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July 28, 2026
Feature: The Weaver of Time | “I don’t aim to be a mere craftsman. Yet, I continue to weave a life with tatami.”
The Weaver of Time | Katsushi Miyake
When did rooms with tatami mats begin to gradually disappear from Japan? Before we knew it, Japanese-style rooms had come to symbolize a certain kind of luxury, and the culture of replacing tatami mats was fading. Yet, when we touch tatami in temples, shrines, or inns, we feel a sense of peace. Perhaps tatami mats remain one of the cornerstones of the Japanese heart. Katsushi Miyake, who runs a tatami shop in Kyoto, is dedicated to ensuring tatami endures and is passed on to the future.
Text by SETOGUCHI Ryu | Photographs by TADA Masaki
A Path to Tatami Craftsmanship, Begun by Chance
The blade of the tatami knife slides along the aged edge of the tatami, and with a satisfying sound, the tatami borders on both ends are peeled away. Next, the tatami surface is removed, revealing a thick core beneath. This is called the tatami-doko, or base.
Miyake silently attaches the pre-selected new tatami surface to the tatami-doko with a tatami needle. The series of movements is fluid, and within minutes, he finishes sewing the tatami surface.
This is the meticulous handiwork of a craftsman who, as the second person in history, achieved a perfect score with zero deductions at the Skill Grand Prix, winning the Prime Minister's Award. However, Miyake's background is unusual.
“Many in the tatami industry inherit the family business, but I started simply as a part-time worker. When I was 17, I was looking for a part-time job and a acquaintance who owned a tatami shop happened to ask me if I was interested. That was really all there was to it. My family had tatami, of course, but like flooring, I just saw it as one of the floor materials in the house.”
Many tatami craftsmen inherit the trade as a family business. So why did Miyake, who had no prior connection to tatami and entered the world as a part-time worker, aspire to become a craftsman? He says it was because he was captivated by the joy of creating tatami with his own hands.
“Earlier, I showed you how to replace the tatami surface, but the final step is sewing on the new tatami border. I love the beauty of the finished line that this creates. I’ve loved it since the first time I touched tatami as a part-time worker.”
From Part-Time Worker to Esteemed Craftsman
It took four years to become proficient in making tatami. To be able to create tatami that meets professional standards, it takes at least ten years. During this long period of apprenticeship, Miyake practiced making tatami on his own in between jobs.
He believed that to make a living in this field without coming from a tatami-making family, he had no choice but to hone his skills relentlessly.
At times, he would secretly observe skilled tatami craftsmen at work.
Regarding his impressive achievements at the Skill Grand Prix, Miyake says,
“The way tatami is made differs between the Kansai and Kanto regions, and there were no previous award winners from Kansai-style tatami craftsmen. So, the Kyoto Tatami Craftsmen's Association just sent me out saying, ‘You go and get one.’”
He says this nonchalantly, but there is no doubt that his skill is recognized by everyone.
After working at several tatami shops, Miyake became independent nine years ago and established Miyake Tatami Shop in Kyoto.
Connecting Through Tatami Repair
The work of a tatami craftsman involves two main tasks: making new tatami and replacing tatami surfaces. While this sounds simple, the craft is built upon connecting various elements. One of these, naturally, is skill. While some tatami shops have introduced tatami sewing machines, Miyake continues to preserve the traditional hand-sewing techniques.
“The tatami surface, made of woven igusa (rushes), has visible lines. Aligning the tatami border precisely in the valleys between these lines is called ‘menori.’ With hand-sewing, you can adjust the position and tension of the border while looking at these ‘lines.’ The border becomes perfectly straight and lies flat, adhering seamlessly.”
When tatami are laid out in this way, the room gains a sense of depth.
This beauty is not confined to the moment of completion. By flipping over a sun-faded tatami surface or replacing a damaged one, the life with tatami continues to be woven.
Incidentally, when restoring old tatami, craftsmen don't just face the tatami itself. They also confront the traces left by the craftsman who worked on that piece in the past.
“To lay tatami perfectly in a room, we sometimes adjust the length in millimeters. Then, we leave a quick note so that anyone who works on it later can understand. For example, ‘han’ or ‘han-tsu.’ ‘Han’ means five rin (about 1.5 mm), but how ‘han-tsu’ is interpreted can vary from person to person. So, in the end, you have to check it visually and decide how much adjustment is needed.”
Weaving a Life with Tatami
Tatami craftsmanship involves various tools for measuring, cutting, and sewing. These include rulers, needles, thread-tightening tools, hooks for fitting tatami, and tatami knives.
While each is indispensable, the number of people making these tools is decreasing.
“They aren’t items that sell in large quantities. It’s not just the tools; the number of craftsmen making tatami borders has also decreased. While passing on tatami-making skills is important, I believe we need to promote the appeal of tatami itself and invigorate the entire industry.”
To convey the charm of tatami itself, Miyake is now embarking on a new initiative.
He is creating a booklet that introduces the various artisans involved in tatami production. By visiting the regions where tatami surfaces are made and the workshops where tatami borders are crafted, and by capturing the lives of the people working there through photos and text, he aims to offer a glimpse into the world behind tatami that is usually unseen.
“Ultimately, I want to increase my own customer base, of course,”
Miyake says with a lighthearted laugh. This ease is reflected in his daily life as a craftsman.
“I don’t want to be just a craftsman. I snowboard, I skateboard, I play basketball.”
When he has no work, he might go fishing and stay overnight. When deadlines pile up, he spends long hours in his workshop. It’s not an easy job, but he can decide when to start, when to finish, and how to structure his work.
“It’s not complete freedom, of course. There are things that must be done, and it can be tough at times. But I’m not bound like I would be in a company. I can do everything at my own discretion. I want to show the next generation that this is a job that allows for a human way of life.”
When Miyake was 17, tatami was just one of the floor materials in his home. He didn't enter this field with the intention of carrying on a cultural tradition. He was simply asked if he was interested, touched tatami as a part-time worker, and discovered the joy of making it.
“I feel like it was the right job for me. Like I ended up here naturally.”
For Miyake, living as a tatami craftsman isn't about shouldering a heavy burden. It's about making and repairing tatami, and in doing so, naturally continuing the “life with tatami.”
Katsushi Miyake
Tatami craftsman. Born in Tanegashima, he spent his childhood in a snack bar in Higashi-Kujo, Kyoto. After dropping out of the Horticulture Business Department at Kyoto Prefectural Katsura High School, he apprenticed for four and a half years at Horii Tatami Shoten Co., Ltd. He later worked at a tatami shop in Ukyo Ward, Kyoto, while also enrolling in the Kyoto Tatami Technical College, where he obtained Level 2 and Level 1 Tatami Production Technician certifications. He holds a Vocational Training Instructor's license and is certified as a Kyoto Master Craftsman. In 2019, he won the Gold Prize and the Prime Minister's Award at the 30th Skill Grand Prix, held in commemoration of His Majesty the Emperor's 30th year on the throne. He currently instructs aspiring craftsmen at a training school and is dedicated to passing on tatami-making techniques, including mentoring young artisans who will inherit local tatami shops.