Production Area: Nara Prefecture
目次
Yamato Kasuri-A Lost Tradition Revived in Nara
Yamato Kasuri is a traditional woven cotton textile that originated in the mid-Edo period in Nara. Characterized by indigo-dyed cross and grid patterns on white cotton fabric, it gained nationwide recognition during the Meiji era for its refined designs and dyeing quality. However, with the rise of inexpensive imported cotton and changes in daily life, production completely ceased around 1965—turning this beautiful textile into something of a legend.
The revival of this “phantom” textile was undertaken by Mr. Tomohiko Kameyama, a textile artist based in Nara, who set out to bring Yamato Kasuri back to life.After graduating from a fashion-focused vocational school, he became captivated by the world of dyeing and weaving. He studied the basics at the Nomura Silk Museum in Ehime Prefecture, where he learned the entire process from yarn preparation to completed fabric using natural dyes. Later, to refine his techniques, he trained for five years as a live-in apprentice under a textile artist in Kyoto. His career path makes him a true expert in silk craftsmanship.
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A Fateful Encounter with Yamato Kasuri
During his apprenticeship, Mr. Kameyama worked with various types of textiles but found none that truly captured his heart. As he searched for his own path as a textile artist, he came across a book that introduced him to Yamato Kasuri. In that moment, he felt a strong intuition—“This is it.” Having already become familiar with handling both silk and cotton threads, he believed there was no major obstacle in taking on this new challenge. With renewed determination, he set out to revive Yamato Kasuri. He began by seeking advice from curators with expertise in the textile, as well as support from the Nara prefectural government—thus beginning a long journey of trial and error.
No Tools Left—A Revival from Scratch
Yamato Kasuri, like Omi Jofu and Shirotaka Omeshi, was traditionally created using a technique called itajime-kasuri (board-resist dyeing). However, with production having completely ceased around 60 years ago, Mr. Kameyama faced a daunting reality: none of the original tools for making Yamato Kasuri remained.
In response, he turned to techniques from other traditions such as Bashōfu and Ryukyu Kasuri, adopting the labor-intensive process of hand-tying the resist areas. Since Yamato Kasuri features white patterns (shiro-gasuri), it required a large number of tied sections. He also had to research on his own how to keep dye from seeping into the tied areas. Through much trial and experimentation, he eventually developed a reliable and efficient tying method.Yamato Kasuri was originally woven on a "Yamato-bata", a traditional low-set loom used while sitting directly on the floor. Mr. Kameyama discovered, however, that a "taka-bata"—a modern-style high-set loom used while sitting on a chair—could also produce the desired texture. He personally reassembled a set of disassembled loom parts inherited from his master and has used it ever since. At one point, he attempted to use a "kasuri-ageki" (kasuri winding machine), but the yarns would twist and the work didn’t proceed smoothly. He ultimately abandoned the machine and mastered an alternative method using weights instead.
All of this was for the sake of reviving Yamato Kasuri. Making the most of the tools available today, he poured every ounce of his knowledge and skill into the process.
A Lifelong Commitment
Mr. Kameyama began the revival process in 2018 and became independent in 2020. Since then, he has devoted himself entirely to creating Yamato Kasuri, even holding his first solo exhibition that same year. What enabled such a rapid success in restoring a lost textile? He says it was the moment he wove his first piece of Yamato Kasuri that he felt something unlike anything he had experienced with other textiles.
“As I worked, I began to feel as though I was in dialogue with the artisans who once wove Yamato Kasuri long ago.
There was a strange sense of connection, almost spiritual.
That experience nurtured a deep affection for the land and culture of Nara, where I was born and raised.
I started noticing things in my surroundings that I had previously overlooked, and those subtle discoveries now serve as a wellspring of inspiration.
That’s when I knew—I want to dedicate my life to this craft.
The Future of Yamato Kasuri, Woven with Mr. Kameyama’s Vision
As a textile artist myself, I don’t just want to revive Yamato Kasuri—I want to evolve it in my own way,” says Mr. Kameyama.
Yamato Kasuri is traditionally characterized by its simple, understated patterns, and was often used for men’s garments in the past. While honoring the traditional designs, he aims to bring a softer touch to the dyed sections, creating pieces that resonate more with female sensibilities.Although white kasuri patterns are generally associated with hitoe—unlined kimono typically worn in early summer or early autumn—his goal is to create a sturdier weave using a takabata (tall loom), enabling the fabric to be made into awase—lined kimono suitable for cooler seasons like winter and spring. This approach allows for longer seasonal wear, much like Shiro-Oshima, an elegant white-patterned silk kimono from the Amami Islands, known for its distinctive luster and refreshing impression.
“I hope to create Yamato Kasuri that is appreciated both as an art form and a wearable item. For now, I’m producing everything on my own, but I’d like to eventually share my techniques with others. In the future, I envision forming a preservation group to protect and pass on this tradition.”
Related Article:Textile Encyclopedia／Yamato Kasuri (Nara Prefecture)
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