Art & Culture
Local Products Continuing the Manufacturing Techniques and Culture of the Setouchi Region

-
- RELATED TAGS
-
- LAST UPDATED
- 23T00:00+09:00 November, 2022
If you’ve ever wandered through a Japanese market and marveled at a beautifully woven scarf, a piece of delicately dyed fabric, or a polished stone ornament, you might not realize the layers of history and innovation behind them. You may see these as plain souvenirs, maybe prettier than average, but some of those pieces are the living expressions of centuries-old techniques passed down through generations of artisans.
Setouchi stretches along the Seto Inland sea, a region where the crafts of its makers are shaped by a deep connection to its history and environment. This region has long been a cradle of innovation and tradition, where its artisans constantly adapt their techniques and traditional knowledge with contemporary ideas to keep their crafts alive in an ever-changing world. Its historical role as a hub for trade between Japan, China, and Korea has left a lasting legacy of crafts deeply embedded in the local culture.
This article takes you to six distinctive places where these crafts thrive, each telling a story of persistence and creativity. Through their hands, Setouchi’s culture continues to evolve, one thread, one dye, and one chisel stroke at a time.
The Revival of Banshu-Ori: Tamaki Niime’s Modern Take on Tradition in Hyogo
In the hills of Nishiwaki City, Hyogo Prefecture, a traditional industry finds new life on vintage looms. Known as Banshu-ori, this traditional weaving technique has defined the region for over 200 years, producing textiles prized for their fine stripes and soft texture. At Tamaki Niime, designer Niime Tamaki has taken this legacy and turned it into something extraordinary.
The first step inside the Lab-shop hybrid feels like entering a living gallery of colors and patterns. Shelves lined with tamaki niime's creations, including shawls and clothing, showcase not just craftsmanship but also innovation. Tamaki Niime’s team spins its own threads, infusing every step of the process with a signature vision. The result is textiles that are both rooted in heritage and imbued with a sense of individuality and experimentation.
Connecting With the Origins
Something special about Tamaki Niime is the process. Visitors can tour the workshop and see how these textiles are made. See how the magic is created when all the steps of the production process are handled in-house. The passion and the creativity, the dying, the sewing — it’s even inspiring to watch these artisans operate vintage looms that once dominated the industry. The rhythmic click of the machinery is hypnotic, a reminder of how something as simple as cloth can connect generations of makers.
Even details like sourcing part of their cotton from their own fields or living with animals that are the source of wool and other fibers, like goat, sheep or alpacas, among others. The sustainability of their approach has to do with being true to their origins and producing creations that are respectful to the environment.
Tamaki Niime’s philosophy is as vibrant as its fabrics: tradition isn’t something to preserve in amber; it’s a foundation for creation. By introducing asymmetrical designs and bold color combinations, the brand invites new audiences to discover the beauty of Banshu-ori. It shows how old techniques can find fresh relevance, one thread at a time.
NUNOUS: Breathing New Life into Textiles in Okayama
In Okayama, where the traditions of Japan’s textile industry have long thrived, NUNOUS has become an innovative beacon of sustainability and artistry. Developed by Seishoku Co., Ltd., a company with over 140 years of history in textile dyeing, NUNOUS transforms what others might discard — fabric waste — into something entirely new: durable, marble-like materials with endless applications. Akira Himei, CEO of Seishoku, has expressed his concern with the environmental burden of textile waste, and the difficulties that come with recycling fabrics, as some of the motivations behind this innovative development.
The magic of NUNOUS lies in its intricate process. Approximately 500 layers of colorful textile scraps are compressed with a unique, in-house developed resin, creating a durable, marble-like board that retains the vibrancy of the original fabrics. The result is two primary products: NUNOUS Stone, a thicker material used for furniture and architectural installations, and NUNOUS Skin, a lighter, flexible option ideal for accessories or surface finishes for interior and display. Every piece is distinct, with its patterns reflecting the diversity of the textiles used.
Textile Discards as the Beginning and not the End
The fashion industry has evolved vertiginously, sometimes towards questionable directions, leaving environmental casualties in the way and million tonnes of textile waste every year — and the pollution that goes with it. Walking through the Seishoku facility, however, brings a lot of optimism to the equation. It’s a space filled with innovation, where fabric once destined for waste now finds itself in the interiors of luxury hotels, corporate offices, and even art installations. International acclaim has followed, with NUNOUS showcased in Paris or London and embraced by designers around the globe.
But what makes NUNOUS truly remarkable isn’t just its technical brilliance — it’s the philosophy behind it. Upcycling is at the core of this process. Even the trimmed edges from NUNOUS production are reused for decorative items such as traditional dolls or apples, demonstrating a commitment to reducing waste at every stage. A revolutionary material that honors the beauty of textiles and seeks new horizons of creation. NUNOUS represents the cutting edge of eco-conscious craftsmanship, showing how Setouchi’s textile heritage can evolve to meet modern demands while addressing environmental challenges.
HAGI-GLASS: Reviving an Edo-Era Craft in Yamaguchi
In the quiet coastal town of Hagi, Yamaguchi Prefecture, a nearly obsolete glassmaking tradition has been given a second life. HAGI-GLASS Art Studio, with its roots tracing back to the end of Edo period (1603-1868), offers visitors not just a chance to admire this unique craft but to experience it firsthand.
Hagi glass was originally developed by scientist Jihei Nakajima as a form of artistic expression, using local materials with techniques brought from abroad. For a time, it flourished thanks to its top quality, even worthy of sending pieces to the Emperor. Yet, like many traditional crafts, it faced decline and nearly disappeared. Thanks to the work of passionate artisans like Kotaro Fujita, who studied and revived these forgotten techniques, studying old documents and experimenting modern techniques, Hagi glass has found new life. While sourcing the original raw materials, Fujita also elevates the craft with unique production techniques that set Hagi glass apart.
Unlike many domestic competitors who rely on ready-made commercial glass materials sourced from Hokkaido or Kyushu, Hagi glass begins its process with locally-produced raw materials. The studio’s production involves firing glass at an ultra-high temperature of 1520℃, resulting in products with exceptional strength and heat resistance. This approach has garnered respect within the industry, with competitors even visiting the workshop to learn from their methods. HAGI-GLASS remains the only studio in Japan capable of working with these specific materials and techniques.
Through these dedicated efforts, Hagi glass thrives once again in the very region that once nurtured it.
A Memento Crafted With Your Hands
At HAGI-GLASS Art Studio, visitors can try their hand at crafting glass accessories. Under the guidance of skilled artisans, participants use gas burners to melt colorful rods of glass, shaping them into delicate pendants or key straps. The process, which takes about 45 minutes, is both accessible and rewarding, leaving you with a personal keepsake that embodies the spirit of Hagi.
Before the workshop begins, the studio owner shares insights into the artistry of Hagi glass. The way different colors are achieved, the precision required to shape molten glass, and the subtle variations that make each piece unique — all of these details add depth to the experience. Observing the artisans at work reveals the level of skill and focus needed to master the craft, creating a newfound appreciation for these seemingly simple objects.
For those less inclined to try their hand, the studio also displays an array of finished works, from elegant accessories to decorative home pieces. Each one is a modern reinterpretation of a centuries-old craft, a reminder of how tradition and innovation can coexist beautifully.
Aiyakazou: Preserving the Art of Indigo Dyeing in Tokushima
In the scenic village of Aizumi in Tokushima Prefecture, Aiyakazou opens a window into the history and delicate craft of Awa indigo dyeing. Tokushima, one of the largest producers of indigo in Japan, has a long-standing tradition of Awa Aizome rooted in the Edo period. This heritage was shaped significantly by the Okumura family, who established themselves as successful indigo merchants in the 17th century. With roots dating back to the Edo period, Aiyakazou is part workshop, part gallery, and part living museum, making it an essential stop for anyone curious about Japan’s dyeing traditions.
The craft of indigo dyeing, or aizome, begins with fermenting indigo leaves into a deep, rich dye. This process, akin to brewing sake or fermenting miso, requires meticulous care and patience. At Aiyakazou, the dyeing vats are treated like living beings, nurtured daily to maintain the perfect conditions: their condition is monitored daily as they’re very sensitive to changes in the air. Visitors can see these vats up close, gaining a new understanding of the intricate chemistry behind the stunning blue hues. Also, when dying a fabric, the number of dips change depending on the desired result. It looks brown at first, and the color will change to blue-green after contact with oxygen.
Beauty in Blue
A visit to Aiyakazou is as much about learning as it is about appreciating. Workshops led by skilled artisans provide hands-on opportunities to create your own indigo-dyed pieces with different fabrics, and techniques like shibori (tie-dye, creating shades of color tying knots to the fabric) and katazome (wax resist dyeing to control the shapes of the areas that you want dyed) are demonstrated, showing how simple patterns can transform into intricate designs with the help of the indigo. The end result is a piece that carries the beauty of traditional dyeing with a touch of the maker’s personality.
The gallery space further enhances the experience, displaying a wide array of creations, like fabrics and garments or unexpected items like dolls and artwork, all dyed using various aizome techniques. The collection reflects both the timeless appeal of indigo and the innovative spirit of contemporary artisans. Beyond the textiles, Aiyakazou also offers products derived from indigo plants, such as decorative dried leaves and teas, showcasing the plant’s versatility.
MIMUS: Redefining Mizuhiki Art in Ehime
In Shikokuchuo City, Ehime Prefecture, MIMUS breathes new life into the traditional craft of mizuhiki, a decorative art made from tightly wound paper pulp threads. Known for its symbolic ties to life’s milestones — weddings, births, and even memorials — mizuhiki has long been a fixture of Japanese celebrations. At MIMUS, however, contemporary design transforms this age-old craft into something more versatile.
Founded by designer Aya Tsukioka, MIMUS collaborates with seasoned artisans to reimagine mizuhiki for today’s audiences. The craft, which traditionally featured elaborate knots and designs for ceremonial occasions, is now being applied to home décor, casual gifts, and artistic pieces. Whether it’s minimalist table ornaments, intricate centerpieces, or delicate earrings, MIMUS demonstrates how mizuhiki’s flexibility can meet contemporary tastes without losing its cultural significance.
The artisans at MIMUS, some of whom have decades of experience, highlight the skill and patience required for this craft. Watching them manipulate the fine strands into elegant shapes is a testament to their mastery, particularly when working on large-scale projects. One such creation — a detailed replica of a traditional Taikodai (a type of float that is paraded around at Shinto shrine festivals, and it serves as an escort or guide for the portable shrine, or is dedicated to the gods. At Shikokuchuo City's festivals, the taikodai is also the main decorative feature.) — took over two years to complete, showcasing the level of dedication involved.
Threading With Originality
While traditional mizuhiki is often associated with muted tones and reserved patterns, MIMUS embraces bold new aesthetics. Vibrant colors, metallic finishes, and experimental forms bring a fresh energy to the craft. Yet, the brand remains committed to preserving the legacy of mizuhiki, particularly its more intricate, ceremonial applications that require years of expertise to perfect.
MIMUS also plays a vital role in sustaining the mizuhiki takumi (master artisans), whose numbers are dwindling due to a shrinking market. By finding innovative applications and reaching new audiences, the brand ensures that this centuries-old art continues to thrive, inspiring both modern creativity and reverence for tradition.
Aji Project: Elevating Stone Craft in Kagawa
In the town of Mure, Kagawa Prefecture, Aji stone, a type of granite prized for its exceptional density and durability, has been a cornerstone of craftsmanship for centuries. Traditionally used for tombstones and temple ornaments, Aji stone has been celebrated for its weather resistance and the intricate detail it allows artisans to achieve. Through the efforts of the Aji Project, this historic craft is being reimagined for contemporary living.
The Aji Project, spearheaded by local artisan Chikara Ninomiya, seeks to bring the beauty and utility of Aji stone into modern homes. Collaborating with product designers, the project has shifted from creating ceremonial and monumental pieces to crafting smaller, functional items like trays, bookends, and tableware. These products retain the unmistakable fine grain and subtle sheen of Aji stone while appealing to today’s lifestyles.
A visit to the Aji Project workshop reveals the depth of skill involved in working with this granite. It takes decades of training to learn how to shape Aji stone with the precision and care it demands. Watching the artisans at work underscores why this craft is so rare, as few stones in the world combine lightness and strength in the way Aji stone does, making it both a technical and artistic challenge to manipulate.
More Than Meets the Eye
The Aji Project also emphasizes sustainability by repurposing stone offcuts from larger projects into smaller items. This approach not only reduces waste but also opens up opportunities for younger generations to engage with the craft. Through its efforts, the project is revitalizing interest in Aji stone, helping to maintain its legacy while expanding its reach into everyday life.
It’s interesting to think about the legacy of Aji stone in terms other than its durability. Few stop to think about the generations of artisans who have passed down their expertise, now adapted and reimagined for a new era. With initiatives like the Aji Project, this craft finds fresh relevance, proving that even the most traditional materials can be timeless.
The Setouchi region thrives as a hub of craftsmanship where history and creativity come together in unexpected ways. Across its towns and cities, artisans continue to innovate with techniques passed down for generations, infusing this valuable heritage with a forward-looking perspective. The extraordinary aspect of these workshops is the way they push their crafts in new directions. Visiting them is an excellent opportunity to gain a better appreciation of fine materials; and in doing so, it connects you to the people who transform those materials into something meaningful.
Setouchi’s crafts don’t exist to stand still, but neither do they rush to abandon their roots. They are living traditions, continuously shaped by the hands of those who care enough to carry them forward. For anyone curious about the essence of this region, these crafts are a natural starting point.
RELATED DESTINATION
Hyogo
Hyogo Prefecture is roughly in the center of the Japanese archipelago. It has the Port of Kobe, which plays an important role as the gateway of Japan. It also is home to plentiful tourist attractions such as Himeji Castle, a UNESCO World Heritage site, and several hot spring areas. Kobe beef, one of the three major brands of wagyu beef, is a delicacy.
