Yuki Pongee Love and devotion in thread The history of Yuki pongee goes back to the Nara Period in the 6th century. A cloth called "ashiginu" which was given to the Nara court as tribute by the Hitachi Domain (present-day Ibaraki) is said to be the forerunner of pongee itself. The Yuki Tsumugi pongee which was subsequently developed was designated an important intangible cultural asset in 1956, and in 1977 it was officially designated a Japanese traditional craft. Fukuichi Nomura, his wife Chiyoko and son and daughter-in-law are carrying on the craft as a family affair. Original Yuki pongee is indigo. The power of Yuki pongee The "ashiginu" pongee famous in Hitachi (Ibaraki) came to be known as Hitachi Tsumugi in the Muromachi period (14th century), but eventually changed its name to Yuki after the warlord of the same name who extended his power throughout northern Kanto around this time. This excellent cloth was often given as gifts by the rulers of Hitachi to the Muromachi and Kamakura shogunates and it came to be known throughout the land. In the Edo period the cloth underwent further improvements as a result of the efforts of governor Inabizen-no-kami Tadatsugu, who encouraged the dyeing art and creation of new patterns for the fabric. In the Meiji period (1868-1912) its popularity spread among the townspeople and sales expanded especially rapidly after a technique was developed to pre-dye the yarn for both the warp and weft. During the war, however, production ceased and few people remained who were able to do it. It has nevertheless survived these difficulties to become one of the most highly regarded of textiles in Japan today. Fine tortoiseshell and other classic designs became popular from the 1920s. The reason for becoming an artisan Both Mr and Mrs Nomura grew up watching their parents engaged in dyeing or weaving Yuki pongee. Most of the farmers in their community were in fact engaged in Yuki production as a side job in the winter months when the fields lay under heavy snow. Mr Nomura's family would do everything from spinning the silk thread to tying it ready for dyeing. Mr Nomura was already spinning thread when he was in elementary school. The tying of bundles of thread in the ikat process, called kasuri shibari, was also men's work since it requires strength to tie the yarn tightly with the help of the back teeth. "You can't afford to lose concentration and the same person should do the task to the completion," says Mr Nomura. "It is a job that requires incredible patience and effort." His wife, Chiyoko, says she learned her techniques while playing around as a child. Both have been making Yuki pongee for 50 years. Referring to the pattern in preparation for dyeing Tying the thread tight for dyeing Modern Yuki pongee is lighter and brighter than its indigo forebears. Changes over half a century The thing that has changed most about Yuki pongee over the past 50 years is the color. In the very early days it was striped indigo. Now it is made in light colors with modern patterns. Each era has, in fact, brought its own fashions to the cloth. During the war luxuries had been banned and there was little activity, but classic patterns including tortoiseshell, checks, and treasure motifs made a revival in the 1950s. The popularity of Yuki pongee grew tremendously during the years of fast economic growth that followed the war. Mr Nomura recalled his family had so many orders for the cloth in those days they had no time to do other work. "The wholesale agent would be looking over our shoulder as we worked," he says. Having experienced those golden days Mr Nomura does not recall there ever having been a problem recruiting young people to carry on the trade, but looking at his son, he now realizes that the new generation will have to start approaching consumers directly and he wonders what role the wholesalers will play from now on. Mr Nomura is now primarily concerned about the maker's relationship with the wearer and would like to create a system so that fans of Yuki pongee can acquire it in a way that suits them. An extra role for master craftsmen Mr Nomura sees the work of artisans now as more than just creators. He says it is time for them to devote more time to preserving and promoting cultural aspects of the craft. He feels that educating people about weaving and its cultural background will be an important aspect of raising a desire to wear Yuki pongee and keep the tradition alive. Such work in educating people has only just begun with Mr Nomura's generation. When I talked to him, he had just come back from Okinawa where his assignment was to explain Yuki pongee ikat weaving techniques to the ikat weavers of Kumejima. At the same time he has decided to hold open house sessions at his own workshop and start weaving classes. These classes, he says, will be a place where people can learn the basics right up to the most advanced techniques and the students will learn using the same precious materials and looms that have been designated as intangible cultural assets. The pieces that students weave will become their own. Giving more people an opportunity to actually experience Yuki weaving will be a chance to deepen appreciation and love of the craft. An array of maker's tags for genuine Yuki pongee The more you wear it the better it feels A Yuki pongee kimono is as soft as silk floss and every time you pass your arms through the sleeves you rediscover the pleasures of homespun silk. Yuki pongee is light and warm and it does not crease. Once you have experienced it you may never want to wear any other type of cloth. Mr Nomura has also developed a variation employing some ramie tetsumugi thread for a crisper summer cloth. So at the same time as making intangible cultural asset types of cloth that often become museum pieces, he is always wanting to make kimono that reveal the heart of the maker. The summer cloth developed by Mr Nomura: translucent and cool-looking This one, with a design of waves, sails, and pine trees in indigo is in the permanent collection of the Tokyo National Museum. Profile Fukuichi Nomura Fukuichi and Chiyoko Nomura Born 1933 in Yuki, Ibaraki Prefecture. A designated Master Craftsman who is carrying on techniques that have been designated as important intangible cultural assets. He has been the director for Ibaraki Prefecture Yuki Pongee Association since 1994 and has won government awards for his work. It was Hanbei Nomura, Mr Nomura's father who, in 1931, worked to have the craft designated an intangible cultural asset.