Production Area／Kyoto
目次
The Intricate Art of Layered Stencil Work:
Exploring the Unique Beauty of Kata-Yuzen Motifs
Kyo Yuzen is renowned for its elegant, multicolored designs. Within this tradition, two primary techniques exist: hand-painted Yuzen and stencil-dyed Yuzen, known as kata-yuzen. It is said that in the early Meiji era, master dyer Jisuke Hirose developed “Utsushi-Yuzen,” a method that uses stencils to reproduce Yuzen-style patterns—laying the foundation for today’s kata-yuzen. Especially in e-ba (full-pattern) kimono, hundreds of stencils may be used to create a single garment. The process often includes additional techniques such as soft gradation (bokashi) for shading and rōketsuzome (wax-resist dyeing) for contrast, requiring a high level of expertise and experience.
Our visit this time took us to Yoshie Dyeing Studio, a Kyo Yuzen workshop specializing in stencil dyeing. Mr. Koji Yoshie, the third-generation head of the studio and a certified traditional craftsman in kata-yuzen, creates his own original designs, many of which have received top awards in national exhibitions. His exquisite dyeing techniques are of such caliber that his works have been presented to the Japanese imperial family. However, because Yoshie Dyeing Studio primarily produces commissioned works for retailers and manufacturers, its name rarely appears in public-facing contexts outside of exhibitions. As a behind-the-scenes artisan, Mr. Yoshie continues to uphold and enrich the culture of kimono through quiet mastery.
Masterful Techniques from a Kata-Yuzen Specialist
Producing Award-Winning Creations
創業からの圧巻の数の型が保管されている倉庫。
Founded in 1929, Yoshie Dyeing Studio was established by Mr. Yoshie’s grandfather, originally from Fukui Prefecture, who trained as a craftsman in Kyoto before opening a workshop specializing in stencil dyeing. Since its founding, the studio has continually produced new stencils—now totaling over 30,000 designs. Among its trademarks are patterns featuring exceptionally fine and sharp lines. Mr. Yoshie notes that stencil dyeing enables expressions that hand painting simply cannot achieve.
He explains, “For example,creating intricate all-over patterns like those seen in Edo Komon would be nearly impossible to do by hand.It’s not entirely unfeasible, but the time and effort required would be enormous.”
第72回京友禅競技大会・経済産業大臣賞受賞作「波涛」
One of the studio’s most acclaimed works is Hatō (“Wave Spray”), which won the Minister of Economy, Trade and Industry Award at the 72nd Kyo Yuzen Design Competition in 2020. The dynamic splashes of water depicted across the kimono highlight the studio’s mastery of sharp-lined stencil work. Despite using only shades of gray, the piece captivated judges through its use of seamless, four-directional stencil patterns. For the body of the kimono, just two stencils were used—ingeniously designed so that their motifs connect even when reversed. This advanced technique, achievable only by someone deeply versed in stencil structure, was key to the award-winning result.
“Four-directional stenciling was once practiced by other studios,” Mr. Yoshie shares, “but it’s such a complex method that most gave up. At our studio, we’ve always excelled in creating continuous patterns and wave motifs, so Hatō was a natural extension of those strengths. The design was inspired by antique references and developed over the course of a year. The most difficult part? Perfecting the bokashi gradation (a subtle shading technique to create depth or softnes）.”
The final piece features soft shading in gentle tones, balanced with bold movement in the waves. Careful color adjustments were made throughout the process to harmonize the overall tone. To depict sunlight sparkling on the crest of a wave, Mr. Yoshie added a touch of gofun —a traditional white pigment made from seashells. The subtle shimmer leaves a lasting impression.
Consistent In-House Production
Crafted by Seasoned Artisans’ Hands
While the Kyo Yuzen process is typically divided among specialized craftsmen, Yoshie Dyeing Studio takes pride in handling the entire production of a kimono in-house. Inside the studio, five mechanical rotary tables—each equipped with a large yuzen board that can hold up to ten fabric panels at once—stand ready for production. Each table is manned by a single artisan, with dedicated specialists for every step, from applying resist paste (a paste made primarily from glutinous rice and rice bran) to marking stencil placement in a process known as hoshi-tsuke.
“Until about 20 years ago,” Mr. Yoshie recalls, “we also did the steaming and yuzen-nagashi (final rinsing) here in-house. Back then, we had a team of 40 artisans, and all the rotary tables ran at full capacity. We could dye ten identical kimonos in a single session. But with decreasing production volume, we eventually outsourced some processes. Now, we operate with three craftsmen, and I occasionally join them to work on the dyeing myself.”
Responding to the needs of wholesalers has been the studio’s primary focus. “That’s why we don’t really have a ‘signature design’ to point to,” Mr. Yoshie explains with a smile. “But through continual learning to meet client demands, we’ve developed the ability to create all sorts of kimono and obi.”
Displayed with joy were a stunning variety of stencil-dyed Yuzen works. These included surikomi yuzen, where colors are absorbed through repeated dyeing to enhance their richness, and shasuri yuzen, a technique that uses coarse mesh overlays on stencils to create a soft, airy impression. Drawing on their vast library of stencils and modern color sensibilities, the studio’s creations range from traditional elegance to playful experimentation—each a showcase of the artisans’ exceptional skills.
Kyoto as a Kimono-Friendly City
Mr. Yoshie’s Vision for the Future
For the past few years, Yoshie Dyeing Studio has offered kimono color-restoration services to the public. Using their refined techniques, they help breathe new life into cherished heirloom garments or pieces that no longer suit the wearer’s age, transforming them into something one can enjoy again.
“We want to support the continuation of the memories woven into each kimono,” says Mr. Yoshie. “We can also adjust embroidery and foil decorations alongside color changes.”
As someone who brings kimonos back to life, Mr. Yoshie is also passionate about the future of kimono culture.
“I believe Kyoto should become a place where wearing kimono feels natural—like an amusement park for kimono,” he shares. “Some people feel self-conscious wearing kimono in public, but in Kyoto, I hope they can wear it freely and with joy. To increase demand, we need to create a more kimono-friendly environment—not just for ceremonies, but for everyday life. I warmly invite you to visit Kyoto in kimono.”
→ See also: Dictionary of Japanese Dyeing and Weaving /Kyo-Yuzen （Kyoto）
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Yoshie Dyeing Studio
63, Nishimachi, Shichijo Goshonouchi, Shimogyo-ku, Kyoto-shi, Kyoto
TEL +81-75-313-6475
Official Website＞＞
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