The Revival of Ushikubi Tsumugi (Part 2): How Taking a Bold Step Outward Opened the Door to the Future
In the first part, we shared the story of how the tradition of Ushikubi tsumugi, which was on the verge of being lost, was revived through a steadfast commitment to long-term efforts. So, what is needed to further develop this tradition for the future? We continue with insights from Hiroyuki Nishiyama of Hakusan Workshop.
First and foremost, it required the courage to embrace change. The crisis threatening the survival of Ushikubi tsumugi was rooted in the changing lifestyle of the Japanese people. The decline of kimono culture in daily life is irreversible. In light of this, how could Ushikubi tsumugi continue to survive?
Mr. Nishiyama’s answer was to take a bold step forward. He mustered the courage to cross borders and promote Ushikubi tsumugi internationally. As a result of persistent efforts, in 2011, it was selected for the special “Maison d’Exceptions” section of the globally renowned textile exhibition, Première Vision. This prestigious special section of the exhibition aimed to shine a new light on artisanal materials in an era dominated by fast fashion. Ushikubi tsumugi was chosen as a material representing Japan, alongside other traditional textiles such as Yuki tsumugi and Fujifu (Yu-Sisa).
Western buyers were astonished by the intricate weaving and soft luster of Ushikubi tsumugi. However, reaching a price agreement proved to be challenging. Only a limited number of luxury maisons could afford such expensive traditional materials, and the overseas market, which had been so difficult to enter, began to feel like a harsh and barren land to Mr. Nishiyama.
In 2016, just as he was considering withdrawing, a glimmer of hope appeared. He met Shunsuke Teranishi. Mr. Teranishi had worked as a designer in Europe for over a decade and, at the time, was employed at one of the world’s most prestigious maisons, Hermès. When he visited Maison d’Exceptions, he was deeply moved by the beauty of Ushikubi tsumugi and other traditional Japanese textiles. Inspired, he decided to dedicate himself to unlocking the potential of traditional craftsmanship. He left Hermès to establish his own brand, MIZEN, which champions "luxury where artisanship takes center stage.
"MIZEN’s project involved combining kimono fabrics with materials for Western clothing, crafting entirely new garments through advanced techniques.
Mr. Teranishi not only placed orders in a way that respected the artisans’ workflow but also visited production regions, engaging in dialogues with the craftspeople to co-create products. Through this process of collaboration and exchange, the artisans’ skills and passion were elevated to new heights.
The partnership with Mr. Teranishi went beyond business success—it reignited a sense of excitement that Mr. Nishiyama had almost forgotten. He describes the difficult five years of exhibiting in Europe as a journey that led him to this fateful encounter with Mr. Teranishi. "Taking that first step into the unknown ultimately led to a life-changing meeting."
The collaboration between Mr. Nishiyama and Mr. Teranishi has also served as a breakthrough in bridging the gap between the worlds of kimono and Western clothing, which had long been considered separate realms. After all, both kimono and Western clothing are garments worn by people. By understanding and respecting each other’s backgrounds and creating attractive products suited to modern life, both business and traditional culture can flourish.
In Mr. Nishiyama’s dedication to creating a successful example of this synergy, one can see not just his efforts but his genuine enjoyment of the process itself. His approach shines as a beacon of hope for the future.
Original article:
Photo: A MIZEN design showcasing the modern striped pattern of Ushikubi Tsumugi. (photo by Kaori Nakano at the shop of Mizen)