From 17th-century Japanese kimono maker to supplying the largest style homes and luxurious lodges with beautiful textiles as we speak, Hosoo has discovered a option to retain its traditions whereas remodeling into a recent model in contact with the occasions. At a time when centuries-old craftsmanship is disappearing globally as we’re dealing with dropping client demand, highly-skilled artisans have gotten a rarefied species and the rise of globalized manufacturing has introduced many conventional, craft-based corporations near extinction, the 334-year-old, family-run textile producer is defiantly bucking this pattern. Its success lies in frequently reinventing itself with out sacrificing its time-honored savoir-faire. What began as a standard Kyoto-based kimono enterprise has diversified into artwork, style and interiors. Its hand-spun, silk-based materials adorn Louis Vuitton, Hermès, Dior and Chanel boutiques because of American architect Peter Marino; adorn lodges reminiscent of 4 Seasons Tokyo, Hyatt Regency Kyoto and Hôtel de Crillon in Paris; seem on Girl Gaga’s stage footwear designed by Masaya Kushino; and decoration Lexus luxurious vehicles.
Right this moment led by Masataka Hosoo, 12th era of the founding household, Hosoo is credited with making use of the highly-complex Nishijin yarn dyeing and weaving approach combining gold and silver washi paper shreds – beloved by Imperial Court docket nobles, the samurai class and excessive society – to modern design. There are over 20 steps concerned within the manufacturing strategy of Nishijin materials, every carried out by grasp craftsmen who specialize of their respective metiers. Fourteen craftsmen work in Hosoo’s atelier, some acknowledged as Japanese Residing Nationwide Treasures.
“Nishijin-ori has a historical past of greater than 1,200 years, and all through its historical past, it has confronted many challenges starting from feudal wars to modifications in style and affluence in society,” says Masataka Hosoo. “Different difficulties within the precise making of Nishijin-ori embrace the particular supplies wanted for the extremely complicated weaving methods employed. Nonetheless, for me, making Nishijin-ori related within the trendy age has been the best problem. Even with the shift in folks’s values as we speak, I nonetheless consider that there’s a place for Nishijin-ori. Via innovation, we proceed to create merchandise and experiences that overcome the challenges of contemporary existence, tastes and desires, and work in the direction of altering our mindset to adapt to the wants of our purchasers and society each in Japan and overseas.”
Because the kimono market had been shrinking, Hosoo started to focus on the worldwide luxurious market with new textiles, and launched its first vary of way of life merchandise, starting from baggage to cushions, in 2019. Establishing a analysis and improvement division and an artist-in-residency program to provoke modern applied sciences and acquire new views – at all times within the purpose of making textiles that embody magnificence – it has experimented with altering typical weaving buildings to precise subtle patterns, textures and crystal-like buildings. Its exploration of “sensible” materials that change shade in line with temperature or harden below ultraviolet gentle have been showcased in its exhibition “Ambient Weaving” final yr at Hosoo Gallery in its flagship retailer in Kyoto.
Masataka Hosoo describes why textiles evoke sturdy feelings in folks, “Cloth has been used for greater than 9,000 years, the place mankind has had an affinity for its perform and its type all through the ages. The 5 senses not solely set off sensations and feelings within the mind, but additionally within the physique itself. With the plentiful visible data obtainable to us through the online, in some way the opposite senses have been underwhelmed, which in flip feels missing to various levels. There’s an inherent feeling once we are ready to make use of extra of our 5 senses. In regard to textiles, having the chance to the touch them makes a world of distinction within the appreciation of the textile itself, the historical past behind it and the method of creating it.”