It all started at a sales event where Kentaro and I happened to appear together.

Right—we were both feeling kind of frustrated about that event, you know? (laughs)

Exactly. We asked ourselves, ‘Is this really how we want to keep doing our work for the next few decades?’ That’s when Kentaro said, ‘Then let’s do something about it.’ That moment was the spark.

But we figured that if it was just the two of us, we’d probably butt heads. So we said, ‘Why don’t we invite one more person?’ Sakio immediately came to mind. He was someone we could talk to on the same level, and he’d give us a completely different perspective.

When he mentioned his name, that was it—no one else could fit.

After all, the three of us were classmates in the Nishijin training course! (laughs)

That’s right. About thirty years ago, we all attended a Nishijin weaving training program run by the Kyoto Municipal Dyeing and Weaving Testing Center (today the Kyoto Municipal Institute of Industrial Technology and Culture). We sat side by side for half a year.

Since most Nishijin houses are family businesses, there isn’t really an apprenticeship system. The government set up this course to provide that foundation. Even today, though with fewer classes, young weavers can still learn there.

The instruction was pretty detailed. At that time we had lessons twice a week, so it felt almost like being in school again. I think that’s why there’s this deep sense of solidarity at our core.

And speaking of Nishijin culture, calling each other by first names is just normal for us.

Right. Most weaving houses are family-run, so everyone inside the workshop shares the same surname. Naturally, we start calling each other by first names. Even our parents’ generation, and the senior masters above them, often call one another with “chan.” For us it feels normal, though maybe to outsiders it must look pretty odd (laughs).

Honestly, there’s no fixed role division. Whoever feels right for the project naturally takes the lead. But we’re not shy about disagreeing either—we speak our minds.

And the rule is simple: democracy! With three people, it always ends up two against one. If you lose, you just go along (laughs).

When we formed the group, we decided to insist on one thing for each company that we would not compromise on.

When we first formed the unit, we decided each of us could insist on one non-negotiable point. Mine was that I didn’t want it to be something short-lived. I said, ‘Even if we don’t see results immediately, let’s stick with it for three to five years.’

For me, I insisted that we shouldn’t end up like a school festival, patting ourselves on the back without looking at outcomes. I wanted us to produce results based on real work.

And I said, ‘Let’s make sure we build a solid brand image for our customers.’ Those three points have guided us from the very beginning. Seven years later, they haven’t wavered a bit.

We held our very first exhibition in 2018. We deliberately chose those bold, striking colors—orange, blue, and purple—and each of the three houses created pieces in those tones. Because we approached it with the same seriousness as our own business, we were able to achieve results from the very first time. Normally, in this industry, each house exhibits separately. But we mixed our works and arranged them by color instead. I think that was quite a radical step for Nishijin.

Cleaning up afterwards was a nightmare though (laughs).

Preparing was tough too. Each time I saw an amazing piece from the other two, I’d just stop and stare. But that kind of stimulation is what keeps us moving.

Kentaro has an incredible network, both inside and outside the industry. He always brings in unexpected, exciting ideas. Thanks to him, we even connected with the National Diet Library and created new designs inspired by archived patterns.

That project was a real eye-opener—being able to study and use those rare patterns for actual production was priceless.

Honestly, Kentaro is like the mother of N180. Just like a mother is at the center of the family, he listens when we need to vent, and he supports not only our customers and partners but also us.

(laughs) No, no—I’m the most aloof yet affectionate one here. If anything, Soichiro is the academic. He dives deep into technical details, like the scholar of the group.

Scholar… or maybe just a nerd? (laughs)

Well, he’s also served as vice chairman of the Nishijin Weaving Industrial Association at such a young age. You don’t get chosen for a post like that unless you’re an outstanding person. He’s not just big in stature—he’s big in character too.

And Sakio is on another level entirely—the “destructive god” of the group (laughs).

More like Oppenheimer... right?

His work says it all—such a strong, uncompromising individuality. The three of us are all strong personalities, but he tops the list. It must be the Oba family DNA.

I don’t know about that… Nishijin is full of incredibly unique people. Compared to them, I feel like I blend in.

Nishijin’s version of “ordinary” is never ordinary (laughs).

Exactly. And when it comes to Sakio, I have no objections whatsoever (laughs).

In fact, in one of our early YouTube videos, someone asked, “What kind of person is Ms. Oba?” Without planning it, Kentaro and I both answered in unison: “We have no idea.”

That’s right—we hadn’t even discussed it beforehand! Sometimes he just goes way beyond anything we can predict.

Usually, before shooting, we just get a photo of the kimono. Then each of us brings about 30 obi.

Since we don’t know what the others will bring, it becomes this spontaneous flow: ‘Oh, if you’re taking that route, then I’ll go this way.’

That's exactly right. It was like, "Let's leave complementary colors to him." So he started being called the "Prince of Complementary Colors" (laughs).

Yes.He is "The Prince of Complementary Colors.”

There was even one time we re-shot the entire episode after filming, because we found out the guest always wore kimono at a shorter length with boots. That completely changed which obi matched best.

Since launching our kimono coordination series, both our subscribers and views have skyrocketed.

What’s important is that this project takes a market-in approach, which is rare in our industry. Usually, it’s one-way—we make, and customers buy. But here, we start from the customer’s kimono and respond to their needs. For N180, it’s become essential.

And as creators, it’s refreshing too. We come across kimono that aren’t even made anymore. I was stunned when someone brought a completely hand-painted Komon.

Or that Tsumugi kimono with hand-applied Yuzen! We didn’t even know how to judge its value, but we told the owner, “It’s fascinating—please treasure it.” (laughs)

Oh yes, plenty of times! Even when all three of us bring our best obi, sometimes nothing works.

But that’s part of the fun. One of us takes a bold step, and the whole mood shifts. It’s like improvising live music together.

Actually, we often compare our activities to being in a band. Each of us is a solo musician, but together we form this group called N180. The harmony between us creates something new—like making music together.

That project was Imakawa's idea. We wanted to explore new possibilities for Nishijin by collaborating with the content industry, and the response was phenomenal.

We used Kyo-Yuzen techniques to depict iconic scenes from the anime. But to be honest, the hardest part wasn’t the weaving—it was dealing with the licenses. The rights were split among Bandai, Sunrise, and the advertising agency Sotsu. Negotiating with all three took a lot of time and energy.

It ended up taking three years to complete.

When I try to turn a single anime frame into a kimono pattern, it doesn’t always translate directly. The drawing style is different, and sometimes the perspective looks odd when applied to textiles. I had to redraw designs again and again.

And it was luxurious—gold thread, silver thread, even foil.

The brief was clear: “Show off the coolness of Gundam together with the brilliance of Nishijin.”We also wanted Gundam fans to actually wear them, so we arranged for the kimono to be part of the rental program run by the Nishijin association. If you’re a fan, you can try them on yourself.

Another new frontier for us has been providing designs as NFTs (Non-Fungible Tokens). It’s a step into cutting-edge technology. Beyond just weaving products, it allows us to preserve and carry forward the cultural value of Nishijin in digital form.

And as each of our personal networks expand, the range of what N180 can take on also keeps growing.

What I really appreciate about N180 is how much closer we’ve become to kimono users. We regularly host a factory tour called Oide 180, and we’ve had so many applications from all over Japan—several times more than the capacity—that we even had to hold a lottery to decide who could participate.

We continue to host these tours regularly, so if someone misses out, they can always apply again.

Honestly, many of the new winds blowing through Nishijin today are possible only because of N180.