Enshu, Kakegawa: A Global Hub for Cotton Textiles

Did you know that the textile industry was once one of Japan's most important core industries? "MADE IN JAPAN" yarns and fabrics, renowned for their high quality worldwide, were exported in large quantities to Europe and America after the war, becoming a driving force behind the high economic growth of the 1950s and '60s. Supporting this textile industry were production centers for weaving, knitting, and spinning across the country. Kaneta Ori-mono, which Mihara visited this time, is located in Enshu, Kakegawa, an area famous for its textile production.



MiharaThat's nostalgic. It's the he-otoshi, warp threading process, isn't it?

OtaYou know it well. Do you visit weaving factories often?

MiharaI'm a factory enthusiast, so I visit them often (laughs). I originally studied textile design at Tama Art University. So, I used to do this kind of work when I was a student.

OtaIs that so? There might not be many designers with your level of experience.

The Value of Shuttle Looms Still in Operation Today

MiharaThere are many old shuttle looms here.

OtaThey are all shuttle dobby looms manufactured in 1973, and we currently have 25 in operation.

MiharaHow much can they weave per day?



MiharaI secretly touched the warp yarns earlier (laughs), and they don't have the tension of high-speed looms, so it seems like it would produce fabric with a nice texture. But this is the first time I've seen a factory with so many shuttle looms. Please show me the fabric woven on these looms.

Mihara observed the rare shuttle looms being operated and maintained by dedicated technicians. Since the manufacturers of shuttle looms no longer exist, the company acquires used looms from closed factories for parts or makes replacement parts themselves to maintain them. However, upon seeing the fabric woven on these looms, Mihara became convinced of their value.

The Appeal of Unique Original Fabrics

After touring the factory, Mihara began examining samples of fabrics woven by Kaneta Ori-mono. Mihara had used the company's fabrics in his collections several times before, but the samples before him were of a higher quality than anything he had seen previously.

MiharaThese all have such unique textures and expressions. By the way, are these samples original?

The Capabilities of Japanese Textile Factories That Compete Globally

OtaThat's right. Our original fabrics have been adopted by overseas luxury brands. I can't disclose the brand names due to confidentiality agreements (laughs). However, Enshu has many subcontracting commission jobs, so the region's name recognition is still low. In that sense, I believe it's necessary to develop original fabrics and promote them more actively at trade shows, both domestically and internationally.



Having discussed the future of manufacturing in Enshu, Mihara carefully selected Kaneta Ori-mono's original fabrics developed by Ota. This was also for the Kakegawa select shop "CENTO COSE," another objective of this visit.

A Conversation Across Industries Realized in Kakegawa

"CENTO COSE" is located near JR Kakegawa Station and is the premier select shop in Enshu, with stores in Hamamatsu and Kakegawa. Since its opening, it has consistently carried Mihara's brand "MIHARAYASUHIRO" and is celebrating its 10th anniversary this year. The special talk show, planned to commemorate this milestone, features Mihara, Kaneta Ori-mono's Ota, and CENTO COSE's store manager, Yasuhiro Isobe. The previous day, Mihara and Isobe visited Kaneta Ori-mono and learned about their advanced technology and the current situation in Enshu. This valuable dialogue among three individuals from different perspectives—designer, manufacturer, and retailer—discussing Enshu textiles and Japanese manufacturing aligns perfectly with the purpose of this series, and a portion is excerpted here for publication.



MiharaYour factory, Mr. Ota, is fascinating with its collection of very old shuttle looms still in operation. The weaving speed is slow, but the motors were also old, so the yarns don't get tensioned, allowing for the creation of fabric with a unique texture.

OtaYou noticed all that? (laughs)



MiharaNo, no (laughs). But I think factories like Kaneta Ori-mono are very valuable globally. They are decreasing because they don't make economic sense, and it's a miracle that so many still remain. That's why I had so much fun yesterday. It was the most low-tech weaving factory I've ever seen.

OtaThank you. The fact that you were so interested and observed the details makes me realize you are truly a professional designer.

IsobeIn my line of work, I meet and talk with foreign designers, and they all know about Shizuoka. They say, 'Isn't that the place famous for cotton and Mt. Fuji?' It seems they use a lot of Enshu fabrics. They say fabrics from Italy and other countries are soft and have a good texture, but lack durability. In contrast, Japanese fabrics are flexible and have good texture, as well as high durability. Since hearing these things, I've been able to say things like, 'This is a Shizuoka fabric, isn't it?' at overseas exhibitions. When they reply, 'Yes, it is,' I feel compelled to place an order (laughs). Cotton is often associated with 'cheap,' but the fabrics you make, Mr. Ota, are like silk. I believe that's a testament to the old looms and high technology.

The Significance of an Unprecedented Connection Between Three Parties

MiharaIn that sense, I think Japanese designers are fortunate. They can choose from high-quality fabrics domestically. In Japan, if the fabric you want doesn't exist, you have to order it from a factory, but the fabrics proposed by fabric suppliers are also reliable. Another great thing about Japan is that standard fabrics are kept in stock. This is basically non-existent in Europe.

OtaHowever, there are very few opportunities for designers and people like us at factories to talk directly. I believe that if we could create more points of contact, we could produce better fabrics with a more focused approach.

IsobeWhen you develop original fabrics, Mr. Ota, do you have a specific product in mind? For example, 'I want this fabric to be used for a coat.'

OtaYes, I do. I have a vague image of clothes I'd like to wear myself, and from that, I consider the yarn count, weave structure, and density. In that sense, I think it would be better to be closer to the designers.

IsobeThe quality of fabrics and materials is a major factor when buying. For me, I often look at it from the perspective of the wearer, considering things like how it feels to the touch, whether it shrinks or fades. Therefore, the experience of seeing the fabric production process is invaluable and will be a future asset. Above all, it was a great discovery to have a master like Mr. Ota so close by. It's rare for retailers and manufacturers to connect.

OtaNot at all. But it's the same for us. We rarely get to see the finished products made from the fabrics we create. The fact that it's available locally is very significant. What I feel when I see the finished products in stores will surely be reflected in the next fabric I create.



IsobeThe retail industry I'm involved in has a glamorous image, and young people often say, 'Please let me work here.' How about your factory, Mr. Ota?

OtaActually, I do occasionally get inquiries from young people. They say, 'I love weaving and want to work in the field,' and some even approach me from outside the prefecture. For now, I've had to turn them down because I don't have the capacity.

MiharaThat's not good! (laughs)

OtaYou're right (laughs). But times are changing, and I've recently felt that young people are starting to re-evaluate craftsmanship.

Issues Facing Japanese Factories

IsobeChanging the subject, are brands reluctant to disclose information about where their materials are made? For example, putting 'MADE IN KAKEGAWA, JAPAN' on the fabric. You know how produce nowadays has producer information, like 'Made by Mr. XX.'

MiharaI've thought about it, but it's quite difficult to put on a product, so I've never actually tried to do it.

IsobeWith such labeling, I want young people to know that there are people like Mr. Ota in Japan and to become interested in this kind of work. Otherwise, I fear that in 10 or 20 years, the skills will be lost.



If things continue like this, in 30 years, we'll have to produce everything in China. The reason I established a shoe factory last year is partly to train young artisans. We can't expect politicians to do this. For example, if you ask a politician which is better, Japanese socks or Italian socks, they'll definitely say Italian. There are no politicians who understand the difference, are there? That's why we need to make the industry more accessible for young people ourselves.



IsobePerhaps there's a gap between ideals and reality. Once they start working, it might be tougher than they imagined, and they quit.

MiharaThat's also true. I've introduced young people to shoe factories I know, but about 8 out of 10 quit. I myself didn't have any ideals to begin with (laughs). After all, my generation entered society after the bubble burst, so we couldn't afford to have ideals. In that sense, I think the current situation is similar. Today's younger generation has only known recession since they were children, so they must be mentally quite strong. A primary school teacher told me that when asked 'What is the opposite of a dream?', children today answer 'reality.' It should really be 'despair,' but they have to mark 'reality' as correct (laughs). But that shows how bad the image of dreams and reality has become. Dreams aren't something that just fall into your lap; we live in an era where we have to 'self-generate' our dreams.

Continuing to Create What Can Only Be Made in Japan

MiharaBut what you're doing now, Mr. Ota, is incredible. A weaving factory planning its own fabrics and selling them directly, bypassing wholesalers. Japan has a rigid distribution system, so this is not easy to do. I believe further development will come from this. It provides a foundation for young people to move freely and express themselves when they join. This was unthinkable before.



MiharaHowever, we are starting to be able to do it. The issue of succession must be resolved urgently. I don't think it's enough for us just to plan, produce, and sell anymore. We want to continue doing this, don't we? People like me in the brand business have the option of producing overseas if production in Japan becomes impossible, but I still want Japan to remain a country that can produce high-quality goods that are second to none. I want to make it a country that can create wonderful things, like the fabrics made in Mr. Ota's factory that I saw yesterday, where you can feel the human touch.

Thus concluded the 10th-anniversary talk show at "CENTO COSE." The show, which lasted over two hours, covered everything from Japan's unique high technical capabilities, which are attracting global attention, to its problems. It was a lively event in front of numerous local Kakegawa customers. The three participants in the talk show had actually planned a special item the day before. Based on items from the "MIHARAYASUHIRO" 2010 Autumn/Winter collection, a limited edition collaboration model for the "CENTO COSE" 10th anniversary was created, tailored with original fabrics from Kaneta Ori-mono chosen by Mihara and Isobe. The fabric is a smooth cotton-cashmere blend developed by Ota, and the items are men's pants and a women's dress. These are truly world-class garments that embody the essence of Japanese creation.