Tsumugi – A Traditional Japanese Silk Weaving Technique for Kimono and Haori
- by MaedaYumiko
- 6 min reading time
Discover Tsumugi, a traditional Japanese silk textile known for its rich texture and natural character. Learn how different silk threads, including irregular Fushi-Ito, create the distinctive surface of kimono and haori.
Another Side of Silk – The Beauty of Irregular Threads and Tsumugi
Recently, I have been spending almost every morning at my son’s new nursery as part of his settling-in period — so in a way, the two of us have been “going to work” together.
Since he is usually not shy around other people at all, I thought the transition would go quite smoothly. But, as is often the case, things turned out a little differently than expected. His rather strong-willed personality has definitely made an appearance — I wonder who he gets that from...
I simply hope that, little by little, he will become more comfortable in his new surroundings.
Because of this, I have had very little time to write new blog posts recently. But things are finally beginning to settle down a little.
This time, I would like to talk about something different from my previous post about Shibori. Instead, I want to look at weaving structures and the different surfaces that silk fabrics can have.
There are many different types of woven fabrics used for kimono and haori. Today, I would especially like to focus on fabrics with visible irregularities and small thickened areas in the thread — and on Tsumugi, one of the best-known types of Japanese silk textiles in which these lively surface textures can often be found.
Silk Is Not Always Smooth and Shiny
Silk is one of the classic materials used for kimono and haori. As many of you probably know, it is made from the cocoons of silkworms.
When we think of silk, we often imagine a smooth, soft fabric with a delicate sheen.
With traditional raw silk, known in Japanese as Kiito, long, continuous silk filaments are reeled directly from the cocoon and combined to form a thread. Because these fibres are very long and relatively even, the resulting thread tends to be smooth and often has the fine lustre we typically associate with silk.
But there is also another way of making silk thread.
For this, the cocoons are first opened and stretched into a soft, cotton-like sheet. In Japanese, this material is called Mawata.
The silk fibres are then gradually drawn out from the Mawata and spun into thread. As a result, the thread is often not completely even. It can have thinner and thicker areas, small slubs and a slightly irregular surface.
The result is a softer, somewhat fuller-looking thread with a very different character from smooth silk.
Both, however, are still silk.
The difference lies not in the material itself, but in the way the thread is made. And it is precisely these differences in the thread that later influence the surface and character of the finished fabric.
What Is Tsumugi?
One of the best-known Japanese silk textiles in which this type of distinctive surface texture can be found is Tsumugi.
Tsumugi is a traditional Japanese silk textile whose origins lie in fabrics made from hand-spun silk threads produced from Mawata.
Because these threads often have small irregularities in thickness, visible slubs and subtle unevenness can appear in the finished fabric.
It is exactly this structure that gives many Tsumugi fabrics their distinctive character.
Although Tsumugi is made from silk, some Tsumugi fabrics appear less glossy and smooth than other silk textiles. They can look slightly more matte and natural, and can even have an almost cotton-like warmth to them.
Personally, I especially love this warm and natural character.
In the photos, you can often see how small irregularities in the thread create a lively surface. To me, these details are not flaws — quite the opposite. They give the fabric depth and make each piece more interesting.
However, Tsumugi does not automatically mean that the fabric has clearly visible slubs.
There are many different types of Tsumugi. One well-known example is Ōshima Tsumugi, which can be very fine, smooth and densely woven. Depending on the region, technique and type of thread used, the appearance and feel can vary considerably.
Many Tsumugi fabrics are woven in a plain weave.
In this basic weaving structure, warp and weft threads pass alternately over and under one another. Because the structure is relatively simple, the character of the thread itself can remain especially visible.
If the thread is slightly irregular, this texture can therefore also be seen on the surface of the finished fabric.
What Does “Fushi-Ito” Mean?
When talking about fabrics like these, you may also come across the term Fushi-Ito.
This refers to threads whose thickness is not completely uniform and which can have small slubs, thicker sections or knot-like areas.
When woven into fabric, these threads create natural unevenness, subtle plays of light and shadow, and a lively surface texture.
However, one important point is that a fabric with visible slubs is not automatically Tsumugi.
Tsumugi refers to a type of Japanese woven textile, while Fushi-Ito describes a characteristic of the thread itself.
These kinds of irregular threads are not limited to silk either. They can also be found in cotton, linen and other fibres.
For this reason, visible slubs alone are not enough to determine whether a vintage or antique kimono is definitely made from Tsumugi.
The Individual Surface of Each Fabric
When I choose vintage and antique kimono or haori, I pay attention not only to colours and patterns.
The surface of the fabric itself also plays an important role for me.
Even two haori made from silk can look and feel completely different. One may be smooth, soft and glossy, while another may appear much more natural and subdued because of fine irregularities and small raised areas.
I find these differences especially fascinating.
The structure of the thread, the small irregularities and the way light falls across the surface all give each piece its own individual character.
A fabric with visible slubs can sometimes feel slightly rougher or look more irregular. But this does not automatically mean that the fabric is damaged.
Often, this structure is simply part of the natural character of the thread and the textile itself.
Of course, vintage and antique textiles can also show genuine signs of age, such as wear, abrasion, stains or damaged fibres. When describing pieces in my shop, I always try to distinguish these actual signs of age from the natural texture of the fabric.
Silk can be smooth, elegant and glossy — but it can also be warm, matte and textured.
Neither is better nor worse. They are simply different sides of the same material.
So the next time you hold a kimono or haori in your hands, it may be worth looking not only at the pattern and colours, but also taking a closer look at the surface of the fabric itself.
You may discover a completely different side of silk.