冨永愛の伝統to未来～ニッポンの伝統文化を未来へ紡ぐ～ 2024年12月18日 牛首紬＆ＭＩＺＥＮ
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00:00In Kanazawa City, Ishikawa Prefecture, on November 8th,
00:05the first event of the program,
00:10the 2024 Shitetsu Festival in Kanazawa,
00:15the Future of Traditional Culture, was held.
00:22Hello.
00:23I'm model Ai Tominaga. Nice to meet you.
00:26Hello, everyone.
00:28Your kimono is beautiful. Hello.
00:31Ai-san, you're shining brightly today.
00:34Thank you. It's all thanks to this kimono.
00:38My kimono is the Ushikubi Tsumugi,
00:41which has been around for over 800 years in Ishikawa Prefecture.
00:45It was designed by the luxury brand Mizen, Teranishi.
00:51It was specially made for this day.
00:55Ai-san, how does it feel?
00:58It feels good.
01:00This fabric is very smooth.
01:03It's smooth and gentle.
01:06It's actually a thin fabric,
01:10but I think it'll be cool in the summer.
01:13It's made of cloth, so it's very moisturizing.
01:19We talked to Mr. Nishiyama, president of Tsunojirushi Ushikubi Tsumugi,
01:25and Mr. Teranishi, a designer who started Mizen himself.
01:29Mr. Nishiyama provided this Ushikubi Tsumugi.
01:34What kind of pattern is this?
01:37This is a pattern of katsuo-jima,
01:40which is represented by gradation in the color of aizome.
01:45It's one of the islands that represent Ushikubi.
01:48This costume was designed by Mr. Teranishi, right?
01:53Yes.
01:55The kimono is very narrow,
01:58so it's difficult to dress it up.
02:01But I think he came up with this design.
02:07This time, we will introduce the traditional Ushikubi Tsumugi
02:12at Mr. Nishiyama's workshop in Hakusan Sanroku, Ishikawa Prefecture.
02:18And we will talk about Mizen's concept of
02:21making traditional Japanese kimono
02:24into a costume that matches the modern lifestyle.
02:27This is the Ushikubi Tsumugi.
02:45Mr. Nishiyama, can you tell us the history of
02:48how the traditional craft, Ushikubi Tsumugi,
02:51was born?
02:55I don't have the exact document,
02:58but it is said that it dates back to the time of the
03:03battle of Genpei in the legend of the village.
03:07So, more than 850 years ago,
03:11Kyoto was in a war,
03:14and at one time, the Genji-type Ushikubi was delivered.
03:18The broken Genji-type Ushikubi
03:21escaped to our village in Hakusan,
03:24which is located deep in the mountains,
03:27and lived there with his family for a while.
03:31The wife of the genji-type Ushikubi
03:34was very good at weaving and weaving,
03:37and it is said that she taught it to the villagers.
03:43Shiramine, Hakusan City, Ishikawa Prefecture.
03:46Shiramine used to be called Ushikubi Village.
03:50Ushikubi Tsumugi is a silk fabric
03:53that has been woven here for more than 800 years.
03:58However, in 1950,
04:01the last production facility closed down,
04:04and the production of Ushikubi Tsumugi was on the verge of extinction.
04:09Therefore, Nishiyama's grandfather resumed the production of
04:12Ushikubi Tsumugi for his sons for the sake of reconstruction.
04:17In 1955, the production of Ushikubi Tsumugi began,
04:20and in 1965, the Tsumugi Factory was built.
04:24With a small number of villagers,
04:27they were able to inherit the technology of Ushikubi Tsumugi.
04:32The Ushikubi Tsumugi is used by
04:34the two-tied Kaiko,
04:36who make one Mayu together, Tama Mayu.
04:40The bigger Mayu,
04:42we call it Tama Mayu,
04:45has two-tied Kaiko in it.
04:48It's a special Mayu.
04:50The two-tied Kaiko are called male and female.
04:55They get along well with each other.
04:57Those who don't get along with each other don't get along with each other.
05:00This is 2 to 3% of the whole Mayu.
05:03In other words, it's always possible.
05:05However, the quality of the Mayu
05:07was so bad that it couldn't be sold.
05:10The quality of the Mayu remained in my house.
05:13Of course, it's a waste to throw it away.
05:16At first, I thought
05:18I could at least wear it for my family.
05:22That's how I started the Ushikubi Tsumugi.
05:25That's the origin of the name.
05:31From boiling the Mayu in boiling water,
05:36the thread is spun directly by hand.
05:40Kaiko don't cut a single thread.
05:44It's said that the average length is 1,200 meters.
05:46They continue to wear a thread that connects a single thread
05:48to make a single Mayu.
05:50The silk thread is a combination of several threads.
05:54The Ushikubi Tsumugi's Tama Mayu
05:57is also spun in the same way.
06:00In other words, two threads come out of one ball.
06:03Kaiko wears each thread.
06:06Then the threads always get entangled somewhere.
06:09We call it Fushi.
06:11It's like a thread that gets entangled.
06:14It's called Kuzuma Yatsukai
06:16because it doesn't become a uniform thread.
06:19At this time, Fushi comes out.
06:22The unique feeling of the Ushikubi Tsumugi
06:25is that you can leave the Fushi as it is.
06:29It's so strong that it's called Kuginuki Tsumugi.
06:37To weave this Fushi-like silk thread,
06:40a craftsman's skill is required.
06:44If you don't weave it with an exquisite amount of force,
06:47only the part with the Fushi becomes thick
06:50and the weave becomes oblique.
06:54Therefore, at Mr. Nishiyama's workshop,
06:57he came up with a unique weaving machine.
07:01Thick and thin threads always come out
07:05even if they are made by skilled craftsmen.
07:10When the thickness of a thread suddenly changes from one point to another,
07:14the wind direction changes from one point to the other
07:18when the thread is folded.
07:21When I was wondering how to solve this problem,
07:24my uncle was an idea man.
07:27Even if the thickness of one thread changes,
07:30if the other thread is stable,
07:33if you fold it alternately,
07:36you can avoid extreme folding.
07:39The principle is very simple and easy.
07:42That's how I came up with the Nishio-bi.
07:45Here it is.
07:48Two shuttles are weaving side threads alternately.
07:58In this way, the craftsmanship of the craftsman
08:01is woven in all processes.
08:04This is the Ushikubi-tsumugi.
08:07Ushikubi is a thread-making machine.
08:10The way the Fushi comes out of the Ushikubi
08:13and the air in it are easy to combine.
08:16It is light and warm,
08:19and it is breathable.
08:22The thread is not pulled too much,
08:25so even if the thread breaks,
08:28it has the buoyancy to return.
08:31That's why it's hard to wrinkle.
08:34That's one of the characteristics.
08:38There are so many.
08:42I'm wearing the Shima-moyo today.
08:45This is also a different Shima-moyo.
08:48This is a collaboration with Edokomon.
08:52I heard that it was very difficult
08:55to make Edokomon on this bumpy fabric.
08:58I was told that when I first
09:01did Edokomon on the program.
09:04At first, I was very reluctant.
09:07It's wonderful and valuable.
09:10What is this marble pattern?
09:13This is called Suminagashi.
09:16Oh, Suminagashi.
09:18It's a pattern made by
09:21adding dye to the fabric.
09:27However, with the decline of Kimono culture,
09:30the future of traditional Ushikubi Tsumugi
09:33is also in danger.
09:36Especially after 2000,
09:39the market for Gofuku is declining.
09:42Looking back 20 years later,
09:45I was very reluctant to
09:48maintain the traditional Ushikubi Tsumugi.
09:51I thought it would be necessary
09:54to build a pillar other than Kimono.
09:57I did a lot of trial and error,
10:00but I came to the conclusion that
10:03we are a fabric shop,
10:06so the most important thing is
10:09to compete with the fabric.
10:12At that time, I met
10:15Mr. Teranishi, a designer
10:18who launched MIZEN
10:21with the concept of
10:24making Japanese technology
10:27into luxury.
10:30Mr. Teranishi was originally
10:33majoring in architecture at university.
10:36Since I was in junior high school,
10:39I started to be interested in
10:42Western clothes.
10:45I wanted to make my own clothes,
10:48so I decided to join the
10:51architecture department.
10:54However, I said that
10:57I wanted to make Western clothes.
11:00I think that changed my life.
11:03I was lucky to meet Mr. Teranishi
11:06and he introduced me to
11:09the path of fashion.
11:12Mr. Teranishi was a designer
11:15who made me realize the concept
11:18of Western clothes.
11:21I met Carol Christian Poel.
11:24He is a person
11:27who designs technology.
11:30He has a aesthetic sense
11:33and makes clothes
11:36in an interesting way.
11:39He is a designer
11:42who designs based on technology.
11:45I decided to work with him.
11:48I knew that his office was in Milan,
11:51so I thought about
11:54working with him.
11:57I thought about what kind of knowledge
12:00and technology I needed.
12:03I learned a lot from Mr. Teranishi.
12:06As a result,
12:09I was able to work with him.
12:15Eventually,
12:18Mr. Teranishi became the top brand.
12:25I was 36 years old
12:28when I met Mr. Teranishi.
12:31When I turned 40,
12:34I was very worried about
12:37what I wanted to be.
12:40There was a world-famous
12:43fabric exhibition in Paris.
12:46There were fabrics for Western clothes,
12:49fabrics for industrial products,
12:52and various textiles.
12:55By chance,
12:58Mr. Teranishi was there.
13:01That's how I met him.
13:05He met Mr. Teranishi
13:08when he was thinking about
13:11designing his own life.
13:15After I met Mr. Teranishi,
13:18I searched the name
13:21of various kimonos
13:24in Japan.
13:27I realized that
13:30there are so many craftsmen
13:33who make kimonos in Japan.
13:36I think that
13:39the design of kimonos
13:42is the main focus of fashion.
13:45However, kimonos do not have
13:48a specific design.
13:51I thought that
13:54I could make kimonos
13:57at a reasonable price
14:00based on the designer,
14:03the technique,
14:06and the design.
14:09That's how I started.
14:12I wanted to work with
14:15these people.
14:18My specialty is Western clothes,
14:21so I decided to make
14:24Western clothes with them.
14:27Mr. Teranishi felt that
14:30it was his mission
14:33to make use of technology.
14:39In 2023,
14:41he founded Mizen in Aoyama
14:44to realize his dream.
14:49This is a kimono
14:52with a cowl.
14:55It is difficult to make
14:58a kimono of this width.
15:01It is difficult to make
15:04a kimono of this size.
15:07This is a kimono
15:10with a collar made of
15:13a shell called ladenori.
15:16I use this material
15:19for the collar and the cowl.
15:22Another feature of Mizen is
15:25the knitting and the kimono.
15:28This is a very difficult technique.
15:31The material and the sewing
15:34are all made in Japan.
15:37It is a kimono
15:40that has a lot of technology.
15:43A craftsman who specializes
15:46in Japanese clothes
15:49made Mizen's clothes.
15:52Ms. Natsumi Kabata also felt
15:55the future of Mizen's concept.
15:58I thought it would be nice
16:01if kimono fabric could spread
16:04by using my technology
16:07to make clothes and other things.
16:10What I want to do
16:13matches what I want to do.
16:16I am able to do what I want to do.
16:20Could you tell us about
16:23the contents of the project
16:26that Mizen is working on?
16:29Mizen focuses on
16:32European fashion.
16:35The designers are at the top of the pyramid.
16:38They use technology to make
16:41their designs stand out.
16:44From the perspective of the world,
16:47they have a lot of trust
16:50in the Japanese technology.
16:53This is what I felt
16:56when I was living in Japan.
16:59So, why don't we make technology
17:02our brand?
17:05Mizen focuses on technology.
17:08Technology is at the top of the pyramid.
17:11I want Mizen to think about
17:14the design to make use of technology.
17:17I want Mizen to spread
17:20that kind of design.
17:23As you said,
17:26the designers are at the top of the pyramid.
17:29The designers are at the bottom.
17:32When I listen to their stories,
17:35I realize that
17:38this is how it is in Japan.
17:41It's the other way around.
17:44When I first heard about Mizen,
17:47I thought it was very cool
17:50and interesting.
17:53I was interested in the design.
17:56Mr. Terayashi told me
17:59that when you go to Japan,
18:02you can learn a lot
18:05about the 3rd world.
18:08We didn't have that kind of entrance
18:11in the Japanese-style industry.
18:14There were a lot of people
18:17who came to the front door.
18:20It's a new entrance.
18:23The door is open now.
18:26I want to develop the collaboration
18:29with Mr. Terayashi.
18:35Mr. Terayashi,
18:38what kind of future do you want to draw?
18:41I want to draw the future
18:44of the Japanese traditional culture.
18:47I want to draw the future
18:50of the Japanese traditional culture.
18:53I want to draw the future
18:56of the Japanese traditional culture.
18:59I don't want to focus
19:02on the capital city like Tokyo.
19:05We are going to open
19:08the Mizen Hakusan store
19:11in January 2025.
19:14The Hakusan store?
19:17Yes.
19:20I want to start the business
19:23with Mr. Nishiyama
19:26and Ms. Tsumugi
19:29and spread it all over Japan.
19:35It's just like Tamamayu.
19:38It's just like Tamamayu.
19:41It looks like Tamamayu.
19:44It's romantic.
19:47I think it's Ms. Tsumugi.
19:50I talked with Mr. Tokura
19:53who has composed many famous songs
19:56such as Yamamoto Linda,
19:59Yamaguchi Momoe, and Pink Lady.
20:02I talked with Mr. Tokura
20:05who has composed many famous songs
20:08such as Yamamoto Linda,
20:11Yamaguchi Momoe,
20:14and Ms. Tsumugi.
20:17and Ms. Tsumugi.
20:20Please check it out.
20:23Please check it out.
20:26Please check it out.
20:29Please check it out.