not wasting thread, after all.
Unlike chemical fibers, silk thread is about 10 times more expensive. So, we handled it with extreme care.
For example, if an order came in and 10 kg of thread were needed, we would use every last bit without any waste. We would calculate everything precisely and weave without any excess.
In the case of chemical fibers, even if some thread remains, it can be used elsewhere, so it's fine. But silk cannot be stored for long.
──Why can't silk be stored for long periods?
Mr. Abe:
If it's in a state with sericin, a protein, it can last for a certain period.
But thread from which this has been removed is quickly eaten by insects. It's a favorite food for insects, you see. The thread becomes frayed and damaged. That's why we can't keep it.
Also, the quality of the thread changes depending on whether it's twisted each time or if the lots are different, so we can't mix and use them. Most of the time, we use it up completely.
──Mr. Kimura was apparently called a "god."
Mr. Abe:
That's right. When it came to silk, he was known as a "god" in this area.
I think it's because he was the managing director of the largest silk weaving company in Kiryu, so he knew a lot of different techniques.
He had also worked in the field, and was very skilled at making thread. He had a lot of different approaches, like, "If this doesn't work, then try this."
He also had connections with other production areas from the beginning. He knew exactly where to go for sizing, for instance.
Back then, everyone in Kiryu only thought about doing everything within Kiryu. In that sense, Mr. Kimura's approach was groundbreaking.
Even the presidents of rival companies, large companies, would come to meet Mr. Kimura.
Mr. Kimura was such a kind person that he would teach them various things. Then, people from other rival production areas would also come. He had connections with various people and was highly relied upon.
──Are there any memorable problems that Mr. Kimura helped you solve?
Mr. Abe:
Yes, there are. Silk is imported from Brazil in hanks, which are tied with plastic string.
Sometimes, plastic gets mixed into the thread during this process. Since it's transparent, we don't notice it during weaving, and then dots appear when the fabric is dyed.
We call this "PP" for short. Simple ones can be removed with tweezers, but if they can't, using a special dryer will melt them away without a trace. He taught me things like that.
We'd borrow them from thread manufacturers, for example. Now, with long experience, I know which thread to use from where, but if you don't buy a certain level of high-quality, expensive thread, those problems are more likely to occur.
There were times when it was so bad that I even went to Korea for an inspection. After the product was finished, the factory in Korea said it was full of flaws.
Mr. Kimura went to the site and declared, "It's originally a thread problem; it can't be helped with natural materials," and came back. We didn't get a complaint, but the airplane ticket cost a lot of money (laughs).
#4 Until one piece of fabric is made
A journey of thread through 10 companies. Kiryu silk woven by craftsmen.
──How many processes are involved in making a piece of fabric?
Mr. Abe:
First, it starts at the thread supplier, then to the twisting company, then the dyeing company, the yarn dyeing company, then the dividing company, the warping company, and the drawing-in company.
Then we weave it in our company, and the woven fabric is then processed at the fabric dyeing company, and finally, at the finishing company.
Ms. Kawakami:
About 10 companies in total, I suppose.
──What kind of craftsmanship is involved in each process?
Mr. Abe:
For example, in the drawing-in process, each thread is passed through the eye of the heddle, one by one, all the way along.
You can't make a mistake in the order, because if you do, it will create a streak.
There are usually nearly 10,000 threads, but the craftsmen do it in a day and a half. They thread each one at an incredible speed.
──Are young craftsmen joining the industry?
Mr. Abe:
No, not at all.
That's why even our subcontractor in Fukushima, whom we currently rely on, introduced machinery using a Fukushima subsidy because they were short-handed. They now handle more than half of the work with it.
The machines they've introduced are old, manufactured in 1983. They dismantle them completely, reassemble them, and then use them.
The reason they use used machines is because the latest ones cost around 70 million yen. We can't buy them, and they wouldn't pay for themselves. So, we make good use of used machines.
It's truly mind-numbing work.
──Are there any other declining techniques?
Mr. Abe:
There's something called a reed, and now there are finally zero reed companies left in Kiryu.
The companies that make these have disappeared from Kiryu, so we now ask Kanazawa. There's one company in Kanazawa.
Indeed, it's becoming increasingly difficult to complete everything "Made in Kiryu" these days. The situation is such that we can't complete things without collaborating with other production areas.
──Please tell us about the loom you use.
Mr. Abe:
It's a loom from Tsudakoma, a company in Kanazawa. It was manufactured in 1978.
We're still using it, but we can't weave with anything else. Modern machines, on the other hand, might not be able to weave at all.
It's a versatile loom that can weave various warps to some extent, so I think it's the best loom for our company.
Recently, faster looms are increasing, but this loom isn't that fast.
One advantage of a slow loom is that it incorporates air, resulting in a softer finish.
So, the tactile feel. It's not paper, it's fabric, so while it depends on what you're trying to achieve, there's a unique texture that can only be produced with this loom.
──Is there any special technique for weaving silk?
Ms. Kawakami:
Since we started weaving silk, a distinctive feature is the long distance the thread is stretched.
The silk threads are stretched taut over a long distance, but if you go to a denim weaving region, this distance is very narrow.
When weaving silk, because the thread is a delicate material and breaks easily, it's necessary to stretch the thread over a long distance to ensure even tension.
Conversely, for denim, a narrower distance creates strength. It's woven forcefully and quickly, so a closer distance is better. Such subtle differences exist depending on the production area and factory.
──How many people are currently operating the factory?
Ms. Kawakami:
Currently, there are two of us. Mr. Abe and I, and then Mr. Abe's wife at the head office. Basically, these three are the main staff, and we do what we can.
──How do just two people run the factory?
Mr. Abe:
There are still many people working in this area. These elderly people are all masters. They help us whenever something comes up.
They don't often come when I ask, but when a woman (Ms. Kawakami) calls and says, "Excuse me," they think, "Well, I guess I have no choice," and come over.
Ms. Kawakami:
That might certainly be true (laughs).
Mr. Abe:
There are kind old men, you see. This is actually the foundation of our work, the foundation of our technical capabilities.
