Hosoo: From Age

Masataka Hosoo, President & CEO of Hosoo and 12th generation of the founding family, speaks about how his textile company has found a way to retain its traditions whilst evolving into a contemporary brand in touch with the needs of its clientele.

Close inspection of the yarns and structures. Each textile has its own level of complexity that is ... [+] constantly monitored throughout the weaving process by craftsmen to ensure the highest quality.

Describe the manufacturing process of Hosoo’s high-end Nishijin-ori textiles, its origins, the different steps and techniques involved, and the craftsmen who carry out this technique.

To create new products is to create new value that goes beyond kimonos and obi belts. In 2010, Hosoo independently developed a loom capable of weaving Nishijin textiles with a width of 150cm. This has enabled Hosoo to provide innovative textiles for international markets in areas such as interiors, fashion, art, science and technology. Around 1,200 years ago, in the ancient capital of Kyoto, Nishijin textiles were developed with the support of imperial nobles, the samurai class and the upper class. The origins of such textiles and weaving technologies were adopted from mainland China around the 5th and 6th centuries. Nishijin textiles are known for using pre-dyed yarns and special types of yarns called “haku”, in which gold and silver leaf foil have been cut into thin strips and directly woven into the fabric. Nishijin textiles are arguably one of the most complex structures in the world to produce. There are over 20 steps required to make Nishijin textiles with a master craftsman in charge at each step. These steps include yarn production, warp and weft preparation, loom preparation and design development. Hosoo is the final step that brings all the materials woven together to create our Hosoo textiles.

Tell me about your “More than Textile” philosophy, which symbolizes your pursuit of new technologies, materials and designs. What are some of the most innovative technologies that you have applied to Nishijin textiles?

With the mindset of “More than Textile”, Hosoo emphasizes the value of collaboration between not just craftsmen, but also specialists from other fields and backgrounds. It all started with our first encounter with Peter Marino and his request to develop a textile for one of his upcoming projects at the time. To meet his needs, we first had to develop a loom that would accommodate a width of 150cm, which is accepted worldwide as the industry standard. This 12-month development became a major turning point for us as a company to look towards the international market with more confidence. This experience also changed our mindset of the kimono, which was no longer limited to traditional attire worn in Japan, but a textile that could be appreciated in other realms. One example of this were the innovative techniques that were born from the collaboration with Teresita Fernández resulting in the artwork, “Nishijin Sky”.

Mihara Yasuhiro retains a strong commitment to Japanese arts and crafts, which in the 2012 season ... [+] was represented in the subtle, barely visible embroidery and the cloud-like traditional Japanese iconography used in this camouflage print woven from kimono silk by Hosoo

Japan’s traditional industries are struggling with dropping consumer demand and ageing craftsmen, but Hosoo is a family company that’s thriving after 12 generations. What are the secrets of Hosoo’s success, from your great-grandfather expanding the business to make it accessible to more customers to your own initiatives to offer lifestyle products like furniture, curtains, cushions, slippers and pouches?

It is no secret that the domestic kimono market has rapidly declined over the past 30 odd years, but our mission still drives us to continue the pursuit of beauty. Since the time when my great-grandfather shifted from being just a kimono and obi maker in Kyoto to essentially becoming a curator of kimonos across Japan, the change in mindset has played a vital role in our success. Traditions need to continue and with that comes a shift in the way we think about the kimono and the way we do business. As mentioned previously, the products and experiences we create help us and our clients overcome the challenges of certain needs and values, which in turn help us change our mindsets to further adapt and remain relevant in the lives of our clients, continuing our traditions, and bringing value to traditional Japanese craft culture for the next generation.

Why did you open a flagship boutique in September 2019 in Kyoto?

It is a place, a hub to learn, experience and appreciate traditional Japanese crafts, not just the kimono. The building was designed as the foundation to spread the culture of the kimono and dyeing and weaving via a flagship store, which includes a gallery space for this purpose. Our company represents a philosophy of activities to support people’s lives through the ages by means of craftsmanship. The architecture pays homage to the tradition of Nishijin-ori, which is to create new value by joining together a variety of expert craftsmen in unprecedented ways.